DOCSLIB.ORG

1 Box 134 Abbot, John M. the Vesper Bell Mazurka. for Solo Piano. Boston

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Box 134 Abbot, John M. the Vesper Bell Mazurka. for Solo Piano. Boston Box 134 Abbot, John M. The vesper bell mazurka. For solo piano. Boston: Oliver Ditson & Co., 1863. Abbot, John M. The vesper bell mazurka. For solo piano. New York: Firth, Son & Co., 1863. Abecasis, S. Duchess of Albany gavotte. For solo piano. Boston: Oliver Ditson & Co., 1883. Adams, O. S. Daily exercises for piano students. New York: Wm. A. Pond & Co., 1874. Adams, O. S. Polka caprice. For solo piano. New York: Wm. A. Pond & Co., 1880. Adams, Oliver S. Une fleur de printemps (Spring flower) mazurka. For solo piano. New York: Wm. A. Pond & Co., 1864. Adelstein, Samuel. “Bella” mazurka. Violin obbligato. Also includes arrangement for guitar solo by L. B. Douglass. [s.l.]: J. P. Broder & Co., 1889. Agosty, Florian. Orphee aux enfers gallop. No. 5 in “Hitchcock’s Ten Cent or Dime Series of Select Music for the Million,” vol. 1. New York: Benjamin W. Hitchcock, 1869. Cover features lithograph. Alard, D. Berceuse, op. 49, no. 2. For violin and piano. No. 9 in “Repertoire del’Artiste for Violin and Piano.” Baltimore: George Willig & Co., [s.d.]. Alard, D. La fille du regiment. For violin and piano. In “Eight Easy Operatic Fantasies.” Boston: Oliver Ditson & Co., [between 1858 and 1876]. Allen, Geo. W. Waltz quadrille. With a complete description of the figures. For solo piano. New York: Wm. Pond & Co., 1875. 2 copies. Allen, N. H., arr. Two andantes, no. 1. From W. Goldner’s Suites, op. 39 & 40. Arranged for the organ. New York: G. Schirmer, 1889. Allen, N. H., arr. Two andantes, no. 2. From W. Goldner’s Suites, op. 39 & 40. Arranged for the organ. New York: G. Schirmer, 1889. Anderson, Green H. Archie Cook march. For solo guitar. In “Four Little Gems for the Guitar.” Louisville, KY: Louis Tripp, 1869. Andrés, Henry G. La fringante: mazurka de salon. For solo piano. New York: J. L. Peters, 1870. Angelo, D., arr. Beautiful dreamer. Melody by [Stephen] Foster. Arranged for solo piano. No. 48 in “Musical Photographs: A Collection of the Most Popular and Beautiful Melodies of the Day, Arranged as Teaching Pieces.” New York: Wm. A. Pond & Co., 1864. 1 Angelo, D., arr. Come where my love lies dreaming. Melody by [Stephen] Foster. Arranged for piano duet (four hands). No. 39 in “Musical Photographs: A Selection of the Most Popular Melodies of the Day, Arranged for the Pianoforte for Two Performers.” New York: William A. Pond, 1866. Angelo, D., arr. Concert march. Melody by [Hermann Adolf] Wollenhaupt. Arranged for solo piano. No. 54 in “Musical Photographs: A Collection of the Most Popular and Beautiful Melodies of the Day, Arranged as Teaching Pieces.” New York: William A. Pond & Co., 1864. Angelo, D., arr. Concert march. Melody by [Hermann Adolf] Wollenhaupt. Arranged for piano duet (four hands). No. 15 in “Musical Photographs: A Selection of the Most Popular Melodies of the Day, Arranged for the Pianoforte for Two Performers.” New York: William A. Pond, 1866. Angelo, D., arr. Danish dance. For solo piano. No. 17 in “Musical Photographs: A Collection of the Most Popular and Beautiful Melodies of the Day, Arranged as Teaching Pieces.” New York: Wm. A. Pond & Co., 1864. Angelo, D., arr. Ella Leene. Melody by Frederick Buckley. Arranged for solo piano. No. 27 in “Musical Photographs: A Collection of the Most Popular and Beautiful Melodies of the Day, Arranged as Teaching Pieces.” New York: Wm. A. Pond & Co., 1864. Angelo, D., arr. The flower song. Melody from Gounod’s “Faust.” Arranged for piano duet (four hands). No. 2 in “Musical Photographs: A Selection of the Most Popular Melodies of the Day, Arranged for the Pianoforte for Two Performers.” New York: William