DOCSLIB.ORG

Bitewn.Y^______| Ofbce Vmin»^^ ^CT>Sçînï>V' Retta, Uamlin Pleno

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bitewn.Y^______| Ofbce Vmin»^^ ^CT>Sçînï>V' Retta, Uamlin Pleno PER HISTORY PAST AN PRESENTi less to attend the opera in its fashion¬ fortune to a monastery, much against able home than it. does not to enjoy Cost of Production in the the hopes of his relatives, who had j the moat modest, theatrical entertain¬ Opera gathered around his deathbed. Schicchi ments.barring tho moving picture German Period «ays there is one remedy only; he can shows. the of Music impersonate the dead dan -whose de¬ When Academy 1887-'89. 1888-'89. was in Max Maretzek rented l»886-'87. mise has not yet been announced and When both parties in the course of the new, 18f>4, Serge Prokofieff, the latest because he had lost his temper. By H. E. Krehbiel strug¬ Salaries of artist«.$121,000 $10S,132.82 $135,498.32 dictate a new will, assuring tho reía- gle between the Metropolitan the house for a space to Mr, Hackett, j musical apparition from Russia, who "Japan is full of Russians and As a to the of history Company Orchestra . 40,000 42,408.75 46,206.00 lives that each of them will get just; Amer¬ sequel chapter and Mr. Hammerstein when the then manager of an opera company will appear as pianist, conductor and icans, and so I heard almost concerned with the increase in prices rivalry headed Grisi and 23,962.75 26,295.00 what he wants. The relativos arc de¬ noting between the Metropolitan and Manhat¬ by Mme. Signor Mario, Chorus. 25,000 composer at the concerts of the Russian hut Russian and English spoken in ol admission in 1911, I purpose now to two of the most refulgent stara that 17,869.00 lighted at this idea, and send for a y, tan houses was at its When Bullet. 19,000 16,567.33 Symphony Society next Tuesday and j streets," continued the young conduct an limited in scope height. ever blazed in tho firmament. notary. The notary comes, and Gianni Ruggf,,, inquiry, Mr. Hammerstein attempted to reëstab- operatic Conductors, stage managers, ballet Wednesday, was planning his trip to as he went on with his Japanese «not because of unwillingness on on their power of attraction, Schicchi, in Buoso Donati's sick bed,: America and the ad' any lish that rivalry in defiance of an Counting masters, etc._ 13,000 24,067.33 13,176.00 discussing delicate ventures. "I gave several avenues of in¬ agree- with of dictates hi:' but, after I concern my part, but because the ment to remain out of the coupled that the iiew house, Front of the house. 16,423.76- I will; bequeath- question of passports with three suc¬ there and found the native operatic field (20,000 a few to audiencei formation are few and narrow") into for ten Mr. Hackett charged $3 for the par¬ | ing minor cessive governments, he found one and I years, it became a loud note in Advertising . 16,000 11,176.47 12,781.13 the heniece3^_"propertyleaves the bulk of intelligent appreciative. amused the cost of opera-giving in New York, the quet (orchestra) stalls, and from $12 relatives, thing conveniently common to a!l on one occasion, legal proceedings successfully Transportation._ 11,000 8,317,82 10,4.81.56 Donati's fortune to himself. The rela- myself, by trying y, which was alleged to be the reason for! to $40 for the boxes. These prices the j three, the Czar's. Kerensky's and ent with a prosecuted to enjoin him from carrying Stagehands. 9,500 9,244.51 10,174.62 tives not dare of experin programme. I ¿^ the advance. This increase was effected out public thought exorbitant, and showed do protest for fear the Bolshevikian .respect for the voted one-half to his purpose. Public sympathy and Wardrobe - tho law. Chopin's music and by means of the devious device of first its resentment by from department.... 6,900 3,994.96 The young lovers, however, of artists as in judicial decree were asked on the staying away j person expressed the other to my own compositions. The the rebate allowed to sub¬ tho on the first Property department. 4,506 4,427.42 9,280.17 are made happy, for Schicchi's portion abolishing ground that the public good, not private performance night. exemption from military ervice udience pparently did not object to thus the who made record of tho Royalties . 