DOCSLIB.ORG

T33 Peb . 26 , 1946

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
T33 Peb . 26 , 1946 t33 Peb . 26 , 1946 f:J~ ad ~ ol ~ Brooklyn Academy of Musiu Published by Concert Program ~agazines. Editorial office: 30 Lafayette .Avenue, Brooklyn 17, 'N. Y. STerling 3-6700. Advertising office: 258 'Fiftb Avenue, 'New York. 1, 'N. Y., CAledonia 5-6690. THE B ROOKLYN INSTITUTE OF ARTS AND SCIENCES FABULOUS ANGNA ENTERS 44F AB ULous" IS TIIE WORD poignant films of the year. one critic used to de­ PROGRAM She has also sold her book, scribe Angna Enters. And Silly yirl, to the movies, and IN TillS ISSUE "fabulous" is the apt word to more recently has completed describe one who has become • a stint at the lvLG.l\1. studios a veritable one-woman Trust in I Iollywood. of culture. This slight and Brooklyn Chamber Then there is still another puckish young woman with Music Society Angna Enters - the artist. the dark and intense eyes, Originally, she expressed her­ and the thick black bangs of • self by dec;igning costumes for hair offering a vivid contrast her dances. Subsequently, she to the ivory pallor of her sen­ BEGINNING ON PAGE 5 turned to the canvas. I Ier sitive face, has gone as far in drawings and paintings, about her profession as it is possible 1,200 items, have been e'\.­ for anyone to go. Actress, mime (she likes to hibited by more than thirty -five leading galleries pronounce the word "meem"), satirist, and in the country, have been bought b) \\ell known dancer, she has created a theater of her own art collectors and by several important mu­ which she calls " Episodes, or Compositions in seums, including the l\1etropolitan 1\!luseum of Dance Form,') but which it is difficult to cate­ .Art. She is also the illustrator for this ) ear's gorize because it is unique. With distinct orgin­ collection of 13esl S!Jort Stories, edited by Mar­ ality, she uses the dance to portray not only the tha f-oley, her second venture in the field, lhe \, grace of movement, but the more subtle emo­ first being her own )il/y y1rl the illustrations of I tions of tragedy, comedy, and rapier-edged sat­ which were lavishly praised. ire. She has created more than 175 dance com­ Upon her many achie,·ements in so many positions, said to be the largest repertory in the different artistic fields, tviiss Enters looks with field; and with it she hac; won a place all her modesty. "\Xfhen the sun rose in my g~rden,'' own among the dancers of our time. she told an interviewer, cc y often said to myself 1\1any another dancer would have felt, and no poet could dream anything to take the place with justification, that this was achie\ ement of this world. No ecstasy of the imagination in enough for one lifetime. But not Angna Enters! the language of words or music or movement Turning to writing, she has created one play (a or line is enough to take the pbce of this ph) s­ bitter anti-fascist document), two books (one of ical world for me. To live in a dream world one them a best-seller), and several short stories, all must first be alive. To paint an apple-e\ en an of which have received the ringing praises of the abstract one-first there must be an apple, ;mel leading book critics. One of her short stories, T would not give up the apple for the most e\·o­ Lost ..A11gel, with Margaret O'Brien in the prin­ c;1tive painting of an apple in e:-;.istence. The cipal role, was acclaimed one of the moc;t arts are of life and cannot be separated from it." 3 ABRAHAM tl' FULTON ST. at HOYT • CJI 3-t g~ ~~ ;;c ASS offers you !<Ut a complete selection of the world's finest I recordings -. As part of our expansion program, the A&S Record Shop has moved to brighter, more spacious quar­ ters on the Fifth Floor, East building. Come in and browse around. You'll find a vast assortment of records ranging all the way from uJack and Jill" for the little tots, to recordings by world-famous solo­ ists, symphonic recordings, or if you prefer, record­ ings of your favorite hit numbers from which to choose. You can listen to the records on one of our record players. \ r VISIT THE NEW A&S RECORD DEPARTMENT-FIFTH FLOOR, EAST. 4 More and More People are saying, "Make Mine Modern" ... when they see Loeser's rich collection of contem­ porary furniture. It's light-hearted, comfortable and has a special talent for adapting to many different arrangements. It's furniture for the present indica­ tive of the future. Loeser's Furniture-Fourth Floor TUESDAY EVENING, FEBRUARY 26, 1946 THIRD CO~CLHT OF TUE SE \SO'l' BROOI(LYN CHAMBER MUSIC SOCIETY Under the direction of Carl H. Tollefsen • PROGRAM BEGINS ON PAGE 5 • 5 ., ANATOME CREAM The result of years of patient experiments, this amazing new cream was designed for the woman whose skin is beginning to yield to the pressure of time. Compounded with vital, activating hormones, laboratory-tested Anatome Cream reawakens the skin, encouraging the glow of youth. 