DOCSLIB.ORG

American Musical Instruments in the Metropolitan Museum of Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Musical Instruments in the Metropolitan Museum of Art American Musical Instruments in The Metropolitan Museum ofArt haurence Lihin AMERICAN MUSICAL INSTRUMENTS in The Metropolitan Museum of Art AMERICAN MUSICAL INSTRUMENTS in The Metropolitan Museum of Art LAURENCE LIBIN THE METROPOLITAN MUSEUM OF ART NEW YORK W. W. NORTON & COMPANY NEW YORK LONDON This publication is made possible through the generous support of Mr. and Mrs. Gordon P. Getty. Published by The Metropolitan Museum of Art, New York, and W.W. Norton & Company, Inc., New York. Published simultaneously in Canada by Penguin Books Canada Ltd, 2801 John Street, Markham, Canada L3R IB4. The Metropolitan Museum of Art Bradford D. Kelleher, Publisher John P. O'Neill, Editor in Chief Barbara Burn, Project Supervisor Dinah Stevenson, Exiitor Copyright © 1985 by The Metropolitan Museum of Art Library of Congress Cataloging in Publication Data Libin, Laurence. American musical instruments in The Metropolitan Museum of Art. Bibliography: p. 213 includes index. 1. Musical instruments—United States. L Metropolitan Museum of Art (New York, N. Y.) IL Title. ML476.L5 1985 781.91'0973 85-4817 ISBN 0-87099-379-8 (MMA) ISBN 0-393-02277-3 (W.W. Norton) The photographs for this volume were taken by the Photograph Studio of The Metropolitan Museum of Art and by Stewart Pollens of the Museum's Department of Musical Instruments, unless otherwise credited. Composition by David E. Seham Associates, Inc. Colorplates printed by Colorcraft Lithographers, Inc. Black-and-white pages printed by Rae Publishing Company Printed in the United States of America 1234567890 1 Contents Foreword by Philippe de Montebello 7 Preface by Henry Steinway 9 Introduction 1 Colorplates 17 Noisemakers, Toys, Percussion, and Miscellanea 33 Winds 65 Strings 99 Keyboards and Automata 155 Notes 212 Selected Bibliography 213 Index of Works by Accession Number 218 Index 220 Foreword Although small in comparison to other depart- revelation to hear early music played on the in- ments within the Metropolitan Museum, the De- struments for which it was intended; the effect partment of Musical Instruments exerts an is akin to cleaning away layers of discolored var- influence that transcends size and place. Record- nish to reveal a painting's vivid, true colors. ings, broadcasts, and concerts presented on many No less attractive to the eye than to the ear, of the Museum's instruments in recent years have the Museum's many European instruments dating earned widespread recognition for advancing the from the Middle Ages through the nineteenth cause of historically authentic performance. Ex- century enrich our understanding of decorative cept for these instruments, no objects in the Mu- arts and the vital place of music on all levels of seum's collections currently serve the practical Western society. Further, non-Western instru- purposes for which they were designed. Hence, ments, constituting nearly two-thirds of the entire our instruments constitute a unique "living" re- collection, represent an astonishing wealth of un- pository whose effects reach beyond the Mu- familiar forms, materials, significant ornaments, seum's walls. Such activity has been made and acoustical principles that testify to mankind's possible by the Department's concern with sci- inventiveness and aesthetic impulse. Covering entific conservation and restoration, the result of six continents and more than four thousand years, daily collaboration between the Department's this assemblage runs a gamut unsurpassed at any curator, Laurence Libin, master restorer Stewart other museum. Pollens, and a highly skilled staff. It may seem strange that only a relatively small As it has been for nearly a century, the musical part of this comprehensive collection is devoted instruments collection remains a place of pilgrim- to instruments of our own country. Partly this age for instrument makers, musicologists, and reflects some reluctance to acquire commonplace performers seeking information and inspiration. material; indeed, acquisitions today must be lim- The beautifully installed Andre Mertens Galleries ited to a few outstanding products of exemplary for Musical Instruments also offer a rare visual quality, lest scarce storage space be overwhelmed refreshment for casual visitors. Those who follow by readily available commercial items better pre- Curator Libin's entertaining and instructive audio served at a museum of American history than of guide cannot remain unmoved by the aural effect fine art. There will be time enough in the future of the eight hundred instruments on display. to single out those American instruments of recent These include such treasures as the oldest extant manufacture that best express our musical as- piano, invented by Bartolomeo Cristofori at the pirations; right now our priorities favor preserv- Medici court in Florence, and a Stradivari violin ing rarer artifacts of a vanishing past. But there of 1693, the only "Strad" thus far to have been is always room for new creations that meet the restored to its original Baroque condition. It is a criterion of outstanding quality. 