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Musical Landmarks in New York
MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere. -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
Italian-American Theatre
Saggi Italian-American Theatre Emelise Aleandri Artistic Director of «Frizzi & Lazzi», New York An Italian-American actor hesitates before the entrance to a shop in Little Italy at the turn of the century. It is a day in the life of a skilful, practiced ticket-vendor of the Italian-American theatre. To disguise the distress he feels at performing the onerous task that awaits him inside the shop, he assumes the mask of confidence, tinged slightly with arrogance. Summoning up a glib tongue, the actor enters the shop and before the shopkeeper knows what has happened, the actor fires away at him this familiar reprise: «Buongiorno. Come sta? La famiglia sta bene? Lei è un mecenate, lei è un benefattore del- la colonia. Io non so cosa faccia il governo italiano, dorme? Ma quando lo faremo cavaliere? Vuole un biglietto per una recita che si darà il mese en- trante: “La cieca di Sorrento?” Spettacoloso drama [sic]»1. With an unsuspecting shop owner, this spiel would almost always be suc- cessful in selling a ticket, but this one has been through this game before and when he learns that the performance is scheduled for a Thursday evening, he is quick to respond: «Oh! Guarda un po’, proprio giovedì che aspetto visite. Vi pare, con tutto il cuore!»2. But the actor is even quicker and has purpose- fully misinformed the storekeeper: «Mi sono sbagliato, è di venerdì»3. The shopkeeper, stunned, mumbles: «Oh! Venerdì... vedrò»4. Tricked, and now the reluctant buyer of a ticket, the shop owner spits back «Come siete seccanti voi altri teatristi!»5. -
The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel Wallich
C O N N E C T I N G P E O P L E , P L A C E S , A N D I D E A S : S T O R Y B Y S T O R Y J ULY 2 0 1 3 ABOUT WRR CONTRIBUTORS MISSION SPONSORSHIP MEDIA KIT CONTACT DONATE Search Join our mailing list and receive Email Print More WRR Monthly. Wild River Consulting ESSAY-The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel & Wallich : Publishing Click below to make a tax- deductible contribution. Religious Identity in the Age of Enlightenment where Your literary b y J u d i t h M . T a y l o r , J u l e s J a n i c k success is our bottom line. PEOPLE "By the time the Interv iews wise woman has found a bridge, Columns the crazy woman has crossed the Blogs water." PLACES Princeton The United States The World Open Borders Lorenzo Da Ponte Nathaniel Wallich ANATOLIAN IDEAS DAYS & NIGHTS Being Jewish in a Christian world has always been fraught with difficulties. The oppression of the published by Art, Photography and Wild River Books Architecture Jews in Europe for most of the last two millennia was sanctioned by law and without redress. Valued less than cattle, herded into small enclosed districts, restricted from owning land or entering any Health, Culture and Food profession, and subject to random violence and expulsion at any time, the majority of Jews lived a History , Religion and Reserve Your harsh life.1 The Nazis used this ancient technique of de-humanization and humiliation before they hit Philosophy Wild River Ad on the idea of expunging the Jews altogether. -
Overture to Don Giovanni, K. 527—Wolfgang Amadeus Mozart
