DOCSLIB.ORG

Piano Jubilee Pany Now Celebrating Its 100Th Anniversary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Piano Jubilee Pany Now Celebrating Its 100Th Anniversary Monday, October L9> 1953 iSTiAN Science Monitor xrtur MUDinscein. worm renownea pianist, one ol tne many Btelnwav artist» Notable among the large family enterprises in America is the Steinway Piano Com­ Piano Jubilee pany now celebrating its 100th anniversary. Harold Rogers re­ By Harold Rogers counts some of the stories of Music Critic of The Christian Science Monitor noted artists who have used the ABOUT 250 YEARS AGO in Cremona, Italy Polonaise in A Major. The program also sched­ A Antonio Stradivari made some violins— uled the premiere of Mr. Gould’s “Inventions,’’ Steinway and adds a few anec­ more than 1,000 of them. He brought some composed for performance on,this occasion by the of these to such perfection that great violin­ First Piano Quartet. dotes of odd adventures pianos ists ever since have sought them out. Some of The sponsors also aimed to feature the dra­ these violins were given nicknames, and have matic elements of such a concert. They planned have had. Jed enviable musical careers as they passed from an impressive display of 10 Steinway grands on the hands of one artist to the next. Though there a platform dais constructed behind the orchestra are several other honored makes of violins, there on the Carnegie Hall stage. They planned a spec­ is none other so notable as the Stradivarius. tacular parade—a parade of Steinway pianos There is no exact counterpart to the Stradi­ and of pianists who endorse the Steinway. on the chance that he knew something about varius in the history of the piano, for the piano pianos. He did. He was John H. Steinway, one of is younger than the violin and has not the same Free Services the younger members of the firm, and by concert longevity. But when one considers the patronage The artists offered their services gratis. Other­ time he had the parts assembled. Mr. Eddy s of great artists, there is one piano that shares wise the cost of such a parade—even to a firm piano was playable. much with the Stradivarius. as prosperous as Steinway & Sons—would have The Steinway piano is one of the last great It is the Steinway. been out of the question. family enterprises in the world today. The house The Steinway is now 100 years old. In 1952, Steinway provided pianos for about is now operated by seven of the Steinways who This season there will be many concerts in 22,000 concerts. While the artist is not charged descended from Heinrich Engelhard Steinweg honor of the Steinway piano, but the first one— for the use of the piano, he is billed for tuning (the R2R1S ii SS held Oct. 19 in Carnegie Hall, New York City- ana tor cartage tg and from the concert halls. Heinrich was an ex-Prussian Army bugler, a for­ should overshadow al! the rest. The array of Last season Artur Rubinstein willingly paid a ester, and cabinet maker in the village of Seesen talent staggers the musical imagination. Thirty- shipping charge that almost canceled his profits in the Harz Mountains. four pianists of distinguished reputation were from a concert in Buenos Aires. His pet Steinway Heinrich began to make a piano for his young to appear with the New York Philharmonic- was tied up in a shipping strike, and he refused son Theodor, but when Theodor reached the age Symphony under its noted conductor, Dimitri to take any of the substitute instruments offered of 14. the piano was still unfinished. So Theodor Mitropoulos. him by a local impresario. He placed a long-dis­ helped his father to complete it, and soon the tance call to Steinway & Sons. The following piano was winning prizes at fairs and stimulating Groups of 10 day he was overjoyed to watch airport attendants orders for similar instruments. haul Steinway concert grand out of a New One seldom hears more than four pianists a York-Buenos Aires plane. play together (the First Piano Quartet, for in­ Lessons—Sale stance), and Arthur Fiedler has shown the temer­ The Steinways have received thousands of glowing testimonials on the merits of their pianos, In 1848, owing to the revolutionary troubles ity to conduct a battery of 50 pianists at one time. but thdte is one they take keen pleasure in of the day, the Steinways considered a new But seldom does one have the opportunity of quoting. It is. a note from Thomas A. Edison home in