May 1934) James Francis Cooke
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18.7 Instrumental 78S, Pp 173-195
78 rpm INSTRUMENTAL Sets do NOT have original albums unless indicated. If matrix numbers are needed for any of the items below in cases where they have been omitted, just let me know (preferably sooner rather than later). Albums require wider boxes than I use for records. If albums are available and are wanted, they will have to be shipped separately. U.S. postal charges for shipment within the U.S. are still reasonable (book rate) but out of country fees will probably be around $25.00 for an empty album. Capt. H. E. ADKINS dir. KNELLER HALL MUSICIANS 2107. 12” PW Plum HMV C.2445 [2B2922-IIA/2B2923-IIA]. FANFARES (Composed for the Musicians’ Benevolent Fund by Lord Berners, Sir. W. Davies, Dorothy Howell and Dame Edith Smyth). Two sides . Lt. rubs, cons . 2. $15.00. JOHN AMADIO [flutist] 2510. 12” Red Orth. Vla 9706 [Cc8936-II/Cc8937-II]. KONZERTSTÜCK, Op. 98: Finale (Heinrich Hofmann) / CONCERTINO, Op. 102 (Chaminade). Orch. dir. Lawrance Collingwood . Just about 1-2. $12.00. DANIELE AMFITHEATROF [composer, conductor] dir. PASDELOUP ORCH. 3311. 12” Green Italian Columbia GQX 10855, GQX 10866 [CPTX280-2/ CPTX281-2, CPTX282-3/ CPTX283- 1]. PANORAMA AMERICANO (Amfitheatrof). Four sides. Just about 1-2. $25.00. ENRIQUE FERDNANDEZ ARBOS [composer, conductor] dir. ORCH. 2222. 12” Blue Viva-Tonal Columbia 67607-D [WKX-62-2/WKX-63]. NOCHE DE ARABIA (Arbos). Two sides. Stkr. with Arbos’ autograph attached to lbl. side one. Just about 1-2. $20.00. LOUIS AUBERT [composer, con- ductor] dir. PARIS CONSERVA- TOIRE ORCH. 1570. 10” Purple Eng. -
Monday Morning, February 5, 1962 Features 2 Schedule of Eventa 3
Monday Morning, February 5, 1962 Features 2 Art MMMMi— 7 Schedule of Eventa 3 MUSÍ« s»i^..,es,.se.,sssesssa 8 , 9 B ooks — - ........... 4t Ftlxus ' »Mt»»».»»»»—#»« »» w m • 10 Radio-X Ï & Theatre Michigan Stole New» SPOTLIGHT, Monday Morning, February 5, 1962 Fate of U S. Lies in Education Education must solve prob and unification of education age is a crucial one and will By DIANE TURNS | lead the country to the number become more so in the coming SPOTLIGHT Feature Writer one position in culture, industry lems in three major areas in standards throughout the . I and military power. order to meet the challenges of country. Kleis saM that a na years. Ernest O. Melby, profes tional commission to set the sor of education and former America is facing a crisis in How can our present schools the future. MSU educators said, j education—a crisis upon which They are: standards for the local dis Montana State University pres meet these challenges for the tricts to carry out would work ident. said there is a two-way rests the fate of the nation, future? 1. Raising the standards. of | American schools today are education. — j the best. solution to the problem: more, faced with the problem of edu The answer is simple: They 2. Finding more and better j “With social mobility it makes prestige for teachers and high cating tomorrow’s citizens to can't. teachers. a difference what education is er salaries. —• _ 3. Raising funds to meet fu- like all over the United States, J “ If-we come to put a high ture needs. -
Conducting Studies Conference 2016
Conducting Studies Conference 2016 24th – 26th June St Anne’s College University of Oxford Conducting Studies Conference 2016 24-26 June, St Anne’s College WELCOME It is with great pleasure that we welcome you to St Anne’s College and the Oxford Conducting Institute Conducting Studies Conference 2016. The conference brings together 44 speakers from around the globe presenting on a wide range of topics demonstrating the rich and multifaceted realm of conducting studies. The practice of conducting has significant impact on music-making across a wide variety of ensembles and musical contexts. While professional organizations and educational institutions have worked to develop the field through conducting masterclasses and conferences focused on professional development, and academic researchers have sought to explicate various aspects of conducting through focussed studies, there has yet to be a space where this knowledge has been brought together and explored as a cohesive topic. The OCI Conducting Studies Conference aims to redress this by bringing together practitioners and researchers into productive dialogue, promoting practice as research and raising awareness of the state of research in the field of conducting studies. We hope that this conference will provide a fruitful exchange of ideas and serve as a lightning rod for the further development of conducting studies research. The OCI Conducting Studies Conference Committee, Cayenna Ponchione-Bailey Dr John Traill Dr Benjamin Loeb Dr Anthony Gritten University of Oxford University of -