Overture to Don Giovanni, K. 527—Wolfgang Amadeus Mozart Mozart’s incomparable musical gifts enabled him to compose at the highest level of artistic brilliance in almost every musical genre. We are privileged to experience his legacy in symphonies, chamber music, wind serenades, choral music, keyboard music—the list goes on and on. But, unquestionably, his greatest contributions to musical art are his operas. No one— not even Wagner, Verdi, Puccini, or Richard Strauss exceeded the perfection of Mozart’s mature operas. The reason, of course, is clear: his unparalleled musical gift is served and informed by a nuanced insight into human psychology that is simply stunning. His characters represented real men and women on the stage, who moved dramatically, and who had distinctive personalities. Of no opera is this truer than his foray into serious opera in the Italian style, Don Giovanni. Mozart’s The Marriage of Figaro, at its première in Vienna in 1786, was a decided success, but nothing like the acclaim that it garnered later, in December of that same year, in Prague. The city literally went wild for it, bringing the composer to the Bohemian capital to conduct performances in January of 1787. A commission for another hit ensued, and Mozart once again collaborated with librettist, Lorenzo Da Ponte—this time basing the opera on the legendary seducer, Don Juan. Italian opera buffa is comic opera, and Mozart was a master of it, but the new opera—given the theme—is a serious one, with hilarious, comic interludes. Shakespeare often made adroit use of the dramatic contrast in that ploy, and so does Mozart, with equal success. -
Antonio Salieri's Revenge
Antonio Salieri’s Revenge newyorker.com/magazine/2019/06/03/antonio-salieris-revenge By Alex Ross 1/13 Many composers are megalomaniacs or misanthropes. Salieri was neither. Illustration by Agostino Iacurci On a chilly, wet day in late November, I visited the Central Cemetery, in Vienna, where 2/13 several of the most familiar figures in musical history lie buried. In a musicians’ grove at the heart of the complex, Beethoven, Schubert, and Brahms rest in close proximity, with a monument to Mozart standing nearby. According to statistics compiled by the Web site Bachtrack, works by those four gentlemen appear in roughly a third of concerts presented around the world in a typical year. Beethoven, whose two-hundred-and-fiftieth birthday arrives next year, will supply a fifth of Carnegie Hall’s 2019-20 season. When I entered the cemetery, I turned left, disregarding Beethoven and company. Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place. Salieri is one of history’s all-time losers—a bystander run over by a Mack truck of malicious gossip. -
Jefferson Stereoptics & SADDY STEREOVIEW CONSIGNMENT AUCTIONS ($6.75)
Jefferson Stereoptics & SADDY STEREOVIEW CONSIGNMENT AUCTIONS ($6.75) John Saddy 787 Barclay Road London Ontario N6K 3H5 CANADA Tel: (519) 641-4431 Fax: (519) 641-0695 Website: https://www.saddyauctions.com E-mail: [email protected] AUCTION #19-2 Phone, mail, fax, and on-line auction with scanned images. CLOSING DATES: 9:00 p.m. Eastern Thursday, January 30, 2020 Lots 1 to 412 (Part 1) & Friday, January 31, 2020 Lots 413 to 826 (Part 2) In the event of a computer crash or other calamity, this auction will close one week later. "s.c.mts." = square corner mounts (earlier) BIDDING RULES AND TERMS OF SALE "r.c.mts." = rounded corner mounts (later) There is a 9% Buyer's Premium which will be automatically added to the invoice. (We will absorb Paypal charges.) Your TABLE OF CONTENTS business is very much appreciated. ADVERTISING 20, 68, 131, 403, 449, 450, 615, 681, 732 Please note ‘NEW BIDDING INCREMENTS’ AFRICA 276, 752, 758, 781 AIR MACHINES BALLOONS, ETC 241, 243, 244, 266, 267, 405, 586, 601 - 1. All lots sold to the highest bidder. 603, 605, 606, 780 2. Please note ‘New Bidding Increments’ as follows: ALASKA & KLONDYKE (inc CANADA) 559 - 564, 717 ALCOHOL 53, 137, 334, 404, 819 0 to $99._____________________$5. ANIMALS & ZOOS* 80, 292, 395 - 401, 453*, 485*, 521, 622*, 631*, 819 $100. to $499.________________$10. AUSTRIA 509, 520 AUTOCHROME (FULL-SIZE) 551 $500. to $999.________________$20. AUTOS, OTHER VEHICLES 265, 312, 527, 650 $1,000. to $1,999._____________$50. BANKS & MONEY 20, 480, 485, 730 $2,000. -
Anglo-Jewry's Experience of Secondary Education
