Boston Symphony Orchestra Concert Programs, Season 15, 1895

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 15, 1895 MUSIC HALL, BALTIMORE. BOSTON SYMPHONY ORCHESTRA. Mr. EMIL PAUR, Conductor. Fourteenth Season, 1894-95. PROGRAMME OF THE THIRD CONCER rr\ 1 Wednesday Evening, January 9. At 8.15 precisely. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. A Remarkable Piano. The Mason & Hamlin Piano is constructed in one particular differently from any other : the strings are held by screws, not by pins. As a result, the Mason & Hamlin Piano does not require one-quarter as much tuning as any other piano made. This fact has been demonstrated by actual test, and verified by mechanics, tuners, and private individuals. Piano tuning costs money. It costs only one-fourth as much to keep a Mason & Hamlin Piano in tune as it does to keep any other in tune. Consequently the expense of keeping a Mason & Hamlin Piano is reduced to one-fourth that of any other. Catalogue and full particulars mailed on application. dte0ttll?HmIm BOSTON. NEW YORK. CHICAGO. KANSAS CITY. ? jsical Purveyors to the Public, Beg to invite attention to their new stock (personally selected by Mr. Otto Sutro) of STEINWAY PIANOS The immeasurable superiority of these peerless instruments over all others in America and Europe in Tone, Quality, Sonority, and Duration, together with their indisputable Durability, commends them to the In- telligent Musical Public as the Most Satisfactory and Most Economical Pianos Made. JACOT'S SWISS MUSIC BOXES. (Otto Sutro & Co., Sole Agents.) Finest selection ever offered in Baltimore. Very latest improvements,— safety check, tune-indicator, and tune-skipper. Mechanism the finest and nickel-plated. Cylinders extra large, prolonging tune. Boxes with six to ten tunes, $10.56 to $50; with interchangeable cylinders, up to $250. The soft, smooth melody and brilliant effects of the Jacot Boxes give them a standing of unapproachable beauty and excellence. Sole agents for" RECIN A" MUSIC BOXES, changeable tune sheets, and MASON & HAMLIN'S WORLD-FAMOUS ORGANS. 119 & 121 East Baltimore Street. (2) Boston Music HaJ^ Mount Royal and t Maryland Avenues, Symphony li BALTIMORE. Orchestra Season of 1894-95. EMIL PAUR, Conductor. Third Concert, Wednesday Evening, January 9, 1895, » At 8.15 precisely. WAGNER PROGRAMME. - "Rienzi" _______ Overture " Tannhauser " - - -- - (a.) Act II. Elizabeth's Aria (b.) Act III. Prelude '•The Flying Dutchmau" ______ Overture "Lohengrin" --.-.- (a.) Act II. Balcony Scene (b.) Act m. Prelude " Die Meistersinger " - (a.) Act III. Prelude (b.) Act I. Walther's Preislied " " Rheingold ______ Procession of the Gods "DieWalkure" - - Spring Song " Siegfried " and (a.) Waldweben " Die Gotterdammerung " (b.) Siegfried's Passage to Briinnhilde's Rock, Morning Dawn, and Rhine Journey (Richter Arrangement). SOLOISTS : Miss ELSA KUTSCHERRA, Mr. ANTON SCHOTT. (8) . MANUFACTURERS OF GRAND, SQUARE, AND UPRIGHT EUGEN D'ALBERT: From fullest conviction, I declare them to be the best In- struments of America. ........ DR. HANS VON BULOW: Their sound and touch are more sympathetic to my ears and hands than all others of the country. I declare them the absolutely best in America. ....... ALFRED GRUNFELD: I consider them the best instruments of our times. P. TSCHAIKOVSKY: Combines with great volume of tone rare sympathetic and noble tone color and perfect action. — WAREROOMS : BALTIMORE, WASHINGTON, 22 and 24 E Baltimore Street. 