America. They arrived in the United hearing 34 pianists of high caliber on the same dated June 2, 1890: States in 1850, and in 1853 they opened their new program—artists like Alexander Brailowsky, piano company in a Varick Street barn in New Gents: Robert Casadesus, Eugene List, Guiomar Novaes, York City. Moura Lympany, Jacques Abram, Emo Balogh, I have decided to keep your grand piano. For When a prospective customer, who hao no Ethel Bartlett, Abram Chasins, Ania Dorfman, some reasons unknown to me it gives better knowledge of the instrument, hesitated to buy, it Leonid Hambro, Constance Keene, Menahem1'- results than any so far tried. Please send bill was Doretta Steinway, daughter of Heinrich, who Pressler, Gyorgy Sandor, and Jan Smeterlin, to with lowest price. gave piano lessons to make the sale. name but a few. Yours. William Steinway, brother of Theodor and Since it would be impossible to hear from each Thomas A. Edison Doretta, brought the firm to the prestige it now of these pianists during one evening, Steinway enjoys. In 1860, he moved the factory to Park & Sons hit upon the following plan: Chosen by In 1943, when Nelson Eddy was in Khartoum Avenue and 53d Street, grew a dignified beard, lots, these pianists would perform in three groups on a USO tour, his piano fell from the back of and in 1865 built the first Steinway Hall on 14th of 10. The pieces selected for them were Josef a moving truck and scattered many of its 12,000 Street. Here were heard such noted artists as Hoffmann’s arrangement of “The Star-Spangled pieces about a bazaar. A Special Service officer Adelina Patti, Fritz Kreisler, and Jan Paderewski. Banner,” Morton Gould’s arrangement of Sousa’s remembered that there was a Lieutenant Stein­ Since 1853, the five generations of the Stein­ "Stars and Stripes Forever,” and Chopin’s way in a nearby Air Force unit, and called him way family have built 342,000 pianos. The com­ pany produces only 2 per cent of the 150,000 pianos bought by Americans annually, but it garners 10 per cent of the industry’s yearly gross. Steinway produced more than 25 per cent of the grand pianos sold in 1952. The firm also provided more than 90 per cent of the pianos used at re­ citals and concerts. Steinway pianos are built with loving care and thorough craftsmanship. Four hundred workmen contribute their abilities to a new piano during a period of nine months. The instrument receives six tunings, four action regulations, two tone regulations, and a final checkup by an expert before it leaves the factory. A Steinway concert grand weighs half a ton and is composed of 12,000 parts. Piano Care Do you have a piano? To keep it in the best condition, the Steinway experts recommend that you tune it three times a year, that you leave the keyboard open (since ivory tends to grow yellow in the dark), and that the top be closed to keep out the dust. The insides should be cleaned fre­ quently and demothing agents placed near the felts. The firm has made two pianos for the White House. The first, the “Gold Piano,” was pre­ sented to the White House in 1903. The second, which replaced the gold one, was chosen by Franklin D. Roosevelt. It stands on golden eagles in federal style. The most expensive piano ever built by Stein­ way was decorated with ivory and mother-of- pearl and was painted by Sir Alma-Tadema, noted British artist. It cost $40,000. Today it may be seen in the lobby of the Martin Beck Theater in New York. The Steinways will receive much honor during their 100th anniversary season—honor that is due them for their ability to turn out a quality instrument that is respected and cherished the world over. May this American firm win even greater achievements in the hundreds of years Stringing » to come!.
Load more

Recommended publications
  • Guide to the Steinway & Sons Records and Family Papers
    Guide to the Steinway & Sons Records and Family Papers NMAH.AC.0178 John Fleckner August 1, 2008 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 3 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: William Steinway Diary, 1861-1896.......................................................... 5 Series 2: Steinway Business Records, 1858-1910................................................ 10 Series 3: Steinway Family Materials, 1877-1882................................................... 14 Series 4: Rev. Bathholomew Krüsi Materials, 1857-1919.....................................