A. Pond, 1866. Angelo, D., arr. Guards waltz. Melody by Godfrey. Arranged for piano duet (four hands). No. 19 in “Musical Photographs: A Selection of the Most Popular Melodies of the Day, Arranged for the Pianoforte for Two Performers.” New York: William A. Pond, 1866. Angelo, D., arr. Home of my heart. Melody by R. F. Harvey. No. 29 in “Musical Photographs: A Collection of Teaching Pieces,” second series. New York: Wm. A. Pond & Co., 1868. Angelo, D., arr. The long, long weary day. Arranged from a German melody. No. 36 in “Musical Photographs: A Collection of the Most Popular and Beautiful Melodies of the Day, Arranged as Teaching Pieces.” New York: Wm. A. Pond & Co., 1864. Angelo, D., arr. Santa Lucia: Neapolitan song. Arranged for piano duet (four hands). No. 8 in “Musical Photographs: A Selection of the Most Popular Melodies of the Day, Arranged for the Pianoforte for Two Performers.” New York: William A. Pond, 1866. Angelo, D., arr. Soldier’s Chorus. Melody from Gounod’s “Faust.” Arranged for piano duet (four hands). No. 14 in “Musical Photographs: A Selection of the Most Popular Melodies of the Day, Arranged for the Pianoforte for Two Performers.” New York: William A. Pond, 1866. 2 Angelo, D., arr. Waltz. Melody from Gounod’s “Faust.” Arranged for solo piano. No. 1 in “Musical Photographs.” [New York: Wm. A. Pond & Co., 1864]. Missing cover. Angelo, D., arr. Wildfang galopp. Melody by Carl Faust. Arranged for piano duet (four hands). No. 21 in “Musical Photographs: A Selection of the Most Popular Melodies of the Day, Arranged for the Pianoforte for Two Performers.” New York: William A. Pond, 1866. Angelroth, H. Brosius reigen march. Milwaukee, WI: H. Angelroth, 1877. Cover features lithograph printed by American Oleograph Co. Ansorge, Conrad. Erinnerung. For solo piano. No. 1 in “Traumbilder für pianoforte.” New York: Edward Schuberth & Co., 1889. Arditi, L. Il bacio waltz (The kiss). Arranged for piano duet (four hands) by Theo. Oesten. Philadelphia: G. André & Co., [s.d.]. Cover features lithograph by Kaulbach, printed by M. H. Traubel. Arditi, L. Il bacio waltz (The kiss). Arranged for piano solo. New York: S. T. Gordon, [between 1858 and 1872]. Arditi, L. Il bacio waltz (The kiss). Transcription for the piano by the author. New York: Wm. A. Pond & Co., 1862. 2 copies. Arditi, Luigi. L’estasi: valse brillante. For solo piano. Philadelphia: Chas. W. A. Trumpler, [s.d.]. Arditi, L. L’ingénue: morceau á la gavotte. For solo piano. New York: Wm. A. Pond & Co., [s.d.]. Armstrong, Thos. J. Sensation polka. For solo banjo. No. 4 in “Thomas J. Armstrong’s Popular Banjo Gems.” Philadelphia: S. S. Stewart, 1890. Aronson, Rud. La coquette waltz, op. 15. For solo piano. New York: C. H. Ditson & Co., 1874. Aronson, Rud. Just in time gallop (Zur rechten Zeit), op. 24. For solo piano. [Boston]: Oliver Ditson & Co., 1875. Publication information on printed score covered with pasted slip indicating publication in New York: Edward Aronson, 1875. Aronson, Rudolph. Sweet sixteen waltz, op. 55. For solo piano. New York: Edward Aronson & Co., 1880. Artot, J. Souvenirs de Bellini: fantaisie brillante, op. 4. For solo violin with piano accompaniment. In “Select Violin Solos.” New York: Carl Fischer, 1888. Artus, Alexander. Triumphal march. From the play “Michael Strogoff.” For solo piano. [s.l.: s.n., between 1861 and 1890]. Back cover features advertisement for popular sheet music published by Samuel M. Delano. 2 copies. 3 Artus, Alexander. Triumphal march. From “Michael Strogoff.” For solo piano. Boston: W. H. Sibley & Co., [1870]. 4 Box 135 Ascher, G., arr. Lanigan’s ball: a favorite dance. For solo piano. New York: S. T. Gordon, 1864. Ascher, J. Alice: romance. For solo piano. Philadelphia: Lee & Walker, [between 1872 and 1875]. Ascher, J. Alice: romance. For solo piano. Chicago: National Music Co., [s.d.]