DOCSLIB.ORG

Maud Powell As an Advocate for Violinists, Women, and American Music Catherine C

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Maud Powell As an Advocate for Violinists, Women, and American Music Catherine C Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 "The Solution Lies with the American Women": Maud Powell as an Advocate for Violinists, Women, and American Music Catherine C. Williams Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “THE SOLUTION LIES WITH THE AMERICAN WOMEN”: MAUD POWELL AS AN ADVOCATE FOR VIOLINISTS, WOMEN, AND AMERICAN MUSIC By CATHERINE C. WILLIAMS A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2012 Catherine C. Williams defended this thesis on May 9th, 2012. The members of the supervisory committee were: Denise Von Glahn Professor Directing Thesis Michael Broyles Committee Member Douglass Seaton Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For Maud iii ACKNOWLEDGMENTS I would like to thank my parents and my brother, Mary Ann, Geoff, and Grant, for their unceasing support and endless love. My entire family deserves recognition, for giving encouragement, assistance, and comic relief when I needed it most. I am in great debt to Tristan, who provided comfort, strength, physics references, and a bottomless coffee mug. I would be remiss to exclude my colleagues in the musicology program here at The Florida State University. The environment we have created is incomparable. To Matt DelCiampo, Lindsey Macchiarella, and Heather Paudler: thank you for your reassurance, understanding, and great friendship. Special thanks to Megan MacDonald, my partner-in-crime, for all of the bizarre study hours, conversations, and general flailing. We took this journey together. My outstanding advisor, Denise Von Glahn, has contributed time, effort, and invaluable discussion throughout this thesis process. I am grateful for her confidence and sincere interest in my work. I would also like to recognize my committee, Douglass Seaton and Michael Broyles, for their enthusiastic reviews and contributions to this thesis. I am truly honored to have the opportunity to work with such esteemed scholars. iv TABLE OF CONTENTS List of Musical Examples ……………………………………………………………………… vi Abstract ………………………………………………………………………………………… vii 1. FRAMEWORK OF STUDY ……………………………………………………………… 1 2. A CONCISE BIOGRAPHY OF MAUD POWELL ………………………………………… 5 3. MAUD POWELL, PERFORMANCE, AND AMERICAN MUSIC ………………………. 16 4. AMY BEACH’S ROMANCE FOR VIOLIN AND PIANO, OP. 23, AND MARION BAUER’S UP THE OCKLAWAHA: TONE PICTURE FOR VIOLIN, OP. 6 …………………………………………………………………………………… 29 5. SUPPORTING GREAT AMERICAN WORKS ……………………………………………. 39 APPENDIX ……………………………………………………………………………………. 42 BIBLIOGRAPHY …………………………………………………………………………… 49 BIOGRAPHICAL SKETCH …………………………………………………………………. 56 v LIST OF MUSICAL EXAMPLES Example 1: Excerpt from Amy Beach, Romance for Violin and Piano, Op. 23. Boston: Arthur P. Schmidt, 1893, mm. 5-12 ……………………………………………………………………… 32 Example 2: Excerpt from Marion Bauer, Up the Ocklawaha: Tone Picture for Violin, Op. 6. Boston: Arthur P. Schmidt, 1913, mm. 1-4 …………………………………………………… 37 Example 3: Excerpt from Marion Bauer, Up the Ocklawaha: Tone Picture for Violin, Op. 6. Boston: Arthur P. Schmidt, 1913, mm. 3-10 ………………………………………………… 37 vi ABSTRACT Maud Powell was recognized as among the best violinists at home and abroad during her lifetime. She believed that women should play the violin and that American women could be professional musicians – performers, educators, and composers. Powell’s status as a great artist allowed her the freedom to program and promote music that was not established in the canon of “great works.” Her choices in performance impacted important violin repertoire and gave exposure to composers whose works might otherwise go unheard. Powell brought awareness to American music by performing it and labeling it on her programs as “American.” As an advocate of American music she was adamant that this music needed to be of the same caliber as European “great works.” She did not perform a piece simply because it was American, although she was sure to bring attention to a great work of American music. She performed world premieres of American works, many of which were dedicated to her, as American composers realized the impact that Maud Powell could have. Her influence was justified by her work as a professional performer and the success of her career. Powell was also interested in promoting works by American women. Both Amy Beach’s Romance for Violin and Piano, Op. 23, and Marion Bauer’s Up the Ocklawaha: Tone Picture for Violin, Op. 6 were dedicated to Powell. Though she was outspoken in written remarks regarding the capability of American women as composers, Powell did not perform these pieces consistently throughout her career. Among her many achievements, Powell is important to our nation’s music history because she was the first American-born professional violinist, she was the first instrumentalist to record for the Red Seal Label of Victor Records, she attempted to dissolve gender and racial barriers, and she premiered and recorded many contemporary American works at a time when these works had few advocates of her caliber. The little scholarship on her work as a great artist does not reflect her presence as a celebrated figure in American music during her lifetime. Powell’s place in history and the importance of her career resonates beyond herself or individual women performers or