Volume 58, Number 06 (June 1940) James Francis Cooke

Total Page:16

File Type:pdf, Size:1020Kb

Volume 58, Number 06 (June 1940) James Francis Cooke Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1940 Volume 58, Number 06 (June 1940) 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 58, Number 06 (June 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/260 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]. THE ETUDE ~ ivicciscU music magazine student and Every piano teacher, f DDE 1 player will eventually own this book! ETOTE THE PIANO tmwsSe mcuqjmsftfRW ITS HISTORY, MAKERS, PLAYERS I Published Monthly By Theodore Presser Co., Philadelphia, pa. AND MUSIC STAFF EDITORIAL AND ADVISORY By ALBERT E. WIER DR. JAMES FRANCIS COOKE, Editor ’ Dr. Edward Ellsworth Hipsher, Associate Editor No one volume on the subject of the piano William M. Felton, Music Editor has ever been published covering all matters L The Etude Verna Arvey Or. Nicholas Doutv Elizabeth Gest Guy McCoy H Robert Braine Dr. Henry S. Fry George C. Krick Dr. Rob Roy Peery pianists of interest to professional or amateur Pietro Deiro Karl W. Gehrkens Guy Maier Peter Hugh Reed Revelli Henry S. Sawyer individ- or twenty years, THE ETUDE MUSIC MAGAZINE has William D. and students. The cost of assembling the desired subjects is al- made no increase in its very low subscription price, which, as so Jl fflntU,! WusicJJeastJnsureJ Founded 1883 by Theodore presser ual works to cover many of our patrons said, § most prohibitive; even if accomplished, an F have always has been "far out of pro- We wish that you might sit in our Editorial Offices and scan the portion to would be re- the unusual high value of its contents.” vast number of absorbingly interesting and very practical features of excessive amount of reading non-essential widest musical appeal (some of which are mentioned on this page) quired in order to eliminate But now—with the increased costs which have been piling up during (Contents ^line 1940 flor ; is designed not only which will make each coming issue . information. This work the last several years in the manufacture and printing of THE VOLUME LVIII, No. 6 PRICE 25 CENTS to include all such subjects, but to condense ETUDE, we are reluctantly compelled to THE FINEST ETUDE IN ITS HISTORY advance the price July 1, 363 WORLD OF MUSIC the information as much as is compatible 1940 from $2.00 to $ 2.50 a year. YOUTH AND MUSIC with clarity and comprehensiveness. A Sure Fiddler at Seventeen .Blanche Lemmon 364 We are sure you will agree with us when we say that even at the SYNOPSIS OF CONTENTS new rate, EDITORIAL THE ETUDE is well worth the small increase in price HOW THE MIND AFFECTS THE VOICE 'An Agreeable Succession of Sounds” 365 which Part I —History and Construction of the Piano really amounts to only a trifle over four cents a month. Jessica Dragonette, known to millions over the air and MUSIC AND CULTURE Early keyboard instruments—History of the modern piano—The up- from the concert stage, Rives practical suggestions for Jennie A. Buss 366 The Road of Glory right piano—The art piano—The player piano—Materials and parts— promoting vocal success through the right mental approach. Your Community Should Have a Public Music Library Dorothy Lawton 367 Special Offer to Etude Readers The Truth About the Mysterious Death of Peter Ilyich Tschaikowsky Care and tuning—Glossary—List of piano makers. Serge Bertensson 369 An Invitation to Mr. Paderewski’s Eightieth Birthday Party PART II —The Development of Piano Music Until Jessica Dragoneite James Francis Cooke 370 June 30th, 1940 The harpsichord composers—The classic composers—Early modern Beethoven, the Eccentric Jerome Bengis 371 Toscanini, Man and Legend Howard, Taubman 373 composers—Contemporary composers. Until June 30th, 1940, Etude readers will have an opportunity IN A GARDEN OF GENIUS to extend IN THE HOME PART III Piano Teaching their subscriptions for one year at $2.00 (no matter when MUSIC — Paris, in the first half of the last century, was