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North Shore Music Festival
JANUARY 20, 1923 AND /AMERICAN ENDEAVOR. IN GRAND OPERA, SYMPHONY' ^ND CHAMBER. MUSIC AND CLASSIC DANCING By IZETTA MAY McHENRY BEETHOVEN ASSOCIATION NORTH SHORE MUSIC FESTIVAL American Operatic and Oratorio Sing Offer* Brilliant Program at Third Con er, Dies After Illness of Several cert of Series Months Thr third ronrrrt (iTro thla tpaion bj tfa* Plans Announced for Fifteenth Season—Several BoctboTPn A.wxiatlon pruTpd on* of thr moit At bis home In New York City, Oeorite J. PBjoyablp pTpDt, of the year In New York. American Artists To Be Soloists Hamlin, one of this country's beat-known The aMlatioit artUta were: Ilarold Bauer, tenors, parsed away on the afternoon of Janu¬ Pablo Caeala. Jaoquea Tfaibaud, Mme. C'barlea ary 11 after an lllnerr eitendinc over aereral Cahier and Albert Htoesael, and thla impo«lsK The datee for the fifteenth Music PeatWal Gates, eoprano; Mabel Garrison, soprano; months. Mr. Hamlin was tbe flrrt artist to array of aoloiata aenrpd to attract an audirore have beep announced by tbe Chicago North Giuseppe Danise, baritone; Beniamino Gigli, present a procram of the ronca of Rl(4iard which completely niled Aeotlan Hall on the Shore FestiTsl Aatociation as May 24 to May tenor; Margaret Matzenauer, merzo-«oprano; Btrauas In America, and be created aereral evenins of January 8. BertboTen'a Trio In 30. The feat'Tal will be held at Erankton, Edith Mason, soprano; Tito Srhipa. tenor; oratorio parts and ten oyiera rolet. Hla alnc- H Flat, Op. TO, No. 2. played by Meaara. Bauer, III., In tbe Patten tlymnaalum of Nortbweatern Bose Lutiger Gannon, contralto, and Theo. -
Carl Loewe's "Gregor Auf Dem Stein": a Precursor to Late German Romanticism
Carl Loewe's "Gregor auf dem Stein": A Precursor to Late German Romanticism Item Type text; Electronic Dissertation Authors Witkowski, Brian Charles Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 03:11:55 Link to Item http://hdl.handle.net/10150/217070 CARL LOEWE'S “GREGOR AUF DEM STEIN”: A PRECURSOR TO LATE GERMAN ROMANTICISM by Brian Charles Witkowski _____________________ Copyright © Brian Charles Witkowski 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Brian Charles Witkowski entitled Carl Loewe's “Gregor auf dem Stein”: A Precursor to Late German Romanticism and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts ________________________________________________ Date: 11/14/11 Charles Roe ________________________________________________ Date: 11/14/11 Faye Robinson ________________________________________________ Date: 11/14/11 Kristin Dauphinais Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Voice of the Forgotten American: the Oratorios of Horatio Parker
VOICE OF THE FORGOTTEN AMERICAN: THE ORATORIOS OF HORATIO PARKER BY HOWARD SWYERS Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree, Doctor of Music. ___________________________________ Carmen-Helena Tellez, Research Director __________________________________ Patricia Stiles, Chairperson __________________________________ Mary Ann Hart __________________________________ Timothy Noble ii Copyright © 2013 Howard Swyers iii ACKNOWLEDGEMENTS Special thanks to Patricia Stiles for being a mentor and a great voice instructor for these many long years. Thanks to Carmen Tellez for her unwavering support, optimism, and the many opportunities she has provided me. Thanks to Patricia Wise and Tim Noble for serving on my committee and for their support. Thanks to my family for putting up with me during the course of my schooling Thanks to all the many people at Indiana University who have helped and supported me through the years in both employment and study. Thanks to Terence Kelly for helping me get started down this long path. iv TABLE OF CONTENTS Acknowledgements iv List of Figures vi List of Musical Examples vii List of Tables ix Chapter 1 - The Cultural Context of Horatio Parker’s Life and His Music 1 Chapter 2 – Hora Novissima 27 Chapter 3 – The Legend of Saint Christopher 70 Chapter 4 – Morven and the Grail 116 Chapter 5 - Conclusion 168 Bibliography 171 v LIST OF FIGURES Figure 1 – Chart of Hora Novissima Structure 29 Figure 2 – First page of libretto. -
The Hyechra Club
