Volume 28, Number 01 (January 1910) James Francis Cooke
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
029I-HMVCX1924XXX-0000A0.Pdf
This Catalogue contains all Double-Sided Celebrity Records issued up to and including March 31st, 1924. The Single-Sided Celebrity Records are also included, and will be found under the records of the following artists :-CLARA Burr (all records), CARUSO and MELBA (Duet 054129), CARUSO,TETRAZZINI, AMATO, JOURNET, BADA, JACOBY (Sextet 2-054034), KUBELIK, one record only (3-7966), and TETRAZZINI, one record only (2-033027). International Celebrity Artists ALDA CORSI, A. P. GALLI-CURCI KURZ RUMFORD AMATO CORTOT GALVANY LUNN SAMMARCO ANSSEAU CULP GARRISON MARSH SCHIPA BAKLANOFF DALMORES GIGLI MARTINELLI SCHUMANN-HEINK BARTOLOMASI DE GOGORZA GILLY MCCORMACK Scorn BATTISTINI DE LUCA GLUCK MELBA SEMBRICH BONINSEGNA DE' MURO HEIFETZ MOSCISCA SMIRN6FF BORI DESTINN HEMPEL PADEREWSKI TAMAGNO BRASLAU DRAGONI HISLOP PAOLI TETRAZZINI BI1TT EAMES HOMER PARETO THIBAUD CALVE EDVINA HUGUET PATTt WERRENRATH CARUSO ELMAN JADLOWKER PLANCON WHITEHILL CASAZZA FARRAR JERITZA POLI-RANDACIO WILLIAMS CHALIAPINE FLETA JOHNSON POWELL ZANELLIi CHEMET FLONZALEY JOURNET RACHM.4NINOFF ZIMBALIST CICADA QUARTET KNIIPFER REIMERSROSINGRUFFO CLEMENT FRANZ KREISLER CORSI, E. GADSKI KUBELIK PRICES DOUBLE-SIDED RECORDS. LabelRed Price6!-867'-10-11.,613,616/- (D.A.) 10-inch - - Red (D.B.) 12-inch - - Buff (D.J.) 10-inch - - Buff (D.K.) 12-inch - - Pale Green (D.M.) 12-inch Pale Blue (D.O.) 12-inch White (D.Q.) 12-inch - SINGLE-SIDED RECORDS included in this Catalogue. Red Label 10-inch - - 5'676 12-inch - - Pale Green 12-inch - 10612,615j'- Dark Blue (C. Butt) 12-inch White (Sextet) 12-inch - ALDA, FRANCES, Soprano (Ahl'-dah) New Zealand. She Madame Frances Aida was born at Christchurch, was trained under Opera Comique Paris, Since Marcltesi, and made her debut at the in 1904. -
©Studentsavvy Music Around the World Unit I Thank You For
©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore -
Corso Di Dottorato Di Ricerca in Storia Delle Arti Tesi Di Ricerca
Corso di Dottorato di ricerca in Storia delle Arti ciclo XXI Tesi di Ricerca «THE PHENOMENAL CONTRALTO» Vita e carriera artistica di Eugenia Mantelli SSD: L-ART/07 Musicologia e storia della musica Coordinatore del Dottorato ch. prof. Piermario Vescovo Supervisore ch. prof. Paolo Pinamonti Dottorando Federica Camata Matricola 808540 «THE PHENOMENAL CONTRALTO». VITA E CARRIERA ARTISTICA DI EUGENIA MANTELLI INDICE Introduzione p. 3 1. Biografia di Eugenia Mantelli p. 7 1.1. L’infanzia e gli studi p. 9 1.2. Il debutto al Teatro de São Carlos p. 13 1.3. La carriera internazionale p. 16 1.3.1. 1886: prima tournée in Sudamerica p. 17 1.3.2. 1887: seconda tournée in Sudamerica p. 24 1.3.3. 1889: terza tournée in Sudamerica p. 26 1.3.4. Eugenia Mantelli-Mantovani p. 28 1.3.5. Dal Bolshoi al Covent Garden p. 31 1.3.6. ¡Que viva Chile! Ultime tournée in Sudamerica p. 33 1.4. New York, il Metropolitan e le tournée negli Stati Uniti p. 36 1.4.1. Eugenia Mantelli-De Angelis p. 47 1.5. «Madame Mantelli has gone into vaudeville» p. 51 1.6. Mantelli Operatic Company p. 66 1.7. Attività artistica in Italia p. 69 1.8. Le ultime stagioni portoghesi e il ritiro dalle scene p. 81 1.9. Gli anni d’insegnamento p. 91 1.10.Requiem per Eugenia p. 99 1 2. Cronologia delle rappresentazioni p. 104 2.1. Nota alla consultazione p. 105 2.2. Tabella cronologica p. 107 3. Le fonti sonore p. 195 3.1. -
SEVENTEENTH REHEARSAL and CONCERT
Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, J 492 Back Bay.) TWENTY-FOURTH SEASON, J904-J905. WILHELM GERICKE, CONDUCTOR programme OF THE SEVENTEENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, MARCH 3, AT 2.30 O'CLOCK. SATURDAY EVENING, MARCH 4, AT 8.00 O'CLOCK. Published by C. A. ELLIS, Manager. 109T THE MAKERS OF THESE INSTRUMENTS have shown that genius for pianoforte making that has been defined as "an infinite capacity for taking pains." The result of eighty years of application of this genius to the production of musical tone is shown in tiie Chickering of to-day. Catalogue upon Apf>/ication CHICKERING & SONS iiiT.'"m"i I SE ii;.^BM 1098 : TWENTY FOURTH SEASON, J90i-J905. Seventeenth Rehearsal and Concerts FRIDAY AFTERNOON, MARCH 3, at 2.30 o'clock, SATURDAY EVENING, MARCH 4, at 8,00 o'clock. PROGRAMME. Wagner ........ A •' Faust " Overture Gluck . Recitative, "The gods have foreshewn me the future," and Aria, " Foreboding fears of ill," from " Iphigenia in Tauris " Bach .... Prelude, Adagio, and Gavotte in Rondo Form (Arranged for Strings by Sigismund Bachrich.) " " Mozart . "Turn your glance on him," from Cos\ fan Tutte in Schubert . Symphony C major, No. 7 I. Andante; Allegro, ma non troppo. II. Andante con moto. III. Scherzo: Allegro vivace. Trio. IV. Finale : Allegro vivace. SOLOIST Mr. GIUSEPPE CAMPANARI. There will be an intermissioa of ten minutes before the symphoay. The doors of the hall will he closed during the performance of each number on the programme. Those who wish to leave before the end of the 'concert are requested to do so in an interval be- tween the numbers. -
Piano Music in Italy During the Fascist Era
PIANO MUSIC IN ITALY DURING THE FASCIST ERA by KARIN MARIA DI BELLA .Mus., The University of Western Ontario, 1994 Mus., Washington University in St. Louis, 1996 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming tp—^-fre-^required standard THE UNIVERSITY OF BRITISH COLUMBIA January 2002 © Karin Maria Di Bella, 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of Vancouver, Canada Date DE-6 (2/88) Abstract This thesis investigates Italian instrumental music (specifically piano music) during the two decades between the two World Wars, the period of Italian fascism under Mussolini's rule. After two centuries of opera domination in that country, instrumental music, especially an up-to- date brand of it, was sorely lacking. A number of composers recognized this need and began to effect changes in the instrumental music scene, some with more success than others. Most of these composers are not well known to the general music public today. The pressing question is, to what extent the fascist government and its culture had an effect on the development of music during this period. -
The American College Man in Music
THE AMERICAN COLLEGE MAN IN MUSIC By W. J. BALTZELL Downloaded from N the spring of 1914 an incident occurred which has great significance for music in the United States in that it shows, very I definitely, the change in the attitude toward Music which has come about in educational institutions, and therefore reflects a similar change in the attitude toward Music and musical activities http://mq.oxfordjournals.org/ on the part of many persons who shape their opinions upon the stand taken by institutions of high prominence and those who conduct them. David Bispham, then on a concert tour, and singing in vaudeville, received a letter from the President of his Alma Mater, Haverford College, stating that the Board of Managers had decided to confer upon him the honorary degree of Doctor of