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Horatio William Parker (Geb. Auburndale, Massachusetts, 15
Horatio William Parker (geb. Auburndale, Massachusetts, 15. September 1863 — gest. Cedarhurst, New York, 18. Dezember 1919) Konzert für Orgel und Orchester es-moll op. 55 (1902) I Allegro moderato - Andante p. 1 II Allegretto, ma ben moderato p. 28 III Allegro moderato, molto risoluto - Più mosso p. 37 Vorwort Parker war einer der großen amerikanischen Komponisten und Musikpädagogen. Zunächst hatte er bei seiner Mutter Isabella G. Parker, einer Organistin, seine musikalische Früherziehung erhalten. Dann studierte er in Boston bei John Orth (1850-1932) Klavier, bei Stephen A. Emery (1841-91) Theorie und bei George W. Chadwick (1854-1931) Komposition. Daraufhin begab er sich nach Deutschland, wo er 1882-85 in München bei Joseph Rheinberger (1839-1901) in die Lehre ging. Zurück in den Vereinigten Staaten ab 1886, hatte er zunächst in New York verschiedene Stellen als Pädagoge und Organist inne. 1893 ging er nach Boston, wo er Organist und Chormeister an der Trinity Church wurde. Mit der Uraufführung des Oratoriums Hora Novissima, seines bei weitem erfolgreichsten Werks, am 3. Mai 1893 in New York wurde er berühmt. 1894 wurde er Professor an der Yale University, wo er 1904 zum Dekan der Music School gewählt wurde. Zu seinen zahlreichen Schülern zählte Charles Ives (1874-1954) , der ihn weiterhin hoch schätzte, nachdem er die traditionellen Begrenzungen der Tonsprache weit hinter sich gelassen hatte. Um die Jahrhundertwende leitete Parker Aufführungen eigener Werke in England (Hora Novissima op. 30 beim Worcester Festival am 14. September 1899, A Wanderer’s Psalm op. 50 als Auftragswerk des Hereford Festival am 13. September 1900 und den dritten Teil seiner Legend of Saint Christopher op. -
General Robert E. Lee (1807-70) and Philanthropist George Peabody (1795-1869) at White Sulphur Springs, West Virginia, July 23-Aug
DOCUMENT RESUME ED 444 917 SO 031 912 AUTHOR Parker, Franklin; Parker, Betty J. TITLE General Robert E. Lee (1807-70) and Philanthropist George Peabody (1795-1869) at White Sulphur Springs, West Virginia, July 23-Aug. 30, 1869. PUB DATE 2000-00-00 NOTE 33p. PUB TYPE Historical Materials (060) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Civil War (United States); *Donors; *Meetings; *Private Financial Support; *Public History; Recognition (Achievement); *Reconstruction Era IDENTIFIERS Biodata; Lee (Robert E); *Peabody (George) ABSTRACT This paper discusses the chance meeting at White Sulphur Springs (West Virginia) of two important public figures, Robert E. Lee and George Peabody, whose rare encounter marked a symbolic turn from Civil War bitterness toward reconciliation and the lifting power of education. The paper presents an overview of Lee's life and professional and military career followed by an overview of Peabody's life and career as a banker, an educational philanthropist, and one who endowed seven Peabody Institute libraries. Both men were in ill health when they visited the Greenbrier Hotel in the summer of 1869, but Peabody had not long to live and spent his time confined to a cottage where he received many visitors. Peabody received a resolution of praise from southern dignitaries which read, in part: "On behalf of the southern people we tender thanks to Mr. Peabody for his aid to the cause of education...and hail him benefactor." A photograph survives that shows Lee, Peabody, and William Wilson Corcoran sitting together at the Greenbrier. Reporting that Lee's own illness kept him from attending Peabody's funeral, the paper describes the impressive and prolonged international services in 1870. -
James Russell Lowell Among My Books
JAMES RUSSELL LOWELL AMONG MY BOOKS 2008 – All rights reserved Non commercial use permitted AMONG MY BOOKS First Series by JAMES RUSSELL LOWELL * * * * * To F.D.L. Love comes and goes with music in his feet, And tunes young pulses to his roundelays; Love brings thee this: will it persuade thee, Sweet, That he turns proser when he comes and stays? * * * * * CONTENTS. DRYDEN WITCHCRAFT SHAKESPEARE ONCE MORE NEW ENGLAND TWO CENTURIES AGO LESSING ROUSSEAU AND THE SENTIMENTALISTS * * * * * DRYDEN.