Anglo-Jewry’s Experience of Secondary Education from the 1830s until 1920 Emma Tanya Harris A thesis submitted in fulfilment of the requirements For award of the degree of Doctor of Philosophy Department of Hebrew and Jewish Studies University College London London 2007 1 UMI Number: U592088 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592088 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract of Thesis This thesis examines the birth of secondary education for Jews in England, focusing on the middle classes as defined in the text. This study explores various types of secondary education that are categorised under one of two generic terms - Jewish secondary education or secondary education for Jews. The former describes institutions, offered by individual Jews, which provided a blend of religious and/or secular education. The latter focuses on non-Jewish schools which accepted Jews (and some which did not but were, nevertheless, attended by Jews). Whilst this work emphasises London and its environs, other areas of Jewish residence, both major and minor, are also investigated. -
Anathema of Venice: Lorenzo Da Ponte, Mozart's
Click here for Full Issue of EIR Volume 33, Number 46, November 17, 2006 EIRFeature ANATHEMA OF VENICE Lorenzo Da Ponte: Mozart’s ‘American’ Librettist by Susan W. Bowen and made a revolution in opera, who was kicked out of Venice by the Inquisition because of his ideas, who, emigrating to The Librettist of Venice; The Remarkable America where he introduced the works of Dante Alighieri Life of Lorenzo Da Ponte; Mozart’s Poet, and Italian opera, and found himself among the circles of the Casanova’s Friend, and Italian Opera’s American System thinkers in Philadelphia and New York, Impresario in America was “not political”? It became obvious that the glaring omis- by Rodney Bolt Edinburgh, U.K.: Bloomsbury, 2006 sion in Rodney Bolt’s book is the “American hypothesis.” 428 pages, hardbound, $29.95 Any truly authentic biography of this Classi- cal scholar, arch-enemy of sophistry, and inde- As the 250th anniversary of the birth of Wolfgang Amadeus fatigable promoter of Mozart approached, I was happy to see the appearance of this creativity in science and new biography of Lorenzo Da Ponte, librettist for Mozart’s art, must needs bring to three famous operas against the European oligarchy, Mar- light that truth which riage of Figaro, Don Giovanni, and Cosi fan tutte. The story Venice, even today, of the life of Lorenzo Da Ponte has been entertaining students would wish to suppress: of Italian for two centuries, from his humble roots in the that Lorenzo Da Ponte, Jewish ghetto, beginning in 1749, through his days as a semi- (1749-1838), like Mo- nary student and vice rector and priest, Venetian lover and zart, (1756-91), was a gambler, poet at the Vienna Court of Emperor Joseph II, product of, and also a through his crowning achievement as Mozart’s collaborator champion of the Ameri- in revolutionizing opera; to bookseller, printer, merchant, de- can Revolution and the voted husband, and librettist in London in the 1790s, with Renaissance idea of man stops along the way in Padua, Trieste, Brussels, Holland, Flor- that it represented. -
Jewish Giants of Music
AMERICAN JEWISH HISTORICAL SOCIETY Fall 2004/Winter 2005 Jewish Giants of Music Also: George Washington and the Jews Yiddish “Haven to Home” at the Theatre Library of Congress Posters Milken Archive of American Jewish Music th Anniversary of Jewish 350 Settlement in America AMERICAN JEWISH HISTORICAL SOCIETY Fall 2004/Winter 2005 ~ OFFICERS ~ CONTENTS SIDNEY LAPIDUS President KENNETH J. BIALKIN 3 Message from Sidney Lapidus, 18 Allan Sherman Chairman President AJHS IRA A. LIPMAN LESLIE POLLACK JUSTIN L. WYNER Vice Presidents 8 From the Archives SHELDON S. COHEN Secretary and Counsel LOUISE P. ROSENFELD 12 Assistant Treasurer The History of PROF. DEBORAH DASH MOORE American Jewish Music Chair, Academic Council MARSHA LOTSTEIN Chair, Council of Jewish 19 The First American Historical Organizations Glamour Girl GEORGE BLUMENTHAL LESLIE POLLACK Co-Chairs, Sports Archive DAVID P. SOLOMON, Treasurer