Laws. Mr. Bispham's surprise was great, perhaps even greater at University of Lethbridge on September 12, 2015 than that of musicians who read later the announcement that the degree had been conferred. Had it ever occurred in these United States that a man prominent in the profession of music as an executive artist should be honored thus for distinguished services to Art? To quote from Mr. Bispham's address on The Ministry qj Music, delivered on the occasion of the conferring of the degree, will give an idea of the significance which Mr. Bispham attached to the letter: To say that I was surprised does not convey in any adequate - manner an idea of the state of my feelings. That I. ... a grand opera singer, a concert singer, and a vaudeville artist, I, whose life had been so unusual in regard to its public activities, should find myself being honored by my former companions and by the friends of my parents, by being made a Doctor of Laws by the college which, of almost all those in America, has upheld religion and scholarship at the expense of music, was astounding. -
Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
NJDARM: Collection Guide
NJDARM: Collection Guide - NEW JERSEY STATE ARCHIVES COLLECTION GUIDE Record Group: Governor Thomas Woodrow Wilson (1856-1924; served 1911-1913) Series: Correspondence, 1909-1914 Accession #: 1964.005, 2001.028, Unknown Series #: S3700001 Guide Date: 1987 (JK) Volume: 4.25 c.f. [9 boxes] Box 1 | Box 2 | Box 3 | Box 4 | Box 5 | Box 6 | Box 7 | Box 8 | Box 9 Contents Box 1 1. Item No. 1 to 3, 5 November - 20 December 1909. 2. Item No. 4 to 8, 13 - 24 January 1910. 3. Item No. 9 to 19, 25 January - 27 October 1910. 4. Item No. 20 to 28, 28 - 29 October 1910. 5. Item No. 29 to 36, 29 October - 1 November 1910. 6. Item No. 37 to 43, 1 - 12 November 1910. 7. Item No. 44 to 57, 16 November - 3 December 1910. 8. Item No. 58 to 78, November - 17 December 1910. 9. Item No. 79 to 100, 18 - 23 December 1910. 10. Item No. 101 to 116, 23 - 29 December 1910. 11. Item No. 117 to 133, 29 December 1910 - 2 January 1911. 12. Item No. 134 to 159, 2 - 9 January 1911. 13. Item No. 160 to 168, 9 - 11 January 1911. 14. Item No. 169 to 187, 12 - 13 January 1911. 15. Item No. 188 to 204, 12 - 15 January 1911. 16. Item No. 205 to 226, 16 - 17 January 1911. 17. Item No. 227 to 255, 18 - 19 January 1911. 18. Item No. 256 to 275, 18 - 20 January 1911. 19. Item No. 276 to 292, 20 - 21 January 1911. -
Bulletin 110. Supply and Distribution of Cotton for the Year Ending
DEPARTMENT OF COMMERCE AND LABOR BUREAU OF THE CENSUS E. DANA DURAND, DIRECTOR BULLETIN 110 SUPPLY AND DISTRIBUTION OF COTTON FOR THE YEAR ENDING AUGUST .31, 1910 · WASHINGTON GOVERNMENT PRINTING OFFICE 1911 BULLETINS OF THE PERMANENT CENSUS. 1. Geographical distribution of population: 1880; 1890, 1900; 59. Manufactures: 1905. New York. 2. Cotton ginned in the United States: 1899 to 1902. 60. -·--· Pennsylvania:. *3. Street and electric railways: 1902. 61. -- Canning and preserving, rice cleaning and polishing'J 4. A discussion of increase of population: Twelfth Census. and the mfmufacture of beet sugar. *5. Central electric light and power stations: 1902. 62. -- Glass and clay products. *6. Mineral industries of Porto Rico: 1902. *63. Supply and distribution of cotton, August 31, 1HOG. 7. Estimates of population of the larger cities: 1901, 1902, 1903. 64. Manufactures: 1905. Butter, cheese, and condoused milk; 8. Negroes in the United States: Twelfth Census. flour and grist :mill products, and Htttrch. 9. Mines a:p.d quanies: 1902. 