DOCSLIB.ORG

Wcom=7214:3 T

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wcom=7214:3 T SINGLE COPIES, 10 CENTS OL. X. No. 5. PER YEAR. ONE DOLLAR AND NANNAIA=CUEINI NOVELTY NEWS Wcom=7214:3t Published Each Month by Edward Lyman Bill at 373 Fourth Avenue, New York, May 15, 1914 -MK A Corner of the Music Room Vi'toi-Victria in the White House Photo copyright by Waldon Fawcett, Washington, I). C. ' 1,7 permission for reproduction granted to Victor Talking Machine Co., Camden. N. J. Entered as as second.class matter May 2, 1905, at the post office at New York, N. Y.. under the act of Congress of March 2,1979. THE TALKING MACHINE WORLD. Leading Jobbers of Talliing Machines in America SANGER BROTHERS Where Dealers May Secure Dallas, Texas VICTOR VICTOR JOBBERS Exclusively COLUMBIA What you want always in stock Distributers 400 Fifth Avenue Product 27 W. 34th Street 563 Fifth Avenue New York "We ship the same day." 153 W. 42d Street Ready, Full Stocks, and Prompt Deliveries from Convenient Shipping Centers all over the United States. 1856 Distributors Southern Victor Dealers MULOTZEE 1914 Largest Stock VICTROLAS and RECORDS. Atlanta,Ga.,ColumbiaGrapbopboueCo 132 Peachtree St. Prompt Shipment and Low Freight Rates. Baltimore, Md.. Columbia Grapbopbone Co., 305- 307 North Boward St. WALTER D. MOSES & CO. VICTOR Oldest Music HouseinVirginia or North Carolina Birmingham. Ala., Columbia Grapbopbone Co., DISTRIBUTERS 1818 Third Ave. RICHMOND, VA. Boston,Mass.,Columbia GrapbopboueCo., 174 VICTORS EXCLUSIVELY Tremont St. Buffalo,N. Y., Columbia Grapbopboue Co..622 We make a specialty of getting the order Main St. Edison Phonograph Distributors out on time-everytime. Chicago'ill.,Columbia Gruphophone Co.,14N. Michigan A vi. for the SOUTHWEST Cincinnati,0.,Columbia Grapbopbone Co.,117- The Rudolph Wurlitzer Co. 119 W. Fourth Ate, All Foreign Recordsin Stunk Cleveland. 0.,ColumbiaGrapbopboneCo., 913 CINCINNATI and CHICAGO Euclid Ave. Dallas, Tex., Southwestern Talking Machine Co.. Houston Phonograph Co., "r31"4". Tao points of supply; order from the nearer. 1403 Main St. Denver,Colo., Columbia Stores Co., 605-507 SI'. teentb St. Detroit, Mich.,Colombia Grapbopboue Co.,114 Broadway. NEW ENGLAND DESMOINES El Paso. Tex.. Southwestern Talking 'Machine Co.. JOBBING !IE.ADOUARTER3 CHASE & WEST IAOW Stanton and Texas Sts. Hartford, Conn.,Columbia fzrapnonboue Co., 719 EDISON AND VICTOR Main St. Machines. Ripcords and SuPPII453. Machines Everything Indianapolis, Ind..Columbia Grapbopboue Co., 27 N. Pennsylvania St. KansasCity, Mo.. Columbia Grapbopboue Co., THE EASTERN TALKING MACIIINE CO. Records 1112 Grand Ave. 177 Tremont Strout BOSTON. MASS. Lincoln, Nebr.,Tbe Orafonola Company,1038 instil° a" I) St. CahinetsViciorthe time. Livingston, Mont..Scbenber Drug Co. Los Angeles, Cal., Columbia Grapbopbone Co., WHOLESALE TO IOWA TRADE 420-422 S.Itroailody. Louisville,Ky., Columbia Grapbopbone Co., 425 PACIFIC COAST TOILS OP' Send in your name and address and we will mail you South Fourth St. postpaid complete and illustratedcatalogues, givingdetailed Milwaukee,Wis.,Albert G. Kuude, 518 Grand Victor Talking MachinesRECORDS inlormation concerning all Victor products.Showing the Ave. Minneapolis, Minn.,Columbia Grapbopboue Co., STEINWAY PIANOS-LYON & HEALY various styles ol Victor Machines, list of all Victor Records, 424 Nicollet Ave. "OWN MAKE" BAND INSTRUMENTS the entire line ol Victor Cabinets, Repair Paris and all Ac. New Haven, Conn.,Columbia Grapbopbone Co., 25 Church St. gailainrreises Parr:et. oessories. Dealers, lei us help you build a Vidor business. New Orleans. La.,Columbia Grapbopbone Co., Sherman, Clay & Co. 933 Canal St New York City, Columbia Grapbopboue Co.. 89 Chambers St.; Columbia Grapbopbone Co.. 35-31 W. 23d St.; Columbia Grapbopbone Co., 39 W. PERRY B. WHITSIT L. M. WELLER 125th St. Philadelphia, Pa., Pennsylvania TalkingMach. PERRY B. WHITSIT CO., Co., 1109 Chestnut