composers. It highlights the significance of great performers in music history and their influence on how music history is written. vii CHAPTER 1 FRAMEWORK OF STUDY This thesis discusses the ways the American violinist Maud Powell (1867-1920) promoted music by American composers. It considers two pieces dedicated to and performed by Powell: Amy Beach’s Romance for Violin and Piano, Op. 23, and Marion Bauer’s Up the Ocklawaha: Tone Picture for Violin, Op. 6. In order to determine Powell’s specific motivations for advocating certain works by American composers, I consider critical reception and Powell’s personal observations as recorded in letters, articles, and program notes. Primary sources for this thesis are housed in the Archive of the Maud Powell Society, located in Brevard, North Carolina, and in the New York Public Library. The Archive contains letters, scrapbooks (in hard copy format, printed from microfilm copies found in the New York Public Library), recordings and transcriptions, and photographs. In preparation for this thesis I traveled to Brevard, conducted research in the Maud Powell Society Archive, and established a working relationship with the archivist and Powell biographer Karen Shaffer. The Maud Powell Society has a useful website, http://www.maudpowell.org, with easy navigation that is helpful when looking for basic biographical information, such as a personal chronology or birth and death dates. The website is run and regularly updated by Karen Shaffer. Due to the limited bibliography of secondary writings pertaining to Powell, archival research has been crucial to my project. The information that resides in the Maud Powell Society Archive is a result of the research conducted for the only Maud Powell biography in existence, Maud Powell: Pioneer American Violinist, by Karen Shaffer and Neva Garner Greenwood. The 530-page biography, published in 1988, consists of a detailed account of Powell’s life. Greenwood did not actively begin to collect information on Powell until the 1970s. She searched the United States to locate Powell’s scattered memorabilia and managed to collect a large quantity of these materials. Her work on the Powell biography came to an end in 1980, when, due to poor health, she passed the project on to Karen Shaffer (a former violin student of her own). Shaffer finished the manuscript of the biography in 1986, three months before Greenwood’s death. Due to Greenwood’s deep investment in the Powell biography project, 1 Shaffer included her as a co-author of the biography, although it was published after Greenwood’s death. The tone of the biography tends to be more journalistic than scholarly, but this does not necessarily reflect the quality of the research.1 While the contents of Shaffer’s work have been helpful in constructing my own biographical sketch of Powell, the best sources remain Powell’s personal documents and memorabilia. Two pieces by American women dedicated to Powell are Amy Beach’s Romance for Violin and Piano, Op. 23, and Marion Eugénie Bauer’s Up the Ocklawaha: Tone Picture for Violin, Op. 6. While Beach has a relatively significant place in music history (see Adrienne Fried Block’s biography, Amy Beach, Passionate Victorian: the Life and Work of an American Composer, 1867-1944, or Jeanell Wise Brown’s Amy Beach and Her Chamber Music: Biography, Documents, Style), Bauer’s life is less well known. Sources on Bauer include Ellie M. Hisama's Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon, and a chapter in Denise Von Glahn’s forthcoming book Music and the Skillful Listener: American Women Compose the Natural World. Familiarity with the lives and works of both Beach and Bauer, and their relationships with Powell, will provide important context. Material available in the Florida State University Libraries and through Internet resources is limited to that found
Load more

Recommended publications
  • Woman War Correspondent,” 1846-1945
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository CONDITIONS OF ACCEPTANCE: THE UNITED STATES MILITARY, THE PRESS, AND THE “WOMAN WAR CORRESPONDENT,” 1846-1945 Carolyn M. Edy A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Journalism and Mass Communication. Chapel Hill 2012 Approved by: Jean Folkerts W. Fitzhugh Brundage Jacquelyn Dowd Hall Frank E. Fee, Jr. Barbara Friedman ©2012 Carolyn Martindale Edy ALL RIGHTS RESERVED ii Abstract CAROLYN M. EDY: Conditions of Acceptance: The United States Military, the Press, and the “Woman War Correspondent,” 1846-1945 (Under the direction of Jean Folkerts) This dissertation chronicles the history of American women who worked as war correspondents through the end of World War II, demonstrating the ways the military, the press, and women themselves constructed categories for war reporting that promoted and prevented women’s access to war: the “war correspondent,” who covered war-related news, and the “woman war correspondent,” who covered the woman’s angle of war. As the first study to examine these concepts, from their emergence in the press through their use in military directives, this dissertation relies upon a variety of sources to consider the roles and influences, not only of the women who worked as war correspondents but of the individuals and institutions surrounding their work. Nineteenth and early 20th century newspapers continually featured the woman war correspondent—often as the first or only of her kind, even as they wrote about more than sixty such women by 1914.