THE HYECHRA CLUB The narrator has had a lively interest in The Hyechka Club since its beginning and believes that its history merits recording and dmu- menting in The Chronicles of OkZuhoma, Members of the Club in the past have been interested and its members today are interested in building and supporting a city and a state as cultural centers in which to rear patriotic and Clod-fearing children worthy of the loftiest ideals. Instead of a brief history, this band of music lovers is entitled to a fdsized, two volume publication to report ad* quately all that they have given to the education of young people along cdtural lines and to the wealth of Tulsa and the State of Oklahoma as expressed in the leadership and influence of the known and unknown contributors. Looking over the names of world famous artists that have appeared on its early programs and in its annual Spring Festivals, the words of Warner Van Valkenburg are a fitting tribute and introduction even to this brief history of Tulsa's pioneer organization of music lovers :l "I AM MUSIC. "I am the hymns of the Christian Martyrs in the catacombs; I am the songs of thanksgiving of the kneeling Pilgrime; I am the fugues of Bach, and the oratorios of Handel and Haydn; I am the magic flute of Momrt; I am the immortal symphonies of Beethoven; I am the throbbing mee- sages of Schubert and Schumann; I am the nocturnes of Chopin and the folk melodies of Dvorak; I am the rhapsodies of Linzt and the music- dramas of Wagner; I am the voice of Peter Tchaikowski, crying in the wilderness; I am Brahms and Richard Straues, and Verdi, fulfilling the command of destiny; yea I have breathed upon the harps of MacDowell and Cadman, and have sung of a new world in the west. -
Forgotten Splendour
FORGOTTEN SPLENDOUR A Chronology of the North Shore Music Festival 1909 to 1939 by Andrew Cottonaro Beginning in 1909 and lasting until 1939, the North Shore Music Festival of Northwestern University was a significant musical and social event in the Chicago area. For a few days each Spring, the campus hosted a diverse body of performers in a series of grand concerts. Naturally, some of that era’s most eminent singers could be heard there. Their presence certainly helped to sell tickets and their artistry helped to sustain the festival as a popular and critical success. Now, sixty years later, the festival hardly even counts as a faded memory. To date, two books (in part), offer a general outline of the festival’s history, but both lack any detailed analysis of who appeared and what was actually sung. This is the first attempt to present a chronology of the vocal offerings (quite distinct from the orchestral offerings) at the festival. Northwestern University, the official sponsor of the festival, is located in Evanston, Illinois (USA). The town is a suburb of Chicago, directly north of the city and on the banks of Lake Michigan. Because of this geographic position, Evanston and the other cities of the area are called the North Shore, hence the origin of the festival’s name. Northwestern University was incorporated in 1850 and gradually won recognition for its academic excellence. The establishment of musical studies, however, was a tangled web of many failed efforts. In a final and desperate attempt to salvage musical education, the university’s board of trustees in 1891 appointed Peter Christian Lutkin (1858-1931) to direct musical studies, a post that he held until his death. -
October 1926) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 10-1-1926 Volume 44, Number 10 (October 1926) 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 44, Number 10 (October 1926)." , (1926). https://digitalcommons.gardner-webb.edu/etude/739 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]. 7 MUSIC STUDY EXALTS LIFE MVSIC *dte ETVDE MAG A Z INE Price 25 Cents OCTOBER 1926 $2.00 a Year BEETHOVEN DISCOVERING HIS DEAFNESS Special Enlarged Issue ^ A Remarkable Master Lessonon Beethoven’s “Sonata Pathetique” by the Great Pianist, Wilhelm Bachaus ^ Don’ts for Artists by Cyril Scott ^ Marvels of the Human Voice by Oscar Saenger How to be a Drum Major by J. B. Cragun & Queer Notation by F. Berger. _.. ____ _ . OCTOBER 1926 Page 707 The Schirmer Catalogs COMPLETE CATALOG FOR THE STUDENT MELODYLAND r By J- Lawrence Erl, By C. W. Krogmann By ] 3fS-S“^£ri?T Pment8M3U2SiC f°r Wlnd and Str,n« Instru- Tfie DILLER and QUAILE HAZEL GERTRUDE BOOKS KINSCELLA’S WORKS GERANIUM SEWING CLUB 5K"! By Matfulde Bilbro ‘her-. -