7 Another reason American instruments have It is a pleasure to thank those who have sup- been underrepresented, not only in this museum ported the publication of this book, notably Gor- but in others as well, has been the unfortunate don and Ann Getty, whose generous gift has bias of previous generations, who, having been been responsible for its expeditious appearance. reared in a European tradition, tended to assume Other contributors are gratefully acknowledged the superiority of foreign-made instruments. As in the author's introduction. There remains only the present book shows, such prejudice is unjus- to express my personal delight that an often over- tified, and Laurence Libin through his musical looked aspect of the Metropolitan Museum's and scholarly acumen has made a vigorous effort holdings, and of American culture, is now being to redress the imbalance. The scores of American brought before the public. I hope this book will instruments he has acquired for the Museum stimulate further interest and research, and thus demonstrate a commitment to excellence and fulfill the Museum's fundamental goals. curatorial fairness that Mrs. John Crosby Brown, the founder of the collection, would have ap- Philippe de Montebello plauded. Director 8 Preface This book, which documents only a small part but this book and the objects it describes will of one of the world's great musical collections, help overcome that old prejudice. For a long time gives for the first time a comprehensive overview American pianos have been regarded as a world of America's instrumental heritage. From toy ka- standard. Here, other sorts of instruments of zoos and minstrel "bones" up to the most sophis- equal significance receive the attention they de- ticated keyboard and orchestral instruments, the serve. In the Metropolitan Museum they are dis- distinguished author describes the form and con- played side by side with foreign counterparts and struction of each example, discusses musical and do not suffer by comparison. When played in social functions, and relates important biograph- the Museum's musical programs and recordings, ical facts about makers, some of whom were vir- their tonal virtues too become apparent. tually unknown before Laurence Libin's extensive In going further, American craftsmen have researches. Mr. Libin has not let sound scholar- fostered the development of instruments such as ship overwhelm us with details, however, but the Appalachian dulcimer, banjo, electric guitar, has provided a highly readable story, using the and certain types of rotary-valved brasses and remarkable objects in his care as the focal point reed organs, thus giving the world something for a wider discussion of America's accomplish- musically unique and enriching. Ensembles such ments in instrument manufacture from colonial as the post-Civil War brass band or the jazz and times to the present. "jug" bands of earlier in this century would have Until now, little of a general nature has been been unthinkable without America's contribu- published on this interesting aspect of American tions, discussed here with respect and affection. material culture, made up as it is of strands from Also considered are some curious patented nov- many different nations, social classes, and levels elties of little enduring usefulness but showing of technology. We should be proud of this diver- much Yankee ingenuity, as well as sound-pro- sity and grateful that it is represented so well in ducing implements such as sleigh bells that are the following words and illustrations. When my not essentially musical but deserve a place in this German ancestors started making pianos in New catalogue owing to their aural purpose. York in the middle of the last century, they soon Truly, in this rich collection everyone will find found that simply making a superior instrument something surprising, something familiar but seen was not enough; they had also to convince influ- in a new light, something revealing of over two ential musicians and the public that any such centuries of musical endeavor. I hope that other product made in America could really be as good readers will take as much pleasure and pride as I as what came from European factories. The idea do in learning more about the fascinating tools that anything musically good has to come from of America's musicians. Europe unfortunately lingers even to our day, Henry Steinway 9 Introduction Musical instruments serve a great many functions. and "fiddling away" for wasting precious time. Musicians, of course, regard them as refined, In more worldly societies many instruments sensitive tools. For the musicologist they embody echo serious purposes. Trumpets and kettledrums tangible evidence of how music sounded before still call to mind the pompous processions of the advent of recording. Making and selling in- royalty. Bugles, fifes, and snare drums summon struments provides a livelihood for craftsmen, the image of battle. Horn passages in classical the best of whom express aesthetic aims through music may recall the hunt and other virile outdoor their products.