the most Radio Musical Events for Music Lovers Alfred Lindsay Morgan 374 Individual instruction— of famous teachers—Class instruction. your present subscription expires). In this same period Methods new subscrip- astonishing “Garden of Genius” since the Elizabethan Some Recent Tuneful Films Donald Martin 375 tions will be entered at the same price. Records That Enrich the Musical Home Peter Hugh Reed 376 PART IV Piano Technique days in England. M. Isidor Philipp, long professor of the — The Etude Music Lover's Bookshelf B. Meredith Cadman 377 - Paris Conservatoire, pictures the scene Early development—Elements of technique— Technical exercises July 1, 1940 the new price of $2.50 goes into effect. with the vividness of a drama. This is the prelude to an article in the fol- MUSIC AND STUDY Chords and part playing—The pedals. The retail lowing news stand price of The Etude will remain the same issue surveying the master works of Chopin. What Good Is the Middle Pedal? L. TV. Chittenden 378 Viola Philo 379 PART V—Interpretation of Piano Music as in the past Reaching the Larger Public —twenty-five cents a copy. 381 Isidor Philipp Making Your Volunteer Choir a Success Dorothy Larock Phrasing—Interpretation—Methods of memorizing—Sight reading. The Teacher’s Round Table Guy Maier 382 PART VI The in Ensemble Music Act The Teaching of Brass Instruments William D. Revelli 383 — Piano Immediately and Make a MASTER LESSONS ON Stradivari, the*Master, the Man Nellie G. Allred 385 Sonatas for piano and violin—Sonatas for piano with viola or violon- Saving! Questions and Answers Karl W. Gehrkens 386 GREAT MASTERPIECES Sumer Is I-Gumen In Dr. Thomas Tapper 387 cello—Piano trios, quartets and quintets—The art of accompanying. A Master Lesson Upon “Canzonetta” Dr. Thaddeus Rich 388 Helps to Accordionists Pietro Deiro 419 PART VII The Art of Two-Piano Playing Hundreds of ETUDE readers acclaim — the Master Lessons Julio Martinez Oyanguren George C. Krick 422 by great pianists Essentials of the art—Survey of two-piano music—List of two-piano such as Hambourg, Rosenthal. Stoiowski and Guy Maier, MUSIC Onwardwith the ^]ew and (greater ddtude which have appeared in THE ETUDE music. Many more are coming, Classic and Contemporary Selections including one by Guy Maier on PART VIII —Biographical Dictionary of Pianists The thrilling burst of Chopin s Etude m E major, Fragment from Sonata No. 1 TV. A. Mozart 389 enthusiasm which . Op. 10, No J has greeted the new and Guy Maier Waltz, Op. 39, No. 8 Johannes Brahms 390 Biographical dictionary of pianists, duo-pianists, harpsichordists, ac- richer Waltz, Op. No. 9 Johannes Brahms 391 ETUDE has been a boundless inspiration. Readers, 39, companists, everywhere, WHAT CHANCE Sunny June Henry 8. Sawyer 391 teachers, editors and theoretical writers. some with records HAVE I IN Gardenias Ralph Fcderer 392 of fifty years of uninterrupted loyalty, OPERA? PART IX The Piano in Records and others’ Valse Rubato William C. Steere 393 — young readers who have Edward Johnson, Director Enchanted Gardens Clarence Kohlmann 394 The piano in records, comprising recordings for had THE ETUDE only a few months, and managerial head of the piano solo, piano are Metropolitan Opera Company The Liberty Bell, March Sousa-Peery 396 quite extravagant in New York, is duet, two pianos, piano with orchestra, harpsichord and clavichord. in their appreciation. All unite in praising great American the first the more operatic impresario of modern Vocal and Instrumental Compositions has times He Canzonetta, from Concerto The volume also contains an unusually complete list of works in practical and convenient size, the splendid regenerated opera in our country. in D Major (Violin and Piano). P. Tschaikowsky 398 increase in the number of Himself one of the I Found a Love (Vocal) Francesco B. De Leone 401 world s foremost of operatic English and German referring to the piano; also a comprehensive fine articles, the new illustrations, tenors, he gives THE ETUDF Out in the Fields with