Trinity College Bulletin, 1940-1941 (Necrology)
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ALAN HOVHANESS: Meditation on Orpheus the Japan Philharmonic Symphony Orchestra William Strickland, Conducting
ALAN HOVHANESS: Meditation on Orpheus The Japan Philharmonic Symphony Orchestra William Strickland, conducting ALAN HOVHANESS is one of those composers whose music seems to prove the inexhaustability of the ancient modes and of the seven tones of the diatonic scale. He has made for himself one of the most individual styles to be found in the work of any American composer, recognizable immediately for its exotic flavor, its masterly simplicity, and its constant air of discovering unexpected treasures at each turn of the road. Meditation on Orpheus, scored for full symphony orchestra, is typical of Hovhaness’ work in the delicate construction of its sonorities. A single, pianissimo tam-tam note, a tone from a solo horn, an evanescent pizzicato murmur from the violins (senza misura)—these ethereal elements tinge the sound of the middle and lower strings at the work’s beginning and evoke an ambience of mysterious dignity and sensuousness which continues and grows throughout the Meditation. At intervals, a strange rushing sound grows to a crescendo and subsides, interrupting the flow of smooth melody for a moment, and then allowing it to resume, generally with a subtle change of scene. The senza misura pizzicato which is heard at the opening would seem to be the germ from which this unusual passage has grown, for the “rushing” sound—dynamically intensified at each appearance—is produced by the combination of fast, metrically unmeasured figurations, usually played by the strings. The composer indicates not that these passages are to be played in 2/4, 3/4, etc. but that they are to last “about 20 seconds, ad lib.” The notes are to be “rapid but not together.” They produce a fascinating effect, and somehow give the impression that other worldly significances are hidden in the juxtaposition of flow and mystical interruption. -
Insights Into the Padrone, and Opera by George Whitefield Chadwick
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 American Verismo?: insights into The aP drone, and opera by George Whitefield hC adwick (13 November 1854 - 4 April 1931) Jon Steffen Truitt Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Truitt, Jon Steffen, "American Verismo?: insights into The aP drone, and opera by George Whitefield Chadwick (13 November 1854 - 4 April 1931)" (2004). LSU Doctoral Dissertations. 304. https://digitalcommons.lsu.edu/gradschool_dissertations/304 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AMERICAN VERISMO? INSIGHTS INTO THE PADRONE, AN OPERA BY GEORGE WHITEFIELD CHADWICK (13 NOVEMBER 1854 – 4 APRIL 1931) A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Jon Steffen Truitt B.M., Baylor University, 1996 M.M., Baylor University, 1999 May 2004 AKNOWLEDGEMENTS I wish to thank the members of my committee: Dr. Lori Bade, Professor Robert Grayson, and Dr. Robert Peck for their support. I especially thank my major professor and the chair of my committee, Dr. Kyle Marrero, for his support and encouragement throughout my degree program. Thanks are also due to Dr. -
Alan Hovhaness: Exile Symphony Armenian Rhapsodies No
ALAN HOVHANESS: EXILE SYMPHONY ARMENIAN RHAPSODIES NO. 1-3 | SONG OF THE SEA | CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS [1] ARMENIAN RHAPSODY NO. 1, Op. 45 (1944) 5:35 SONG OF THE SEA (1933) ALAN HOVHANESS (1911–2000) John McDonald, piano ARMENIAN RHAPSODIES NO. 1-3 [2] I. Moderato espressivo 3:39 [3] II. Adagio espressivo 2:47 SONG OF THE SEA [4] ARMENIAN RHAPSODY NO. 2, Op. 51 (1944) 8:56 CONCERTO FOR SOPRANO SaXOPHONE CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS, Op. 344 (1980) AND STRINGS Kenneth Radnofsky, soprano saxophone [5] I. Andante; Fuga 5:55 SYMPHONY NO. 1, EXILE [6] II. Adagio espressivo; Allegro 4:55 [7] III. Let the Living and the Celestial Sing 6:23 JOHN McDONALD piano [8] ARMENIAN RHAPSODY NO. 3, Op. 189 (1944) 6:40 KENNETH RADNOFSKY soprano saxophone SYMPHONY NO. 1, EXILE, Op. 17, No. 2 (1936) [9] I. Andante espressivo; Allegro 9:08 BOSTON MODERN ORCHESTRA PROJECT [10] II. Grazioso 3:31 GIL ROSE, CONDUCTOR [11] III. Finale: Andante; Presto 10:06 TOTAL 67:39 RETROSPECTIVE them. But I’ll print some music of my own as I get a little money and help out because I really don’t care; I’m very happy when a thing is performed and performed well. And I don’t know, I live very simply. I have certain very strong feelings which I think many people have Alan Hovhaness wrote music that was both unusual and communicative. In his work, the about what we’re doing and what we’re doing wrong. archaic and the avant-garde are merged, always with melody as the primary focus. -
