DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 56,1936

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 56,1936 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephone, Ticket and Administration Offices, Com. 1492 FIFTY-SIXTH SEASON, 1936-1937 CONCERT BULLETIN of the Boston Symphony Orchestra INCORPORATED SERGE KOUSSEVITZKY, Conductor RICHARD BuRGIN, Assistant Conductor with historical and descriptive notes By John N. Burk COPYRIGHT, 1936, BY BOSTON SYMPHONY ORCHESTRA, ItlC. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Bentley W. Warren .... President Henry B. Sawyer Vice-President Ernest B. Dane . Treasurer Allston Burr Roger I. Lee Henry B. Cabot Richard C. Paine Ernest B. Dane Henry B. Sawyer Alvan T. Fuller Pierpont L. Stackpole N. Penrose Hallowell Edward A. Taft M. A. De Wolfe Howe Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [417] . Old Colony Trust Company 17 COURT STREET, BOSTON The principal business of this company is 1 Investment of funds and management of property for living persons. 2. Carrying out the provisions of the last will and testament of deceased persons. Our officers would welcome a chance to dis- cuss with you either form of service. ^Allied with The First National Bank of Boston I [418] SYMPHONIANA "The Martyrdom of Saint Sebastian" (on next week's programme) — Piati- gorsky — The MacDowell Anniversary Exhibition — Mr. Greene's Address to the "Friends." THE MARTYRDOM OF SAINT SEBASTIAN It was twenty-five years ago that Debussy composed music to d'Annun- zio's mystery play, "Le Martyre de Saint-Sebastien," for a stage production in Paris. The design here reproduced is by Leon Bakst — a sketch of Ida Rubin- stein in the part of the Roman youth, favorite of the Emperor Diocletian, and Captain of the Imperial Archers. When • This and other hand-made Glass; also unusual and attrac- tive Christmas and Wedding Gifts may be obtained in our recently opened Gallery at 77 N EWBURY STREET MRS. WM. FAVERSHAM, Jr. MR. JOSEPH HELLING MR. GEORGE R. SHAW, 2nd Sebastian refused to renounce his Chris- DESIGNERS OF INTERIORS tian faith, the Emperor sadly decreed CONSULTANT DECORATORS that he be bound to a tree and executed by the arrows of his own men. The ar- • • rows vanished, and the grove of laurels was suffused with celestial light. BELL & FLETCHER, Ltd. PIATIGORSKY 654 Madison Avenue 77 Newbury Street Gregor Piatigorsky, who is to appear NEW YORK CITY BOSTON as soloist at the Thursday and Saturday Regent 4-5670 Commonwealth 1425 Symphony concerts of next week, has had a notable record of performances at [419] these concerts in past seasons. The Russian 'cellist was first heard here in The Terfect Gift- the spring of 1931, when he played Schumann's Violoncello Concerto. A year later he appeared in a Haydn a year of the memorial concert, in the D major con- certo of that composer. In 1933 he was heard in Mozart's Horn Concerto as transcribed for the 'cello by Gaspar Cassado, and at the same concert took Atlantic the solo part in Strauss' "Don Quixote." Again he was heard in "Don Quixote" in February 1935, at which time he ap- SPECIAL GIFT RATE peared in the first performance of the Concerto Lirico of Nicolai Berezowsky. $3.50 Own Subscription .... $4.00 ($3.00 if accompanied by a gift order) AND on all new subscriptions we will send without charge the December number, which in- cludes a treat for patrons of the Boston Symphony Orchestra. NOTES ON CONDUCTING Conversations with Koussevitzky GREGOR PIATIGORSKY by The piece by which Piatigorsky first Sylvia G Dreyfus became known in this country as a soloist with orchestra was Dvorak's Gift Name Concerto, which he played in New York Address in the season 1929-30, his first season in America. He has also played this Own Name_ concerto with other orchestras on sev- eral occasions. Its last performance at Address the Boston Symphony concerts was as to Donor long ago as March 30, 1917, when Joseph Send gift card Malkin was the soloist. to Gift Name MacDOWELL ANNIVERSARY THE ATLANTIC EXHIBITION MONTHLY In seventy-five years Edward Mac- Dowell has become far more than a com- 8 Arlington Street, Boston, poser he has grown into an American Massachusetts — artistic tradition. Through his associa- tion with his teacher Raff, with Liszt, [42o] ) with his fellow-student Debussy, he joins the court of the past, yet trans- ferring the great traditions into our day by the force of his inspiration, which Kranich & Bach has caused the creation of literally hun- dreds of "MacDowell Clubs" through- out America and given the incentive to create to a remarkable number of musi- cians, writers, painters and sculptors. As a Trustee of the American Acad- emy at Rome, he recognized the prac- ticability of an extension to his farm at Peterboro, New