817 Pennsylvania Avenue. NEW YORK, 148 Fifth Avenue. (4) Wagner. Wilhelm Richard Wagner was born in Leipzig on May 22, 18 13, and died in Venice on Feb. 13, 1883. He lost his father (Carl Friedrich Wilhelm Wagner, clerk of the police court, and a passionate music-lover) when only six months old. His mother (Rosina Bertz, of Weissenfels) mar- ried again with Ludwig Geyer, actor and dramatic author, and at that time engaged at the Dresden Hof-Theater, in 1815. Immediately after this marriage the family moved to Dresden, where the young Richard was edu- cated, entering the Kreuzschule under the name of Richard Geyer in De- cember, 1822, two years after his stepfather's death. About 1827 his mother took him and her other children back to Leipzig, where he entered the Nicolaischule ; but his disgust at being put into the third class, after having been in the second in Dresden, made him sulk at his studies, and devote most of his time to writing what he thought dramatic poetry. A love for music was first seriously aroused in him by hearing Beethoven symphonies at the Gewandhaus : he was then fourteen years old. He tried to study harmony by himself from Johann Bernhard Logier's " Praktischer Generalbass," but soon gave it up as a bad job. His first regular teacher in musical theory was Gottlieb Miiller ; but he was wanting in application and general steadiness, and Miiller could do little with him. In 1829-30 he went to the Thomasschule, but worked no harder there than elsewhere, giving himself up to a rather desultory study of music. In 1830 he entered the University of Leipzig as student of philology and aesthetics, which studies he characteristically neglected ; but he did now begin the first ear- nest and energetic work of his life,— studying composition with whole- FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. Horsford's Acid Phosphate Is, without exception, the Best Remedy for relieving Mental and Nervous Exhaustion; and, where the system has become debilitated by disease, it acts as a general tonic and vitalizer, affording sustenance to both brain and body. Dr. E. Cornell Easten, Philadelphia, Pa., says, "I have met with the greatest and most satisfactory results in dyspepsia and general derangement of the cerebral and nervous systems, causing debility ar.d exhaustion." Descriptive pamphlet free. Rumford Chemical Works, Providence, R.I. Beware of Substitutes and Imitations. (5) have THE BEST INSTRUMENTS, have THE FINEST STOCK. WE sell AT LOWEST PRICES. can have THE BEST INSTRUMENTS YOU at lowest prices and upon easy terms. EXCLUSIVE AGENTS FOR ESTEY ORGANS AND PHONORIUNS. CHICAGO CHURCH ORGANS. THE WONDERFUL ^OLIAN. WEBER, DECKER BROS., ESTEY, FISCHER, AND IVERS & POND PIANOS. BAY STATE GUITARS AND MANDOLINS. PAILLARD'S SWISS MUSIC BOXES. STEWART'S BANJOS, Etc. Sheet Music and Music Books of all kinds, and Musical Merchandise of every description. Sanders & Stayman, 934 F Street, N.W., 13 North Charles Street, WASHINGTON, D.C. BALTIMORE, MD. SKILLMAN'S (225 N. Eutaw Street) LUNCH PARLORS. Fine Confections ce-cream. Bread and Pastry «@=Strictly first-class in all its appointments. (6) souled devotion and perseverance under Theodor Weinlich. A symphony in C by him was given at the Gewandhaus on Jan. 10, 1833. His professional career as a musician began in 1833, when he was en- gaged as a chorus-master at the Stadt-Theater in Wiirzburg, where his elder brother, Albert, was tenor and stage manager. Here he wrote his first opera " Die Feen " (after Gozzi's " La Donna Serpente "). Only a few ex- cerpts were ever given until the whole work was brought out after his death, at the Munich Hof-Oper, in 1888. In 1834 he went as music director to the Stadt-Theater in Magdeburg, for which he wrote his second opera, " Das Liebesverbot " (based upon Shakspere's " Measure for Meas- ure "), which came to a single disastrous performance at the close of the season of 1836. On November 24 of this year he married Wilhelmine Planer, the beautiful actress whom he had followed to Konigsberg, where he got an