El Clarinete En Inglaterra: Frederick Thurston (1901-1953)
ESCUELA DE DOCTORADO Facultad de Formación de Profesorado y Educación Programa de Doctorado en Educación TESIS DOCTORAL EL CLARINETE EN INGLATERRA: FREDERICK THURSTON (1901-1953) Autora: Cristina María Strike Campuzano Directores: Dr. Enrique Muñoz Rubio Dr. Carlos Javier Fernández Cobo FEBRERO DE 2018 Agradecimientos A los directores de tesis, el Dr. Enrique Muñoz Rubio y el Dr. Carlos Javier Fernández Cobo por el apoyo recibido y por guiarme en este proyecto. A la familia Davis: Howard, Rachel, Rachel-Emily, Theo, Timothy, Phillip, Thomas y el recién nacido Leo, por su hospitalidad desbordante y por hacerme pasar varios de los mejores meses de mi vida. A la Dra. Helena Gaunt y Kate McNamara, por permitirme sin condiciones la estancia académica en Londres. A los entrevistados: Colin Bradbury, por su ayuda constante, su generosidad y por posibilitarme todos los documentos de los que él disponía sobre Frederick Thurston; Michael Harris por su amabilidad; Janet Hilton por su experiencia; Colin Lawson por su tiempo; Julian Farrell por enseñarme tanto; y Joy Farrall y Neil Black por su amor hacia Thea. A la British Library por hacerme descubrir múltiples posibilidades de conocimiento en la investigación. A la biblioteca de la Guildhall School of Music & Drama: Knut, Kate, Ainara, Rebecca y Adrian, por la inmensa ayuda recibida; a Paul Campion y David Herbert de la Worshipful Company of Musicians; a Margaret Jones del departamento de música de la biblioteca de la Universidad de Cambridge; a Martin Holmes y Juliet Chadwick de la facultad de -
Journal of the American Viola Society Volume 31 Online, Summer 2015
Journal of the American Viola Society A publication of the American Viola Society Summer 2015: Volume 31, Online Issue p. 3 From the Editor p. 5 From the President News & Notes p. 7 In Memoriam Joseph de Pasquale Remembered p. 11 Recalling the AVS Newsletter: English Viola Music Before 1937 In recalling 30 years of this journal, we provide a nod to its predecessor with a reprint of a 1976 article by Thomas Tatton, followed by a brief reflection by the author. Feature Article p. 13 Concerto for Viola Sobre un Canto Bribri by Costa Rican composer Benjamín Gutiérrez Or quídea Guandique provides a detailed look at the first viola concerto of Costa Rica, and how the country’s history influenced its creation. Departments p. 25 In the Studio: Thought Multi-Tasking (or What I Learned about Painting from Playing the Viola) Katrin Meidell discussed the influence of viola technique and pedagogy in unexpected areas of life. p. 29 With Viola in Hand: Experiencing the Viola in Hindustani Classical Music: Gisa Jähnichen, Chinthaka P. Meddegoda, and Ruwin R. Dias experiment with finding a place for the viola in place of the violin in Hindustani classical music. On the Covers: 30 Years of JAVS Covers compiled by Andrew Filmer and David Bynog Editor: Andrew Filmer The Journal of the American Viola Society is Associate Editor: David M. Bynog published in spring and fall and as an online- only issue in summer. The American Viola Departmental Editors: Society is a nonprofit organization of viola At the Grassroots: Christine Rutledge enthusiasts, including students, performers, The Eclectic Violist: David Wallace teachers, scholars, composers, makers, and Fresh Faces: Lembi Veskimets friends, who seek to encourage excellence in In the Studio: Katherine Lewis performance, pedagogy, research, composition, New Music Reviews: Andrew Braddock and lutherie. -