Load more

Recommended publications
  • Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music Instruments, Mechanisms That Produce Sounds, Have Been Used for Various Purposes
    Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music instruments, mechanisms that produce sounds, have been used for various purposes. In earlier times they were also used as an adjunct to dance or to labor. In later civilizations, instrumental music was used for entertainment. Present day musicological studies, following the Hornbostel-Sachs classification, divide instruments into the following categories: idiophones, aerophones, chordophones, and membranophones. Idiophones Instruments that produce sound from the substance of the instrument itself (wood or metal) are classified as idiophones. They are further subdivided into those that are struck, scraped, plucked, shaken, or rubbed. In the Philippines there are metal and wooden (principally bamboo) idiophones. Metal idiophonse are of two categories: flat gongs and bossed gongs. Flat gongs made of bronze, brass, or iron, are found principally in the north among the Isneg, Tingguian, Kalinga, Bontok, Ibaloi, Kankanai, Gaddang, Ifugao, and Ilonggot. They are most commonly referred to as gangsa . The gongs vary in sized, the average are struck with wooden sticks, padded wooden sticks, or slapped with the palm of the hand. Gong playing among the Cordillera highlanders is an integral part of peace pact gatherings, marriages, prestige ceremonies, feasts, or rituals. In southern Philippines, gongs have a central profusion or knot, hence the term bossed gongs. They are three of types: (1) sets of graduated gongs laid in a row called the kulintang ; (2) larger, deep-rimmed gongs with sides that are turned in called agung , and (3) gongs with narrower rims and less prominent bosses called gandingan . These gongs may be played alone but are often combined with other instruments to form various types of ensembles.
    [Show full text]
  • Marquetry on Drawer-Model Marionette Duo-Art
    Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number
    [Show full text]
  • Some Misconceptions About the Baroque Violin
    Pollens: Some Misconceptions about the Baroque Violin Some Misconceptions about the Baroque Violin Stewart Pollens Copyright © 2009 Claremont Graduate University Much has been written about the baroque violin, yet many misconceptions remain²most notably that up to around 1750 their necks were universally shorter and not angled back as they are today, that the string angle over the bridge was considerably flatter, and that strings were of narrower gauge and under lower tension.1 6WUDGLYDUL¶VSDWWHUQVIRUFRQVWUXFWLQJQHFNVILQJHUERDUGVEULGJHVDQG other fittings preserved in the Museo Stradivariano in Cremona provide a wealth of data that refine our understanding of how violins, violas, and cellos were constructed between 1666- 6WUDGLYDUL¶V\HDUV of activity). String tension measurements made in 1734 by Giuseppe Tartini provide additional insight into the string diameters used at this time. The Neck 7KHEDURTXHYLROLQ¶VWDSHUHGQHFNDQGZHGJH-shaped fingerboard became increasingly thick as one shifted from the nut to the heel of the neck, which required the player to change the shape of his or her hand while moving up and down the neck. The modern angled-back neck along with a thinner, solid ebony fingerboard, provide a nearly parallel glide path for the left hand. This type of neck and fingerboard was developed around the third quarter of the eighteenth century, and violins made in earlier times (including those of Stradivari and his contemporaries) were modernized to accommodate evolving performance technique and new repertoire, which require quicker shifts and playing in higher positions. 7KRXJK D QXPEHU RI 6WUDGLYDUL¶V YLROD DQG FHOOR QHFN SDWWHUQV DUH SUHVHUYHG LQ WKH 0XVHR Stadivariano, none of his violin neck patterns survive, and the few original violin necks that are still mounted on his instruments have all been reshaped and extended at the heel so that they could be mortised into the top block.