St. Pittsburgh, Pa..Columbia Graphophoue Co.,101 213 South High Street. Columbus. Ohio. Federal St. The Chicago Portland, Me.,Colombia Grapbopbone Co.,551 Congress St. Viotor Talking Portland, Ore.. Colombia Grapbopbone Co., 871 Phonographs blaokino Wasblogtoo St.;Eilers Music House. and RoordJOBBERSand Roord Providence, R.i.,Columbia Grapbopboue Co., Edison Jobber 119 Westminster St. Rochester, N. Y.,Tbe Grafouola Company, 38 South Ave. Sacramento. Cal..Kirk, Geary & Co. The perfection of Musical Salt Lake City, Utah.Daynes-Beebe Music Co., OLIVER Largest 45 Main St. VICTOR Talking San Francisco, Cal.,Colombia Graphophone Co., Instruments-THE EDISON DITSON MachineDistributor. East 334 Sutter St. of Chicago. Seattle, Wash.,Columbia Grapbopboue Co., 1311 COMPANY First Aye.:Eller, Music House, 3d and Univer- diamond disc PHONOGRAPH Creatorsof"flto Fammt Victar sity Sts. Sernce." Letus tellroe sore Spokane, Wash..Colombia Grapbopboue Co., 818 shoot our service. Sprague Ave. -with EDISON double disc BOSTON Springfield, Mass.,Columbia Grapbopboue Co.. 174 Worthington St. St. Louis, Mo.,Columbia Grapbopbone Co.,1008 records. Olive St. St.Paul. Minn.,ColumbiaGrapbopboueCo.. 17 East Sixth St. THE PERFECTION OF Tampa.Fla., Tampa Hardware Co. Terre Haute. Ind.,840 Wabash Aye, SERVICE-Our Service. W. J. DYER & BRO. Toledo, 0.. Columbia Grapbopboue Co., 228 Supe- rior St. Saint Paul, Minn. Washington. D. C..ColumbiaGrapbopboue Co.. The Perfection of adver- 1210 G St., N. W. tising for the dealer - Our DEALERS WANTED --Exclusivesellingright. given where we are not actively represented. plan. VICTOR &EDISON Write for particulars to the Columbia Grapbopbone Co., WholesaleDepartment,Wooltoorth Building, Distributers NewYork. Headquarters for Canada The Phonograph Company Quid, Servtee for all points in the North- Columbia Graphophooe Co.. 363-5-7 Sorauren Ave. CHICAGO west. 229 So. Wabash Ave. Machines, Records, Supplies. Toronto. Ont. TRYVICTOR us DEALERS FIRST. Every Jobber in this country should be represented in Wo carry the Lorreot Stock of VICTROLAS, REC- this department.The cost is slight and the advantage is ORDS and CABINETS of any Distributor in the South. great.Be sure and have your card in the June List. THE CORLEY COMPANY, Richmond, Va. he Talking Machine World Vol. 10.No. 5. New York, May 15, 1914. Price Ten Cents W. STEVENS HOME FROM EUROPE. MOVIES TO LEAD ORCHESTRAS. VICTROLA WINS SUPERVISORS. Manager of Foreign Department of Thomas A. Famous Conductors May Appear inFilms in Mrs. Clark Demonstrates Value of Victrolasin Edison,Inc.,Completes Arrangements for Dozens of Concerts at the Same Time. Schools at National Conference in St. Paul- Transferring European Business of Company Many Noted Musical Authorities Present. to Orange-Increasing Popularity of Edison A despatchtothe New York World under Products Abroad-Blue Amberol Liked. recent date says that by means of films just placed (Special to The Talking Machine World.) on the market by the Meister Film Co. of Berlin Sr. PAUL, MINN., May G.-The value of talking Walter Stevens,manager oftheforeignde- the most famous musical directors will be enabled machinesinschool work was exemplifiedina partment of Thomas A. Edison, Inc., returned to to conduct a dozen or more performances in dif-striking manner attheseventh annual meeting Orange, N. J., recently after an extended trip toferent cities at the same time, and audiences ofof the National Conference of Music Supervisor:s. Europe, during which he visited, London, Berlin, the future will be able to enjoy the conducting of Mrs. Frances E. Clark had almost a full line of Paris and other prominent European cities, but great masters long after the musicians are dead. Victrolas in the West Hotel, the headquarters of spending the major part of his time in London This has been achieved by the use of master the convention, and her intelligent demonstrations looking after the