and Acting Executive Director BERNARD WAX Director Emeritus MICHAEL FELDBERG, PH.D. Director of Research LYN SLOME Director of Library and Archives CATHY KRUGMAN Director of Development 20 HERBERT KLEIN Library of Congress Director of Marketing 22 Thanksgiving and the Jews ~ BOARD OF TRUSTEES ~ of Pennsylvania, 1868 M. BERNARD AIDINOFF KENNETH J. BIALKIN GEORGE BLUMENTHAL SHELDON S. COHEN RONALD CURHAN ALAN M. EDELSTEIN 23 George Washington RUTH FEIN writes to the Savannah DAVID M. GORDIS DAVID S. GOTTESMAN 15 Leonard Bernstein’s Community – 1789 ROBERT D. GRIES DAVID HERSHBERG Musical Embrace MICHAEL JESSELSON DANIEL KAPLAN HARVEY M. KRUEGER SAMUEL KARETSKY 25 Jews and Baseball SIDNEY LAPIDUS PHILIP LAX in the Limelight IRA A. LIPMAN NORMAN LISS MARSHA LOTSTEIN KENNETH D. MALAMED DEBORAH DASH MOORE EDGAR J. -
Folly's Queen, Or, Women Whose Loves Have Ruled The
"WE WON'T GO HOME TILL MORNINGI" OR, Women lose Loves Have Ruled the World. LIFE SKETCHES OF THE MOST FAMOUS BELLES OF CUPID'S COURT FOR TWO CENTURIES, / BY JULIE BE MORJEMAR. SUPERBLY ILLUSTRATED. FUE&SHED BY RICHARD K. FOX, PROPRIETOR POLICE GAZETTE, 483 WILLIAM STREET, N. Y. Entered according to Act of Congress, in the year 1882, by RICHARD X FOX, Publisher of the Police Gazette, • NEW YOBK, . Inthe Office of the Librarian of Congress, at Washington. CONTENTS. CHAITEB. 1.-FISH-GIRL AND KING'S MISTRESS. 11.-THE QUEEN OF KINGS AND MOTHER OF REVOLUTIONS. 111.-AN EMPEROR'S AMOUR. IV.-FROM PALACE TO HOVEL. • V.—THE MISFORTUNES OF A LAWLESS GENIUS. VI.—A DESTROYER OF MEN. VII.—THE COST OF AFALSE STEP. VIIL—A MADGENIUS. IX.-ASIREN OF OLD NEW YORK. X.—A QUEEN OF DIAMONDS. XI.—THE FAVORITE OF A TYRANT. Xn.—CAPTURING A PRINCE'S HEART. XIII.—MAJOR YELVERTON'S WIFE. XIV.—THE AMERICANBELLE WHO SOLD HERSELF FOR A TITLE. XV.—CRIME HAUNTED. FOLLY'S QUEENS. CHAPTEB L FISE-GIBL AND KING'S MX3TBES9 , Those who have made Satan's character a The moral that their lives teach is all that etudy tellas that his rulingpolicy in winningiconcerns us. Letus glance at that ofone of the world to himself is to select handsome IFolly's fairest sovereigns, merry Nell women with brilliantintellects for his adju- Gwynne. tants. And facts and our own observation This"tThis "archest of hussies" was born in the compel us toadmit, ungallant as itis, that the little towtown of Hereford, England. -
Historical Discourses Editors 2012-2013 Editors-In-Chief
Historical Historical Discourses Discourses The McGill Undergraduate Journal of History Volume XXVII, Winter 2013 Volume XXVII Historical Discourses !e McGill Undergraduate Journal of History Vol. XXVII 2012-2013 McGill University Montreal, Quebec, Canada Funding generously supplied by the History Students Association (HSA), Arts Undergraduate Society (AUS), and the Students’ Society of McGill University (SSMU). Cover Logo: Amanda Liao is a U3 History Major who procrastinates through art. Some of her doodles and snapshots can be found online amandaliao.tumblr.com. Historical Discourses is published annually by McGill University undergraduate history students. All essays become property of Historical Discourses and cannot be reproduced without the permission of the authors. Discours historiques est publié chaque année par les étudiants d’histoire de premier cycle de l’Université McGill. Chaque dissertation devient la proprieté de Discours historiques et ne peut pas être reproduite sans la permission de l’auteur. Historical Discourses accepts history papers written by McGill undergraduates. Submissions in either English or French are welcome and may be sent to: Discours historiques accepte les dissertations d’histoire écrites par les étudiants de premier cycle de l’Université McGill en anglais ou en français. Nous recevons les dissertations à l’addresse suivante: History Department O!ce (Room 625) Stephen Leacock Building 855 Sherbrooke Street West Montreal, Quebec, Canada H3A 2T7 "e opinions expressed within this journal do not necessarily