2,500 9,606.52 7,376.59 will fall to Lauretta. The scribers, leading speculators gain, was the aim of the generous gen¬ Maretzek, fact, other day Mr Prokofieff to'd this unusual combination. Rhythm to announce nn in of said that the The casts of the three operas will advance prices tlemen, who are an audience numbered only us this with pride and intimated means a great deal to the maintaining institu¬ ! be as follows: Japanese from $5 to $6, then, proclaiming the 1,500. Hackett promptly reduced his that such a state of affairs was an evi¬ and musical sound tion which is unquestionably an elegant "IL TABARRO pure almost noth¬ latter sum to be the standard, and re¬ prices one-half for the second i (THE CLOAK) dence of an advanced form of civiliza¬ and lordly ornament of our civic and night, ! (Jioritotta .Claudia Muzio ing." the rebate to the agents, but and this was still further re¬ Cost of in One Season of Grau I tion. When the storing social life. To review some of the Re¬ price Operas Luiid.Giulio Crimi cauldron of Russian Mr. Prokofieff is tall, slight and bbnd. not to patrons who made their sub¬ duced to $1, and kept there till Mr. Michèle. ..Lulgi Montesanto dissension began to boil so fiercely that tails of the administration of the in¬ and One of Conried IlTinca. .Giordano Paltrinieri A disciple of dissonance ;-.r.d the u tra through the box office. Maretzek up enough courage music was for a time f:'om scriptions stitution, which has thus been pro¬ plucked II Talpn.Adamo Didur banished modern school, his hair and dress are or not this to the fortifi¬ to raise it to was the Vendito re di Canzoni.Pietro Whether led claimed as a beautiful and beneficial $1.50. This price, 1902-'03. 1904-"05. Audisio daily life, the young man too'; his old normal His manner ¡3 neither cation of the of I when the cost of La Frugola.Alice Gent!« mother rapt nor system speculation, public trust, can therefore be looked believe, high living Artists and staff.$522,315.13 $544,153.11 L'Innamorata.Marie Tiffany by the hand, and a bundle of soulful, but intelligent and wide awnke. which is become an almost intolerable the Civil War affected also the L'lnnamorato.Albert Reis scores under his arm and upon as a proper privilege and laudable during Chorus, ballet and supers. 41,386.89 66,212.13 fled to the Thus: he makes no attempt to make I leave to the of the cost of to the but it. re¬ SUOR ANGELICA the south'ands evil, judgment purpose, to which even an altruistic aim going opera; Orchestra and stage band. 85,569.29 95,083.40 Ukraine, of Russia, where capital out of his personality. His readers of the history, who are willing mained at $3 until the advent of the Suor Angelica.Geraldine Farrar there were no Bolsheviks and where might be attributed if I were to choose Steamship transportation. 16,799.60 20,656.07 La I'iincipessa.Flora Perini first recital here some weeks ago te read in the of the facts dis- House, I believe. on a light to claim it. Metropolitan Opera. Railroad transfer and La Zélatrice.Marie Sundeliua charming country estate he spent iroused conside able discussion, but he ciosed the scandal which followed If it was advanced to $5 for the first transportation, scenery I La Badessa.Rita Forma a year in solitude by During the last two generations the etc. La Maestra Delle Novizie.Cecil Arden devot;ng many refrains from taking himself too seri¬ hard on the heels of the as, season of Italian about which baggage, hotels, 36,209.52 72,687.30 hours each to advance, price of admission to the opera ha.? opera, Una Conversa.Marie Tiffany day composition. óla y, even with a contract from related in the of these memoirs been I have no time to at this Costumes, wardrobe department and wigs 18,110.59 15,953.83 Altra Conversa.Ven i Warwick Diag- chapter increased from 400 to 600 per inquire junct-. Suor Osmina.Marguerite Bellen After twelve months of sec'usion the hileff t' produce one of his ballets in printed a ure, it was reduced to and remained Music and royalties. .. 3,517.16 3,499.67 fortnight ago. centum. In some of its features, I $4, Una Novizia.Phyllis White young man grew restless. He cast a one pocket and an invitation from make no there the German Commissions and sundries. 2,356.62 4,371.54 Suor Genovieffa.Mary Ellis Altruistic doubt, the increase in the throughout rôgimo; Sorella preliminary g'ance over the musical C eofonte Campanini to submit an Purposes that from 1884-'85 to Infermiera.Lenora Sparkes cost of opera-giving has grown in pro¬ is, 1890-'91. On Advertising. 16,566.91 25,167.42 Suor Dolcina.Marie Mattfeld situation in Russia and promptly de¬ opera for his consideration in another. In order that there may be no mis¬ the return of Messrs.