interestsof the Edison com- of the use that talking machines might have in the panies. conductor films, and the film company will shortly give a huge concert here when all the most famous schools attracted much favorable comment from Prior to Mr. Stevens' leaving for Europe thc the teachers.Many of the Minneapolis schools officials of Thomas A. Edison, Inc., had decided conductors will conduct by film -proxy. Felix von\Veingartner,afterwitnessingthe have instruments of various kinds and have been to, transfer the entire European phonograph busi- trainedtodistinguish between good musicand ness to the main officesat Orange, leaving the first private performance, said: 'The success was extraordinary. The opera con- trash, and the visitors were much interestedto various European branchesfreetoconcentrate hear the young critics place their seal of approval their efforts on the development and cultivation of ducted was 'Carmen,' and the machinery for pro- ducing the film was so exact that after one trial or disapproval on a long series of musical num- their moving picture film business.While abroad bers of varying order of merit.The program Mr. Stevens took care of the many details inci- the musicians were able to play with exactly the was made up of numbers which the youngsters dental to this important transfer. same accuracy as they would have done if a living had never heard before, and their unerring judg- Mr.Stevensfound Edison products in Europe conductor had been present.Thereisnothing ment, in picking out the good music, highly en- increasing theirpopularitysteadily and consist- mechanical about the performance, and the result tertained the teachers. ently.The Blue Amberol records are proving is genius.A clever conductor can be transferred Among those in attendance were: P. P. Claxton, ready
Load more

Recommended publications
  • C:\My Documents II\09Th Conference Winternitz\Abstract Booklet\01Title
    THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY and THE METROPOLITAN MUSEUM OF ART Music in Art: Iconography as a Source for Music History THE NINTH CONFERENCE OF THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY, COMMEMORATING THE 20TH ANNIVERSARY OF DEATH OF EMANUEL WINTERNITZ (1898–1983) New York City 5–8 November 2003 Cosponsored by AUSTRIAN CULTURAL FORUM NEW YORK http://web.gc.cuny.edu/rcmi CONTENTS Introduction 1 Program of the conference 4 Concerts Iberian Piano Music and Its Influences 12 An Evening of Victorian Parlour Music 16 Abstracts of papers 23 Participants 41 Research Center for Music Iconography 45 Guidelines for authors 46 CONFERENCE VENUES Baisley Powell Elebash Recital Hall & Conference Room 9.204 The City University of New York, The Graduate Center, 365 Fifth Avenue Uris Auditorium The Metropolitan Museum of Art, 1000 Fifth Avenue Austrian Cultural Forum 11 East 52nd Street Proceedings of the conference will be published in forthcoming issues of the journal Music in Art. ********************************************************************************* Program edited and conference organized by ZDRAVKO BLAŽEKOVIĆ THE RESEARCH CENTER FOR MUSIC ICONOGRAPHY The Barry S. Brook Center for Music Research and Documentation The City University of New York, The Graduate Center 365 Fifth Avenue New York, NY 10016-4309 Tel. 212-817-1992 Fax 212-817-1569 eMail [email protected] © The Research Center for Music Iconography 2003 The contents was closed on 21 September 2003 MUSIC IN ART: ICONOGRAPHY AS A SOURCE FOR MUSIC HISTORY After its founding in 1972, the Research Center for Music Iconography used to annually organize conferences on music iconography. The discipline was still young, and on the programs of these meetings – cosponsored by the Répertoire International d’Iconographie Musicale and held several times under the auspices of the Greater New York Chapter of the American Musicological Society – there were never more than a dozen papers.