. Ascher, J. Alice: romance. For solo piano. In “Oeuvre mosäique.” Philadelphia: Chas. W. A. Trumpler, [between 1866 and 1872]. Ascher, J. Andante de salon: sur le final de la “Lucie de Lammermoor,” op. 27. For solo piano. In “Favorite Piano Works of J. Ascher.” Boston: Oliver Ditson & Co., [between 1864 and 1878]. Ascher, J. Call me thine own (L’éclair nocturne), op. 71. For solo piano. In “Oeuvres pour piano par Ascher.” Baltimore: George Willig & Co., [s.d.]. Ascher, J. La cascade des roses, op. 80. For solo piano. In “Favorite Piano Works of J. Ascher.” Boston: Oliver Ditson & Co., [s.d.]. Ascher, J. Polka sur l’opera “Le Carnaval de Venise” d’Ambroise Thomas. For piano duet. Cleveland: S. Brainard & Co., [s.d.]. Ascher, Joseph. Danse espagnole, op. 24. For solo piano. In “Wm. A. Pond & Co.’s Library of Piano-Forte Music.” New York: Wm. A. Pond & Co., [s.d.]. Ascher, Joseph. Danse espagnole, op. 24. For solo piano. In “Compositions pour Piano.” Chicago: Root & Cady, [s.d.]. Ascher, Joseph. Dozia: mazurka mélodie, op. 23. For solo piano. [s.l.]: G. A. & Co., [between 1861 and 1890]. Missing front cover. Ascher, J. L’éclair: mazurka originale, op. 41. For solo piano. In “Piano-Forte Album.” Boston: Oliver Ditson & Co. Ascher, J. Fanfare militaire. For solo piano. In “European Melodies.” Louisville, KY: D. P. Faulds, [between 1862 and 1864]. Ascher, J. Les fifers de la garde (The fifers of the guard): second polka militaire, op. 91. For solo piano. New York: Firth, Pond & Co., [between 1856 and 1862]. Ascher, J. Galop bachique, op. 49. For solo piano. New York: S. T. Gordon, [s.d.]. 1 Ascher, Joseph. Les gouttes d’eau (Drops of water): caprice etude, op. 17. For solo piano. New York: Hamilton S. Gordon, [s.d.]. Ascher, J. Marche de Amazons. For solo piano. In “Favorite Piano Works of J. Ascher.” Boston: Oliver Ditson & Co., [s.d.]. Ascher, J. Martha: illustration, op. 77. For solo piano. In “Favorite Compositions of J. Ascher.” Cleveland: S. Brainard & Sons, [between 1856 and 1873]. Ascher, J. Marta, op. 77. Illustrations of Flotow’s Opera “Martha.” In “Elegant Compositions for the Piano Forte.” New York: S.
Load more

Recommended publications
  • Northern Junket, Vol. 12, No. 4
    — mtml ^WJS v & ^ y m. ^ \m ^ «*-% M ?rt ... ... .... cJUilKflf • VQ^>. JN SfA'/ \ '--• —-- V;, . J Jo v W I / W /--> ]O '%, te;->^ b vo 1,12 5in c MO jdoo Article Page Take It Or Leave It - 1" Suggested Format for Bicentennial Demonstrations 2 Fiddle;? In A Taxi 7 A Visit To An English 3>olk Song Club - 15 Dancing - - - 18 The Village Assembly 22 Christmas ReVel - - 23 Contra Dance - The 0X0 Reel - -24 Square Dance - Lady Be Good To Me - 25 Kitchen Junket Song - Grandfather's Clock 26 Book & Record Reviews - 28 Odds And Ends Of A Font - - - 32 It's Fun To Hunt - - 35 Fiddling Statesmen - - hi What Tffou May Never Have Eh own About New England 43 Do You Remember? - - 45 Kitchen Lore - - . - - 47 Kitchen Hints - - 48 SAVES "Southern Appalachian Video Ethnography Series", has an interesting catalog of their films. Write to: Broadside Video, Elm & Millard, Johnson City, Tennessee, 37601 requesting their catalog of films and takes. THANES TO: Vy Levine , cigars. ' i ^__ TAKE IT OR ; , _ ( % °' '', LEAT1 IT )y First, 1st me say that I am truly \ sorry that this issue of NORTHERN A\ ) EST has been delayed. There are but twenty -V_;">, /' four hours in my day and I've never been '-•<" busier than in the last 6-months. There "Mas a busier than usual summer and fall dance camp and workshop circuit. Then - - I wrote a book "HERITAGE DANCES OF EARLY AMERICA", soon to be published; started another one of a bit later dances; wrote a new introduction to "THE COUNTRY DANCE BOOE1 ' soon to be reprinted; traveled some 2000 miles; also, as president of the Historical Society of Cheshire County with two historic buildings and museum to over- see t§,kes time, as does being on the Mayor's Bicenten- nial Committee, plus directing our annual fall folk dance camp, annual November square dance weekend and getting ready for our big Year End Camp.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Quadrille Quadrille Spring 2017Spring 2017 Books+Stationery