Load more

Recommended publications
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
    [Show full text]
  • ARSC Journal
    THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued.
    [Show full text]
  • Arriva Un Bastimento Carico Di Artisti. Sulle Tracce Della Cultura Italiana Nella Buenos Aires Del Centenario
    RiMe Rivista dell’Istituto di Storia dell’Europa Mediterranea ISSN 2035-794X numero 6, giugno 2011 Arriva un bastimento carico di artisti. Sulle tracce della cultura italiana nella Buenos Aires del Centenario Irina Bajini Istituto di Storia dell’Europa Mediterranea Consiglio Nazionale delle Ricerche http://rime.to.cnr.it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
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 35,1915-1916, Trip
    SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY ^\^><i Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor ITTr WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 23 AT 8.00 COPYRIGHT, 1916, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 1 €$ Yes, It's a Steinway ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to I you. and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." pw=a I»3 ^a STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, O. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet. H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Sulzen, H.
    [Show full text]
  • Il Trittico Pucciniano
    GIACOMO PUCCINI IL TRITTICO PUCCINIANO Il trittico viene rappresentato per la prima volta al Teatro Metropolitan di New York il 14 dicembre 1918. Il tabarro - Luigi Montesanto (Michele); Giulio Crimi (Luigi), Claudia Muzio (Giorgetta); Suor Angelica - Geraldine Farrar (Suor Angelica), Flora Perini (Zia Principessa); Gianni Schicchi - Giuseppe de Luca (Gianni Schicchi), Florence Easton (Lauretta), Giulio Crimi (Rinuccio); direttore d'orchestra Roberto Moranzoni. La prima italiana ha luogo, meno d'un mese dopo, al Teatro Costanzi (odierno Teatro dell'opera di Roma) l'undici gennaio 1919, sotto la prestigiosa direzione di Gino Marinuzzi, fra gli interpreti principali: Gilda dalla Rizza, Carlo Galeffi, Edoardo de Giovanni, Maria Labia, Matilde Bianca Sadun. L'idea d'un "Trittico" - inizialmente Puccini aveva pensato a tre soggetti tratti dalla Commedia dantesca, poi a tre racconti di autori diversi - si fa strada nella mente del Maestro almeno un decennio prima, già a partire dal 1905, subito a ridosso di Madama Butterfly. Tuttavia, sia questo progetto sia quello d'una "fantomatica" Maria Antonietta (che, come si sa, non fu mai realizzata) vengono per il momento accantonati in favore della Fanciulla del West (1910). La fantasia pucciniana è rivisitata dall'immagine d'un possibile "trittico" nel 1913, proprio mentre proseguono - gli incontri con Gabriele D'Annunzio per una possibile Crociata dei fanciulli...... Infatti, proprio nel febbraio di quello stesso anno Puccini è ripreso dall'urgenza del "trittico": immediatamente avvia il lavoro sul primo dei libretti che viene tratto da La Houppelande, un atto unico, piuttosto grandguignolesco, di Didier Gold, cui il compositore aveva assistito, pochi mesi prima, in un teatro parigino: sarà Il tabarro, abilmente ridotto a libretto da Giuseppe Adami.
    [Show full text]
  • Enrico Caruso
    NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’.
    [Show full text]
  • ARSC Journal
    HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote-­ Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be­ zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner­ baron--0 habet acht.