    [Show full text]
  • AMS Program & Abstracts
    A MS Program & Abstracts MS Program Essential new scholarship from Ashgate... AMS Program & Abstracts The Music and Art WASHINGTON, D.C., OCTOBER 27–30 2005 of Radiohead Edited by Joseph Tate,ate,ate, Oregon State University ASHGATE POPULAR AND FOLK MUSIC SERIES May 2005 232 pages Perspectives Hardback 0 7546 3979 7 on Gustav Mahler Paperback 0 7546 3980 0 Edited by Jeremy Barham, University of Surrey, UK ‘Speak to Me’: August 2005 628 pages Hardback 0 7546 0709 7 The Legacy of Pink Floyd’s The Dark Side Thomas Tomkins: of the Moon Edited by RRRussellussell RRussell eising,eising,eising, The Last Elizabethan University of Toledo Edited by Anthony Boden,,, with Denis Stevens, David R.A. Evans,Evans,.A. ASHGATE POPULAR AND FOLK MUSIC SERIES September 2005 246 pages PPPetereter James and Bernard RRBernard oseoseose Hardback 0 7546 4018 3 June 2005 387 pages Paperback 0 7546 4019 1 Hardback 0 7546 5118 5 From Renaissance Giacomo Meyerbeer to Baroque and Music Drama in Change in Instruments Nineteenth-Century Paris and Instrumental Music Mark Everist, University in the Seventeenth Century of Southampton, UK Edited by Jonathan Wainwright,ainwright,ainwright, VARIORUM COLLECTED STUDIES SERIES: CS805 University of York, UK and July 2005 460 pages Hardback 0 86078 915 2 PPPetereter Holman,,, University of Leeds, UK July 2005 342 pages Timba: The Sound Hardback 0 7546 0403 9 of the Cuban Crisis VVVincenzoincenzo PPincenzo ernaernaerna D.C. 2005 Washington, Musical Voices of Early SOAS MUSICOLOGY SERIES Modern Women April 2005 370 pages Many-Headed Melodies Hardback 0 7546 3941 X Edited by Thomasin LaMay,,, Goucher College A Briefe Introduction WOMEN AND GENDER IN THE EARLY to the Skill of Song MODERN WORLD April 2005 470 pages by William Bathe Hardback 0 7546 3742 5 Edited by Kevin C.
    [Show full text]
  • John Mccormack 1843-1997 IM.M035.1998
    Frederick M. Manning Collection of John McCormack 1843-1997 IM.M035.1998 http://hdl.handle.net/2345/956 Irish Music Archives John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill 02467 library.bc.edu/burns/contact URL: http://www.bc.edu/burns Table of Contents Summary Information .................................................................................................................................... 3 Administrative Information ............................................................................................................................ 4 Biographical Note: John McCormack ........................................................................................................... 5 Biographical Note: Frederick M. Manning ................................................................................................... 5 Scope and Contents ........................................................................................................................................ 6 Arrangement ................................................................................................................................................... 6 Collection Inventory ....................................................................................................................................... 7 I: Correspondence ........................................................................................................................................ 7 II: Manuscripts and Typescripts by John McCormack
    [Show full text]
  • The Songs of Luigi Gordigiani (1806-1860), "Lo Schuberto Italiano" Thomas M
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Songs of Luigi Gordigiani (1806-1860), "Lo Schuberto Italiano" Thomas M. Cimarusti Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE SONGS OF LUIGI GORDIGIANI (1806-1860), “LO SCHUBERTO ITALIANO” By THOMAS M. CIMARUSTI A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2007 Copyright © 2007 Thomas M. Cimarusti All Rights Reserved The members of the Committee approve the dissertation of Thomas M. Cimarusti defended on 28 June 2007. Douglass Seaton Professor Directing Dissertation Valerie Trujillo Outside Committee Member Charles E. Brewer Committee Member Jeffery Kite -Powell Committee Member William Leparulo Committee Member Approved: Seth Beckman, Chair, College of Music Don Gibson, Dean, College of Music The Office of Graduate Studies has verified and approved the above named committee members. ii To my parents iii ACKNOWLEDGMENTS The completion of this dissertation involved the help of many individuals. I am most grateful to my advisor Dr. Douglass Seaton, whose encouragement, patience, and inspiration have been invaluable. I am profoundly indebted to him. My deepest thanks to my committee members Drs. Charles Brewer, Jeffery Kite-Powell, and William Leparulo for their comments and suggestions regarding initial drafts. My sincere appreciation to Dr. Valerie Trujillo who, due to unforseen circumstances, stepped in to serve on the committee just prior to my defense. I am also thankful for Italian scholar Dr.