    [Show full text]
  • Faculty Recital Piano Vs. Viola: a Romantic Duel Jasmin Arakawa, Piano Rudolf Haken, Five-String Viola ______
    Faculty Recital Piano vs. Viola: A Romantic Duel Jasmin Arakawa, piano Rudolf Haken, five-string viola ________________________________ Sonata in E-flat Major, op. 120, no. 2 (1894) Johannes Brahms Allegro amabile (1833-1897) Allegro appassionato Andante con moto; Allegro Grandes études de Paganini (1851) Franz Liszt No. 5 (1811-1986) No. 2 No. 3 “La Campanella” Caprices (ca. 1810) Niccolò Paganini (1833-1897) No. 9 arranged by Rudolf Haken No. 17 “La Campanella” from Violin Concerto No.2 (1826) INTERMISSION Concerto in F (2014) Rudolf Haken Possum Trot (b. 1965) Triathlon Hoedown Walpurgisnacht Le Grand Tango (1982) Ástor Piazzolla (1921-1992) ________________________________ The Fourth Concert of Academic Year 2014-2015 Tuesday, September 16, 2014 7:30 p.m. A charismatic and versatile pianist, Jasmin Arakawa has performed widely in North America, Central and South America, Europe, and Japan. Described by critics as a “lyrical” pianist with “impeccable technique” (The Record), she has been heard in prestigious venues worldwide including Carnegie Hall, Salle Gaveau (Paris) and Victoria Hall (Geneva). She has appeared as a concerto soloist with the Philips Symphony Orchestra in Amsterdam, and with the Piracicaba Symphony Orchestra in Brazil. Arakawa’s interest in Spanish repertoire grew out of a series of lessons with Alicia de Larrocha in 2004. She has subsequently recorded solo and chamber pieces by Spanish and Latin American composers (LAMC Record), under the sponsorship of the Spanish Embassy as a prizewinner at the Latin American Music Competition. An avid chamber musician, she has collaborated with such artists as cellists Colin Carr and Gary Hoffman, flutists Jean Ferrandis and Marina Piccinini, clarinetist James Campbell, and the Penderecki Quartet.
    [Show full text]
  • NWCR714 Douglas Moore / Marion Bauer
    NWCR714 Douglas Moore / Marion Bauer Cotillion Suite (1952) ................................................ (14:06) 5. I Grand March .......................................... (2:08) 6. II Polka ..................................................... (1:29) 7. III Waltz ................................................... (3:35) 8. IV Gallop .................................................. (2:01) 9. V Cake Walk ............................................ (1:56) 10. VI Quickstep ............................................ (2:57) The Oslo Philharmonic Orchestra; Alfredo Antonini, conductor Symphony in A (1945) .............................................. (19:15) 11. I Andante con moto; Allegro giusto ....... (7:18) 12. II Andante quieto semplice .................... (5:39) 13. III Allegretto ............................................ (2:26) 14. IV Allegro con spirito .............................. (3:52) Japan Philharmonic Symphony Orchestra; William Strickland, conductor Marion Bauer (1887-1955) Prelude & Fugue for flute & strings (1948) ................ (7:27) 15. Prelude ..................................................... (5:45) 16. Fugue ........................................................ (1:42) Suite for String Orchestra (1955) ................... (14:47) 17. I Prelude ................................................... (6:50) Douglas Moore (1893-1969) 18. II Interlude ................................................ (4:41) Farm Journal (1948) ................................................. (14:20) 19. III Finale: Fugue
    [Show full text]
  • Souvenir Winter 2010 2011
    The Maud Powell Society for Music and Education SOUVENIR WINTER 2010-2011 Celebrating an American Tradition he past and the present met in perfect harmony when T Rachel Barton Pine and Karen Shaffer celebrated the legacy of Maud Powell in music, words and images in their program “An American Tradition”. More than 60 people attended the event held at the home of Adelaide Kersh in Brevard, North Carolina on September 20, 2010. The evening opened with “Maud Powell, An American Legend” a PowerPoint presentation developed and nar- rated by Karen with live performances by Rachel accom- panied by pianist Ruth Sieber Johnson, Executive Direc- Ruth Sieber Johnson, Karen Shaffer, tor of Sigma Alpha Iota International Music Fraternity. Rachel Barton Pine “We were really celebrating