engagement as conductor at the Stadt-Theater. In the autumn of 1837 he accepted the position of Kapellmeister at Holtei's new theatre in Riga, where he wrote the text and the music to the first two acts of his " Rienzi " ; but his ambition flew this time at higher game than the Rigi theatre, and, from the beginning, he intended his "Rienzi" for the Aca- demie de Musique in Paris. In the spring of 1839 his two years' engage- ment with Holtei was up, and he returned to Konigsberg, but only to go on to Pillau, whence he, with his wife and a superb Newfoundland, set sail for France via London. In Boulogne-sur-Mer he met Meyerbeer, who gave him letters of introduction to Le'on Pillet, director of the Academie de * Musique ; Antenor Joly, director of the Theatre de la Renaissance ; *This was not the present theatre of that name, on the boulevard Saint-Martin, but the salle Ventadour, perhaps better known as the Theatre-Italien, now turned into a bank. NEW ENGLAND (FOUNDED IN 1853 BY DR. EBEN TOURJEE.) RICHARD H. DANA, President. CARL FAELTEN, Director. COilPLETE IN ALL ITS DEPARTflENTS. Y6u are respectfully invited to visit the institution and examine its methods and facilities. Send for Illustrated Prospectus and Calendar. F. W. HALE, General rianager, Franklin Square, BOSTON, MASS. (7) R BETWEEN OSTON and NEW YOR THROUGH TRAIN SERVICE FROM EITHER CITY. 10.00 a 9 m. "BAY STATE LIMITED." Parlor Cars only. Special Tick- ets required. Buffet Cars through.. Due at 3.00 p.m. 10.03 a.m. " BAY EXPRESS." Buffet Parlor Cars and Day Coaches. Dae 4.30 p.m. 1. 00 p.m. "AFTERNOON EXPRESS." Buffet Parlor Cars and Day Coaches. Arrives at 7.30 p.m. 3.00 p.m. " SHORE LINE EXPRESS." Parlor Cars, Parlor Smoking Car, and Through Coaches. Dining Car bet. Boston and Hew London. Due 9 p.m. 5.00 p.m. " GILT EDGE " EXPRESS. Due at 11.00 p.m. Daily. Parlor Cars, Parlor Smoking Car, and Through Coache3. Dining Car between Boston and New London. i 2.00 O'CLOCK MIDNIGHT EXPRESS. Due at 7.00 a.m. Daily. Com- partment Sleeping Cars and Day Coaches. Open for occupation at 9.15 p.m. PHILADELPHIA, BALTIMORE, and WASHINGTON SERVICE. Yia Shore Line, Transfer Steamer "Maryland," and Pennsylvania Route.
Recommended publications
  • 05-09-2019 Siegfried Eve.Indd
    Synopsis Act I Mythical times. In his cave in the forest, the dwarf Mime forges a sword for his foster son Siegfried. He hates Siegfried but hopes that the youth will kill the dragon Fafner, who guards the Nibelungs’ treasure, so that Mime can take the all-powerful ring from him. Siegfried arrives and smashes the new sword, raging at Mime’s incompetence. Having realized that he can’t be the dwarf’s son, as there is no physical resemblance between them, he demands to know who his parents were. For the first time, Mime tells Siegfried how he found his mother, Sieglinde, in the woods, who died giving birth to him. When he shows Siegfried the fragments of his father’s sword, Nothung, Siegfried orders Mime to repair it for him and storms out. As Mime sinks down in despair, a stranger enters. It is Wotan, lord of the gods, in human disguise as the Wanderer. He challenges the fearful Mime to a riddle competition, in which the loser forfeits his head. The Wanderer easily answers Mime’s three questions about the Nibelungs, the giants, and the gods. Mime, in turn, knows the answers to the traveler’s first two questions but gives up in terror when asked who will repair the sword Nothung. The Wanderer admonishes Mime for inquiring about faraway matters when he knows nothing about what closely concerns him. Then he departs, leaving the dwarf’s head to “him who knows no fear” and who will re-forge the magic blade. When Siegfried returns demanding his father’s sword, Mime tells him that he can’t repair it.