Dartmouth College
Dartmouth College Commencement Exercises SUNDAY, JUNE NINTH NINETEEN HUNDRED NINETY-SIX HANOVER'E~ NEW HAMPSHIRE TRUSTEES OF DARTMOUTH COLLEGE ORDER OF EXERCISES James Oliver Freedman, President Stephen Merrill, Governor of New Hampshire (ex officio) PROCESSIONAL Edward John Rosenwald Jr., Chair Stephen Warren Bosworth Music by The Hartt College Brass Ensemble Joseph Deyo Mathewson Stanford Augustus Roman Jr. Roger Murtha, Director Kate Stith-Cabranes Susan Grace Dentzer Andrew Clark Sigler David Marks Shribman So that all can see the procession, the audience is requested to remain seated except as the flags pass when the audience rises briefly Richard Morton Page David Karr Shipler William Haven King Jr. Peter Matthew Fahey The presence of the Brass Ensemble at Commencement each year is made possible by the Class of 1879 Trumpeters' Fund. The Fund was established in 1929, Barry Lee MacLean Jonathan Newcomb at the time of 1879'sfiftieth reunion OPENING PRAYER Gwendolyn Susan King, Christian Chaplain The Academic Procession The Academic Procession is headed by the Platform Group, led by the Dean of the SINGING OF MILTON'S PARAPHRASE OF PSALM CXXXVI College, as Chief Marshal. Marching behind the Chief Marshal is the President of the College, followed by the Acting President and the Provost. Dartmouth College Glee Club Behind them comes the Bezaleel Woodward Fellow, as College Usher, bearing Lord Louis George Burkot Jr., Conductor Dartmouth's Cup. The cup, long an heirloom of succeeding Earls of Dartmouth, was presented to the College by the ninth Earl in 1969. Dartmouth College Chamber Singers The Trustees of the College march as a group, and are followed by the Vice President Melinda Pauly O'Neal, Conductor and Treasurer, in her capacity as College Steward. -
Ernest Martin Hopkins ʻ01 President, Emeritus
Ernest Martin Hopkins ʻ01 President, Emeritus An interview conducted by Edward Connery Lathem ʻ51 Hanover, NH February 21- March 14, 1958 Reels 1-9 Rauner Special Collections Library Dartmouth College Hanover, NH Ernest Martin Hopkins Interview Reel #1 Hopkins: I'm very apologetic for being late, but every time I have a definite appointment, I get hung up on the telephone. Watson: But I got hung up in a different way. Just as I was getting in my car, my trousers got caught on a piece of broken metal at the back of the car. Professor Sadler ran into it yesterday – and ripped my trouser leg right down so I had to rush back and change my pants. Hopkins: I'm sorry for the cause, but I'm kind of glad you were delayed. This was an interesting telephone conversation. It was with a fellow named Gordon who is the head of the company that made the silver bowl and he just wanted some assurance it was all right and so forth. He's a very, very attractive fellow, but I have just barely met him though. I donʼt know him well at all. Childs: It looked like a beautiful bowl. I trust it's as beautiful as it looked there. Is it? It's a perfect reproduction, isnʼt it? Hopkins: Just a perfect reproduction. It is very beautiful, very beautiful. Childs: I told you ahead of time I wasn't going to get to your dinner. But I did. I was so glad… so thrilled by it. It was wonderful. -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
Book Reviews
Book Reviews Lincoln’s Sons. By Ruth Painter Randall. (Boston : Little, Brown, and Company, 1955, pp. mi, 373. Illustrations, bibliography, and index. $5.00.) An impressive demonstration of the objective approach in biography has been made during the past decade by the late James Garfield Randall and Ruth Painter Randall. The concluding number of Randall’s four-volume set, Lincoln the President, is recently from the press and Mrs. Randall’s Lincoln’s Sons is now in print. This last work and its com- panion volume, Mary Lincoln. Biography of a Marriage, published in 1953, cover the domestic life of the Lincolns. It seems incredible that within a period of ten years, by the use of authentic sources, these two writers have been able to completely nullify the generally accepted stories of the Lincoln home life. For sixty years or more William Herndon was considered the outstanding authority in this phase of Lincolniana. However, the place of distinction which Professor Randall occupied among trained historians allowed him to successfully challenge, where others