    QUADRILLE QUADRILLE SPRING 2017SPRING 2017 BOOKS+STATIONERY DISTRIBUTED BY This is a very special Spring 17 list for Quadrille, showcasing bestselling writers and exciting new talent whom we hope will inspire you as much as they have inspired us! You can enjoy the coolest tacos in town thanks to the Breddos Tacos team. We also have the hugely anticipated solo cookbook from River Cottage Head chef, Gill Meller — Gather — a magnificent piece of work that has been years in the making. We see the long-awaited return of the bestselling Tessa Kiros with Provence to Pondicherry — a breathtaking journey following early French explorers, featuring 150 recipes showing how traditional recipes and the ingredients from far-flung lands have been woven together. Our cookbooks also celebrate the hottest trends in food, from Nourish Bowls to The Nut Butter Cookbook, and we see the launch of our new ‘Alphabet Cooking’ series with K is for Korean and S is for Sri Lankan, each featuring the best 50 recipes for each cuisine. The Yoga Kitchen is set to become the go-to healthy cookbook for anyone in need of energizing their body and balancing their mind to achieve a happier overall feeling — while eating wonderfully tasty food! The perfect Christmas gift for 2017 is the beautiful Knife, by award-winning food writer Tim Hayward — a trailblazing exploration of the cult world of cook’s knives. We have follow-ups from Lucy Bee with Natural Beauty with Coconut oil, the third ‘posh’ installment in the series with Posh Rice, and the natural follow-up to the bestselling Coloring Book of Mindfulness focusing on Nature.
    [Show full text]
  • CAMERATA PONTRESINA 2018 Konzertprogramm 17
    CAMERATA PONTRESINA 2018 Konzertprogramm 17. Juni bis 23. September © Schocher © Morgenkonzert im Taiswald Camerata Pontresina La Camerata, zu deutsch «Kammer­ gemeinschaft, Gefährten», die mit ihrer musikalischen Tätigkeit zur Freude der Zuhörer und zur eigenen Freude ihre künstlerischen Fähigkeiten als echtes Team – als «primi inter pares» – wirken lässt. Allgemeine Informationen Ort Im Taiswald, bei ungünstiger Witte rung im Kongress­ und Kultur­ zentrum Pontresina oder in der reformierten Kirche (Hinweistafeln im Dorf beachten). Dauer 1 Stunde, 11.00 bis 12.00 Uhr Eintritt Frei Impresario Dr. Jürg H. Frei Website www.pontresina.ch/camerata Camerata Pontresina 2018 03 PROGRAMM DER 99 MORGENKONZERTE vom 17. Juni bis 23. September, täglich von 11.00 bis 12.00 Uhr Grusswort 04 Das Camerata­Team 2018 06 17. Juni bis 14. Juli 07 Kammermusikensembles der Camerata Pontresina 15. Juli bis 12. August 13 Camerata Pontresina 13. August bis 23. September 19 Kammermusik ensembles der Camerata Pontresina Vesperkonzerte in der Kirche Sta. Maria 29 Führungen und Angebote in Pontresina 30 CAMERATA PONTRESINA – 99 MORGENKONZERTE 2018 Musikalischer und hochalpiner Genuss im Taiswald Pontresina bietet laufend neue Angebote an. So zu können. Für die Morgenkonzerte der Camerata zum Beispiel das Steinbock­Paradies Pontresina, Pontresina sollten Sie sich unbedingt einen sol­ das im Sommer 2017 neu eröffnet worden ist. chen Platz frei halten, um diesen in vollen Zügen Denn rund um Pontresina fühlt sich das Bündner geniessen zu können. Einen kurzen Spaziergang Wappentier besonders wohl. Nicht umsonst lebt vom Dorf entfernt, auf einer mystischen Lichtung am Piz Albris (3 166 m), gleich bei Pontresina, eine im Wald, liegt der Konzertplatz Tais.