two great American vio- linists: Maud Powell, a pioneer in music who brought her art to audiences throughout the world as well as great in- tegrity to her art, and Rachel who continues that tradition today as a performer and educator,” Karen explained. Karen recounted Powell’s life from her birth in Illinois to her death in a hotel room in Uniontown, Pennsylvania MP Society Exhibit at the event. on a frigid January night in 1920, just two months after In addition to using Maud’s recordings to illustrate, she had suffered a heart attack that was mistaken for Rachel performed the Romance by Amy Beach, written “indigestion.” for Powell and premiered by Beach and Powell at the 1893 Columbian World’s Exposition in Chicago; Samuel Coleridge Taylor’s Deep River transcribed by Powell; Caprice on Dixie for solo violin in a combined arrange- ment by Rachel and Powell, and Nobody Knows the Trou- ble I See, the last piece of music performed by Powell two months before her death.
    [Show full text]
  • Women Pioneers of American Music Program
    Mimi Stillman, Artistic Director Women Pioneers of American Music The Americas Project Top l to r: Marion Bauer, Amy Beach, Ruth Crawford Seeger / Bottom l to r: Jennifer Higdon, Andrea Clearfield Sunday, January 24, 2016 at 3:00pm Field Concert Hall Curtis Institute of Music 1726 Locust Street, Philadelphia Charles Abramovic Mimi Stillman Nathan Vickery Sarah Shafer We are grateful to the William Penn Foundation and the Musical Fund Society of Philadelphia for their support of The Americas Project. ProgramProgram:: WoWoWomenWo men Pioneers of American Music Dolce Suono Ensemble: Sarah Shafer, soprano – Mimi Stillman, flute Nathan Vickery, cello – Charles Abramovic, piano Prelude and Fugue, Op. 43, for Flute and Piano Marion Bauer (1882-1955) Stillman, Abramovic Prelude for Piano in B Minor, Op. 15, No. 5 Marion Bauer Abramovic Two Pieces for Flute, Cello, and Piano, Op. 90 Amy Beach (1867-1944) Pastorale Caprice Stillman, Vickery, Abramovic Songs Jennifer Higdon (1962) Morning opens Breaking Threaded To Home Falling Deeper Shafer, Abramovic Spirit Island: Variations on a Dream for Flute, Cello, and Piano Andrea Clearfield (1960) I – II Stillman, Vickery, Abramovic INTERMISSION Prelude for Piano #6 Ruth Crawford Seeger (1901-1953) Study in Mixed Accents Abramovic Animal Folk Songs for Children Ruth Crawford Seeger Little Bird – Frog He Went A-Courtin' – My Horses Ain't Hungry – I Bought Me a Cat Shafer, Abramovic Romance for Violin and Piano, Op. 23 (arr. Stillman) Amy Beach June, from Four Songs, Op. 53, No. 3, for Voice, Violin, and
    [Show full text]
  • 1 Cultual Analysis and Post-Tonal Music
    Cambridge University Press 978-0-521-02843-1 - Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon Ellie M. Hisama Excerpt More information 1 CULTUAL ANALYSIS AND POST-TONAL MUSIC Given the vast, marvelous repertoire of feminist approaches to literary analysis introduced over the past two decades, a music theorist interested in bringing femi- nist thought to a project of analyzing music by women might do well to look first to literary theory. One potentially useful study is Sandra Gilbert and Susan Gubar’s landmark work The Madwoman in the Attic, which asserts that nineteenth-century writing by women constitutes a literary tradition separate and distinct from the writing of men and argues more specifically that writings of women, including Austen, Shelley, and Dickinson, share common themes of alienation and enclo- sure.1 Some feminist theorists have claimed that a distinctive female tradition exists also in modernist literature; Jan Montefiore, for example, asserts that in autobio- graphical writings of the 1930s, male modernists tended to portray their experi- ences as universal in contrast to female modernists who tended to represent their experiences as marginal.2 But because of the singular nature of the modernist, post-tonal musical idiom, an analytical project intended to explore whether a distinctive female tradition indeed exists in music immediately runs aground. Unlike tonal compositions, which draw their structural principles from a more or less unified compositional language, post- tonal works are constructed according to highly individualized schemes whose meaning and coherence derive from their internal structure rather than from their relation to a body of works.