had failed, the validity of Herndon’s widely used compilation of folklore and traditions relating to the Lincoln family. Mrs. Randall’s first book brought to the attention of the reading public the great injustice done to the widow of Abraham Lincoln by the one-time law partner of her hus- band. Now in the author’s second volume she comes to the defense of another member of the Lincoln household, Robert Todd Lincoln, who was also greatly misrepresented by Herndon. While the casual reader will be entertained by the escapades of Willie and Tad, serious students of the Eman- cipator will be especially interested in the first objective biographical study of Robert, the only one of the four Lincoln boys to reach maturity. -
Romantic American Choral Music David P. Devenney, Presenter
The Sea Hath Its Pearls: Romantic American Choral Music 2021 National Conference, American Choral Directors Association March 19, 2021, 11:30 a.m. David P. DeVenney, presenter West Chester University of Pennsylvania The Sea Hath its Pearls (JCD Parker, Seven Part Songs) Introduction Elements of Style: Melody and Harmony Kyrie (Bristow) Vittoria Rybak, mezzo soprano Parvum quando cerno Deum (Chadwick) [When we see our tiny Lord This beautiful mother, held in his mother’s arms, This mother with her beautiful son, it salves us in our breasts such a lovely one all pink, with a thousand joys. like a violet that became a lily. The eager boy, eagerly seeing, [O that one of the arrows, your mother above all: sweet or boyish, while the smiling boy which should pierce the mother’s breast, is kissed a thousand times.] may fall upon me, little Jesus!] *Such a simple brightness -Author Unknown shines through the child, (* text for excerpted portion) The mother clings to him. Requiem aeternum (Buck) Elements of Style: Structure and Craft The Lord of Hosts Is with Us (Gilchrist) Sing Hallelujah (H. Parker) And They Shall Reign (JCD Parker) Music for Women’s and Men’s Voices Sanctus (Hadley) Emily Salatti, soprano At Sea (Buck) Concluding Remarks Seven Part Songs (JCD Parker) The World’s Wanderers The West Wind The Composers in this Presentation George Frederick Bristow (1825-1898) spent the majority of his life in New York City. By age 11 he was playing the violin at the Olympic Theatre in New York and later spent over thirty years playing violin with the New York Philharmonic Society. -
The Westchester Chamber Music Society Candlelight Concert Society
The Westchester Chamber Music Society and Candlelight Concert Society present ANTHONY McGILL, clarinet and THE PACIFICA QUARTET Simin Ganatra, violin Austin Hartman, violin Mark Holloway, viola Brandon Vamos, cello Florence Price (1887-1953) String Quartet in G Major (1929) Allegro Andante moderato—Allegretto James Lee III (1975 - ) Quintet for Clarinet & String Quartet (2018) Forgotten Emblems Awashoha Alas, my identity . Celebrated Emblems Fanny Mendelssohn (1805-1847) String Quartet in E-flat major (1835) Adagio ma non troppo Allegretto Romanze Allegro molto vivace PROGRAM NOTES by Joshua Berrett, Ph. D. Florence Price (1887-1953) String Quartet in G Major (1929) Living in a culture that all too often defined a composer as white, male, and dead, Florence Price found it a daunting challenge to make any real headway. Writing in 1943 to Serge Koussevitzky, the conductor of the Boston Symphony, she introduced herself as follows: “My dear Dr. Koussevitzky, To begin I have two handicaps . those of sex and race. I am a woman, and I have some Negro blood in my veins.” In our own time, it does not seem that the situation has changed very much. Alex Ross, writing in The New Yorker, Feb. 5, 2018, told a riveting story about what was discovered in a dilapidated house, ransacked by vandals, in the village of St. Anne, in northeastern Illinois. It was Price’s summer retreat. During the renovation, the owners found piles of manuscripts, books, personal papers, and miscellaneous documents, virtually all bearing the name of Florence Price. In a sobering assessment, Ross wrote: “Not only did Price fail to enter the canon; a large quantity of her music came perilously close to obliteration. -
Chapter Eight “A Strong but Judicious Enemy to Slavery”: Congressman Lincoln (1847-1849) Lincoln's Entire Public Service O