    [Show full text]
  • Newsletter 2009
    NEWSLETTER 2009 NEWSLETTER CONTENTS 2 Letter from the Chair and President, Board of Trustees Skowhegan, an intensive 3 Letter from the Chair, Board of Governors nine-week summer 4 Trustee Spotlight: Ann Gund residency program for 7 Governor Spotlight: David Reed 11 Alumni Remember Skowhegan emerging visual artists, 14 Letters from the Executive Directors seeks each year to bring 16 Campus Connection 18 2009 Awards Dinner together a gifted and 20 2010 Faculty diverse group of individuals 26 Skowhegan Council & Alliance 28 Alumni News to create the most stimulating and rigorous environment possible for a concentrated period of artistic creation, interaction, and growth. FROM THE CHAIR & PRESIDENT OF THE BOARD OF TRUSTEES FROM THE CHAIR OF THE BOARD OF GOVERNORS ANN L. GUND Chair / GREGORY K. PALM President BYRON KIM (’86) We write to you following another wonderful Trustees’/ featuring a talk by the artist and in June for a visit leadership. We will miss her, but know she will bring Many years ago, the founders of the Skowhegan great food for thought as we think about the shape a Governors’ Weekend on Skowhegan’s Maine campus, to Skowhegan Trustee George Ahl’s eclectic and her wisdom and experience to bear in the New York School of Painting & Sculpture formed two distinct new media lab should take. where we always welcome the opportunity to see beautiful collection which includes several Skowhegan Arts Program of Ohio Wesleyan University, where governing bodies that have worked strongly together to As with our participants, we are committed to diversity the School’s program in action and to meet the artists.
    [Show full text]
  • “Life” — Sam Rein Solo Exhibition at Barrett Art Center by RAYMOND J
    Inside: Raleigh on Film; Bethune on Theatre; Behrens on Music; Marvel’s ‘Art Byte’; th Critique: Sam Rein at Barrett Art Center; Year! Seckel on the Cultural Scene; Jeanne Heiberg & John Coyne ‘Speak Out’; Our 25 New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 25 No. 6 Jan/Feb 2009 “Life” — Sam Rein Solo Exhibition at Barrett Art Center By RAYMOND J. STEINER IT’S ALWAYS A distinct pleasure sional surface alive not only to the for this viewer to come across a eye, but also to the spirit and soul. working artist from the “old school” A humanist with wit, perception, — you know, someone who can draw, and sensitivity, Sam Rein could not manipulate a paint-laden brush, have chosen a more fitting title for compose a motif, vary a ‘signature’, this solo exhibition* since “Life” so avoid a hackneyed formula that aptly reveals his long love affair with “sells”…in brief, bring a two-dimen- the pathos and bathos of the human River View Watercolor condition. This is an artist who not imagery (“Track Three”; “Table Talk only loves his craft, but who also is Al Fresco” — a charming genre piece in sympathy with the nature of be- of three oldsters conversing around ing — whether it be person, object, an outdoor table) is compelling, in- or landscape. viting the viewer to enter, to partici- Some thirty-seven works — pate in whatever is unfolding before charcoals, pastels, watercolors, the eye. Especially “present” in their gouaches, acrylics and even a pencil “thereness” — what the early Ger- drawing (“Reclining Nude, Head on man aestheticians referred to as the Hand”) — make up this show, more ding an sich (the thing in itself) — than enough to showcase Rein’s ver- are his studies of the female figure, satility in motif, genre, and in style.
    [Show full text]
  • Bulletin Germany/Holland 2007 July 5Th Ð 20Th
    THE www.amica.org Volume 44, Number 2 AMICA March/April 2007 AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION BULLETIN GERMANY/HOLLAND 2007 JULY 5TH – 20TH Tour Historic Germany and Holland with your fellow AMICANs. Visit Munich with its clock tower, Hofbrau House and many interesting attractions. See world-class museums with wonderful collections of automatic musical instruments. Bus through scenic countryside, with quaint towns full of wonderfully painted buildings. Shop in wood carving centers. Tour King Ludwig’s Linderhof Castle. Visit organ factories and private collections. Stroll through the Historic walled city of Rothenburg. Cruise the Beautiful Rhein River, with castles lining the waterway. Listen to dance organs, pianos, Dutch Street Organs and more. Enjoy the pumper contest, with contestants using Conrad Adenauer’s grand piano. There’s so much more to see and do. Applications will be coming soon, and you need to register right away….remember, registration is limited. Questions? Call Frank at 818-884-6849 ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens • Editor Emeritus: Robin Pratt VOLUME 44, Number 2 March/April 2007 AMICA BULLETIN FEATURES Display and Classified Ads Articles for Publication Visit to San Sylmar’s Auto/Musical Collection .