65. -- Coke. *10. Cotton ginned in the United States: 1899 to 1903. 66. -- Automobiles and bicycles and tricydos. 11. .Municipal electric fire alarm and police patrol systems: 1902. 67. --· Metal-working machinery. 12. The executive civil service of the United States: 1904. *68. Child labor in the District of ColumLia: Tw<'lfth Cmums. 13. A discussion of age statistics: 1880, 1890, 1900. 69. Child labor in the United States: Twelfth CnnHnA. 14. Proportion of the sexes in the United States: 1890, 1900. 70. Manufactures: l!l05. Pot.roleum refining. 15. A discussion of the vital statistics of the Twelfth Census. -
Vol. 13, No.2 July 2003
Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Ga Salut d'Amour • Mot d'AmourElgar • Bizarrerie Society • O Happy Eyes • My Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • T Snow • Fly, Singing Birdournal • From the Bavarian Highlands • The of Life • King Olaf • Imperial March • The Banner of St George Deum and Benedictus • Caractacus • Variations on an Origina Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson Matin • Three Characteristic Pieces • The Dream of Gerontius Serenade Lyrique • Pomp and Circumstance • Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May S Dream Children • Coronation Ode • Weary Wind of the West • • Offertoire • The Apostles • In The South (Alassio) • Introduct and Allegro • Evening Scene • In Smyrna • The Kingdom • Wan Youth • How Calmly the Evening • Pleading • Go, Song of Mine Elegy • Violin Concerto in B minor • Romance • Symphony No Hearken Thou • Coronation March • Crown of India • Great is t Lord • Cantique • The Music Makers • Falstaff • Carissima • So The Birthright • The Windlass • Death on the Hills • Give Unto Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlig Express • Le Drapeau Belge • The Spirit of England • The Fring the Fleet • The Sanguine Fan • ViolinJULY Sonata 2003 Vol.13, in E minor No.2 • Strin Quartet in E minor • Piano Quintet in A minor • Cello Concerto -
P I a N O T R I
BOSSI PIANO TRIOS Trio Archè MARCO ENRICO BOSSI MARCO ENRICO BOSSI 1861-1925 Marco Enrico Bossi was a composer of great personality whose thoroughly Piano Trios international outlook distinguished him from most of his colleagues on the Italian music scene of the time. He was born in Salò on Lake Garda in 1861 and died Trio No.1 in D minor Op.107 crossing the Atlantic in 1925, on his way back from a highly successful concert tour Dedicated to Giuseppe Martucci in the United States. Both his parents were organists, and it was his father who first 1. I. Allegro-Moderato 8’22 taught him music. In 1871 he enrolled in the Music High School in Bologna, where 2. II. Dialogue: Larghetto 7’28 he studied piano, and then at the Conservatorie in Milan he studied counterpoint and 3. III. Scherzo: Vivace 5’26 composition with Amilcare Ponchielli and from the attendance of Violin’s lesson with 4. IV. Finale: Festoso 5’17 the virtuoso Antonio Bazzini he pursued his interest in string instruments. Musical life in Milan at the end of the 1800s proved to be highly stimulating, Trio No.2 in D Op.123 and he soon made a name for himself as an excellent pianist and a remarkable Dedicated to Georg Goehler organist, launching into a career as a concert organist that brought him widespread 5. I. Moderato 11’25 international acclaim, to the extent that he was considered one of the foremost 6. II. In memoriam: Adagio 10’26 virtuoso players of the period, along with his friends Cesar Franck and Camille 7. -
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.