    [Show full text]
  • The John and Anna Gillespie Papers an Inventory of Holdings at the American Music Research Center
    The John and Anna Gillespie papers An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The John and Anna Gillespie papers Descriptive summary ID COU-AMRC-37 Title John and Anna Gillespie papers Date(s) Creator(s) Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 48 linear feet Scope and Contents Papers of John E. "Jack" Gillespie (1921—2003), Professor of music, University of California at Santa Barbara, author, musicologist and organist, including more than five thousand pieces of photocopied sheet music collected by Dr. Gillespie and his wife Anna Gillespie, used for researching their Bibliography of Nineteenth Century American Piano Music. Administrative Information Arrangement Sheet music arranged alphabetically by composer and then by title Access Open Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], John and Anna Gillespie papers, University of Colorado, Boulder Index Terms Access points related to this collection: Corporate names American Music Research Center - Page 2 - The John and Anna Gillespie papers Detailed Description Bibliography of Nineteenth-Century American Piano Music Music for Solo Piano Box Folder 1 1 Alden-Ambrose 1 2 Anderson-Ayers 1 3 Baerman-Barnes 2 1 Homer N. Bartlett 2 2 Homer N. Bartlett 2 3 W.K. Bassford 2 4 H.H. Amy Beach 3 1 John Beach-Arthur Bergh 3 2 Blind Tom 3 3 Arthur Bird-Henry R.
    [Show full text]
  • June 1902) Winton J
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1902 Volume 20, Number 06 (June 1902) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 20, Number 06 (June 1902)." , (1902). https://digitalcommons.gardner-webb.edu/etude/471 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]. THE PUBLISHER OF THE ETVDE WILL SUPPLY ANYTHING IN MUSIC. 11^ VPl\W4-»* _ The Sw»d Volume ol ••The Cmet In Mmk" mil be rmdy to «'»!' >* Apnl "* WORK m VOLUME .. 5KI55 nETUDE I, Clic.pl". Oodard. and Sohytte. II. Chamlnade. J^ ^ Sthumann and Mosz- Q. Smith. A. M. Foerater. and Oeo. W. W|enin«ki. VI. kowski (Schumann occupies 75 pages). • Kelley» Wm. Berger, and Deahm. and Fd. Sehnett. VII. It. W. O. B. Klein. VIII, Saint-Saens, Paderewski, Q Y Bn|ch Max yogrich. IX. (llazounov, Balakirev, the Waltz Strau ’ M g Forces in the X. Review ol the Coum a. a Wholes The Place ol Bach nr Development; Influence ol the Folks Song, etc.
    [Show full text]
  • A Special Catalogue of the Musical Material in the University of Illinois Library
    A Special Catalogue of tfec !v , ;\h icn^ h the University of Illinois Ubrarj mic 1 !: K/V ut>ji\'.<ji«- J J JU .NO EE J.,.UMI AJtV THE UNIVERSITY OF ILLINOIS LIBRARY A SPECIAL CATALOGUE OF THE MUSICAL MATERIAL IN THE UNIVERSITY OF ILLINOIS LIBRARY BY DELLA GRACE CORDELL THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1918 Itns UNIVERSITY OF ILLINOIS June 13 19^8 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Delia Grace Qqx.gL.61L. entitled A Special Catalogue of the Musical .Material in the University of Illinois Library. IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE of Bachelor of Music HEAD OF DEPARTMENT OF Director, School of Music i. Table of Contents. Theoretical music. Introduction. I. History 1. II. General theory 13. III. Theory of music education, and instruction 26. IV. Philosophy and esthetics 42. V. Criticism and essays 43. VI. Periodicals 45. Practical music. I. Voice 47. II. Sacred 72. III. Piano ?6. IV. Violin S3. V. Organ 88. VI. Ensemble 108. VII. Orchestral 127. Index 140. Digitized by the Internet Archive in 2013 http://archive.org/details/specialcatalogueOOuniv S Introduction. In making this special catalogue of the music material in the University of Illinois Library, the object in view was a classifi- cation of the music and musical books from the standpoint of the music student in order that the material be made more accessible to those wishing to use it. The mu3ic material is arranged on the shelves according to the library Dewey Decimal classification system by means of which all books are classified under ten main divisions.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • This Album Presents American Piano Music from the Later Part of the Nineteenth Century to the Beginning of the Twentieth