6 iKtugs atnwty Wnt!lt atnuqmuy 342 TO 346 FULTON STREET BOROUGH OF BROOKLYN, CITY OF NEW YORK "Fiftr-su Years in Brooklrn"-"Fiftr-su Years of Growth" CAPITAL s 500,000.00 SURPLUS $7,000.000.00 llDl"BU FWUAL DJ!:POSIT INSURANC1t COJt.PO~TIOK ., PARTICIPATING ARTISTS CARL H. ToLLEF E", violin RoBERT RoHVIA '1:\1, clarinet IRVI G KLIGFIELD, violin BERT BIAL, bassoon Aux YOUNG MARUCHESS, viola Gu:"'TIIER ScHULLER, French horn Y OURY BILSTI , violoncello HELEN CI-IIFF, narrator RALPH SATZ, double-bass ETTA K. ScHIFF, pianist A'ID THE UNITED TEMPLE CHORUS Under the direction of Isadore Freed Frieda Luther at the piano Guest oloist: Arthur Wolf on, baritone PROGRAM CONTINUES ON PAGE 9 7 KEEP A HEAD WITH rew ., The Beer that gives -you por~_l I t • Ll N DSAY LABORATORIES AND PHARMACY ''A Vital Service to the Community" 302 ASHLAND PUCE BROOKLYN, N. Y. , I Nightingale Chorus from "Solomon" __ ------------------------- Handel Psalm No. 23 --------------- __ _ _ ----- ____ _________ Schubert Alleluia ------------------------------ _________________________ Mozart United Temple Choru PROGRAM CONTINUES ON PAGE 12 9 PROGRAM NOTES By DAVID EWEN - ---..JI The Pied Piper of Hamelin Arthur Bergh ( 1882 -) Arthur Bergh is a California composer who, for many years, was a violinist with the New York Sym­ phony Society and the Metropolitan Opera House orchestras. Subsequently, he was director of several recording companies. He has written numerous works, in many different forms, the romantic vein of which suggests the late nineteenth century rather than our own times. He is best in his works for chorus, in his songs, and in extended pieces for narrator and ~wk~ ~~ orchestra, of which The Pied Piper of :Hamelitt is a notable example. In all of these he is uniquely suc­ cessful in transferring the subtlest nuances of feeling s u and the most elusive suggestions of atmosphere of the ~ rt~ T~~ .. tl;f tvt~ ~ text into tones. Rhapsody for Viola and Piano Isadore Freed ( 1900 -) The Rhapsody had its first performance at the hands of Samuel Lifschey, solo viola of the Philadelphia Orchestra, on a League of Composers broadcast in February, 1940. At that time Mr. Freed supplied no program other than to explain that the viola is much like the physical human being: it is too small for the depths of its pitch, and for this reason its tone has a kind of pent-up quality that accounts for its unusual timbre, dark and nostalgic. The Rhapsody is built on three distinct themes: the first, fast and fervent, sets the impassioned pace of the entire work. There follows a slower, rather mysterious, idea which is heard "sui ponticello '' (played on the bridge, giving off a curious reedy whistling sound). The third subject is slow and song­ ful, and comprises the central portion of the Rhapsody. The coda of the work is based upon these three themes. * * * Mr. Freed's musical style in general mirrors his esthetic attitude towards the important achievements of the twentieth century. He feels that he reached musical maturity at a period when great technical inno­ vations had caused an almost chaotic confusion in the musical horizons of our time. New creative ideas had come and gone with such speed that the tonal art was ready for some stabilizing influences and some attempts at digesting and assimilating these new prac­ tices. And so, Mr. Freed's esthetic outlook is one that tends towards organizing and stabilizing some of these new trends, rather than towards discovering further innovations. INTFRJ\1TSSION CO.i\1Ml:N TARY: FRANZ'L From the writings of his very good friend, Anselm If vou can't find vour ~tvlc at fir~t. trv a~oin! Dealers Huttenbrenner, we have acquired an informative and ~1'1 · suppli<'S monthly s., ,~d for Style ~ nd . C ons('rvation f ,,J,f,.r, · 'l t~ id <' n Form Bw ~ ~irrc Co., lnc. , :\cw York 16. revealing word-picture of Franz Schubert. " Schubert was not of very striking appearance. He 10 was very short, somewhat corpulent, with a full round face. His brow had a very agreeable curve. Because of his near-sightedness, he always wore eye­ glasses, which he never removed, not even while sleeping. He never concerned himself with his dress, and he detested going into higher society because it necessitated careful dressing. In general, he found it impossible to discard his soiled frockcoat for a black suit.