"Mad Scenes" in Nineteenth Century Opera. Charlotte Fakier Pipes Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 A Study of Six Selected Coloratura Soprano "Mad Scenes" in Nineteenth Century Opera. Charlotte Fakier Pipes Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pipes, Charlotte Fakier, "A Study of Six Selected Coloratura Soprano "Mad Scenes" in Nineteenth Century Opera." (1990). LSU Historical Dissertations and Theses. 5087. https://digitalcommons.lsu.edu/gradschool_disstheses/5087 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 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. -
ARSC Journal
ELISABETH SCHU}~.NN ON THE ART OF SONG INTERPRETATION: MOZART: Das Veilchen; SCHLiF::rr: Lachen unc~ weinen; BRAHMS: Vergebliches Standchen; STRAUSS: Morgen; SCHUBERT: Die Forelle; WOLF: Mausfallen-Spruchlein; In dem Schetteil°meiner Locken (with Ernest Lush, piano) (1950). Pre ceded by MOZART: Il Re pastore--L'amero sero costante; Alleluia (with BBC Symphony; Sir Henry Wood, conductor, 8 September 1936). IGI 274 (Educational Media Association, P. 0. Box 921, Berkeley, California 94701) These lectures have been around before as EJS 328. Schumann opens with some general remarks on singing and teaching in rather quaint but perfectly clear and understandable English. She sings each song through, then offers a few points on interpretation. She places strong emphasis on the importance of the words. There are points about the art of coloring the voice, about breath control and vowel sounds. In Morgen, she says, the singer must be "singing" mentally from the beginning of the prelude, so that when she comes in she is already with it. One remembers her as one of the few singers who really did this. Also in this song, she speaks of the importance of counting the rests in the final lines. Her voice in 1950 was by no means what it had been, but some of the old sparkle was still there, even when the going was not easy. She concludes her talk with encouragement to the young singer - don't worry - have confidence. The lecture is preceded by the Re pastore aria and the Alleluia in a public performance, complete with tumultuous applause. L'amero is less fresh vocally than in her earlier commercial recording; the old radiance is there in the upper voice, but the bottom is rather weak. -
17.4. Hackett-Olitzka. Pp 88-123
VOCAL 78 rpm Discs EDUARD HABICH [bs]. See: HERMANN JADLOWKER [t] CHARLES HACKETT [t]. See also: RICCARDO STRACCIARI [b] 2223. 10” Tri-Color Columbia 80673 [take 3]. I SHALL KNOW (Mana-Zucca). Uncommon. Excellent lam. surface. Just about 1-2. $8.00. EVA HADRABOVA [s] 3573. 12” PW Blue Telefunken F527 [30493/30494- 1]. TOSCA: Te Deum [Finale, 1. Akt] (Puc- cini). Two sides. With WILHELM RODE [b]. Orch. dir. Selmar Meyrowitz. Just about 1-2. $15.00. MINA HAGER [ms] 3845. 12” Blue Musicraft1016 [GM35B/GM36B]. ON A SCREEN; THE ODALISQUE / BER- CEUSE DE LA GUERRE (all John Alden Carpenter). Piano acc. Celius Dougherty. Just about 1-2. $12.00. GEORGE HAMLIN [t] CHARLES HACKETT at the Columbia 4266. 10” White lbl. blk. vinyl Victor mat. B-6180-2. recording horn ACIS AND GALATHEA: Love Sounds the Alarm (Händel). Unpublished. Rec. May 9, 1908. I can’t imagine why this was never issued. Just about 1-2. $15.00. 3140. 12” Red “B” plate Pats. Victor 74250. THE CREATION: In Native Worth (Haydn). Only form of issue. Just about 1-2. $8.00. JOAN HAMMOND [s] 1346. 10” Plum HMV B.9503 [OEA-10981-1/OEA-10982-1]. THE DONKEY (Richard Hage- man) / MAGDALEN AT MICHAEL’S GATE (Liza Lehmann). Piano acc. Gerald Moore. Uncommon. Cons . 2. $7.00. JOHN HARRISON [t] 1987. 10” Blk. London G&T 3-2234. FAUST: Salve dimora (Gounod). In English. LGTs, otherwise gen. 2-3. $10.00. ORVILLE HARROLD [t] 3399. 12” White lbl. vinyl Vla mat. C-24379-3. LAKMÉ: Fantasie aux divins mensonges (Delibes). -
Vocal Solos and Opera
