May 1934) James Francis Cooke

Total Page:16

File Type:pdf, Size:1020Kb

May 1934) James Francis Cooke Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1934 Volume 52, Number 05 (May 1934) 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 52, Number 05 (May 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/822 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]. tJhtusic tJXCagazine May 1934 Price 25 Cents A r ti1 2= ©HI Information for if THE ETUDE Etude Readers & Advertisers The Etude Music Magazine 4Music <4htagazine Copyright, 1934, by Theodore Presser Co. for U. S. A. and Great Britain A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT AND ALL MUSIC LOVERS Editor published by Assistant Editor der the Act of March 3, 1879. Coot. right, 1934, by Theodore Presser JAMES FRANCIS COOKE i 7 ; 2 - , 7,4 CHESTNUT STR^T^pmLADELPH1A pa. EDWARD ELLSWORTH HIPSHER Co., for U. S. A. and Great Britain. I S 1 —J. 4 -II. No. 5 PRINTED IN THE UNITED STATES OF AMERICA MAY,. 1934 Subscription Price pJ— r—^1 $2.00 a y?ar in U. S. A. and Possessions, Argentine, Bolivia, Brazil, Colombia. Costa Rica, Cuba, Dominican Republic, Ecuador* El Salvador, Guatemala, Mexico, Nica¬ ragua, Paraguay Republic of Honduras THE WORLD OF <MUSIC Spain, Peru and Uruguay. Canada, $2.25 per year. All other countries, $3.00 per year. Single copy. Price 25 cents. INVEST YOUR MUSIC MONEY WISELY Interesting and Important Items Cleaned in a Constant Watch on Remittances Happenings and Activities Pertaining to Things Musical Everywhere Remittances should be made by money order, bank check, registered letter or Marin uzzi United States postage stamps. Money THE COVENT GARDEN SEASON of in¬ CZECH MUSIC filled the programs for THE BAYREUTH FESTIVAL is an¬ SUZANNE FISHER, a young American ternational opera opened on April 30th with February 1st and 3rd of the Cleveland nounced to begin Jully 22nd and close August soprano, is reported to have “jumped at one a new and retouched performance of Bee¬ Orchestra under Arthur Rodzinski. Among 23rd. There will be six performances of bound to the very top of the artistic ladder” thoven’s “Fidelio.” Weinberger’s “Schwanda” works presented were the Overture to “The “Parsifal,” with Richard Strauss conducting; by her interpretation of the role of Haitang ■rapper shows the date to which and the “Arabella” of Richard Strauss will be Bartered Bride” by Smetana; the “New and Karl Elmendorff is announced to lead when, on January 23rd, Zemlinski’s opera, novelties in the repertoire; Clemens Krauss, World Symphony” of Dvorak; and the “Con¬ four performances of “Die Meistersinger” “Der Kreiderkreis (The Circle of Chalk),” from Vienna, and Gino Marinuzzi, from certo for Violoncello” of Dvorak, with Gregor and three of “Der Ring des Nibelungen.” had its Berlin premiere at the State Opera. Etude. Wri Rome, will be new leaders, with Sir Thomas Piatigorsky as soloist. •3-»• Based on one of the most beautiful of the only. Contri Beecham as chief conductor and artistic GUSTAV MAHLER’S “Second Symphony, Chinese legends, the score is said to be of sible care is n but the publishers ^are director. not responsib KURT ATTERBERG’S opera, “Fanal,” in C minor,” had one of its rare American “fine workmanship” with “delicate coloring graphs either •«———-—-& has had its premiere at the Theater Royal of performances when it made the program and transparency of the orchestra” so that Stockholm, Sweden. Mr. Atterburg became (with the exception of the Overture to ‘‘Pro¬ it “should find a permanent place in the SIR EDWARD ELGAR, probably the metheus,” Op. 43, of Beethoven) on February most inspired of modern British composers, widely known in America when in 1928 he repertoire.” won the ten thousand dollar prize offered by 1st and 2nd, of the Detroit Symphony Orches¬ •3-»■ Advertisements must reach this office passed away at his home in Worcester on tra. The Detroit Symphony Mixed Choir not later than the 15th of the second April 23rd. Bom June 2, 18S7, the son of the Columbia Phonograph Company for a AN OHIO INTERCOLLEGIATE OR¬ month preceding month desired. Rates on centennial symphony written in homage to of two hundred voices supplied the choral CHESTRA ASSOCIATION was formed at a application. the orgainist of St. George’s Roman Catholic parts, Lois Johnson, soprano, and Clara Church of Worcester, his early education was Franz Schubert. meeting of college orchestra conductors held ■3-»• Clemens (Mrs. Ossip Gabrilowitsch), con¬ on December 14, 1933, at Kent State College. with the law in view; but he turned to his tralto, were soloists; and Ossip Gabrilowitsch own choice of music in which he was largely THE WOMEN ORGANISTS’ CLUB of On May 12, 1934, the All-Ohio Intercollegiate directed the interpretation. Orchestra, assembled by this association, gave self-taught. His