[1] Benvenuto Cellini tells us that when, in his boyhood, he saw a salamander come out of the fire, his grandfather forthwith gave him a sound beating, that he might the better remember so unique a prodigy. Though perhaps in this case the rod had another application than the autobiographer chooses to disclose, and was intended to fix in the pupil's mind a lesson of veracity rather than of science, the testimony to its mnemonic virtue remains. Nay, so universally was it once believed that the senses, and through them the faculties of observation and retention, were quickened by an irritation of the cuticle, that in France it was customary to whip the children annually at the boundaries of the parish, lest the true place of them might ever be lost through neglect of so inexpensive a mordant for the memory. From this practice the older school of critics would seem to have taken a hint for keeping fixed the limits of good taste, and what was somewhat vaguely called _classical_ English. To mark these limits in poetry, they set up as Hermae the images they had made to them of Dryden, of Pope, and later of Goldsmith. -
Teaching by the Book: the Culture of Reading in the George Peabody Library Gabrielle Dean
JOHNS HOPKINS UNIVERSITY Teaching by the Book: The Culture of Reading in the George Peabody Library Gabrielle Dean First, there is a gasp or sigh; then the wide-eyed ing Culture in the Nineteenth-Century Library,” viewer slowly circumnavigates the building. In the which examined the intersections of the public George Peabody Library, one of the Johns Hopkins library movement, nineteenth-century book his- University’s rare book libraries, I often witness this tory and popular literature in order to describe the awe-struck response to the architecture. The library culture of reading in nineteenth-century America. interior, made largely of cast iron, illuminated by a I designed this semester-long course with two com- huge skylight and decorated with gilded neo-Gothic plementary aims in mind. and Egyptian elements, was completed in 1878 and First, I wanted to develop a new model for teach- fully expresses the aspirations of the age. It is gaudy ing American literature. Instead of proceeding from and magnificent, and it never fails to impress visitors. a set of texts deemed significant by twenty-first cen- The contents of the library are equally symbolic tury critics, our syllabus drew from the Peabody’s and grand, but less visible. The Peabody first opened collections to gain insight into what was actually to the Baltimore public in 1866 as part of the Pea- purchased, promoted and read in the nineteenth body Institute, an athenaeum-like venture set up by century. Moreover, there was no artificial separa- the philanthropist George Peabody; it originally in- tion between the texts we examined and their mate- cluded a lecture series and an art gallery in addition rial contexts. -
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American Historys Greatest Philanthro REATNESS. It’s a surprisingly elusive con - Three basic considerations guided our selection. Gcept. At first it seems intuitive, a superlative First, we focused on personal giving—philanthropy quality so exceptional that it cannot be conducted with one’s own money—rather than insti - missed. But when you try to define greatness, when tutional giving. Second, we only considered the you try to pin down its essence, what once seemed accomplishments attained within the individual’s obvious starts to seem opaque. own lifetime. (For that reason, we did not consider If anything, it’s even living donors, whose harder to describe greatness work is not yet finished.) in philanthropy. When it The Philanthropy Hall of Fame And third, we took a comes to charitable giving, The Roundtable is proud to announce broad view of effective - what separates the good the release of the Philanthropy Hall of ness, acknowledging from the great? Which is that excellence can take Fame, featuring full biographies of more important, the size of many forms. the gift, its percentage of American history’s greatest philan - The results of our net worth, or the return on thropists. Each of the profiles pre - research are inevitably charitable dollar? Is great sented in this article are excerpted subjective. There is a dis - philanthropy necessarily cipline, but not a science, transformative? To what from the Hall of Fame. To read more to the evaluation of great extent is effectiveness a about these seminal figures in Amer - philanthropists. Never - function of the number of ican philanthropy, please visit our new theless, we believe that individuals served, or the website at GreatPhilanthropists.org. -