Load more

Recommended publications
  • An Exploration of the Early Training and Song Juvenilia of Samuel Barber
    THE FORMATIVE YEARS: AN EXPLORATION OF THE EARLY TRAINING AND SONG JUVENILIA OF SAMUEL BARBER Derek T. Chester, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2013 APPROVED: Jennifer Lane, Major Professor Stephen Dubberly, Committee Member Elvia Puccinelli, Committee Member Jeffrey Snider, Chair of the Division of Vocal Studies James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Chester, Derek T. The Formative Years: An Exploration of the Early Training and Song Juvenilia of Samuel Barber. Doctor of Musical Arts (Performance), May 2013, 112 pp., 32 musical examples, bibliography, 56 titles. In the art of song composition, American composer Samuel Barber was the perfect storm. Barber spent years studying under superb instruction and became adept as a pianist, singer, composer, and in literature and languages. The songs that Barber composed during those years of instruction, many of which have been posthumously published, are waypoints on his journey to compositional maturity. These early songs display his natural inclinations, his self-determination, his growth through trial and error, and the slow flowering of a musical vision, meticulously cultivated by the educational opportunities provided to him by his family and his many devoted mentors. Using existing well-known and recently uncovered biographical data, as well as both published and unpublished song juvenilia and mature songs, this dissertation examines the importance of Barber’s earliest musical and academic training in relationship to his development as a song composer. Copyright 2013 by Derek T. Chester ii ACKNOWLEDGMENTS I sang my first Samuel Barber song at the age of eighteen.
    [Show full text]
  • Concerts of Minnesota Composers, 1889-1935, and Other Related Events a Chronology
    Minnesota Musicians Archival Studies Concerts ofMinnesota Composers, 1889-1935, and other related events A Chronology Robert Tallant Laudon Prof. Emeritus ofMusicology University ofMinnesota 924 - 18th Ave. SE Minneapolis, MN 55414 (612) 331-2710 [email protected] 2001 This chronology springs from my research as author of Minnesota Music Teachers Association, the Profession and the Community, 1901-2000 (Eden Prairie, MN, by the association, 2000), which the quarterly Minnesota History has called more than an organizational history but a book that shows how talented and dedicated musicians, music teachers, and music lovers worked to build 'the musical Gibraltar of the Great Northwest'... and helps to explain Minnesota's prominent place on the nation's musical map." The composers are those that I am calling the First School of Minnesota Composition extending primarily from the 1890s to 1930, a group strongly influenced by German style and tradition, frequently writers of music for church and occasionally for light entertainment, most in the style of the Boston Group such as John Knowles Paine, Horatio Parker, and George W. Chadwick and others strongly influenced by the German Conservatories founded in the decades of the 1840s to the 1860s, hosts to numerous Americans in the 1880s and beyond. The music of this East Coast Group has not found an active place in the concert repertory of our symphonies who still prefer to repeat over and over the works of the greatest European masters, Haydn, Mozart, Beethoven, Schubert, Schumann, and Brahms. The Minnesota group has met the same fate. Yet the sincere efforts of a devoted group representing the taste of several generations of society deserve a place perhaps only in history but perhaps also to serve as contrasts to the Second School ofMinnesota Composition that began with the Modern Music movement ofthe 1920s and the Third School of Minnesota Composition that began with the establishment of the Minnesota Composer's Forum (now the American Composer's Forum) in 1973.