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110305 rr Casals EU 7/7/05 11:09 am Page 1 CMYK NAXOS HistoricalNAXOS 8.110305 BOCCHERINI • HAYDN • ELGAR Playing ADD Cello Concertos Time ൿ THIS COMPACTAND COPYINGOF BROADCASTING DISC PROHIBITED. UNAUTHORISED PUBLIC PERFORMANCE, RESERVED. TRANSLATIONS ALLAND TEXTS ARTWORK, THIS SOUNDRECORDING, RIGHTS IN 8.110305 Pablo Casals (1876-1973) 79:23 & Ꭿ 2005 Naxos RightsInternational Ltd. BOCCHERINI: Cello Concerto in B flat 22:08 Despite his eminence, Pablo (arr. Grützmacher) Casals did not make a 1 I Allegro moderato 9:00 substantial recording with an 2 II Adagio 6:12 3 III Rondo: Allegro 6:54 orchestra until he was in his London Symphony Orchestra conducted by Landon Ronald early fifties. Unlike violin Recorded by HMV, Abbey Road Studio London, 2nd May 1938 concertos, cello concertos were (matrices 2EA 4156161) catalogue DB 305618 not considered a priority by the HAYDN: Cello Concerto in D, Op. 101 (arr. Gevaërt) 17:37 record companies, while Casals CASALS: CelloConcertos 4 I Allegro moderato 12:43 himself seems not to have been 5 II Adagio 4:52 in a hurry to make discs of any Note: the third movement of this Concerto was not recorded kind. The HMV concerto BBC Symphony Orchestra conducted by Adrian Boult recordings, made in the 1930s Recorded by HMV, Abbey Road Studio London, 15th October 1945 and 1940s when the great cellist (matrices 2EA 10648150) unpublished on 78rpm was in his sixties, are among the ELGAR: Cello Concerto in E minor, Op. 85 27:41 finest documents of Casals. In 6 I Adagio-Moderato 7:50 the Elgar Concerto, which CASALS: Cello Concertos 7 II Lento-Allegro molto 4:43 8 III Adagio 4:03 benefits from the superb 9 IV Allegro 11:02 backing of his friend Adrian BBC Symphony Orchestra conducted by Adrian Boult Boult, Casals at 68 is still in Recorded by HMV, Abbey Road Studio London, 14th October 1945 glorious form. -
Lionel Tertis, York Bowen, and the Rise of the Viola
THE VIOLA MUSIC OF YORK BOWEN: LIONEL TERTIS, YORK BOWEN, AND THE RISE OF THE VIOLA IN EARLY TWENTIETH-CENTURY ENGLAND A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by WILLIAM KENTON LANIER B.A., Thomas Edison State University, 2009 Kansas City, Missouri 2020 © 2020 WILLIAM KENTON LANIER ALL RIGHTS RESERVED THE VIOLA MUSIC OF YORK BOWEN: LIONEL TERTIS, YORK BOWEN, AND THE RISE OF THE VIOLA IN EARLY TWENTIETH-CENTURY ENGLAND William Kenton Lanier, Candidate for the Master of Music Degree in Musicology University of Missouri-Kansas City, 2020 ABSTRACT The viola owes its current reputation largely to the tireless efforts of Lionel Tertis (1876-1975), who, perhaps more than any other individual, brought the viola to light as a solo instrument. Prior to the twentieth century, numerous composers are known to have played the viola, and some even preferred it, but none possessed the drive or saw the necessity to establish it as an equal solo counterpart to the violin or cello. Likewise, no performer before Tertis had established themselves as a renowned exponent of the viola. Tertis made it his life’s work to bring the viola to the fore, and his musical prowess and technical ability on the instrument gave him the tools to succeed. Tertis was primarily a performer, thus collaboration with composers also comprised a necessary element of his viola crusade. He commissioned works from several British composers, including one of the first and most prolific composers for the viola, York Bowen (1884-1961). -
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110305 bk Casals EU 04/07/2005 20:04 Page 4 Ward Marston ADD In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on Great Cellists • Casals BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender 8.110305 loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov recordings, both winners of the Best Historical Album Grammy. BOCCHERINI Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. HAYDN In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is ELGAR to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm recordings. His aim is to promote the importance of preserving old recordings and make available the works of great musicians who need to be heard. -
Sir Landon Ronald & Kreisler
SIR LANDON RONALD & KREISLER Mozart Violin Concerto in D (See page 1). PRICES OF " His Master's Voice Double-Sided Records THE ROYAL RECORD (R.E. 284) THEIR MAJESTIES THE KING & QUEEN. 10 in. Double-sided, 5/6. THE ROYAL RECORD (R.D. 887) H.R.H. THE PRINCE OF WALES. 12 in. Double-sided 5/6. NURSERY Records-ORANGE Label (Serial Letters AS), 7-inch 1/6. (Each series of 6 records in album, 12/6. Decorated Album-with linen 3/6.) pockets - separate, PHYSICAL CULTURE Records.-Set complete in album, 12/-. Album and chart separate, 3/-. Colour Label. 10-inch 12-inch Serial of LSerialetter PLUM... 4/6 C ... BLACK 6/6 D ... RED 8/6 DB ... BUFF DK ... 10/- PALE GREEN 11/6 DM PALE BLUE... 13/6 DO WHITE 16/- DQ ... Unless otherwise stated "His Master s Voice" Records should be 'lased at a speed of 78. His Master's Voice" Instantaneous Sbeed Tester, shows instantly whether your motor is running correctly. "His Master's Voice" Records KREISLERAPRIL, 1925. FRITZ KREISLER (Violin) ýýýýiýýnI;ýý (and Orchestra conducted by SIR LANDON RONALD 12-inch double-sided Red babel. Concerto No. 4 in D Mozart ... ... ... ... ... D.B. 815 First Movement-Allegro, Parts 1 and 2 D.B. 816 f Allegro, Part 3 i Second Movement-Andante cantabile, Part 1 { Andante cantabile, Part 2 D.B. 817 Third Movement-Rondeau, Part 1 D.B. 818 Rondeau, Parts 2 3 and T HE public has long been demanding that Mr. Kreisler should record a big work for the gramophone. Here is the fulfil- ment of its wish. -