    [Show full text]
  • 12-15-2018 Trittico Eve.Indd
    GIACOMO PUCCINI il trittico conductor Il Tabarro Bertrand de Billy Opera in one act with a libretto by production Giuseppe Adami, based on the play Jack O’Brien La Houppelande by Didier Gold set designer Suor Angelica Douglas W. Schmidt Opera in one act with a libretto by costume designer Jess Goldstein Giovacchino Forzano lighting designers Gianni Schicchi Jules Fisher and Opera in one act with a libretto Peggy Eisenhauer by Giovacchino Forzano, based on revival stage directors a passage from the narrative poem Gregory Keller and J. Knighten Smit Divina Commedia by Dante Alighieri Saturday, December 15, 2018 8:30 PM–12:35 AM Last time this season The production of Il Trittico was made possible by a generous gift from Karen and Kevin Kennedy Additional funding for this production was received from the Gramma Fisher Foundation, general manager Peter Gelb Marshalltown, Iowa, The Annenberg Foundation, Hermione Foundation, Mr. and Mrs. William R. jeanette lerman-neubauer music director Miller, and M. Beverly and Robert G. Bartner Yannick Nézet-Séguin 2018–19 SEASON The 87th Metropolitan Opera performance of GIACOMO PUCCINI’S il tabarro conductor Bertrand de Billy in order of vocal appearance giorget ta Amber Wagner michele George Gagnidze luigi Marcelo Álvarez tinca Tony Stevenson* talpa Maurizio Muraro a song seller Brian Michael Moore** frugol a MaryAnn McCormick young lovers Ashley Emerson* Yi Li Saturday, December 15, 2018, 8:30PM–12:35AM 2018–19 SEASON The 81st Metropolitan Opera performance of GIACOMO PUCCINI’S suor angelica conductor
    [Show full text]
  • VERDI Also Available Simon Boccanegra
    8.110119-20 bk Boccanegra_EU 12/12/08 1:42 PM Page 12 VERDI Also Available Simon Boccanegra O GOB TIT BI 8.111334-35 8.111240-41 1 g 957 Recordin Tito Gobbi • Boris Christoff Victoria de los Angeles • Giuseppe Campora 8.111284-85 8.111332-33 Rome Opera House Chorus and Orchestra Gabriele Santini 8.110119-20 12 8.110119-20 bk Boccanegra_EU 12/12/08 1:42 PM Page 2 Great Opera Recordings pleads for death and Amelia is moved by his great love, whom he had thought dead. Boccanegra forgives him, seeking to heal old enmities. £ He returns, as a ghost, to avenge outrage. The lights & Shouts are heard outside and calls to arms, the start of begin to go out in the piazza outside. Boccanegra, Giuseppe the rebellion against the Doge, who bids Gabriele join his however, is relieved at Fiesco’s appearance and can friends. The latter demurs, now loyal to Boccanegra and announce peace between them. He tells him that his own VERDI rewarded with the hand of Amelia. daughter and Fiesco’s grand-daughter is Amelia Grimaldi. (1813 - 1901) Act 3 ¢ Fiesco weeps at the revelation. He hears in Boccanegra’s words the voice of Heaven. Boccanegra * From the Doge’s palace Genoa can be seen, seeks to embrace him, the father of his beloved Maria. Simon Boccanegra illuminated as for a festival. The shouts of the crowd are Fiesco tells Boccanegra of the poison. The latter is Opera in a Prologue and Three Acts heard, praising the Doge. growing weaker and collapses onto a seat, as Amelia, Text by Franceso Maria Piave as modified by Arrigo Boito ( A captain of the bowmen gives Fiesco back his sword Gabriele, ladies, gentlemen, senators and pages with and tells him he is free.
    [Show full text]
  • The Hyechra Club
    THE HYECHRA CLUB The narrator has had a lively interest in The Hyechka Club since its beginning and believes that its history merits recording and dmu- menting in The Chronicles of OkZuhoma, Members of the Club in the past have been interested and its members today are interested in building and supporting a city and a state as cultural centers in which to rear patriotic and Clod-fearing children worthy of the loftiest ideals. Instead of a brief history, this band of music lovers is entitled to a fdsized, two volume publication to report ad* quately all that they have given to the education of young people along cdtural lines and to the wealth of Tulsa and the State of Oklahoma as expressed in the leadership and influence of the known and unknown contributors. Looking over the names of world famous artists that have appeared on its early programs and in its annual Spring Festivals, the words of Warner Van Valkenburg are a fitting tribute and introduction even to this brief history of Tulsa's pioneer organization of music lovers :l "I AM MUSIC. "I am the hymns of the Christian Martyrs in the catacombs; I am the songs of thanksgiving of the kneeling Pilgrime; I am the fugues of Bach, and the oratorios of Handel and Haydn; I am the magic flute of Momrt; I am the immortal symphonies of Beethoven; I am the throbbing mee- sages of Schubert and Schumann; I am the nocturnes of Chopin and the folk melodies of Dvorak; I am the rhapsodies of Linzt and the music- dramas of Wagner; I am the voice of Peter Tchaikowski, crying in the wilderness; I am Brahms and Richard Straues, and Verdi, fulfilling the command of destiny; yea I have breathed upon the harps of MacDowell and Cadman, and have sung of a new world in the west.