    [Show full text]
  • Chapter One – the Founding of Polytechnic College 1890
    Chapter One – The Founding of Polytechnic College 1890 In August 1890, Reverend Milton Koger Little bounced around in his buggy examining three tracks offered to Fort Worth Methodists for a new regional college. The Methodist Episcopal Church South Northwest Texas Conference pastors and congregants saw the growth of the city to twenty-thousand in that year’s census as an opportunity to educate nearby city youth and those on ranches near and far. Interested Methodists had offered three tracks: a large one in Arlington Heights, a smaller one on the south side of downtown, and fifty acres four miles east of Fort Worth. On the 24th, hot as only Texas can be at the end of summer, Little, pastor of Missouri Avenue Church, climbed down from his buggy and drove a stake in the middle of the tract on a hill over a hundred feet above the Trinity River to the north. Early Fort Worth settlers Arch Hall and his brother W.D. Hall, along with their nephew, George Tandy, had offered the site for the college. The North Texas contingent proposed the new college at the conference’s November meeting at the fifth-day’s afternoon session in Abilene where it was unanimously approved to open a Methodist institute of learning in young, but burgeoning, Fort Worth. Fort Worth, 1890 ( in scanned pics, not on list) Tarrant County Courthouse, 1890 (no pic scanned) Founder Arch S. Hall (1) Founder W.D. Hall (2) Founder George Tandy (3) Fort Worth had only been a city for seventeen years, incorporated in 1873 with a population near a thousand.
    [Show full text]
  • Manuel Y. Ferrer and Miguel S. Arévalo: Premier Guitarist-Composers in Nineteenth-Century California
    Manuel Y. Ferrer and Miguel S. Arévalo: Premier Guitarist-Composers in Nineteenth-Century California John Koegel THE MUSICAL CAREERS of Manuel Y. Ferrer and vited soloists before both Mexican and non-Mexican Miguel S. Arévalo, the premier Mexican-American audiences. Arévalo and Ferrer also taught music to guitarist-composers in nineteenth-century California, pupils of diverse social and ethnic backgrounds. demonstrate that local Hispanic musicans continued Both exerted significant influence on musical 1ife in to represent Mexican cultural traditions advanta­ their respective areas of California. geously at a time when Anglo-American and Euro­ pean musicians dominated the state's forma] public Manuel Ygnacio Ferrer (born May 1832, 2 San performance scene. Though born in Mexico, both Antonio, Baja California?;3 died 1 June 1904, Oak- men lived most of their lives in California, Ferrer in 2 Reports published in 1904 immediately after Ferrer's death the San Francisco Bay area, and Arévalo in Los (including his obituary) give his birth year as 1832. The 1900 Angeles. Both toured throughout the state1 and fre­ Federal Census lists Ferrer's address at 5730 Telegraph Avenue, quently performed in their home cities, playing Mex­ Oakland (next door to his friend Spanish composer and pianist ican, European, and European-Arnerican music for Santiago Arrillaga). lt also gives his birth year as 1832 (1900 Mexican-American and English-speaking audiences. Federal Census: State of California, City of Oakland, enumer­ ation number 388, street number 8, lines 60-63). Ferrer and Arévalo were also published composers. 3 My search of the church records from San Antonio, Baja They moved easily between the Spanish- and En­ California failed to reveal the baptismal record of Manuel glish-speaking communities, often appearing as in- Ferrer.
    [Show full text]
  • MPI 0011 New York Times March 26, 1898
    MPI 0011 New York Times March 26, 1898 FIDDLE AND THE FIDDLER A Story of Maud Powell’s Transition from the Baby Instrument Up to the “Strad” Period. NOT A PRODIGY, JOACHIM SAID But She Had Talent, Which Was Better, and Worked Hard – Difficulty of American Players and Audiences in Overcoming Puritanism. This is a story of Miss Maud Powell and her “fiddle.” The word fiddle is in quotation marks because it is Miss Powell’s word. It does not behoove a stranger who is not on intimate terms with the instrument of instruments to say anything less dignified than violin. “But I should feel that it was almost an insult to call my dear old fiddle of violin,” Miss Powell says. To say ‘fiddle’ is like using the familiar pronoun of the Germans, ‘du,’ ‘thou .’” And the strangers do not say “du” upon first acquaintance, and Miss Powell’s violin is an instrument which should be treated with great respect, not only on general principles, but because of its age and good qualities. It is an Amati, Andreas Amati, and is 300 years old. Miss Powell has been using it for the past eight years. It is an instrument belonging to the collection of E. J. Delehanty, who loaned it to Miss. Powell. It is a “healthy instrument, has good whole word in it, and stands the changes of this climate.” That is a professional criticism and means a great deal. Professional violinists may almost be seen to grow by their violins. Miss Powell, for instance, has about reached the “Strad” period.