vocal solos and opera Complete Catalog STEPHEN CHATMAN AND TARA WOHLBERG Choir Practice Companion Products Soloists, SATB, and Piano Choral Part, 7.0656 Moderately Diffi cult Study Score, 7.0657 7.0655, Piano/Vocal Score $35.00 Libretto, 7.0669 CONTENTS New & Featured Opera 3 One Act Opera 5 New CD from David Conte Full Length Opera 8 Everyone Sang New Art Songs 10–11 Vocal Music of David Conte is two-disc set includes recordings of Vocal Solos - Complete Listing 12 David Conte’s most recent vocal composi- tion o erings from collections “American Death Ballads;” “ ree Poems of Christina Opera Anthologies 22 Rossetti;” “Love Songs;” “Everyone Sang;” “Lincoln;” “Sexton Songs;” and “Requiem Opera - Complete Listing 23 Songs.” CD182 $24.95 Opera Scenes 24 Opera Anthologies Opera Aria Anthology, Opera Aria Anthology, Volume 1: (Soprano) Volume 2: (Mezzo-Sopra- Compiled by Craig W. Hanson no) Edited by Stanley M. Ho man Compiled by Craig W. Hanson Arias for soprano from operas by David Edited by Stanley M. Ho man Conte, Daron Hagen, Libby Larsen, Arias for mezzo-soprano from operas Henry Mollicone, Ronald Perera, Conrad by David Conte, Daron Hagen, Henry Susa, and Robert Ward. 152 pages. Mollicone, Douglas Moore, Ronald Perera, 6000 $33.60 Conrad Susa, and Robert Ward. 142 pages. 6001 $33.60 Opera Aria Anthology, Opera Aria Anthology, Volume 3: (Tenor) Volume 4: (Baritone) Compiled by Craig W. Hanson Compiled by Craig W. Hanson Edited by Stanley M. Ho man Edited by Stanley M. Ho man Arias for tenor from operas by David Arias for baritone from operas by David Conte, Henry Mollicone, Ronald Perera, Conte, John David Earnest, Daron Hagen, Conrad Susa, and Robert Ward. -
An Exploration of the Vocal
THE VOICE OF SAMSON: AN EXPLORATION OF THE VOCAL WRITING IN GILBERT DUPREZ’S OPERA SAMSON by GARRETT ERWIN TORBERT PAUL H. HOUGHTALING, COMMITTEE CHAIR JOANNA COBB BIERMANN DAVID TAYLOE AMIR ZAHERI LUVADA A. HARRISON DIANE BOYD SCHULTZ A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2019 Copyright Garrett Erwin Torbert 2019 ALL RIGHTS RESERVED ABSTRACT The purpose of this document is to discuss the vocal writing and performance practice of Samson, a Grand Opera by Gilbert Duprez. This document contains a performing edition of selected recitatives and arias from the incomplete score from 1837. The edition includes the orchestral accompaniment, French text, an original English translation, and an annotated score of Duprez and his brother, Édouard original manuscript from the Harvard Theatre Collection located in the Houghton Library at Harvard University. In the nineteenth century, Gilbert Duprez was an internationally-renowned tenor from Paris who demonstrated exceptional gifts as a singer, influencing a generation of tenors following his career. His success in the nineteenth century impacted the tenor technique as he gained much popularity studying in Italy and achieving success from his vocal development there. He reached a major feat in 1837 after returning from his studies in Italy by singing the first, full chested high [C5] on stage at the Paris Opera in Rossini’s Guillaume Tell. From this he created a shift in the tenor technique and impacted the output of tenor repertoire for years to come. -
Naughty Marietta
Franchesca Sonoyama (Marietta) has performed in three Samantics concerts: Lerner & Loewe, The Oscars, and In Paradisum/Embodiment. Theatre roles include Babette/Feather Duster in BEAUTY AND THE BEAST and Consuela in WEST SIDE STORY (Woodland Opera House), Lady Ella in Gilbert & Sullivan’s PATIENCE and Kate in PIRATES OF PENZANCE (Light Opera Theatre of Sacramento). Franchesca serves as School Partnership presents Program Manager at Sacramento Theatre Company. Matt Van Zandt (Sir Harry Blake) is likely to have his 10-year sentence Victor Herbert’s in Samantics extended due to bad behavior. He was given leave to appear in Titanic 100th Anniversary Tribute, JONATHAN LIVINGSTON SEAGULL, and HOW NOW DOW JONES. His gainful employment as a computer programmer allows him time to be husband and daddy, brew beer, study languages, and freedive. Orlana Van Zandt (Marie Le Valleau) has been singing with Samantics since its inception in 2009, where her credits include VALLEY OF THE DOLLS (Anne Welles), Those Darn Donners (Dina Donner), Christmas Tea with Trina (Asian Kid); In Paradisum/Embodiment, Love, Samantics Style (Token Asian); Salute to Oscar’s Best Songs (herself). Other credits include Songs I’ll Never Get To Sing: A Cabaret of Wishful Thinking (Theater Galatea), and A CHRISTMAS CAROL and CINDERELLA (both at STC). Eddie Voyce (Vendor, Florenze) is a long-time Samantics regular, and has been in numerous musicals in the Sacramento Area. This year he received an Elly nomination for RUMPLESTILTSKIN AND THE GAME OF THE NAME. Other roles include Lefou in BEAUTY & THE BEAST, Cornelius Hackl in HELLO, DOLLY!, Judas Iscariot in JESUS CHRIST SUPERSTAR, Joseph in THE AMAZING TECHNICOLOR DREAMCOAT and Roger Davis in RENT.