God (Vocal) Roy Newman 402 the excellent music, the fine type, practical, down-to-the-minute Berceuse advice upSn an eVer (Organ) j. Frank Frysinger 402 index for ready reference purposes. the superior Tn^resf- Gypsy Life (Four Hands) white paper—everything which the re-born Bernard Wagness 404 ETUDE now Cloth 480 Pages Price $5.50 Publication in May proudly boasts. Delightful Pieces for Young Players WALT DISNEY Raindrop Fairies Ada Richter 406 S SURPRISING MUSICAL FILMS Mister Major and Mister Minor Hugh Arnold 406 Wttke Up ! Emily'’ Saunders 407 The fine White” "Pinocchio”, C hickadee Renee Miles 408 LONGMANS ARROW-SCORE SERIES cooperative spirit of our great and scores of other Walt In Our body of readers is such that m Cherry Tree Ruth G. Chauncey 408 Cpend largely upon a The Chamber Music of Beethoven we know that - most ingenious at this important moment in ?nd adro r m t' ? world history ' THE JUNIOR ETUDE Elizabeth they will 1°' he ' r In » Gest 428 The Chamber Music of Brahms realize that arhcle Ce He'?/, “"'n* every new ETUDE subscription h°W ' his fascin is an asset to every music marvel i^chrev/d «in* technical MISCELLANEOUS The Chamber Music of Mozart worker.
Recommended publications
  • January 1946) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1946 Volume 64, Number 01 (January 1946) 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 64, Number 01 (January 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/199 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]. 7 A . " f ft.S. &. ft. P. deed not Ucende Some Recent Additions Select Your Choruses conceit cuid.iccitzt fotidt&{ to the Catalog of Oliver Ditson Co. NOW PIANO SOLOS—SHEET MUSIC The wide variety of selections listed below, and the complete AND PUBLISHERS in the THE AMERICAN SOCIETY OF COMPOSERS, AUTHORS BMI catalogue of choruses, are especially noted as compo- MYRA ADLER Grade Pr. MAUDE LAFFERTY sitions frequently used by so many nationally famous edu- payment of the performing fee. Christmas Candles .3-4 $0.40 The Ball in the Fountain 4 .40 correspondence below reaffirms its traditional stand regarding ?-3 Happy Summer Day .40 VERNON LANE cators in their Festival Events, Clinics and regular programs. BERENICE BENSON BENTLEY Mexican Poppies 3 .35 The Witching Hour .2-3 .30 CEDRIC W.
    [Show full text]
  • Letter Book Guide
    TENDENCIES AND CONTRASTS IN MUSIC OF HENRY BARRAUD 35 it is not the music which is stretched out taut but rather the subject of the drama which is reduced to its fundamental tragic elements. Numance was originally per- formed at the Paris Opera and in view of its success has already been revived there. and final concert was a pot-pourri of twentieth- century English traditionalists, together with LETTER the Suite from Lulu by Berg. THE EDITOR, TEMPO lSthJune, 19S7- Everyone thinks that he can compile an DEAR SIR, anthology better than the next man, and it An event of great importance in the world would be churlish to criticise the L.P.O. for of modern music took place in the early having omitted works that happen to be months of this year with a series of concerts particular favourites of particular people. It entitled " Music of a Century " given in the was clearly never the intention of this series Royal Festival Hall by the London Phil- to be more avant than the avant-garde. harmonic Orchestra. Nevertheless, the total omission (barring the I attended all nine of these concerts, puerile Ballet Mecaniaue by Antheil) of works which, to quote from the handbook issued by native American composers was startling. to cover the series, were "cast in the form 1 would suggest that if concerts of con- of an anthology, with each programme temporary music are to be given to a wide pursuing some particular line of musical public in the Festival Hall, and that if the thought." idea of an anthology is to be persisted with, The first concert, entitled " Retreat from a wider range of works should be considered Wagner," was one of the most rewarding for performance.