    [Show full text]
  • The Piano Makers Working At
    2018 LAGUARDIA AND WAGNER ARCHIVES CALENDAR WORKING AT THE PIANO MAKERS STEINWAY ABOUT THE ART CASE PIANOS The first art case piano was made in 1855 by Steinway. Between 1855 and 1930, Steinway produced over 200 “fancy pianos” for special customers in the United States and Europe. Customers included the Goulds, Fricks, and Rothschilds. Art case pianos were custom-designed to suit particular clients. The designs were not always made into pianos. Cover: Louis XV art case piano, c. 1901 Below: Grecian art case piano, c. 1910 WORKING AT THE PIANO MAKERS STEINWAY here’s something magical about a piano – the shiny ebony case, erected a magnificent new hall on West 57th Street, down the street the “ivory” keys, and the gorgeous sounds that can come from it. from Carnegie Hall. For the people who build the Steinway piano, it is a labor of skill, But the century also brought the Great Depression of the 1930s and Tartistry and commitment. This calendar tells their story. war. Twice the United States went to war with Germany, and Steinway, The founders of Steinway & Sons, then called Steinweg, came as an American company with a factory in Germany, found itself on to New York from Germany in 1850. They had been piano makers in both sides of the conflict. During World War II, the Hamburg plant was the old country, but America was particularly good to this immigrant expropriated by the Germans, who made it part of their war machine. family; within seven years they had built an immense piano factory The New York factory was enlisted as part of the American effort – on Park Avenue at 53rd Street.
    [Show full text]
  • STEINWAY HALL, 109-113 West 57T1i Street (Aka 106-116 West 58L" Street), Manhattan
    Landmarks Preservation Commission November 13, 2001, Designation List 331 LP-2100 STEINWAY HALL, 109-113 West 57t1i Street (aka 106-116 West 58l" Street), Manhattan. Built 1924-25; [Whitney] Warren & [Charles D.] Wetmore, architects; Thompson-Starrett Co., builders. Landmark Site: Borough of Manhattan Tax Map Block 1010, Lot 25. October 16, 2001 , the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of Steinway Hall and the proposed designation of the related Landmark Site (Item No. 3). The hearing had been duly advertised in accordance with the provisions oflaw. Eight people spoke in favor of designation, including representatives of the property's owners, Community Board 5, Municipal Art Society, American Institute of Architects' Historic Buildings Committee, and Historic Districts Council. In addition, the Commission received two letters in support of designation, including one from the New York Landmarks Conservancy. Summary The sixteen-story Steinway Hall was constructed in 1924-25 to the design of architects Warren & Wetmore for Steinway & Sons, a piano manufacturing firm that has been a dominant force in its industry since the 1860s. Founded in 1853 in New York by Heinrich E. Steinweg, Sr., the firm grew to worldwide renown and prestige through technical innovations, efficient production, business acumen, and shrewd promotion using artists' endorsements. From 1864 to 1925, Steinway's offices/showroom, and famous Steinway Hall (1866), were located near Union Square. After Carnegie Hall opened in 1891, West 57t1i Street gradually became one of the nation's leading cultural and classical music centers and the piano companies relocated uptown. It was not until 1923, however, that Steinway acquired a 57th Street site.
    [Show full text]
  • Steinway & Sons Triumphant
    D FOLD AND GLUE THE SQUARES TO THE SQUARES SOUBI j AVMJMiaXS VJO '; I 3HX How to Build Your Own Piano Remove this cover and use it to build your own piano. Step 1. Cut out the four pieces on the cover. Be sure to cut from the inside of the cover. This way you will not accidentally DHId (UNO ' slice the tabs off. JVTHHAO Step 2. Note that the dotted lines indicate folds. Fold all of the dotted lines. Step 3. Take piece #1. Fold the squares to the squares, underneath the piano keys. Then glue the squares to the squares. The piano keys will now be on the same level as . the sounding board. I Step 4. Pick up piece #1 and piece #2. You are now (, ready to fasten these two pieces together. Glue tab A to A, tab B to B, tab C to C, tab D to D, and tab E to E. Step 5. Fold the leg of the piano on piece #2 up and inward. Glue tab F to F. Step 6. Pick up piece #3. You are now ready to fasten piece #3 to pieces #1 and #2. Glue tab G to G, I tab H to H, tab I to I, and tab J to J. / Step 7. Notice that piece #3 and #2 overlap in the / back of the piano. Glue the overlap of piece #3 on / the inside of the overlap of piece #2. / / ' Step 8. Take piece #4. You are now ready to / fasten piece #4 to the rest of the piano.
