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The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr. -
Download Booklet
HarmoniousThe EchoSONGS BY SIR ARTHUR SULLIVAN MARY BEVAN • KITTY WHATELY soprano mezzo-soprano BEN JOHNSON • ASHLEY RICHES tenor bass-baritone DAVID OWEN NORRIS piano Sir Arthur Sullivan, Ottawa, 1880 Ottawa, Sullivan, Arthur Sir Photograph by Topley, Ottawa, Canada /Courtesy of David B. Lovell Collection Sir Arthur Sullivan (1842 – 1900) Songs COMPACT DISC ONE 1 King Henry’s Song (1877)* 2:23 (‘Youth will needs have dalliance’) with Chorus ad libitum from incidental music to Henry VIII (1613) by William Shakespeare (1564 – 1616) and John Fletcher (1579 – 1625) Andante moderato Recording sponsored by Martin Yates 3 2 The Lady of the Lake (1864)† 3:25 from Kenilworth, ‘A Masque of the Days of Queen Elizabeth’, Op. 4 (or The Masque at Kenilworth) (1864) Libretto by Henry Fothergill Chorley (1808 – 1872) Allegro grazioso 3 I heard the nightingale (1863)‡ 2:59 Dedicated to his Friend Captain C.J. Ottley Allegretto moderato 4 Over the roof (1864)† 3:04 from the opera The Sapphire Necklace, or the False Heiress Libretto by Henry Fothergill Chorley Allegretto moderato Recording sponsored by Michael Symes 4 5 Will He Come? (1865)§ 4:05 Dedicated to The Lady Katherine Coke Composed expressly for Madame Sainton Dolby Moderato e tranquillo – Quasi Recitativo – Tranquillo un poco più lento Recording sponsored by Michael Tomlinson 6 Give (1867)† 4:56 Composed and affectionately dedicated to Mrs Helmore Allegretto – Un poco più lento – Lento Recording sponsored by John Thrower in memory of Simon and Brenda Walton 7 Thou art weary (1874)§ 5:00 Allegro vivace e agitato – Più lento – Allegro. Tempo I – Più lento – Allegro. -
Music (Opportunities for Research in the Watkinson Library)
Trinity College Trinity College Digital Repository Watkinson Library (Rare books & Special Watkinson Publications Collections) 2016 American Periodicals: Music (Opportunities for Research in the Watkinson Library) Leonard Banco Follow this and additional works at: https://digitalrepository.trincoll.edu/exhibitions Part of the Musicology Commons Recommended Citation Banco, Leonard, "American Periodicals: Music (Opportunities for Research in the Watkinson Library)" (2016). Watkinson Publications. 22. https://digitalrepository.trincoll.edu/exhibitions/22 Opportunities for Research in the Watkinson Library • • • • American Perioclicals: USIC Series Introduction A traditional focus of collecting in the Watkinson since we opened on August 28, 1866, has been American periodicals, and we have quite a good representation of them from the late 18th to the early 20th centuries. However, in terms of "discoverability" (to use the current term), it is not enough to represent each of the 600-plus titles in the online catalog. We hope that our students, faculty, and other researchers will appreciate this series ofannotated guides to our periodicals, broken down into basic themes (politics, music, science and medicine, children, education, women, etc.), MUSIC all of which have been compiled by Watkinson Trustee and Introduction volunteer Dr. Leonard Banco. We extend our deep thanks to Len for the hundreds of hours he has devoted to this project The library holds a relatively small but significant since the spring of 2014. His breadth of knowledge about the collection of19 periodicals focusing on music that period and inquisitive nature has made it possible for us to reflects the breadth ofmusical life in 19th-century promote a unique resource through this work, which has America as it transitioned from an agrarian to an already been of great use to visiting scholars and Trinity industrial society. -
Musical Networks in Early Victorian Manchester R M Johnson Phd 2020
Musical Networks in Early Victorian Manchester R M Johnson PhD 2020 Musical Networks in Early Victorian Manchester RACHEL MARGARET JOHNSON A thesis submitted in partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by Manchester Metropolitan University 2020 Abstract My dissertation demonstrates how a new and distinctive musical culture developed in the industrialising society of early Victorian Manchester. It challenges a number of existing narratives relating to the history of music in nineteenth-century Britain, and has implications for the way we understand the place of music in other industrial societies and cities. The project is located at the nexus between musicology, cultural history and social history, and draws upon ideas current in urban studies, ethnomusicology and anthropology. Contrary to the oft-repeated claim that it was Charles Hallé who ‘brought music to Manchester’ when he arrived in 1848, my archival research reveals a vast quantity and variety of music-making and consumption in Manchester