    [Show full text]
  • April 11,1879
    PORTLAND DAILY ^——————■———I PRESS.■—m»-w————a— ESTABLISHED JUNE 23, 1862.-V0L. 16. FRIDAY MORNING, APRIL 11, 1879. ___PORTLAND, TERMS $8.00 PEIt anmm in T'TTT^ THE PORTLAND DAILY PRESS, Cincinnati has tried . BUSINESS CARDS. THE Democratic “free Democratic Publithed every day (Sundays excepted) by the _WANTS ______MISCELLANEOUS.__ PBE8S Difficulties, voting,” and doesn’t want any more of It. PORTLAND PUBLISHING CO. Wanted. The declares in favor of the FRANCIS H. FRIDAY MORNING, APRIL 11. city election laws. LORD, a either as com- A AT 109 ExtJHAKflB Pobtlxsd. some Christian family, position Define of the Ilard-.TIanry Tim—The St., aDd as-istant to an invalid mother or as IN panion Eureka Tunnel and The Democrats are to D a a refined, intelligent Best do not read beginning trem- Eavtrra' ing Routed—Elation of Terms: Bight Dollars Tear. To mail subscribers misery governess, by lady. Mining We anonymous letters un common! thee Company. ble for Seven Dollars a Tear U paid In advance. references given. Address E. S. ROLLINS, Brook- Indiana. They have carried matters ATTORNEY AND cations. The name and address of the writer are Is Cirfrnbartfra, COUNSELLOR, lioe, Mass.apfrdfit* with too Location of Aline g : 1STevada. all oases indispensable, not necessarily for high a hand ont there. THE MAINE STATE PRESS 23 Court Boston. EUREKA, publication Street, hot as a guaranty of good faith. TbejWaehiogton correspondent of the Boa- Is Thursday Morning at a The are published every $2.C0 We cannot undertake to return ot ministers giving the lie at ^‘“Particular attention given to collection?.
    [Show full text]
  • Of Titles (PDF)
    Alphabetical index of titles in the John Larpent Plays The Huntington Library, San Marino, California This alphabetical list covers LA 1-2399; the unidentified items, LA 2400-2502, are arranged alphabetically in the finding aid itself. Title Play number Abou Hassan 1637 Aboard and at Home. See King's Bench, The 1143 Absent Apothecary, The 1758 Absent Man, The (Bickerstaffe's) 280 Absent Man, The (Hull's) 239 Abudah 2087 Accomplish'd Maid, The 256 Account of the Wonders of Derbyshire, An. See Wonders of Derbyshire, The 465 Accusation 1905 Aci e Galatea 1059 Acting Mad 2184 Actor of All Work, The 1983 Actress of All Work, The 2002, 2070 Address. Anxious to pay my heartfelt homage here, 1439 Address. by Mr. Quick Riding on an Elephant 652 Address. Deserted Daughters, are but rarely found, 1290 Address. Farewell [for Mrs. H. Johnston] 1454 Address. Farewell, Spoken by Mrs. Bannister 957 Address. for Opening the New Theatre, Drury Lane 2309 Address. for the Theatre Royal Drury Lane 1358 Address. Impatient for renoun-all hope and fear, 1428 Address. Introductory 911 Address. Occasional, for the Opening of Drury Lane Theatre 1827 Address. Occasional, for the Opening of the Hay Market Theatre 2234 Address. Occasional. In early days, by fond ambition led, 1296 Address. Occasional. In this bright Court is merit fairly tried, 740 Address. Occasional, Intended to Be Spoken on Thursday, March 16th 1572 Address. Occasional. On Opening the Hay Marker Theatre 873 Address. Occasional. On Opening the New Theatre Royal 1590 Address. Occasional. So oft has Pegasus been doom'd to trial, 806 Address.