Music at Grace 2016-2017
Music at Grace 2016-2017 WELCOME Dear Friends, We are delighted to welcome you to this season of Music at Grace! The coming year continues our tradition of offering glorious sacred choral music at the Sunday Eucharist, Evensong, Lessons and Carols, and in concert. In addition, we are thrilled to announce the debut of Collegium Ancora: Rhode Island’s Professional Chamber Choir, Ensemble-in-Residence at Grace Church. We also welcome the Brown University Chorus and Schola Cantorum of Boston to Grace on April 7 for a gala concert performance of Bach’s monumental St. Matthew Passion. And our Thursdays at Noon concert series resumes in September! This booklet outlines the musical offering for the coming season, particularly the 10 AM Holy Eucharist on Sunday mornings. Also included is an envelope for your support of Music at Grace. Whether you are a parishioner or a friend of music, we hope you will consider making a donation to support our musical presence in Downcity Providence, for the worship or concert setting. A return envelope is enclosed for your convenience, and names listed will be included in the programs for special services and concerts. We wish to remind parishioners of Grace church that any gift made to Music at Grace should be in addition to your regular Stewardship pledge which is so important to the church. We hope that you will walk through our historic doors on Westminster Street in downtown Providence for worship or concert, or both very soon! The Reverend Canon Jonathan Huyck+ Rector Vincent Edwards Director of Music MUSIC -
School of Music 2016–2017
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2016–2017 School of Music 2016–2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Goff-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849. -
Voice of the Forgotten American: the Oratorios of Horatio Parker
VOICE OF THE FORGOTTEN AMERICAN: THE ORATORIOS OF HORATIO PARKER BY HOWARD SWYERS Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree, Doctor of Music. ___________________________________ Carmen-Helena Tellez, Research Director __________________________________ Patricia Stiles, Chairperson __________________________________ Mary Ann Hart __________________________________ Timothy Noble ii Copyright © 2013 Howard Swyers iii ACKNOWLEDGEMENTS Special thanks to Patricia Stiles for being a mentor and a great voice instructor for these many long years. Thanks to Carmen Tellez for her unwavering support, optimism, and the many opportunities she has provided me. Thanks to Patricia Wise and Tim Noble for serving on my committee and for their support. Thanks to my family for putting up with me during the course of my schooling Thanks to all the many people at Indiana University who have helped and supported me through the years in both employment and study. Thanks to Terence Kelly for helping me get started down this long path. iv TABLE OF CONTENTS Acknowledgements iv List of Figures vi List of Musical Examples vii List of Tables ix Chapter 1 - The Cultural Context of Horatio Parker’s Life and His Music 1 Chapter 2 – Hora Novissima 27 Chapter 3 – The Legend of Saint Christopher 70 Chapter 4 – Morven and the Grail 116 Chapter 5 - Conclusion 168 Bibliography 171 v LIST OF FIGURES Figure 1 – Chart of Hora Novissima Structure 29 Figure 2 – First page of libretto. -
1. Charles Ives's Four Ragtime Dances and “True American Music”
37076_u01.qxd 3/21/08 5:35 PM Page 17 1. Charles Ives’s Four Ragtime Dances and “True American Music” Someone is quoted as saying that “ragtime is the true American music.” Anyone will admit that it is one of the many true, natural, and, nowadays, conventional means of expression. It is an idiom, perhaps a “set or series of colloquialisms,” similar to those that have added through centuries and through natural means some beauty to all languages. Ragtime has its possibilities. But it does not “represent the American nation” any more than some fine old senators represent it. Perhaps we know it now as an ore before it has been refined into a product. It may be one of nature’s ways of giving art raw material. Time will throw its vices away and weld its virtues into the fabric of our music. It has its uses, as the cruet on the boarding-house table has, but to make a meal of tomato ketchup and horse-radish, to plant a whole farm with sunflowers, even to put a sunflower into every bouquet, would be calling nature something worse than a politician. charles ives, Essays Before a Sonata Today, more than a century after its introduction, the music of ragtime is often regarded with nostalgia as a quaint, polite, antiquated music, but when it burst on the national scene in the late 1890s, its catchy melodies and en- ergetic rhythms sparked both delight and controversy. One of the many fruits of African American musical innovation, this style of popular music captivated the nation through the World War I era with its distinctive, syn- copated rhythms that enlivened solo piano music, arrangements for bands and orchestras, ballroom numbers, and countless popular songs. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
B-967 Peabody Institute Conservatory & George Peabody Library
B-967 Peabody Institute Conservatory & George Peabody Library Architectural Survey File This is the architectural survey file for this MIHP record. The survey file is organized reverse- chronological (that is, with the latest material on top). It contains all MIHP inventory forms, National Register nomination forms, determinations of eligibility (DOE) forms, and accompanying documentation such as photographs and maps. Users should be aware that additional undigitized material about this property may be found in on-site architectural reports, copies of HABS/HAER or other documentation, drawings, and the “vertical files” at the MHT Library in Crownsville. The vertical files may include newspaper clippings, field notes, draft versions of forms and architectural reports, photographs, maps, and drawings. Researchers who need a thorough understanding of this property should plan to visit the MHT Library as part of their research project; look at the MHT web site (mht.maryland.gov) for details about how to make an appointment. All material is property of the Maryland Historical Trust. Last Updated: 03-10-2011 Maryland Historical Trust Inventory No. B-967 Maryland Inventory of EASEMENT Historic Properties Form 1. Name of Property (indicate preferred name) historic Peabody Institute Conservatory and George Peabody Library (preferred) other Peabody Institute Library 2. Location street and number 1 & 17 East Mount Vernon Place not for publication city, town Baltimore vicinity county Baltimore City 3. Owner of Property (give names and mailing addresses of all owners) name JHP, Inc. c/o The Johns Hopkins University street and number 3400 N. Charles Street telephone 410-659-8100 city, town Baltimore state Maryland zip code 21218 4. -
Parker, Betty J. TITLE Educational Philanthropist George Peabody (1795-1869) and the Peabody Institute Library, Danvers, Massachusetts: Dialogue and Chronology
DOCUMENT RESUME ED 392 664 SO 025 466 AUTHOR Parker, Franklin; Parker, Betty J. TITLE Educational Philanthropist George Peabody (1795-1869) and the Peabody Institute Library, Danvers, Massachusetts: Dialogue and Chronology. PUB DATE Dec 94 NOTE 21p. PUB TYPE Information Analyses (070) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Donors; Higher Education; *Library Funding; Nonprofit Organizations; *Philanthropic Foundations; *Private Financial Support IDENTIFIERS Massachusetts (Danvers); *Peabody (George); *Peabody Institute Library MA ABSTRACT This dialogue is based on the life and success of George Peabody and the Peabody Institute Library, Danvers, Massachusetts. The dialogue is between two researchers who have spent years studying the life of George Peabody. The script recounts the difficulties faced by the poorly educated youngster who grew to become one of the wealthiest men in the United States. Peabody's educational philanthropy is recounted, along with many personal details of the man's life. A chronology of George Peabody's life is included at the end of the document. (EH) ***************7%**. **....***************** Reproductions supplied by EDRS are the best that can be made * * from the original document. * (December 25. 1994 Draft ) Fducluional Philanthropist George Peabody (1795-1869) and the Peabody Institute Library. Dan\ers. Massachusetts: ...a,oueni arid Chronology* by Franklin and BenJ. Parker FP: We are pleased to be here in historic Danvers. Massachusetts, near where George Peabodywas born and grew up. George Peabody's branch of the family was poor. His father died in debtat age 41. From poverty. George Peabody rose to become a merchant: a broker-banker in London selling 1.1.S.state bonds to promote roads, canals.