    [Show full text]
  • New World Records
    New World Records NEW WORLD RECORDS 701 Seventh Avenue, New York, New York 10036; (212) 302-0460; (212) 944-1922 fax email: [email protected] www.newworldrecords.org When I Have Sung My Songs: The American Art Song, 1900-1940 New World NW 247 he art song in America got off to a promising surprising how promptly the latest London suc- Tstart in 1759. Francis Hopkinson, composer cesses were imported. Our own popular songs of “My Days Have Been So Wondrous Free,”would were largely adaptations or imitations of the hit sign the Declaration of Independence in 1776, numbers. European musicians came to try their though there was no such declaration in his fortunes here, and especially the Germans took music. In 1759 we were still British colonies, and an active part in the musical life of the cities Hopkinson’s style derived from the music he where they settled. Such men as the British-born knew best.Yet we may be sure that Dr.Arne him- Austrian Alexander Reinagle and the Dutch-born self would not have been ashamed to have writ- German Peter Van Hagen were active at one time ten the first American song. or another in New York, Philadelphia, Boston, and A century was to pass after Hopkinson before Charleston.After the Revolution,Van Hagen, with our song history began to move forward. The the Frenchman Henri Capron and the Britishers young country did not lack musical life, but there John Bentley and William Brown, inaugurated were problems of communication.As John Tasker concert series in Philadelphia and New York.
    [Show full text]
  • Herbert J. Wrightson Musical Compositions and Papers, 1822-1987
    http://oac.cdlib.org/findaid/ark:/13030/ft567nb1gr No online items Herbert J. Wrightson musical compositions and papers, 1822-1987 Finding aid prepared by Doug Johnson, 2015; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2002 The Regents of the University of California. All rights reserved. Herbert J. Wrightson musical PASC-M 97 1 compositions and papers, 1822-1987 Title: Herbert J. Wrightson musical compositions and papers Collection number: PASC-M 97 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 3.0 linear ft.(5 flat boxes, 2 document boxes, and 1 shoe box) Date (bulk): Bulk, 1898-1949 Date (inclusive): 1822-1987 Abstract: This collection consists primarily of manuscript, published and reprinted publications of music. There are also some personal papers. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Creator: Wrightson, Herbert J. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.
    [Show full text]
  • Ellis-Orpheus Men's Chorus Musical Arrangements and Papers
    http://oac.cdlib.org/findaid/ark:/13030/tf809nb537 No online items Ellis-Orpheus Men's Chorus musical arrangements and papers Finding aid prepared by UCLA Library Special Collections staff, revised by Doug Johnson, 2015; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Finding aid last updated 17 May 2016. Ellis-Orpheus Men's Chorus PASC-M 99 1 musical arrangements and papers Title: Ellis-Orpheus Men's Chorus musical arrangements and papers Collection number: PASC-M 99 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 12.2 linear ft.(17.5 document boxes, 2 oversize flat boxes, 1 custom box, 1 map folder) Date (inclusive): 1872-2000 Abstract: The Ellis-Orpheus Men's Chorus was one of the most enduring choral societies in the United States, and played a significant role in Los Angeles culture from the founding of the Ellis Club in 1888 until its dissolution in 2000. The collection consists primarily of the group's sheet music, mostly arranged for four-part men's voices. Also present are programs for most of the group's concerts, membership and financial records, and some photographs. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access.
    [Show full text]
  • Century Music Arr. by Albert Beeker, Ed
    BIBLIOGRAPHY OF SCORES AND RECORDINGS IN THE CLARENCE DICKINSON COLLECTION OF CHURCH MUSIC WILLIAM CAREY COLLEGE HATTIESBURG, MISSISSIPPI I MANUSCRIPTS OF WORKS COMPOSED OR ARRANGED BY CLARENCE DICKINSON (Some Include a Copy of the Published Work) [Many with Dickinson’s Notations] [Filed Alphabetically by Title in Locked Drawers of Display Cabinet] [Miscellaneous Sketches Filed in Archive Box 67] A Christmas Round with Bells, arr. by Clarence Dickinson. Three equal vocal groups with bells. A Grace for a Child, words by Robert Herrick, music by Clarence Dickinson. Solo with Piano accompaniment. A Little Christmas Song, English text by Helen A. Dickinson, 16th century music arr. by Albert Beeker, ed. by Clarence Dickinson. SATB with accompaniment (for rehearsal). A Lovely Rose is Blooming, English text by Helen A. Dickinson; music by Michael Praetorius, arr. by Clarence Dickinson. TTBB with accompaniment (for rehearsal). A Natal Hymn, words and music by Clarence Dickinson. Solo with piano. A Song in Praise of Laziness, English text by Helen A. Dickinson, music by Joseph Haydn, ed. by Clarence Dickinson. Baritone solo with Male Chorus and Piano. A Song of Love, words by Sidney Lanier, music by Clarence Dickinson. Medium Voice with Piano accompaniment. Ach Herr, lass dein lieben Engelein, by Franz Tunder [possibly arr. by Clarence Dickinson, although no credit line is given]. For Soprano with strings and continuo. This manuscript is a transcription for organ. Adagio Sostenuto, by Ludwig van Beethoven, ed. by Clarence Dickinson, for Organ. All Hail the Virgin’s Son, arr. for The Mendelssohn Club by Clarence Dickinson. TTBB unaccompanied. An Angel Spake Unto the Shepherds, by Franz Liszt, ed.