    [Show full text]
  • The Clarinet and the Italian Opera Composers of The
    THE CLARINET AND THE ITALIAN orchestra. As a young composer he wrote two of which were for flute, two clarinets, the canzonetta “Or che la notte,” for so- horn and orchestra and one for flute, clari- TH OPERA COMPOSERS OF THE 19 prano, clarinet and piano, dedicated to net, horn and orchestra. One of these was CENTURY* Lady Teresina Spadaro; the Piccola com- performed in an academy of the Collegio posizione (Concertino) for clarinet and di Musica di Napoli in December 1817: by Adriano Amore orchestra; the Larghetto in Fa maggiore […]signor Mercadante conducted as for two flutes, basset horn, two horns and Concertmaster and was the composer of (English translation by Antonio Pas- bassoon and two Studi (1821), of which six nice pieces, written with bright imagi- saro) the Primo for solo clarinet and the Sec- nation, correct style and a rare purity of ondo for clarinet and bass, both composed taste. The audience appreciated mostly a ontrary to common thought, al- for his friend, the clarinetist Francesco great Concerto for four wind instruments most every Italian opera composer Benigni, who played in the ’30s in differ- which gave to the young Mercadante the of the 19th century wrote instru- ent orchestras in Bergamo. In dedicating honor of the press. Cmental music and particularly music for these studies to him, Donizetti writes his The compositions written by Giovanni the clarinet. Some of them even learned its surname incorrectly (per l’amico Beg- Pacini (1796–1867) belong to his artistic technique—like Vincenzo Bellini, Save- nigni), while in the second it is correct (a maturity.
    [Show full text]
  • Volume 28, Number 01 (January 1910) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1910 Volume 28, Number 01 (January 1910) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 28, Number 01 (January 1910)." , (1910). https://digitalcommons.gardner-webb.edu/etude/554 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ew Publications THE ETUDE Musical Kindergarten The Very First Pieces Melodic Studies TO OUR READERS THE EDITOR’S COLUMN for the PIANOFORTE For Equalization of the Hands Mpfhnrf SOME NEW YEAR RESOLUTIONS. KINDLY ADDRESS YOUR MAIL . 1UCUIUU Price C nt5 for the Pianoforte The publisher resolves: To make the PROPERLY. For the Nursery &nd the Gl&ss Room 1 gy ^ sartorio numbers of The Etude for 1910 even better In sending letters to The Etude it is highly A MONTHLY JOURNAL FOR THE MUSICIAN, THE than those for 1909. To the skeptical we important that they should be addressee MUSIC STUDENT, AND ALL MUSIC LOVERS. would say that The Etude has never failed to simply thus: Edited by JAMES FRANCIS COOKE “make good” its promises during the entire Theodore Presser Co., Subscription,.$1.50 per year.