masterpiece, “The Dream of Boston held on February 20th a “Travel Re¬ ■3-»• Gerontius,” was produced at the Birmingham cital” in which scenes of Paris were portrayed a festival at Kent State College, at which Dr. Festival, on October 3, 1900, with Hans by the use of music for organ, violin, violon¬ GRIEG’S unfinished opera, “Olav Trygva- Howard Hanson was the conductor of the SPECIAL NOTICES Richter conducting. His compositions in¬ cello and voice. son,” had what is believed to have been its evening program which included his own “Romantic Symphony.” AND clude almost every form; and he achieved ■3-1- first performance in America, when, on Feb¬ almost every distinction to be conferred upon ruary 14th, it was given a performance at AT THE CONCERTS-COLONNE of the Biltmore Theater of Los Angeles, under SERGEI RACHMANINOFF, according to a British musician and many from foreign Paris, on February 10th and 11th, “Tristan ANNOUNCEMENTS lands. Sir Edward made several visits to local Scandinavian auspices. a late announcement, is to become musical and Isolde” was given in concert form and in •3-»• director at Ithaca College, Ithaca, New York. America to conduct his works. its entirety. The first program included the •3-1- SIR HAMILTON HARTY finished, early first act and the first two scenes of the second; in February, his engagement as leader of the FRANZ LEHAR’S new “grand” operetta, SPECIAL NOTICES BENIAMINO GIGLI sang the role of and the last presented the remainder of the Rochester Philharmonic Orchestra. When he “Giuditta,” has had its world premiere at Des Grieux (which for years was one of his appeared on the stage he received a wild most popular at the Metropolitan) in a the Vienna State Opera, heretofore the home ovation; and his tone-poem, “With the Wild of Mozart, Verdi and Wagner. The innova¬ fiftieth anniversary performance of Massenet’s Geese,” was included in the program. “Manon” given on January 19th, in Rome. ARTURO TOSCANINI’S sixty-seventh tion was prompted by the desire to recoup birthday, on March 25th, was celebrated by the exchequer of the State Opera, which must •3-f> GENTLEMAN, TEACHER OF PIANO; a “radio party” from coast to coast, when a FELIX WEINGARTNER’S musical com¬ have been achieved with Lehar leading the Choral, Orchestral and Band Conductor— LIBRARY RECORDS show that a few special “Palm Sunday Program” of the Phil¬ edy, “Dame Kobold (Dame Imp) ” was pro¬ first four performances, with prices of ad¬ available after June fifteenth. Desires years ago there was at the New York Public duced on January 14th at the Stadttheater permanent location in College, High harmonic-Symphony Orchestra was broadcast mission tripled and quadrupled, and with School, or private work, In community de¬ Library a continuous long waiting list for the from Carnegie Hall of New York, with Maes¬ of Baden near Vienna, in honor of the record breaking box-office receipts. siring musical development. Address “Scheherazade” of Rimsky-Korsakoff and tro Toscanini leading. Listeners in were seventieth birthday of the composer. It was •3-»• X. Y. Z„ care of Etude. the “Pathetique Symphony” of Tchaikovsky; asked to contribute to the half million guar¬ the Austrian premiere of a work written some FOR sale:—Xylophone. Address P. 0. ANTONIO SONZOGNO passed away at and that now these lie for days and weeks on antee fund being raised for this oldest of our twenty years ago, with its libretto based on Venice, Italy, on December 31st. He founded Box 555, Elkhart, Ind. the shelves while the waiting list is for the a play by Calderon. American symphonic bodies. the first choral school of that city and was symphonies, chamber music and songs of widely known as a composer, especially for Brahms. “HELEN RETIRES,” an American opera DAVID STANLEY SMITH’S new “Con¬ by George Antheil, with its libretto by John his oratorio, “Mary at Golgotha,” and for a ANNOUNCEMENTS ~] “Requiem Mass.” ARNOLD SCHONBERG was the guest certo for the Violin” had its first performance Erskine, had its premiere on February 28th, conductor of the Chicago Symphony Orches¬ when, on February 18th, it was on the pro¬ at the Juilliard School of Music of New York. gram of the New Haven (Connecticut) Sym¬ Marvel Biddle won approbation both for her AN ALL-STRAUSS PROGRAM was pre¬ CLASSICAL PIANISTS and Students— tra, for its pair of concerts on February 8th sented on February 9th and 10th, by the Learn to play "blues," fox-trots, etc., in and 9th.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Back Cover Image
    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.
    [Show full text]
  • 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).
    [Show full text]
  • Download Booklet
    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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]