Arnold Bax and the Poetry of Tintagel
ARNOLD BAX AND THE POETRY OF TINTAGEL A Dissertation submitted to the College of Fine Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by William B. Hannam December, 2008 HANNAM, WILLIAM B., PH.D., DECEMBER, 2008 MUSIC ARNOLD BAX AND THE POETRY OF TINTAGEL (213PP.) Director of Dissertation: Theodore J. Albrecht The latter part of the nineteenth and the early part of the twentieth centuries saw what is commonly accepted as a resurgence in music from the British Isles, but to this day, most of the actual music of this resurgence remains unknown to all but the most knowledgeable of art music aficionados. Among the composers active during this period, one of the most heralded in his day but little recognized now is Sir Arnold Bax (1883 – 1953). To the aforementioned aficionados, he is known for several substantial yet infrequently performed contributions to the symphonic repertoire, among them the tone poem Tintagel. Known in England as a composer, Bax carried on a separate life as a writer of poetry and drama in Ireland, working under the name Dermot O’Byrne. At the time of composition of the tone poem, Bax also wrote a four- stanza verse poem titled “Tintagel Castle.” Both were written for and dedicated to the pianist Harriet Cohen, with whom he was having an affair. The focus of this dissertation is an extensive look at the circumstances surrounding the composition of Tintagel, examining factors of development in Bax’s compositional style, his personal life including the affair with Harriet Cohen, and the influence of Yeats and Irish culture on Bax’s writings as Dermot O’Byrne. -
Microfilmed 1991 Information to Users
UMI MICROFILMED 1991 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Beil & Howell Intormaiion Company 300 North Z eeb R oad, Ann Arbor. Ml 48106-1346 USA 313 761-4700 800 521-0600 Order Number 0130433 A survey and analysis of the published French and Irish songs for piano and voice of Sir Arnold Bax Shockey, David Matthew, D.M.A. -
The Modernisation of Wind Playing in London Orchestras, 1909–1939: A
The modernisation of wind playing in London orchestras, 1909–1939: A study of playing style in early orchestral recordings Emily Claire Worthington PhD University of York Department of Music April 2013 2 3 Abstract This is a study of performing styles among wind players in London orchestras during the period 1909–1939. Existing scholarship relating to orchestral performance in London in the early twentieth century perpetuates the notion that playing standards were, at best, unreliable until the establishment of contracted orchestras in the 1930s. In addition, existing studies of wind playing in orchestral recordings pre-1930 suggest that a plain style prevailed, with little use of vibrato or tonal flexibility, until the French woodwind schools began to influence British practices in the late 1930s. Three London orchestras are considered through a combination of archival research and recording analysis. A case study of the New Symphony Orchestra (1905–1930) challenges the notion that pre-1930 London orchestras were ill-disciplined and lacking in corporate identity. The NSO’s recordings document a hyper-expressive performance style founded on the use of temporal flexibility, which bears relation to styles observed among pianists, singers and string players of the period. Attention then turns to London’s first ‘permanent’ orchestras, the BBC Symphony Orchestra and London Philharmonic Orchestra. Documentary evidence shows that the two ensembles were established to fulfill two very different ideals of orchestral performance and musical aesthetic. Comparison of the orchestras’ recordings is used to establish how this led to the emergence of two contrasting styles of playing in their wind sections, both of which nonetheless represented a move away from the style of the NSO.