    EDWARD MacDOWELL and Company New World Records 80206 This album presents American piano music from the later part of the nineteenth century to the beginning of the twentieth. Chronologically it ranges from John Knowles Paine’s Fuga Giocosa, published in 1884, to Henry F. Gilbert’s Mazurka, published in 1902. The majority are from the nineties, a time of great prosperity and self-satisfaction in a nation of philanthropists and “philanthropied,” as a writer characterized it in The New York Times. Though the styles are quite different, there are similarities among the composers themselves. All were pianists or organists or both, all went to Europe for musical training, and all dabbled in the classical forms. If their compatriots earlier in the nineteenth century wrote quantities of ballads, waltzes, galops, marches, polkas, and variations on popular songs (New World Records 80257-2, The Wind Demon), the present group was more likely to write songs (self-consciously referred to as “art songs”) and pieces with abstract titles like prelude, fugue, sonata, trio, quartet, and concerto. There are exceptions. MacDowell’s formal works include two piano concertos, four piano sonatas, and orchestra and piano suites, but he is perhaps best known for his shorter character pieces and nature sketches for piano, such as Fireside Tales and New England Idyls (both completed in 1902). Ethelbert Nevin was essentially a composer of songs and shorter piano pieces, most of them souvenirs of his travels, but he, too, worked in the forms that had become most prestigious in his generation. The central reason for the shift away from dance-inspired and entertainment pieces to formal compositions was that American wealth created a culture that created a musical establishment.
    [Show full text]
  • Asger Hamerik
    ASGER HAMERIK QVARTETTO København 2013 København UDGIVET AF EDITED BY KATARINA SMITT ENGBERG DDCM_018_Asger_Hamerik_Qvartetto_indmad.inddCM_018_Asger_Hamerik_Qvartetto_indmad.indd i 005/12/135/12/13 113.443.44 Cover design Willerup & DCM 018 ISMN 979-0-9001827-7-7 © 2013 Dansk Center for Musikudgivelse (DCM) Det Kongelige Bibliotek, København Danish Centre for Music Publication (DCM) The Royal Library, Copenhagen The edition is made available on http://www.kb.dk/dcm December 2013 DDCM_018_Asger_Hamerik_Qvartetto_indmad.inddCM_018_Asger_Hamerik_Qvartetto_indmad.indd iiii 005/12/135/12/13 113.443.44 INDHOLD CONTENTS Forord – v Preface – v Indledning – vi Introduction – vii Qvartetto – 1 Abbreviations – 8 Critical Commentary – 9 DDCM_018_Asger_Hamerik_Qvartetto_indmad.inddCM_018_Asger_Hamerik_Qvartetto_indmad.indd iiiiii 005/12/135/12/13 113.443.44 DDCM_018_Asger_Hamerik_Qvartetto_indmad.inddCM_018_Asger_Hamerik_Qvartetto_indmad.indd iviv 005/12/135/12/13 113.443.44 FORORD Dansk Center for Musikudgivelse (DCM) blev etableret i 2009 som en forskningsenhed under Det Kongelige Bibliotek. Centeret har til formål at tilgængeliggøre musikalske værker og musikhistoriske kilder af interesse for musikforskningen og det praktiske musikliv og i denne forbindelse at videreføre, ud- vikle og udbygge kompetencer inden for musikfi lologi samt at ud- vikle metoder og værktøjer til digital musikedition. Noder udgivet af DCM er såkaldt praktisk-videnskabelige ud- gaver. Det vil sige, at de er tilrettelagt med henblik på praktisk brug, men at der også nøje bliver gjort rede for redaktionelle ind- greb og for de afvigelser (varianter), der måtte være mellem for- skellige kilder til værket, så læseren eller musikeren kan få et indtryk af værkets tilblivelse og varians. DCMs nodeudgivelser er desuden forsynet med en indledende tekst, som introducerer til værkets historie og reception.