    [Show full text]
  • Un Exilé Lyrique Achille De Lauzières Alexander Weatherson
    Un exilé lyrique Achille de Lauzières Alexander Weatherson On the momentous day of 8 February 1457 the young Dieudonné de Lauzières set foot in the Quercynois village of Espédaillac for the first time in his life to receive his serment de fidélité. He had inherited his fief from his uncle Raymond de Cardaillac who had died without an heir. He stood – a little unsteadily - where cars are now parked and lavender bushes perch on the edge of the plateau in front of the church with his kinsman Guillaume de Thémines at his elbow for moral support. The donjon behind him and a row of expectant faces before him. Four centuries on, on the equally momentous day of 19 January 1839 the young Achille de Lauzières, his direct descendant sat - a little unsteadily – for the first time in his life in an official capacity among the rowdy spectators in the teeming Teatro Nuovo of Naples with a cohort of critics behind him and row upon row of expectant faces before him. It was his baptism as a librettist, in this instance for the première of an operatic romp by the current favorite, Vincenzo Fioravanti, for which he had supplied the text. This maestro had made a tremendous reputation with his Il ritorno di Pulcinella da Padova on that same stage two years earlier i - a perfectly hysterical offering that would prove irresistible in Naples for years and years with its gags, transvestite spoofs and xenophobic fervour. Now, scarcely beyond adolescence, the trembling poet had been given the task of supplying a sequel: La larva ovvero Gli spaventi di Pulcinella, three-acts of disreputable comedy to enliven the carnival of 1839.
    [Show full text]
  • January 1942) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1942 Volume 60, Number 01 (January 1942) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 60, Number 01 (January 1942)." , (1942). https://digitalcommons.gardner-webb.edu/etude/243 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. MSI toil* January* 5 UM IMQNITUE |WIP|THU |t II |3A ,8 '9 20 21 22 23 Zi t 26 27 23 2930 31 I r What Music Means to By Helen Keller — —- — )) Lovers Books for Duo- and Score The Yardstick of American Civilization New Hampton SERIES THE HAMPTON SERIES THE HAMPTON * **************** ARROW-SCORES TWO-PIANO FOUR-HAND ALBUMS MINIATURE playing is one of the scores while homes, in cottages, in modest apart- Two piano, four-hand Do you like to follow Since the dawn of history the extent to which a people partici- with the many, in farm pianists, or the most fascinating pastimes for listening to concerts, radio broadcasts Here it has always been an orchestral works? pate in music has been, perhaps, the most accurate yardstick ments, as well as in mansions.
    [Show full text]
  • Pina Napolitano
    PINA NAPOLITANO 1 1 Pina Napolitano made a splash with this debut CD in 2012: Norman Lebrecht shortlisted it for his Sinfini Music Album of the Year; Guy Rickards in International Piano Magazine called the CD “outstanding”, citing the “tensile strength to her playing that is distinctly hers”, and Calum MacDonald in BBC Music Magazine gave it five stars for its “rare penetration, understanding, grace and elegance”. Pina Napolitano is, through her teacher Bruno Mezzena, a grand-student of Arturo Benedetti Michelangeli. Her recent focus has been the music of the Second Viennese School, which she considers not as a primarily intellectual venture, but a highly emotional and expressive one – “wholly saturated with expression” (Österreichische Musikzeitschrift), a “perfect conjunction between microcellular dissection and almost heartbreaking expressive sensitivity” (Ritmo), a “heady romanticism both irresistible and unsettling” (Arts Desk). She is especially interested in the retrospective view looking from today, via early modernism, at the works of the romantic and classical period. She enjoys programming the music of Schönberg, Berg and Webern alongside works of Mozart and Brahms for instance. Not only does she impress her public with intellectual clarity, elegance and beauty of tone, but also with her virtuosity and an unusual feat of memory: she plays everything by heart – not to impress her public, but to create an atmosphere of utmost concentration, that, in her own experience, captures the public’s intense attention throughout. 2 2 Her
    [Show full text]
  • Press. Established June 88
    PORTLAND DAILY PRESS. ESTABLISHED JUNE 88. 1862, TOL. THURSDAY MORNING. OCTOBER Is, 1874. tebms «» 18,_PORTLAND, im ly tlrTAtltt_ THE PORTLAND DAILY PRESS WANTS. New MISCELLANEOUS. Exoland Stockholder*.—It is a Published ~~ every day (Sundays excepted) hy the —1 THE PBESS. mistake says the Boston to Wanted. Traveller, suppose, PORTLAND PUBLISHING CO„ as many do, that our New manufac- SITUATION to draw off and collect accounts THURSDAY MORNING, OCT. 15. ’74 England At 109 Exchange St., Portland. A and to make myself generally useful either iu turing corporations are owned by wealthy capi- or Am well out of doors as required. acquainted in EXCELSIOR! talists. As a general thing Terms: Dollars a the City and can furnish satisfactory reference. Ad- large capitalists Eight Year in advance. To The First nvm Gossip and have but mail subscribers Seven dress, K. S. M., Press Office. ocl3d!w* Gleanings. a small amount invested in them. Dollars a Year if 1paid in ad- vance. They are too precarious and fluctuating in their Agents Wanted. values to induce of In Montana, when an editor is crowded for many this class to invest in THE MAINE STATE PRESS sell Littlefield’s patent Common Sense stove them saves more c very largely, and in our older TO damper, al than all others put to Onward and ! room, he announces: “A number of deaths and most is of the published every Thursday a gether saves J coal, keeps a regular heat. THF, successful are Morning at *2.50 Upward C3-TJ are corporations there but few who, year, if in Agents make from $4 to unavoidably paid advance, at §2.00 a year.