in the 1830s and 1840s. The interconnectedness of the many strands of this musical culture is inescapable, and it results in my adoption of ‘networks’ as an organising principle. Tracing how the networks were formed, developed and intertwined reveals just how embedded music was in the region’s social and civic life. Ultimately, music emerges as an agent of particular power in the negotiation and transformation of the concerns inherent within the new industrial city. The dissertation is structured as a series of interconnected case studies, exploring areas as diverse as the music profession, glee and catch clubs, the Hargreaves Choral Society’s programme notes, Mechanics’ Institutions and the early Victorian public music lecture. -
Opera in London During the Nineteenth-Century Lucia Di
Opera in London during the Nineteenth-Century Pip Clayton Oyer the years I have collected a number of lithographs and prints of theatres. actors and opera singers. The larger part of my collecdon is of scenes lrom operas given in l,ondon from 1800 to 1899. There are well- known operas, some not so well-known, and some which ate now completely forgotten. I thoughr I should like to share some of them with our members. along with press-reports of the period and some observations on the singers: to complement the articles by Douglas Bemett in Newslellers 93 and 94: whal better lo start with than: Lucia di lammermoor Donizetti's 47th opem did not take long to reach l-ondon where it had its first perfrmance st Her Majesty's Theatre on 5 April 1838 with Fanny Tacchinardi-Persiani, who had created the role, as Lucia. Edgardo and Enrico were sung by Giovan Battista Rubini and Antonio Tamburini. The review in the Times of 6 April gave the singers a favourable mention but more space was given to the thought that Persiani's dresses were more elaboraie than those she wore as Amina, also that the Queen attended and that the theatre was crowded early in the evening. But what amazed me was the review for the opera itself: "Like other ltalian operas, it is rqther a succession of scenes than any attempt at a plot of regular drama, the material poor and spiritless in itself by no means good even for Donizetti, who is but oJ a mediocre school". -
STOVALL-THESIS-2012.Pdf (417.3Kb)
Bias, Ridicule, and Commercialization: Social Implications in Victoria's “Land without Music” _______________ A Thesis Presented to The Faculty of the Moores School of Music University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Master of Music _______________ By James Brandon Stovall December, 2012 Bias, Ridicule, and Commercialization: Social Implications in Victoria's “Land without Music” _________________________ James Brandon Stovall APPROVED: _________________________ Jeffrey Sposato, Ph.D. Committee Chair Moores School of Music _________________________ Paul Bertagnolli, Ph.D. Moores School of Music _________________________ Natalie Houston, Ph.D. Department of English _________________________ John W. Roberts, Ph.D. Dean, College of Liberal Arts and Social Sciences Department of English ii Bias, Ridicule, and Commercialization: Social Implications in Victoria's “Land without Music” _______________ An Abstract of A Thesis Presented to The Faculty of the Moores School of Music University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Master of Music _______________ By James Brandon Stovall December, 2012 iii ABSTRACT Nineteenth-century England is today perceived as a “Land ohne Musik” (“land without music”). This label arose because England is said to have produced no first-rate composers between the time of Henry Purcell and Arthur Sullivan. Previous discussions of England as a “Land ohne Musik” have attempted to overcome this ignominy by pointing out the high points of Victorian musical life and the achievements of a few native composers. This thesis will focus, instead, on the social implications that caused England to develop this reputation. The discussion will first address the bias toward English musicians that existed during the nineteenth century. -
Boston Symphony Orchestra Concert Programs, Season 11, 1891-1892