    [Show full text]
  • Houlton Times, February 18, 1920
    m AROOSTOOK TIMES S H U TOWN OF April 13, I860 AROOSTOOK COUNT * * '■ * Cary December 27, 1916 .1 HOULTON TIMES VOL. LX HOULTON, MAINE, WEDNESDAY, FEBRUARY 18, 1920 No. 7 DISASTROUS FIRE MOONLITE DANCE SHALL GATHERINGS VMJRNAMENT FOR OCCURS AT WOODSTOCK ANNUAL BALL AND PRIZE WALTZ FARMERS MEET TO BE PROHIBITED? One of the most disastrous fires that One of the largest crowds that has During an epidemic of any kind the ever yet attended the weekly Moonlite 'THE “NOOSE” CUP has visited Woodstock, N. B. in many OF HOULTON • PLANFOR1920 question is asked, Shall school sea* dance in the Heywood theatre was sions, churches, moving pictures, etc. ------------- years did more than $100,000 damage that of Friday night when more than be prohibited, and all of these places E&ch W f r k — earIy Friday morning and threatened LODGE OF ELKS 75 couples enjoyed a fine dune** be closed to the public. A Meeting Which Wi Be of ^ at one time to wipe out a large portion program, besides a large number of This question has been answered by t f l l B U f H r i l K r J ^ | )# 2 5 ° f business section of the town. spectators being present. Interest to Every Farmer no less a personage than Dr. Woods A Social Event Which Was Many were attracted to attend, to Two of the principal brick bocks Hutchinson who says: V witness the contest for the prize “We closed theatres and business “ Dux" and Elk* will meet Feb. 25th were entirely destroyed by the fire An event always looked forward to A Great Success offered for the best waltzers, and al­ houses because we did not know what OfBlcials representing the Elks Club which broke out in the Vogue Theatre with a great deal of pleasure by the though the number of contestants for else to do.
    [Show full text]
  • U.S. Sheet Music Collection
    U.S. SHEET MUSIC COLLECTION SUB-GROUP I, SERIES 4, SUB-SERIES B (VOCAL) Consists of vocal sheet music published between 1861 and 1890. Titles are arranged in alphabetical order by surname of known composer or arranger; anonymous compositions are inserted in alphabetical order by title. ______________________________________________________________________________ Box 181 Abbot, Jno. M. Gently, Lord! Oh, Gently Lead Us. For Soprano Solo and Quartette. Harmonized and adapted from a German melody. Troy, NY: C. W. Harris, 1867. Abbot, John M. God Is Love. Trio for Soprano, Tenor, and Basso. Adapted from Conradin Kreutzer. New York: Wm. A. Pond & Co., 1865. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Alphonzo Smith, 1862. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Charles C. Sawyer, 1862. 3 copies. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: J. W. Smith, Jr., 1862. 3 copies. Abbot, John M. Softly now the light of day. Hymn with solos for Soprano, Tenor, and Contralto or Baritone. New York: S. T. Gordon, 1866. Abbott, Jane Bingham. Just For To-Day. Sacred Song for Soprano. Words by Samuel Wilberforce. Chicago: Clayton F. Summy Co., 1894. Abraham’s Daughter; or, Raw Recruits. For voice and piano. New York: Firth, Pond & Co., 1862. Cover features lithograph printed by Sarony, Major & Knapp. Abt, Franz. Absence and Return. For voice and piano. Words by J. E. Carpenter, PhD. From “New Songs by Franz Abt.” Boston: Oliver Ditson & Co., [s.d.]. Abt, Franz. Autumnal Winds (Es Braust der Herbstwind). Song for Soprano or Tenor in D Minor.