Chapter Eight “A Strong but Judicious Enemy to Slavery”: Congressman Lincoln (1847-1849) Lincoln’s entire public service on the national level before his election as president was a single term in the U. S. House. Though he had little chance to distinguish himself there, his experience proved a useful education in dealing with Congress and patronage. WASHINGTON, D.C. Arriving in Washington on December 2, 1847, the Lincolns found themselves in a “dark, narrow, unsightly” train depot, a building “literally buried in and surrounded with mud and filth of the most offensive kind.”1 A British traveler said he could scarcely imagine a “more miserable station.”2 Emerging from this “mere shed, of slight construction, designed for temporary use” which was considered “a disgrace” to the railroad company as well as “the city that tolerates it,”3 they beheld an “an ill-contrived, 1 Saturday Evening News (Washington), 14 August 1847. 2 Alexander MacKay, The Western World, or, Travels in the United States in 1846-47 (3 vols.; London: Richard Bentley, 1850), 1:162. 3 Letter by “Mercer,” n.d., Washington National Intelligencer, 16 November 1846. The author of this letter thought that the station was “in every respect bad: it is cramped in space, unsightly in appearance, inconvenient in its position, and ill adapted to minister to the comfort of travellers in the entire character of its arrangements.” Cf. Wilhelmus Bogart Bryan, A History of the National Capital from Its Foundation through the Period of the Adoption of the Organic Act (2 vols.; New York: Macmillan, 1914-16), 2:357. -
Notes Toward a Catalog of the Buildings and Landscapes of Dartmouth College
Notes toward a Catalog of the Buildings and Landscapes of Dartmouth College Scott Meacham, 1995-2001 Contents Introduction ......................................................................................................... 1 A.......................................................................................................................... 2 B.......................................................................................................................... 8 C ....................................................................................................................... 23 D ....................................................................................................................... 43 E........................................................................................................................ 55 F........................................................................................................................ 58 G ....................................................................................................................... 64 H ....................................................................................................................... 75 I ......................................................................................................................... 86 J ........................................................................................................................ 86 K....................................................................................................................... -
Class of 1998 Newsletter Fields © Microsoft Clip Library
Class of 1998 Newsletter Fields © Microsoft Clip Library sept BEYOND THE GREEN 2009 And now for a more personal introduction. One early March evening, two months before our baby was due, Maksim came home with the news: he had been laid off in an amazing managerial move that eliminated all but two members of his department at the pharmaceutical company where he had worked for just nine months. So here we were, two unemployed, overeducated people about to have a baby. Granted, breakfasts were IN THIS EDITION more fun in twos and impromptu trips a pleasure. A few days before the baby came, we even planned a grand escape to Utah in early fall when the baby could handle a long trip. And when I Editor’s Letter went into labor, we were watching the Mets play the Phillies in Queens at the new CitiField. We did do some work some of the time, and little work most of the time: I helped prepare Maks’s applica- This Is What tions for teaching positions and volunteered my time designing the new space for an artists’ collab- They Did! orative in Long Island City. What Did You Do? The Big Green Bus Where am I going with this, you ask? Not far, I answer. I write merely to say that what could’ve Summer 2009 Tour been a disastruous situation (and it still teeters on the brink of chaos) was actually a very pleasant experience of spending time together before our baby was to change our lives forever. What this Around the College, means for you, dear classmates, is that I did not work on a newsletter in March or April, and Past and Present nevermind in May, June, July or August.