    [Show full text]
  • September 1943) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1943 Volume 61, Number 09 (September 1943) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 61, Number 09 (September 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/224 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. daderewski greeting SCENE FROM SOUND FILM the new generation THE MOONLIGHT SONATA * THE GOLDMAN BAND had one of the most suc- cessful summer seasons of its entire history, with record-breaking crowds in attendance, both at the concerts in Central Park, New York City, and in Prospect Park, Brooklyn. The programs Wali.ingford presented set a new Riegger high mark for band concerts, and spoke volumes for the public appreciation of good music. A Bach -Handel program about midsummer looked more like that ad- of an orchestral concert—truly an vance since the days of “Poet and Peas- ant” and a “Hunt in the Black Forest. HERE, THERE, AND EVERYWHERE A highlight of the season’s music making of orig- IN THE MUSICAL WORLD was on July 21, when a program the inal band music was presented under sponsorship of the League of Composers.
    [Show full text]
  • JULIA CLAUSSEN Soprano Av a Ila Ble Festivals
    December 4, 1915 M US I CAL AM ~R.I CA 37 --------------------------~~==~~--------------- lary which, to be sure, has been made in canon and a host of other ways familiar by the efforts of Debussy, makes one confident that its composer A NEW NOTE IN OUR PIANO MUSIC Ravel and Florent Schmitt, but which knows well what he is about. Percy in reality belongs to all the musical Grainger finds this music very Ameri­ world. can. There is considerable discussion as Charles T. Griffes a Composer of Individuality Whose Writings I have gotten the keenest pleasure in to what is American in music and what Are Strong, Vital and Modern-A Discussion of His 0 Three studying these pieces from the view­ is not. I am sure I do not know. But point of their intrinsic musical values. there is a quality in t his Barcarolle-! Tone-Pictures" and " Fantasy P ieces" Mr. Griffes is himself perhaps too close should like to call it "punch"-that sug­ to them to realize what a tremendous gests the live character of our country freedom of expression he has gained and it must be that that has made Mr. N its inquiry a month or so ago among aided the composer in bringing them to since his songs, published, as I have Grainger find it typical of this land, I a large group of prominent profes­ the attention of one of this country's noted before, nearly a decade ago. Only which he has studied carefully in the large music publishers, with the r esult one shock have I experienced and that time he has been here.
    [Show full text]
  • Soundingthe Mystic Chords of Memory': Musical Memorials For
    Sounding “The Mystic Chords of Memory”: Musical Memorials for Abraham Lincoln, 1865–2009 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Thomas J. Kernan BM, University of Missouri-Kansas City, 2005 MM, University of Cincinnati, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Composers have memorialized Abraham Lincoln in musical works for the home, concert hall, and theater stage from his death in 1865 to, most recently, the 2009 bicentennial of his birth. They have invoked the name, biography, or character of Lincoln in compositions that address social, cultural, and political movements of their own times and places. In this study I consider the music composed and performed during Lincoln’s national funeral, Reconstruction, periods of mass immigration, the Civil Rights Movement, and the bicentennial of the president’s birth. In this music composers have portrayed Lincoln as martyr and saint, political advocate, friend to the foreigner and common man, and champion of equality. This study touches on issues of modernism and postmodernism, with specific consideration of changes in funerary and mourning rituals as well as the consequences of industrialization, commercialization, and the internet age in shaping presidential legacies. Careful attention is paid to aspects of ritual, protest, and cultural change. I argue that composers, through their memorial songs, symphonies, and dramas, have shared in creating our historical memory of the first martyred president. Moreover, I posit that the American desire for a civic leader with recognizable moral security, to which subsequent generations have bound their causes, has led to a series of changes in the Lincoln topos itself.
    [Show full text]