    [Show full text]
  • Iwb Catalogo17 18 Web-1.Pdf
    Italian World Beat represents, supports and promotes italian music professionals abroad playing a pivotal role in the development of partnerships and cultural exchanges. Mostly focused on World Music/ Ethno/Jazz projects, IWB’ aim is to fill the gap between italian music professionals and the international music industry. www.italianworldbeat.com GENERAL MANAGEMENT Fabio Scopino (+39 3921588758) [email protected] MANAGEMENT & LABEL DIRECTOR Davide Mastropaolo (+39 3348366202) [email protected] AGENCIES Born in 2004, Arealive deals with all aspects of the artistic management, labels, music and theatre production, promotion and organization of cultural events. Today Arealive represents one of the best established regional and national realities. james senese maldestro napoli centrale teresa de sio website: www.arealive.it agent: Luca Nottola (+39 3347380091) email: [email protected] 2 It was the year 2013. The skies of the independent music world started becoming cloudy and grey and the big international predators started lining up, ready to attack. Estragon Lab and Virus Concerti, two of the agencies that distinguished themselves the most at a national and international level during the past decade, decided to join forces and by merging they gave birth to a great independent reality that goes by the name of BPM Concerti. At the root of BPM’s work there are one of the most representative rosters on the Italian independent scene and the active work towards foreign realities, as our founders Alessandro Ceccarelli and Attilio Perissinotti have established themselves as promoters in the European market. We have over 50 Italian artists we’re working with as we have a deep knowledge of the national territory and of the national music scene, planning tours of different kinds.
    [Show full text]
  • Ferramonti Vergessen Wir Nicht»: Historical and Aesthetical Perspectives on Music in a Fascist Internment Camp 1940-45
    «Ferramonti vergessen wir nicht»: Historical and Aesthetical Perspectives on Music in a Fascist Internment Camp 1940-45 Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Universität Heidelberg vorgelegt von: Silvia Del Zoppo Gutachter: Prof. Dr. Cesare Fertonani Prof. Dr. Inga Mai Groote Cotutelle de Thèse - Binational Doctoral Training Università degli Studi di Milano Dottorato in Scienze del Patrimonio Letterario, Artistico e Ambientale a. a. 2016 / 2017 XXX ciclo Matr. R 11065 Diese Arbeit wurde durch ein Promotionsstipendium der Fratelli Confalonieri Stiftung - Milano gefördert. Datum: 11.06.2018 meinem Großonkel Leonhard Oxenius gewidmet Ringraziamenti Esprimo la mia più profonda e sincera gratitudine al mio Doktorvater, Prof. Dr. Cesare Fertonani e alla mia Doktormutter, Prof. Dr. Inga Mai Groote, autentici “genitori spirituali” per la mia formazione professionale e personale, oltre che imprescindibili guide per la realizzazione del presente lavoro. Nel corso della cerimonia di conferimento della borsa di studio dottorale – per la quale un sentito ringraziamento va alla Fondazione Fratelli Confalonieri, per la fiducia e il supporto materiale alle mie ricerche - tre auguri furono espressi dalla Sen. Elena Cattaneo agli assegnatari: non accontentarsi mai dei propri risultati; non temere la solitudine delle proprie idee; essere consapevoli di non lavorare solo per se stessi, ma sempre nell’ambito di una comunità. Penso che per ciascuno di questi valori, indispensabili a chiunque si avvicini con autenticità
    [Show full text]