    [Show full text]
  • The American Brief: Philippe De Montebello
    #TheAmericanBrief The American Brief November 2020 Designed and launched by the Fundación Consejo España – EE.UU., The American Brief releases a monthly series of transcribed interviews on current topics to American personalities from politics, business, culture and academics. ··· PHILIPPE DE MONTEBELLO What was Archer M. Huntington’s vision when Chairman of the Board of Trustees of the Hispanic So- he founded in 1904 The Hispanic Society of ciety Museum & Library. America (HSA)? Philippe de Montebello was born in Paris and after the baccalauréat he attended Harvard College and the Institute He sought to found an institution, a museum of Fine Arts, NYU. With the exception of four years as director of the Museum of Fine Arts, Houston, he has spent his entire free to the public and a rare books and reference career at the Metropolitan Museum of Art, first as curator in the Department of European Paintings and later as the Museum’s library dedicated to the preservation, study, Chief Curator and then, from 1977 until 2008 as its Director, when he retired after 31 years as the longest-serving Director in presentation (exhibition), and promulgation of the Metropolitan Museum’s 150-year-long history. the arts, literatures, cultures, and aspects of daily Following his retirement, Mr. de Montebello became the first life of ancient Iberia, medieval Iberia (including scholar in residence at the Prado Museum in Madrid, and he launched a new academic career as the first Fiske Kimball the Islamic and Judaic cultures), Spain, Portugal, Professor in the History and Culture of Museums at the Institute Latin America, and all other areas of the world of Fine Arts of New York University.
    [Show full text]
  • My Grandparents'
    PERIODICALS 825 Eighth Avenue New York, NY 10019-7435 thirteen.org VOL 30, ISSUE 4 / APRIL 2021 Ready to enjoy THIRTEEN Passport? If your contribution to THIRTEEN is $60+ annually or $5 monthly and you haven’t yet activated your account, visit thirteen.org/passport and use the four-word activation code on this label, located above your name. COURTESY OF MCGEE MEDIA My Grandparents’ War Four Families, Four Remarkable WWII Stories. PREMIERES SUN 4TH, 8 P.M. Finding Your Roots: On Broadway Tue 27th, 8 p.m. Join Henry Louis Gates, Jr. as he investigates the family histories of Broadway stars Audra McDonald and Mandy Patinkin. thirteen.org 1 Sun 4th-25th, 8 p.m. FAMILY HISTORIES EVENING AND NIGHT My Grandparents’ War To view the monthly program guide on our website, visit thirteen.org/schedule and click on “Program Guide.” LADY VIOLET BONHAM CARTER, actress Mark Rylance (Sun 11th, 8 p.m.) delves Helena Bonham Carter’s paternal grand- into the story of his grandfather, Osmond mother, was a woman ahead of her time. Skinner, who spent nearly four years as a 10:30 Bright Lights Little to three decades as A mother of four and liberal politician, she Japanese prisoner of war. A banker with SYMBOL KEY City The history of bandleader to The Tonight volunteered as an air raid warden, cam- no military training, Skinner joined the Hong Tennessee’s Cumberland Show Starring Johnny County Playhouse. Carson. REPEATS 6TH, 4AM. paigned for women’s rights, took a stand Kong Volunteer Defence Corps, was shot Premiere REPEATS 4TH, 11PM.
    [Show full text]
  • Howe Collection of Musical Instrument Literature ARS.0167
    http://oac.cdlib.org/findaid/ark:/13030/c8cc1668 No online items Guide to the Howe Collection of Musical Instrument Literature ARS.0167 Jonathan Manton; Gurudarshan Khalsa Archive of Recorded Sound 2018 [email protected] URL: http://library.stanford.edu/ars Guide to the Howe Collection of ARS.0167 1 Musical Instrument Literature ARS.0167 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: Howe Collection of Musical Instrument Literature Identifier/Call Number: ARS.0167 Physical Description: 438 box(es)352 linear feet Date (inclusive): 1838-2002 Abstract: The Howe Collection of Musical Instrument Literature documents the development of the music industry, mainly in the United States. The largest known collection of its kind, it contains material about the manufacture of pianos, organs, and mechanical musical instruments. The materials include catalogs, books, magazines, correspondence, photographs, broadsides, advertisements, and price lists. The collection was created, and originally donated to the University of Maryland, by Richard J. Howe. It was transferred to the Stanford Archive of Recorded Sound in 2015 to support the Player Piano Project. Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, California 94305-3076”. Language of Material: The collection is primarily in English. There are additionally some materials in German, French, Italian, and Dutch. Arrangement The collection is divided into the following six separate series: Series 1: Piano literature. Series 2: Organ literature. Series 3: Mechanical musical instruments literature. Series 4: Jukebox literature. Series 5: Phonographic literature. Series 6: General music literature. Scope and Contents The Howe Musical Instrument Literature Collection consists of over 352 linear feet of publications and documents comprising more than 14,000 items.