    [Show full text]
  • The Gaming Table, Its Votaries and Victims Volume #2
    The Gaming Table, Its Votaries and Victims Volume #2 Andrew Steinmetz ******The Project Gutenberg Etext of Andrew Steinmetz's******** *********The Gaming Table: Its Votaries and Victims*********** Volume #2 #2 in our series by Andrew Steinmetz Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Do not remove this. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *These Etexts Prepared By Hundreds of Volunteers and Donations* Information on contacting Project Gutenberg to get Etexts, and further information is included below. We need your donations. The Gaming Table, Its Votaries and Victims Volume #2 by Andrew Steinmetz May, 1996 [Etext #531] ******The Project Gutenberg Etext of Andrew Steinmetz's******** *********The Gaming Table: Its Votaries and Victims*********** *****This file should be named tgamt210.txt or tgamt210.zip****** Corrected EDITIONS of our etexts get a new NUMBER, tgamt211.txt. VERSIONS based on separate sources get new LETTER, tgamt210a.txt We are now trying to release all our books one month in advance of the official release dates, for time for better editing. Please note: neither this list nor its contents are final till midnight of the last day of the month of any such announcement. The official release date of all Project Gutenberg Etexts is at Midnight, Central Time, of the last day of the stated month.
    [Show full text]
  • BARBARA MORGAN: INNER DIALOGUES We Hope to Show How the Creative Process Applies to More Than What Appears with the EXTERNAL WORLD in Museums, Libraries, and Theatres
    QUADRILLE VOL 5 NO 4 BENNINGTON COLLEGE ACTING EDITOR: Leslie Ullman MANAGING EDITOR: Joanna Clark Swayze '70 ALUMNI EDITOR: Catherine Cumpston, Alumni Director "In the self is housed.. a "EQUALIZING THE PRESSURES FROM WITHOUT" 2 place of stability In an unstable world." Excerpts from the Commencement Address by Anais Nin QUADRILLE is published four times a year by the Development Office at Bennington College. It is designed to reflect the views and opinions of students, faculty, administration, alumni, trustees, parents of students, and friends of the College. The editors of QUADRILLE invite articles, statements, opinion and comment, letters to the editor, photographs, graphics, and reviews from members of all the constituencies. FINDING A VOICE THROUGH MOVEMENT EDITOR'S NOTE An Interview with five Dance Majors To create is to make a kind of leap. What one can be fairly sure of is a point of beginning and a point of ending; in between, there may be a succession of starts and stops. and elements of risk, insight, frustration and discipline whose action can be defined only in retrospect. Having completed one, two, twenty works, a person is never quite sure of having a formula to create another. It is partially this uncertainty, we are sometimes told by paternal, aging artists with healthy portfolios and closets full of notebooks, that makes people keep creating. BARBARA MORGAN: INNER DIALOGUES We hope to show how the creative process applies to more than what appears WITH THE EXTERNAL WORLD in museums, libraries, and theatres. How it is part of what makes people get up, go somewhere, behave a certain way.
    [Show full text]
  • Discography Section 4: C (PDF)
    1 LOUIS CABRELLI (Dundee, 1915 - ). “Master Louis Cabrelli, piano accordion” Recorded Chelsea Town Hall, King’s Road, London, Monday, 1st. February 1932 GB-3902-1/2 Community land (arr. Stoddon) - part 1. Fall in and follow me (A.J. Mills; Bennett Scott); Another little drink (Clifford Grey; Nat D. Ayers); Down at the old Bull and Bush (Florrie Forde; Harry von Tilzer); I do like to be beside the seaside (John A. Glover Kind); It's a long way to Tipperary; (Jack Judge; Harry Williams); Hello! Who's your lady friend? (Worton David; Harry Fragson) Dec F-2832 GB-3903-1/2 Community land (arr. Stoddon) - part 2. Just a wee deoch-an-Doris (Whit Cunliffe; Gerald Grafton; Harry Lauder); I'm twenty-one today (A. Kendal); If you were the only girl in the world (Clifford Grey; Nat D. Ayer); Mademoiselle from Amentieres (Harry Carlton; Joe Tunbridge); By the side of the Zuyder