ACADEMY OF MUSIC, BROOKLYN. BOSTON SYMPHONY ORCHESTRA. ARTHUR NIKISCH, Conductor. Eleventh Season. 1891-92. PROGRAMME OF THE First Rehearsal and Concert Friday Afternoon, November 6, at 2.30. Saturday Evening, November 7, at 8.00. Historical and Descriptive Notes prepared by G. H. WILSON. PUBLISHED BY 0. A. ELLIS, Manfger. The MASON & HAMLIN PIANC Illustrates the same high standard of excellence which has always characterized the MASON & HAMLIN ORGANS, and won for them the Highest Awards at ALL GREAT WORLDS EXHIBITIONS since and including that of Paris, 1S67. SOLD ON EASY TERMS AND RENTED. MASON & HAMLIN ORGAN AND PIANO CO. BOSTON, Mason & Hamlin Hall, 154 and 155 Tremont Street. NEW YORK, 158 Fifth Avenue. CHICAGO, 149 Wabash Avenue. Or'-in and Piano Catalogue sent free to any address. ' Boston Academy Symphony of Music #' _. , , SEASON OF Orchestra ^i-^ Mr. ARTHUR N1KISCH, Conductor. First Rehearsal and Concert, Friday Afternoon, November 6, Saturday Evening, November 7. PROGRAMME. Beethoven ------ Overture, " Leonore," No. 3 " Gounod _-_-_ Aria from the " Queen of Sheba Tschaikowsky _______ Suite, Op. 55 Elegie. Valse melancholique. Scherzo. Tema con Variazioni. " Wagner - Aria, " Hall of Song," from " Tannhaeuser Wagner _____ Prelude, "Die Meistersinger Soloist, Mme. LILLIAN NORDICA. The announcement of the next Concert will be found on page 15. (3) SHORE LINE BOSTON Tfl NEW YORK NEW YORK TOU BOSTON Trains leave either city, week-days, as follows, except as noted: DAY EXPRESS at 10.00 a.m. j A i live at 4.30 p.m. BUFFET DRAWING-ROOM CARS. AFTERNOON SERVICE at 1.00 p.m. Arrive at 7.30 p.m. -
Beethoven-Catalogue.Pdf
J & J LUBRANO MUSIC ANTIQUARIANS item 10 Catalogue 88 BEETHOVEN A Celebration of the 250th Anniversary of the Composer’s Birth FIRST & EARLY EDITIONS ICONOGRAPHY EPHEMERA & LITERATURE ❖ 6 Waterford Way, Syosset, NY 11791 USA [email protected] www.lubranomusic.com T 516-922-2192 CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to ensure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. -
Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol
Some Recollections: XIII. Of Prime Donne and Another Author(s): Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 41, No. 683 (Jan. 1, 1900), pp. 16-18 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3366232 Accessed: 20-03-2016 06:34 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 129.137.5.42 on Sun, 20 Mar 2016 06:34:49 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JANUARY I, I900. The time absorbed in lettering may seem a serious London urent half mad about Sontag7s beauty obstacle, but it does not turn out to be so. The average and marvellous singing. Again to quote time taken is about twelve seconds. I have often tested Chorley: 4'The Sunday papers told of Dukes fifty in ten minutes. You must do something in your dying for her; of Marquises only waiting to time. Examination of this kind is not a waste of time it is unmistakably an excellent employment of time, and lay their coronets at her feet; Royalty itself it is intensely interesting and edllcative to the class. -
Downloadable PDF
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/437 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Verdi in Victorian London Massimo Zicari https://www.openbookpublishers.com © 2016 Massimo Zicari This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Massimo Zicari, Verdi in Victorian London. Cambridge, UK: Open Book Publishers, 2016. http://dx.doi.org/10.11647/OBP.0090 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/isbn/9781783742134#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active on 28/6/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/isbn/9781783742134#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
An Opera Singer's Gothic Fiction: the Autobiographies of Sims Reeves
An Opera Singer’s Gothic Fiction: The Autobiographies of Sims Reeves Anna Maria Barry In George Eliot’s novel Daniel Deronda (1876), the eponymous protagonist is “stung to the quick” by the suggestion that he could become like the famous Italian tenors Mario and Tamberlik.1 He is offended because he believes that their profession is “not thought of [as being] among possible destinations for the sons of English gentlemen.”2 As this quotation suggests, opera was seen as a particularly unsuitable occupation for a man in nineteenth- century Britain, for which there were two main reasons. Firstly, music was widely considered to be a feminised pursuit that compromised the perceived masculinity of men who were professional singers.3 Secondly, the identity of British singers was complicated still further, since opera attracted prejudice as an Italian art form that was frequently imagined to be at odds with the British character.4 Due to such attitudes, it became imperative for British male opera singers to assert their masculinity, respectability, and national identity. The genre of autobiography offered these men a unique chance to do so, and a number of singers across the century seized the opportunity.5 Although the majority of these autobiographies have hitherto been neglected by scholars, they are complex and often unusual works that deserve 1 George Eliot, Daniel Deronda, vol. 1 (Edinburgh & London: Blackwood and Sons, 1876), 306–7. 2 Eliot, 1:308. 3 For more information on music as feminised, see: Corissa Gould, ‘Aspiring to Manliness: Edward Elgar and the Pressures of Hegemonic Masculinity’, in Masculinity and Western Musical Practice, ed.