    [Show full text]
  • At the Head of All Classes After Two Decades in New York, Educational Reformer Jean-Claude Brizard Takes the Top School Job in the Second City
    FALL 2011-WINTER 2012, VOL. XVI, NO. 2 QUEENS THE MAGAZINE OF QUEENS COLLEGE AT THE HEAD OF ALL CLASSES After two decades in New York, educational reformer Jean-Claude Brizard takes the top school job in the Second City QUEENS: The Magazine of Queens College 1 Old school ties: students drum up spirit on the quad. 12 Yearof TURKEY Exploring Past, Present, Future 20 10 14 5 22 18 SECTIONS 8 Starr Reporter 12 Jean-Claude Brizard Have Passport, Enters Eighth Decade on Takes the Helm in the 18 4 Mailbox QUEENS the Beat | BOB SUTER Windy City | DONNA SHOEMAKER Will Travel | LESLIE JAY THE MAGAZINE OF QUEENS COLLEGE Over the summer, education extends 5 News David Starr has helped revive a newspaper Chicago tapped a veteran New York Outstanding Grads Fall 2011-Winter 2012, Vol. XVI, No. 2 and a community educator and QC alum to be CEO of its 16 beyond borders for faculty, students, 20 Year of Turkey Events public schools Face the Future and staff ASSISTANT VP FOR COMMUNICATIONS | Maria Terrone 21 Bookshelf Thousands of talented students earned EDITOR | John Cassidy Queens College degrees last year; here 22 Giving Back CREATIVE DIRECTOR | Dyanne Maue are profiles of four 26 Alumni Notes DESIGN MANAGER | Georgine Ingber Class of 1941 STAFF DESIGNERS | Jefferson Caballero, 10 This Season at A Mater of MERRI ROSENBERG 24 34 2011 Honor Roll Shares Memories | 14 Andrew Redwood, Kia Watkins Scholarship | DONNA SHOEMAKER the Kupferberg Center At our 70th Commencement, members of STAFF WRITERS | Leslie Jay, Jacquelyn Southern, Bob Suter Professor Emerita Helen Cairns mentored The complete schedule of performances the first graduating class look back STAFF PHOTOGRAPHER | Nancy Bareis many of today's leaders in speech and and exhibitions, all in an insert that's communications sciences easy to tear out and save.
    [Show full text]
  • The History of CBS Hollywood Television Studios
    1 The History of CBS Hollywood Television Studios By Bobby Ellerbee and Eyes Of A Generation.com Preface and Acknowledgement This is a unique look at the events that preceded the need for CBS television studios in Hollywood and, as in New York, the radio division is leading the way. This project is somewhat different than the prior reports on the New York studios of CBS and NBC, for two reasons. The first reason is that in that in those reports, television was brand new and being developed through the mechanical function to an electronic phenomenon. Most of that work occurred in and around their headquarters in New York. In this case, both CBS and NBC are at the mercy of geological and technological developments outside their own abilities…namely the Rocky Mountains and AT&T. The second reason has to do with the success of the network’s own stars. Their popularity on radio soon translated to public demand once “talking pictures” became possible. That led many New York based radio stars to Hollywood and, in a way, Mohammed had to come to the mountain. This story is told to the best of our abilities, as a great deal of the information on these facilities is now gone…like so many of the men and women who worked there. I’ve told this as concisely as possible, but some elements are dependent on the memories of those who were there many years ago, and from conclusions drawn from research. If you can add to this with facts or photos, please contact me as this is an ongoing project.
    [Show full text]
  • Designing for Authenticity: the Steinway “D” Grand Piano
    Designing for Authenticity: The Steinway “D” Grand Piano Gino Cattani Roger L M Dunbar Zur Shapira Stern School of Business New York University 40 West 4th St. New York NY 10012 USA November 18th 2013 1 Designing for Authenticity: The Steinway “D” Grand Piano Abstract Authenticity is a socially constructed phenomenon within a socially desirable category. While authenticity is always socially constructed, i.e., involves evaluations by audiences such as peers, critics or users, authenticity claims are generally more credible as they are embedded in core features of organizations. To illustrate, we focus on the pianos made by Steinway & Sons. Building upon Thompson’s (1967) organization design ideas of input, technical core, and output activities, we trace out how Steinway & Sons sought audience recognition and prestige by expanding its technical core in ways that were intended to influence perceptions of Steinway piano authenticity. Our study also shows how when Steinway & Sons was challenged by competition and threatened by other external events, the authenticity audiences associated with its pianos acted as a buffer giving the firm time to adjust and change and so exhibit resilience. The implications for research on organization design and authenticity are discussed. Key Words: Authenticity; Craft; Technical Core; Historical Case; Steinway & Sons. 2 INTRODUCTION Authenticity is a socially constructed phenomenon. A product or service is considered authentic to the extent that audiences (e.g., users, critics, peers, etc.) recognize it as genuine and real (Trilling, 1972; Peterson, 1997, 2005; Fine, 2004; Rao, Monin and Durand, 2005; Carroll and Wheaton, 2009). There is no objective determination of authenticity “because interpretations vary across audiences and change across time” (Kovács, Carroll and Lehman, 2013: 3).