    [Show full text]
  • March 1909) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 3-1-1909 Volume 27, Number 03 (March 1909) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 27, Number 03 (March 1909)." , (1909). https://digitalcommons.gardner-webb.edu/etude/545 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]. 4 MARH41- - mirr^ $1.50 per year Theodore Presser, Philadelphia 15c. per copy 145 SIX HAND THE ETUDE New Publications F THE EDITOR’S COLUMN MME. MARCELLA SEMBRICH ON “HOW » following ensemble pieces include all FORTUNES ARE WASTED IN The Isle of Jewels 1 Women’s Club Collection s ,Sserin^^fchaTs' W of interest to our readers. VOCAL EDUCATION.” Juvenile Album Part Songs and Choruses st. ard foreign c0Q^p°£f sj/t”sf'VoveftteS are Seated upon a throne on the stage of the ^ OPERETTA FOR YOUNG PEOPLE Price, 35 Cents . bo g “the number? We' shall continue to add A MONTHLY JOURNAL FOR THE MUSICIAN, THE ORDER THE APRIL ISSUE NOW AND Metropolitan Opera House, New York, sur- f FOR THE PIANOFORTE „„?of merit from time lo time until we have Text by JESSICA MOORE J of ci"br cino™‘l'sbandC higS'^chools.
    [Show full text]
  • Die Meistersinger Von Nürnberg
    RICHARD WAGNER die meistersinger von nürnberg conductor Opera in three acts James Levine Libretto by the composer production Otto Schenk Saturday, December 13, 2014 12:00–6:00 PM set designer Günther Schneider-Siemssen costume designer Rolf Langenfass lighting designer Gil Wechsler choreographer The production of Die Meistersinger von Nürnberg Carmen De Lavallade is made possible by a generous gift from stage director Mrs. Donald D. Harrington Paula Suozzi The revival of this production is made possible by a gift from Mr. and Mrs. Corbin R. Miller and Mr. and Mrs. Charles Scribner III, in honor of Father Owen Lee general manager Peter Gelb music director James Levine principal conductor Fabio Luisi The 413th Metropolitan Opera performance of RICHARD WAGNER’S This performance die meistersinger is being broadcast live over The von nürnberg Toll Brothers– Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury James Levine ® homebuilder , with in order of vocal appearance generous long-term support from walther von stol zing, konr ad nachtigall, tinsmith The Annenberg a knight from fr anconia John Moore* Johan Botha° Foundation, The fritz kothner, baker Neubauer Family eva, pogner’s daughter Martin Gantner Foundation, the Annette Dasch Vincent A. Stabile hermann ortel, soap-maker Endowment for magdalene, her at tendant David Crawford Broadcast Media, Karen Cargill balthasar zorn, pew terer and contributions David Cangelosi from listeners david, apprentice to sachs worldwide. Paul Appleby* augustin moser, tailor veit pogner, goldsmith Noah Baetge Visit List Hall at the Hans-Peter König second intermission ulrich eisslinger, grocer Tony Stevenson* for the Toll Brothers– six tus beckmesser, Metropolitan Opera town clerk hans foltz, coppersmith Quiz.
    [Show full text]
  • Missouri Music Educators Association 74Th Annual In-Service Workshop/Conference ~ ~ ~ ~ ~ ~ Tan-Tar-A Resort ~ January 25-28, 2012 Osage Beach, Missouri
    Missouri Music Educators Association 74th Annual In-Service Workshop/Conference ~ ~ ~ ~ ~ ~ Tan-Tar-A Resort ~ January 25-28, 2012 Osage Beach, Missouri Table of Contents Welcome .....................................................................................4 Acknowledgements .....................................................................5 MMEA Past Presidents ...............................................................6 MMEA Hall of Fame .................................................................7 MMEA Board of Directors ........................................................8 MMEA Advisory Council ..........................................................9 District and Organization Officers ...........................................10 Index of Music Quotes .............................................................15 Schedule of Organization Business Meetings ..........................18 Schedule of Sessions by Area ...................................................19 Conference Schedule All-State Rehearsal Schedule .....................................................22 Wednesday .................................................................................23 Thursday ...................................................................................24 Friday .........................................................................................32 Saturday .....................................................................................40 Concert Programs Thursday Concerts ....................................................................43
    [Show full text]