    [Show full text]
  • Premieres Sun 18Th, 8 P.M
    VOL 29, ISSUE 10 / OCTOBER 2020 Premieres Sun 18th, 8 p.m. Want more gossip? American Masters: Walter Winchell: The Power of Gossip Tue 20th, 9 p.m. thirteen.org 1 GOSSIP and television personality who pioneered the fast-paced, gossip driven, politically EVENING AND NIGHT GALORE charged journalism that dominates today. “Walter Winchell understood that FROM YENTE THE MATCHMAKER in gossip was a way to take down the mighty To view the monthly program guide on our website, visit thirteen.org/schedule Fiddler on the Roof to Gladys Kravitz in and raise up the lowborn,” Neal Gabler, and click on “Program Guide.” Bewitched, who doesn’t love a colorful author of Winchell: Gossip, Power, and the town gossip? Meet the latest addition to Culture of Celebrity, says in the film. this list of iconic busy- Winchell was among the 3:00 Hacking Your Mind [R] 3 SATURDAY bodies in The Trouble first journalists to denounce SYMBOL KEY 4:00 American Experience: “McCarthy” 6:00 PBS NewsHour With Maggie Cole (Sun the Nazis in the 1930s. At Premiere Weekend With Hari Oct 18th-Nov 22nd, his peak, his audience was Sreenivasan. Our productions 8 p.m.), premiering this 50 million. He could make 2 FRIDAY 6:30 GZERO World With month on THIRTEEN. or break careers as he held Aired earlier Ian Bremmer this month Dawn French (The court at Table 50 at The 5:00 BBC World News 7:00 Great Performances: To be announced Today “The Sound of Music” Vicar of Dibley, French Stork Club, while celebrity 5:30 NJTV News Enjoy the 2015 live UK and Saunders) stars as publicists swarmed, trying 6:00 MetroFocus broadcast version of this The Trouble With Maggie Cole the titular character in to get their clients’ names 1 THURSDAY 6:30 BBC World News beloved musical with the six-part comedy-drama about idle in his famous “On Broadway” column.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 30,1910-1911, Trip
    ACADEMY OF MUSIC . BROOKLYN Thirtieth Season, 1910-1911 SflHtfltt g>gttqrfjmuj (©rrfpaint MAX FIEDLER, Conductor flrogramm? of tip SECOND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, DECEMBER 9 AT 8.15 COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER ^HHH OPERA AMERICA AND ABROAD Mr. H. WINFRED GOFF Frau CLARA WALLENTHIN- Miss EDITH DE LYS London Covent Garden STRANDBERG Stockholm London Covent Garden two seasons America Savage Grand Opera Royal Opera and Dresden Milan Florence Brussels Rome etc. Mrs. CLARA SEXTON- At present singing in Germany Mr. EARL W. MARSHALL CROWLEY Italy Florence Milan Miss LAURA VAN KURAN Italy Florence etc. Barcelona Now singing in America Italy Florence Now in America Now in Italy Mrs. ALICE KRAFT BENSON Mrs. LOUISE HOMER Mr. MYRON W. WHITNEY France Nantes At present with Aborn Grand Opera Co. New York Paris London Brussels Now with Lilian Nordica Concert and Opera Boston Chicago Now singing in New York Metropolitan Opera Co. Co. Italy Mme. LENA ABARBANELL Miss FANNY B.. LOTT Miss BLANCH FOX (VOLPINI) Austria Hungary Germany etc. Italy Palermo Rimini Pisa etc. Italy Venice Milan Vercelli etc. Metropolitan Opera Co. New York Now singing in Italy American Grand Opera Cos. New Now singing "Madam Sherry" N.Y. Miss EDITH FROST STEWART York Chicago San Francisco etc. Mr. HENRY GORRELL To create title role in Victor Her- Miss MARY CARSON (KIDD) Italy Florence Genoa Torino etc. bert's new opera " When Sweet Six- Italy Milan etc. Now singing in Italy teen "now rehearsing in New York Now singing in Italy Mr.
    [Show full text]
  • 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]