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • Current Review
    Current Review Christian Ferras plays Beethoven and Berg Violin Concertos aud 95.590 EAN: 4022143955906 4022143955906 Fanfare (Robert Maxham - 2012.05.01) Audite’s program of violin concertos by Ludwig van Beethoven and Alban Berg captures two moments in the life of Christian Ferras, the first a studio recording from November 19, 1951, made in the Jesus-Christus-Kirche after the 18-year-old violinist had given a live performance of the work at the Titania Palast and more than a decade before he would record the work with Herbert von Karajan and the same orchestra. The young Ferras sounds both flexible and sprightly in the first movement’s passagework, producing a suave tone that might be described as almost gustatory in its effect as he soars above the orchestra. That tone lacks the sharp edge of Zino Francescatti’s and even the slightly reedy quality of Arthur Grumiaux’s, and he never seems to be deploying it simply for the sheer beauty of it: As sumptuous as it might sound, it always serves his high-minded concept of the work itself. And his playing of Fritz Kreisler’s famous cadenza similarly subordinates virtuosity to musical effect. Karl Böhm sets the mood for a probing exploration of the slow movement, in which Ferras sounds similarly committed; he never allows himself to be diverted into mannerism or eccentricity, as Anne-Sophie Mutter does in her performance with Kurt Masur and the New York Philharmonic (Deutsche Grammophon 289 471 349, Fanfare 26:5 and 26:6). What the young Michael Rabin achieved in the showpieces of Wieniawski and Paganini, Ferras arguably exceeded in the music of Beethoven.
    [Show full text]
  • ARSC Journal
    LEONARD BERNSTEIN, A COMPOSER DISCOGRAPHY" Compiled by J. F. Weber Sonata for clarinet and piano (1941-42; first performed 4-21-42) David Oppenheim, Leonard Bernstein (recorded 1945) (78: Hargail set MW 501, 3ss.) Herbert Tichman, Ruth Budnevich (rec. c.1953} Concert Hall Limited Editions H 18 William Willett, James Staples (timing, 9:35) Mark MRS 32638 (released 12-70, Schwann) Stanley Drucker, Leonid Hambro (rec. 4-70) (10:54) Odyssey Y 30492 (rel. 5-71) (7) Anniversaries (for piano) (1942-43) (2,5,7) Leonard Bernstein (o.v.) (rec. 1945) (78: Hargail set MW 501, ls.) (1,2,3) Leonard Bernstein (rec. c.1949) (4:57) (78: RCA Victor 12 0683 in set DM 1278, ls.) Camden CAL 214 (rel. 5-55, del. 2-58) (4,5) Leonard Bernstein (rec. c.1949) (3:32) (78: RCA Victor 12 0228 in set DM 1209, ls.) (vinyl 78: RCA Victor 18 0114 in set DV 15, ls.) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 (6,7) Leonard Bernstein (rec. c.1949) (2:18) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 Jeremiah symphony (1941-44; f.p. 1-28-44) Nan Merriman, St. Louis SO--Leonard Bernstein (rec. 12-1-45) ( 23: 30) (78: RCA Victor 11 8971-3 in set DM 1026, 6ss.) Camden CAL 196 (rel. 2-55, del. 6-60) "Single songs from tpe Broadway shows and arrangements for band, piano, etc., are omitted. Thanks to Jane Friedmann, CBS; Peter Dellheim, RCA; Paul de Rueck, Amberson Productions; George Sponhaltz, Capitol; James Smart, Library of Congress; Richard Warren, Jr., Yael Historical Sound Recordings; Derek Lewis, BBC.