Zee (A. J. Mills; B. Scott); Take me back to dear old Blighty (A. J. Mills; Fred Godfrey; B. Scott) Dec F-2832 GB-3904-1/2 My Florence ( - ) Dec unissued GB-3905-1/2 Neapolitan nights (arr. J. S. Kerr; Zamecnik) Dec F-2833 GB-3906-1/2 Scottish Medley (arr. Debroy Somers). Annie Laurie (Alicia Scott); My love she's but a lassie yet (trad); Loch Lomond (trad); Caller herrin' (trad); Blue Bells of Scotland (trad); Auld lang syne (trad) Dec F-2833 Piano accordion solo Recorded London, Thursday, 25th. October 1934 CAR-2965-1 Tiger rag (Nick La Rocca) RegZon MR-1484 CAR-2968-1 Canadian capers (Gus Chandler; Bert White; Henry Cohen) RegZon MR-1484 Piano accordion solo Recorded Glasgow, Friday, 5th.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • Vol. 15, No. 3 November 2007
    Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May Song • Dream Children • Coronation Ode • Weary Wind of the West • Skizze • Offertoire • The Apostles • In The South (Alassio) • Introduction and Allegro • Evening Scene • In Smyrna • The Kingdom • Wand of Youth • HowElgar Calmly Society the Evening • Pleading • Go, Song of Mine • Elegy • Violin Concerto in B minor • Romance • Symphony No.2 •ournal O Hearken Thou • Coronation March • Crown of India • Great is the Lord • Cantique • The Music Makers • Falstaff • Carissima • Sospiri • The Birthright • The Windlass • Death on the Hills • Give Unto the Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlight Express • Le Drapeau Belge • The Spirit of England • The Fringes of the Fleet • The Sanguine Fan • Violin Sonata in E minor • String Quartet in E minor • Piano Quintet in A minor • Cello Concerto in E minor • King Arthur • The Wanderer • Empire March • The Herald • Beau Brummel • Severn Suite • Soliloquy • Nursery Suite • Adieu • Organ Sonata • Mina • The Spanish Lady • Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Gavotte • Salut d'Amour • Mot d'Amour • Bizarrerie • O Happy Eyes • My Love Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • The Snow • Fly, Singing Bird • From the Bavarian Highlands • The Light of LifeNOVEMBER • King Olaf2007 Vol.• Imperial 15, No.
    [Show full text]
  • Konzert Am 06.01.2011 Im Kurhaus
    Jugendorchester Baden-Baden www.jo-baden-baden.de Festkonzert des Jugendorchesters beim Neujahrsempfang der Sparkasse Eine ansprechende Mischung aus leichter, unterhaltsamer und anspruchsvoller Musik bot das Jugendorchester Baden-Baden unter der Leitung von Karl Nagel bei seinem Festkonzert am Donnerstagabend im Rahmen des Neujahrsempfangs der Sparkasse Baden-Baden Gaggenau im Benazetsaal des Kurhauses. Der Auftritt des Jugendorchesters beim Neujahrsempfang der Spar-kasse hat ebenso eine lange Tradition wie die Tatsache, dass Nagel dabei mit großer Besetzung antritt und sich deshalb auch diesmal wieder Unterstützung von ehemaligen Orchestermitgliedern und externen Musikern geholt hat. Das Jugendorchester glänzte bei diesem Konzert mit präzisem Spiel und einer höchst erfreulichen klanglichen Ausgewogenheit. Dabei vermied es Nagel trotz der großen Besetzung mit vielen Blechbläsern und viel Schlagzeug klanglich auf den Putz zu hauen. Stattdessen achtete er selbst bei schnellen Polkas auf einen eher dezente, sehr differenzier-ten und ausgewogenen Klang, was dem Konzert trotz der Dominanz leichter Unterhaltungsmusik aus dem 19. Jahrhundert eine angenehme musikalische Noblesse verlieh. Gekonnt führte Nicole Catherine Merz durch das Programm. Glatt und mit beschwingter Leichtigkeit begann das Konzert mit der Schnellpolka „Leichtes Blut“ von Johann Strauß (1825 – 1899). Das differenzierte und transparente Spiel des Jugend-orchesters setzte sich auch nach der Begrüßung der Gäste im voll besetzten Benazetsaal durch den Vorstandsvorsitzenden der Sparkasse, Stefan Siebert, bei der Ouvertüre zu der typisch Wie-nerischen Oper „Pique Dame“ von Franz von Suppé (1819 – 1895) fort. Hier gelang dem Ju-gendorchester vor allem ein guter Spannungsaufbau, was dem unterhaltsamen Stück noch mehr Reiz verlieh. Musikalisch wurde es jetzt deutlich anspruchsvoller mit der Arie der Gräfin „Porgi amor“ aus der „Hochzeit des Figaro“ von Wolfang Amadeus Mozart (1756 – 1791).
    [Show full text]