    [Show full text]
  • Untitled, It Is Impossible to Know
    VICTOR HERBERT ................. 16820$ $$FM 04-14-08 14:34:09 PS PAGE i ................. 16820$ $$FM 04-14-08 14:34:09 PS PAGE ii VICTOR HERBERT A Theatrical Life C:>A<DJA9 C:>A<DJA9 ;DG9=6BJC>K:GH>INEG:HH New York ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE iii Copyright ᭧ 2008 Neil Gould All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Library of Congress Cataloging-in-Publication Data Gould, Neil, 1943– Victor Herbert : a theatrical life / Neil Gould.—1st ed. p. cm. Includes bibliographical references (p. ) and index. ISBN-13: 978-0-8232-2871-3 (cloth) 1. Herbert, Victor, 1859–1924. 2. Composers—United States—Biography. I. Title. ML410.H52G68 2008 780.92—dc22 [B] 2008003059 Printed in the United States of America First edition Quotation from H. L. Mencken reprinted by permission of the Enoch Pratt Free Library, Baltimore, Maryland, in accordance with the terms of Mr. Mencken’s bequest. Quotations from ‘‘Yesterthoughts,’’ the reminiscences of Frederick Stahlberg, by kind permission of the Trustees of Yale University. Quotations from Victor Herbert—Lee and J.J. Shubert correspondence, courtesy of Shubert Archive, N.Y. ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE iv ‘‘Crazy’’ John Baldwin, Teacher, Mentor, Friend Herbert P. Jacoby, Esq., Almus pater ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE v ................
    [Show full text]
  • Volumes December, 1971 Number 12
    VOLUMES DECEMBER, 1971 NUMBER 12 Frank loob, President Roger Johnson, Vice President Ginny Billings, Publisher Bob Whiteley, Treasurer Roberta Cherney, Recording Secretary Dick Reutlinge r, Membership Secretary Mel luchetti, Advertising Secretary THE A1\tICA NEWS BULLETIN 1__-----------------------The AMICA News Bulletin __----.... Published by the Automatic Musical Instrument Collectors' Association, a non-profit club devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls. Contributions: All subjects of interest to readers of the bulletin are encouraged and invited by the publisher. AU articles must be received by the first of the month. Every attempt will be made to publish all articles of general interest to AMICA members at the earliest possible time and at the discretion of the Publisher, in the following areas: * Letters to the Publisher *Research Findings *Questions and Answers *Biographical Sketches of Artists and Composers *Photographs, Old Advertisements * Technical Information * Anything elseof general interest to AM ICA Advertisements: Personal ads are accepted by the AMICA Bulletin Board. Businesses which are interested in placing ads must follow these rules: - Each ad will consist of one full standard pagein the bulletin. - Payment of $25 must be included with the ad copy. - Ads must reach the publisher by the first of the month. - Ad copy must be complete and ready for print. - At least 50% of the ad must consist of photographs or art work that will be of specific interest to AMICA readers. PUBLICATION OF BUSINESS ADVERTISING IN NO WAY IMPLIES AMICA'S ENDORSEMENT OF ANY COMMERCIAL OPERATION. However AMICA reserves the right to refuse any ad that is not in keeping with AMICA's general standards or if complaints are received indicating that said business does not serve the best interests of the members of AMICA, according to its goals and by-laws.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 50,1930-1931, Subscription Series
    a* .% w*v J H BOSTON SYMPHONY OROIESTRS INC. FIFTIETH SEASON J930-193J prsgrtwie 3M . A RADIO Worthy of the Name And now—Out of the "House of Magic' conies the crowning achievement— a new type receiving set—radio as never before . GENERAL ELECTRIC RADIO In it, masters of radio have combined the unexcelled selectivity of the super-heter- odyne circuit wilh the unequalled power of screen-grid tubes—a station at every hairline . astonishing distance . elimi- nation of hum . full range tone, natural as though you are in the studio! This set embodies every quality radio science can impart ... a typical General Electric product. Priced from $U2.50up LesgTube9 Convenient Terms CCHarvey© "The Music Center of Boston" PIANOS RADIOS PHONOGRAPHS 144 Boylston Street Tel. UANcsek 5180 _TL SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 Boston Symph. lestra INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTIETH SEASON, 1930-1931 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1930, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT ......... President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 433 THE PIANO OF PADEREWSKI/ OF HOFMANN IS WELL WITHIN YOUR REAC No matter what the size of your living-room or the decoration of your music- room, there is a Steinway model that will be appro- priate.