    [Show full text]
  • Newsletter 1
    The instruments of choice for the best players in the world... MARK WOOD MARK WOOD, award winning composer, interna- Magazine, among others. tional recording artist, and electric violinist, is widely Mark is currently starring in a national TV ad campaign acknowledged as the premier electric rock violinist of for Pepsi. The music track is a Kanye West produced his generation. Mark studied under maestro Leonard hip hop version of “The Devil Went Down to Georgia” Bernstein at Tanglewood and attended the Juilliard (featuring the rapper Nas). School of Music on full scholarship, which he left Mark won an Emmy award for his music for the Tour to pursue his vision of bringing rock violin into the De France bike race on CBS-TV and received three mainstream. His first release “Voodoo Violince” is widely additional Emmy nominations. As an inventor, Mark hailed as the quintessential rock violin record. In addi- established Wood Violins, a company whose mission is tion to his own band, The Mark Wood Experience, he to make Mark’s incredible instruments available to the has received two platinum and gold records from his general public. work with Trans-Siberian Orchestra, and has toured Mark’s Electrify Your Strings!™ series of music educa- and performed with Dee Snider’s Van Helsing’s tion programs have become enormously successful Curse, Celine Dion, Billy Joel, Lenny Kravitz, and and in demand with hundreds of schools participating Jewel. Mark has been a featured guest on The Tonight around the country. Show with Jay Leno, and has had articles written His definitive electric violin method book by the about him in the New York Times, USA Today, and Time same name is a must-have for all string players.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season
    INFANTRY HALL PROVIDENCE >©§to! Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, DECEMBER 28 AT 8.15 COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER ii^^i^"""" u Yes, Ifs 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 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 extr? dollars and got a Steinway." STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere 2>ympif Thirty-fifth Season,Se 1915-1916 Dr. KARL MUC per; \l iCs\l\-A Violins. Witek, A. Roth, 0. 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. Stilzen, H. Fiedler, A.
    [Show full text]
  • Central Texas Conference
    JOURNAL OF THE Central texas Conference FIFTY-SEVENTH ANNUAL SESSION WHICH IS THE THIRTEENTH SESSION SINCE DIVISION Methodist Episcopal Church, South WEATHERFORD, TEXAS NOVEMBER 15, 1922 a THE TEXAS Fort Worth, Texas The South's Leading Hotel 600 Rooms-600 Baths Rates from $2.00 to $5.00 It costs no more to have the best Texas Woman's College FOR YOUNG WOMEN An A-Grade Four Years College Making a Life, the Ideal COURSES OF STUDY Education—Making teachers-4 years State certificate. Home. Economics—Making Home Makers. Religion—Making Christian Leaders. Mrs. Mary L. Hargrove, for 20 years at Scarrit Bible Training School, is head of this Department. Science, Languages, Sociology and many other attrac- tive courses. FINE ARTS No School in the Southwest excels us. Carl Venth is a master musician and Dean. H. C. Taylor, one of America's best younger Pianists, is Director of the Piano Department. Dormitories full for Fall Session. Write for catalogues. Texas Woman's College Fort Worth, Texas HENRY E. STOUT, President The Depository of the Central Texas Conference .Progressive in Policy Efficient in Service Conservative in Management MEMBER FEDERAL RESERVE SYSTEM The First State Bank of Corsicana, Texas "Guaranty Fund' Bank" JOURNAL OF THE Central. 6"exas Conference FIFTY-SEVENTH ANNUAL SESSION WHICH IS THE THIRTEENTH SESSION SINCE DIVISION Methodist Episcopal Church, South WEATHERFORD, TEXAS NOVEMBER 15, 1922 J. M. BOND, 1708 Bessie St., Fort Worth, Texas, EDITOR PRICE 25 CENTS CONTENTS Page Annual Conference Register, 1866-1922 ................................
    [Show full text]