    [Show full text]
  • 111318-19 Bk Jschmidt EU 10/15/07 2:47 PM Page 8
    111318-19 bk JSchmidt EU 10/15/07 2:47 PM Page 8 8.111318-19 CD 1: CD 2: GREAT SINGERS • SCHMIDT Tracks 1, 2, 5 and 9: Tracks 1, 5 and 16: ADD Berlin State Opera Orchestra • Selmar Meyrowitz Orchestra • Felix Günther Tracks 3 and 4: Tracks 2, 6-9, 20-23: Vienna Parlophon Orchestra • Felix Günther Berlin State Opera Orchestra Selmar Meyrowitz Joseph Track 6: Berlin State Opera Orchestra • Clemens Schmalstich Tracks 3, 4, and 13: Berlin State Opera Orchestra SCHMIDT Tracks 7 and 8: Frieder Weissmann Berlin Philharmonic Orchestra • Selmar Meyrowitz Tracks 10-12, 14, 15, 18, and 19: Track 10: Orchestra • Otto Dobrindt With Max Saal, harp Arias and Songs Track 17: Track 11: Orchestra • Clemens Schmalstich Orchestra and Chorus • Clemens Schmalstich (1929-1936 recordings) Tracks 12 and 13: Languages: Berlin Symphony Orchestra • Frieder Weissmann CD 1: MOZART Tracks 14, 15, 17, 18 and 24: Tracks 1, 3-6, 9-13, 16-18, 21-24 sung in German Orchestra of the Staatsoper Berlin Tracks 2, 7, 8, 14, 15, 19, 20 sung in Italian Frieder Weissmann DONIZETTI CD 2: Track 16: Tracks 1-16 sung in German MEYERBEER Orchestra • Leo Blech Track 17 sung in Spanish Tracks 18-23 sung in Italian Tracks 19 and 20: FLOTOW Orchestra • Walter Goehr Tracks 21-23: VERDI Orchestra • Otto Dobrindt MASSENET PUCCINI J. STRAUSS II 2 CDs 8.111318-19 8 111318-19 bk JSchmidt EU 10/15/07 2:47 PM Page 2 Joseph Schmidt (1904-1942) LEHAR: Das Land des Lächelns: MAY: Ein Lied geht um die Welt: 8 Von Apfelblüten eine Kranz (Act I) 3:43 ^ Wenn du jung bist, gehört dir die Welt 3:09 Arias and Songs (1929-1936 recordings) Recorded on 24th October 1929; Recorded in January 1934; Joseph Schmidt’s short-lived career was like that of a 1924 he decided to take the plunge into a secular Mat.
    [Show full text]
  • Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
    Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr.
    [Show full text]
  • Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca". Nam Yeung Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1997 Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca". Nam Yeung Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Yeung, Nam, "Franz Liszt's Piano Transcriptions of "Sonetto 104 Del Petrarca"." (1997). LSU Historical Dissertations and Theses. 6648. https://digitalcommons.lsu.edu/gradschool_disstheses/6648 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Toccata Classics TOCC0024 Notes
    P JULIUS RÖNTGEN, CHAMBER MUSIC, VOLUME ONE – WORKS FOR VIOLIN AND PIANO I by Malcolm MacDonald Considering his prominence in the development of Dutch concert music, and that he was considered by many of his most distinguished contemporaries to possess a compositional talent bordering on genius, the neglect that enveloped the huge output of Julius Röntgen for nearly seventy years after his death seems well-nigh inexplicable, or explicable only to the kind of aesthetic view that had heard of him as stylistically conservative, and equated conservatism as uninteresting and therefore not worth investigating. The recent revival of interest in his works has revealed a much more complex picture, which may be further filled in by the contents of the present CD. A distant relative of the physicist Conrad Röntgen,1 the discoverer of X-rays, Röntgen was born in 1855 into a highly musical family in Leipzig, a city with a musical tradition that stretched back to J. S. Bach himself in the first half of the eighteenth century, and that had been a byword for musical excellence and eminence, both in performance and training, since Mendelssohn’s directorship of the Gewandhaus Orchestra and the Leipzig Conservatoire in the 1830s and ’40s. Röntgen’s violinist father Engelbert, originally from Deventer in the Netherlands, was a member of the Gewandhaus Orchestra and its concert-master from 1873. Julius’ German mother was the pianist Pauline Klengel, sister of the composer Julius Klengel (father of the cellist-composer of the same name), who became his nephew’s principal tutor; the whole family belonged to the circle around the composer and conductor Heinrich von Herzogenberg and his wife Elisabet, whose twin passions were the revival of works by Bach and the music of their close friend Johannes Brahms.