    [Show full text]
  • A History of the East Village and Its Architecture
    A History of the East Village and Its Architecture by Francis Morrone with chapters by Rebecca Amato and Jean Arrington * December, 2018 Commissioned by the Greenwich Village Society for Historic Preservation 232 East Eleventh Street New York, NY 10003 Report funded by Preserve New York, a grant program of the Preservation League of New York State and the New York State Council on the Arts Greenwich Village Society for Historic Preservation 232 East Eleventh Street, New York, NY 10003 212-475-9585 Phone 212-475-9582 Fax www.gvshp.org [email protected] Board of Trustees: Arthur Levin, President Trevor Stewart, Vice President Kyung Choi Bordes, Vice President Allan Sperling, Secretary/Treasurer Mary Ann Arisman Tom Birchard Dick Blodgett Jessica Davis Cassie Glover David Hottenroth Anita Isola John Lamb Justine Leguizamo Leslie Mason Ruth McCoy Andrew Paul Robert Rogers Katherine Schoonover Marilyn Sobel Judith Stonehill Naomi Usher Linda Yowell F. Anthony Zunino, III Staff: Andrew Berman, Executive Director Sarah Bean Apmann, Director of Research and Preservation Harry Bubbins, East Village and Special Projects Director Ariel Kates, Manager of Programming and Communications Matthew Morowitz, Program and Administrative Associate Sam Moskowitz, Director of Operations Lannyl Stephens, Director of Development and Special Events The Greenwich Village Society for Historic Preservation was founded in 1980 to preserve the architectural heritage and cultural history of Greenwich Village, the East Village, and NoHo. /gvshp /gvshp_nyc www.gvshp.org/donate Acknowledgements This report was edited by Sarah Bean Apmann, GVSHP Director of Research and Preservation, Karen Loew, and Amanda Davis. This project is funded by Preserve New York, a grant program of the Preservation League of New York State and the New York State Council on the Arts.
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Reassessing a Legacy: Rachmaninoff in America, 1918–43 A dissertation submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2008 by Robin S. Gehl B.M., St. Olaf College, 1983 M.A., University of Minnesota, 1990 Advisor: bruce d. mcclung, Ph.D. ABSTRACT A successful composer and conductor, Sergei Rachmaninoff (1873–1943) fled Russia at the time of the Bolshevik Revolution never to return. Rachmaninoff, at the age of forty-four, transformed himself by necessity into a concert pianist and toured America for a quarter of a century from 1918 until his death in 1943, becoming one of the greatest pianists of the day. Despite Rachmaninoff‘s immense talents, musicologists have largely dismissed him as a touring virtuoso and conservative, part-time composer. Rather than using mid-twentieth-century paradigms that classify Rachmaninoff as a minor, post-Romantic, figure, a recent revisionist approach would classify Rachmaninoff as an innovator. As one of the first major performer-composers in America to embrace recording and reproducing technology, along with the permanence and repetition it offered, Rachmaninoff successfully utilized mass media for twenty-five years. Already regarded as a conductor and composer of appealing music, Rachmaninoff extended his fame by recording and performing his own works, and those of others.
    [Show full text]