    [Show full text]
  • Werner Alberti Jerzy S. Adamczewski Martin Abendroth Bessie Abott
    Martin Abendroth Sinfonie Orchester, dir. Felix Günther Die Zauberflöte Mozart 1929, Berlín 52434 In diesen heiligen Hallen Hom. A 8030 5101 52435 O Isis und Osiris Hom. A 8030 5101 Bessie Abott, Enrico Caruso, Louise Homer, Antonio Scotti orchestra Rigoletto Verdi 20.2.1907, New York A 4259 Bella figlia dell´amore HMV DO 100 6823 Jerzy S. Adamczewski Orkiestra symfoniczna, dir. Olgierd Straszyński Halka Stanisław Moniuszko / Włodzimierz Wołski 1955±, Varšava WA 1489 Racitativ i ariaJanusza Muza 1717 P 1321 Auguste Affre, Etienne Billot Orchestre Faust Gounod x.5.1907, Paříž XP 3362 Duo du 1er Acte – 2 Disque Odeon 60329 X 40 Werner Alberti klavír Martha Flotow x.9.1905, Berlín xB 675 Mag der Himmel euch vergeben Odeon Record 34296, 1/10 okraj X 15 Postillion von Lonjumeau Adam x.9.1905, Berlín Bx 679 Postillionslied Odeon Record 34296, 1/10 okraj X 15 Orchester Troubadour Verdi x.2.1906, Berlín 1001 Ständchen Hom. B. 838 P 11261 14.5.1906, Berlín 1701 Stretta Hom. B. 838 P 11261 Bajazzo Leoncavallo x.7.1912, Berlín 14281 Nein, bin Bajazzo nichr bloss! Beka B. 3563 P 10964 14285 Hüll´ dich in Tand Beka B. 3563 P 10964 Odeon-Orchester, dir. Friedrich Kark Troubadour Verdi x.9.1906, Berlín Bx 1641 Ständchen Odeon Record 50152 X 65 Lohengrin Wagner x.9.1906, Berlín Bx 1659 Nun sei bedankt, mein lieber Schwann Odeon Record 50161 X 65 Frances Alda, Enrico Caruso, Josephine Jacoby, Marcel Journet Victor Orchestra, dir. Walter B. Rogers Martha Flotow 7.1.1912, New York A 11437 Siam giunti, o giovinette HMV DM 100 5420 A 11438 Che vuol dir cio HMV DM 100 5420 A 11439 Presto, presto andiam HMV DM 104 5422 A 11440 T´ho raggiunta sciagurata HMV DM 104 5422 Frances Alda, Enrico Caruso, Marcel Journet Victor Orchestra, dir.
    [Show full text]
  • Early History of Atlanta in Medicine, Architecture, Opera, Etc
    EARLY HISTORY OF ATLANTA in MEDICINE EARLY HISTORY OF MEDICINE IN ATLANTA* By Frank K. Boland, M.D. From the opening chapter of "Makers of Atlanta Medicine," a series of articles written by Dr. J. L. Campbell for The Bulletin of the Fulton County Medical Society in 1929, we are informed that the first physician to locate in the territory now known as Fulton county was Dr. William Gilbert, grandfather of Dr. W. L. Gilbert, former county commissioner, and at present a member of the Fulton County Medical Society. The elder Gilbert moved from South Carolina about 1829 and settled on the Campbellton road, to serve the thinly populated sections around old Utoy, Mount Gilead and Mount Zion churches. Just before the War between the States he moved to Atlanta and formed a partnership with his brother, Dr. Joshua Gilbert. In Martin's Atlanta and Its Builders, Dr. Joshua Gilbert is named by Dr. George Smith as Atlanta's first physician, who located here in 1845. It is interesting to note that Doctor Gilbert and Crawford W. Long, the discoverer of anesthesia, were born in the same year, 1815, and that Doctor Long was a resident of Atlanta in the early part of the 1850 decade, during which time he bought the lot bounded on three sides by Peachtree, Luckie, and Forsyth streets and began the erection of a fine residence. Abruptly deciding to move to Athens, where his children would have better educational advantages, he sold his incompleted building to Judge Clark Howell in 1855, and left the town with one medical man the less.
    [Show full text]