    [Show full text]
  • Chopin: Poet of the Piano
    GOING BEHIND THE NOTES: EXPLORING THE GREAT PIANO COMPOSERS AN 8-PART LECTURE CONCERT SERIES CHOPIN: POET OF THE PIANO Dr. George Fee www.dersnah-fee.com Performance: Nocturne in E Minor, Op. 72, No. 1 (Op. Posth.) Introduction Early Life Performance: Polonaise in G minor (1817) Paris and the Polish Community in Paris Performance: Mazurkas in G-sharp Minor and B Minor, Op. 33, Nos. 1 and 4 Scherzo in C-sharp Minor, Op. 39 The Man Chopin (1810-1849) Parisian Society and Chopin as Teacher Chopin’s Performing and More on his Personality Performance: Waltz in A-flat Major, Op. 42 10 MINUTE BREAK Chopin’s Playing Performance: Nocturne in D-flat Major, Op. 27, No. 2 Chopin’s Music Performance: Mazurka in C-sharp Minor, Op. 50, No. 3 Chopin’s Teaching and Playing Chopin Today Chopin’s Relationship with Aurore Dupin (George Sand) Final Years Performance: Mazurka in F Minor, Op .68 No.4 Polonaise in A-flat Major Op. 53 READING ON CHOPIN Atwood, William G. The Parisian Worlds of Frédéric Chopin. Yale University Press, 1999. Eigeldinger, Jean-Jacques. Chopin: pianist and teacher as seen by his pupils. Cambridge University Press, 1986. Marek, George R. Chopin. Harper and Row, 1978. Methuen-Campbell, James. Chopin Playing: From the Composer to the Present Day. Taplinger Publishing Co., 1981. Siepmann, Jeremy. Chopin: The Reluctant Romanic. Victor Gollancz, 1995. Szulc, Tad. Chopin in Paris: The Life and Times of the Romantic Composer. Da Capo Press, 1998. Walker, Alan. Fryderyk Chopin: A Life and Times. Farrar, Straus and Giroux, 2018.
    [Show full text]
  • TORRANCE HERALD 52 Issues J 3 with Regular Workouts on the School in 1B12 Thoy Imprlsonort Hlghhar Will Make the Muscles a Hornod Toad in It
    THUB9PAV. Motorist Churns Big Circus Opens Local Theatre Station Gravel Sept. 1J for HAWTHORNE, CALIF Some motorist "1th n per­ 5 Days in L. A. Managers Giving T.liphon. 299 verted hr Vriemlly Fnmlly Tin sense of fun frped The Big Show Rlngllng Bros, around and around the Fnxl id Barmim & Bailey moving War Bulletins Hanson service station »t Car- Thursday. Vrlrtny. Sutimli<>- on four long railroad trains and turn and Arlington avenue at n carrying 1600 people, 60 ele­ Want to keep up on the war JACK BENNY high rate of speed early last phants, 1009 menagerie animals, bulletins and still enjoy a mo­ DOROTHY LAMOUR I "richly morning. tion picture show? .nd ROCHESTER in hundreds of horses and Gar- Hansen discovered that the antua the Great, world's largest Then attend the Torrancc or "MAN ABOUT (Travel snrroundinic the tiUrloti captive gorilla, now displayed Orand theatres where Managers had been widely scattered for close-up views in the men­ Jack Dabbs and Lou Recso arr TOWN" from the churning wheel*. AUSO agerie, will exhibit at Crenghaw giving the newm from European JOHN HOWARD and boulevard and Exposition, Los war fronts as It comes oyer the HEATHER ANGEL in No. IS lAicky For Seed* Angeles, five days commencing radio and press wires every WINS LOWS MILLS, Mo. Sept. 13, with Its huge big top evening. "BULLDOG (U.P.I Thirteen apparently Is a air conditioned and rcstyled ii They precede their reports DRUMMOND'S lucky number for William Qup- rainbow hues. with a brief summary of the BRIDE** tlll.
    [Show full text]
  • Proquest Dissertations
    The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb Item Type text; Dissertation-Reproduction (electronic) Authors Lin, Shuennchin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 08:04:22 Link to Item http://hdl.handle.net/10150/288715 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fice, whfle others may be from any type of computer primer. The qaality^ of this rqirodnctioii is dependent upon the quality of the copy sabmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and hnproper alignmem can adverse^ affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., nu^s, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing fi'om left to right m equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]