Hampshire, into a colony of artists where the best pos- sible atmosphere and inspiration could be found. Such a place might become an excellent workshop in which holders of the Academy scholarships might con- $ tinue their progress for a year or two Priced from 675 after their return, remaking connections and rediscovering openings so often Makers of the world's finest forgotten to them. small grand, mastercraftsmen Some suggestion of the achievement have been building the Kranich of the Colony may be seen in the Gal- it is one lery. Bianchini's bronze of the com- & Bach since 1864 and poser, the famed sketch that Ben-Ali of the few pianos still manufac- Haggin would not complete for fear of tured by members of the origi- destroying what he had caught, and nal families who founded the MacDowell's own self-portrait at the company. age of sixteen are all there. Lilla Cabot exquisite tone quality and Perry is represented by her familiar The portrait of Edwin Arlington Robinson, unusual volume of the Kranich godfather of the Colony, who wrote & Bach baby grand are an much of his finest poetry in the same achievement of modern science. "Peterboro Hills" which Mrs. Perry also depicts after a light snow with the In reconditioned grands we sky breaking into sunset. Jeffrey King offer Steinways, Chickerings, Levey shows his "New England Fields I vers & Pond, Knabe, C. C. and Hills" painted in Peterboro; there Harvey, Charles S. Norris, is related work by Charlotte Blass and Hazelton. Priced from $150. Stuyvesant Van Veen. These hills and Small woods are the source of the composer's uprights and grands inspiration; here it is that he produced rented at low rates. those miniature tone-paintings for which Convenient Terms he is peculiarly famous. Very closely connected with the con- certs are lithographs of Koussevitzky N orris &cr Ccompany and Rachmaninoff by Grant Reynard, INCORPORATED who also captured Robinson walking 41 Boylston Street, Boston down the path to MacDowell's log cabin (Between Arlington and Berkeley Sts. in the woods, "haunt of dreams untold." Established 1852 Tel. COM 3033 But of special interest is the large (Continued on next to last page) [421] Cfjanoler & Co. TREMONT AND WEST STREETS // Dressy Hats designed to flatter women 675 Felts with coronation feathers! Felts trimmed with velvet! Wings poised against high crowns of felt hats ! Hatter's Plush ! Beautiful coque feathers on felt. Headsizes 22M to 24. SECOND FLOOR AT CHANDLER'S [422] FIFTY-SIXTH SEASON, NINETEEN HUNDRED THIRTY-SIX AND THIRTY-SEVEN Ninth Programme FRIDAY AFTERNOON, December 18, at 2:30 o'clock SATURDAY EVENING, December 19, at 8:15 o'clock Foote Suite in E major, Op. 63, for String Orchestra I. Prelude II. Pizzicato and Adagietto III. Fugue MacDowell Concerto for Pianoforte and Orchestra, No. 2, in D minor, Op. 23 I. Larghetto calmato II. Presto giocoso III. Largo; Molto allegro INTERMISSION Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato SOLOIST HOWARD GODING MASON AND HAMLIN PIANO This programme will end about 4:20 on Friday Afternoon, 10:05 o'clock on Saturday Evening REMINDER: The next concert of the Afternoon Series will be given Thursday, December 24, at 2:30 [423] THE STORE WITH A WORLD OF GIFTS! JORDAI WE'VE IMPRESSED evenn ^Danta<hant WITH OUR Lous-aizdUna I We went on foot, horseback, rails, wings (and come to think of it, in a sleigh too when we travelled to Russia for regal gifts of sables). Our little trek sifted five continents for ideas. Its results have made Jordan Marsh Company a little world in itself. Its thoroughness impressed Santa so completely that he has parked his four-in-hand here from now till Christmas — while he and his New England impersonators fill up packs and stockings and post offices all the way to the outlying corners of the world that we've just come back from! Notice Santa in our Christmas decorations when you come in. There isn't a wrinkle of worry in his fat, smiling face. He's been at this gift business a long time, too— but for eighty-five years he's been at it where it's fun— in Jordan's World of Gifts! [424] SUITE, E MAJOR, Op. 63, for String Orchestra By Arthur Foote Born at Salem, Mass., March 5, 1853 This suite was composed in 1907, but with a different second move- ment—the "Pizzicato" having been added in 1908. The first per- formance was given at the Boston Symphony concerts, Max Fiedler conducting, on April 16, 1909. The work was published in that year with a dedication to Mr. Fiedler. It was also performed at these con- certs April 8, 1921, and April 3, 1925. The following description of the score was furnished by Mr.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 87, 1967-1968
    1 J MIT t / ^ii "fv :' • "" ..."?;;:.»;:''':•::•> :.:::«:>:: : :- • :/'V *:.:.* : : : ,:.:::,.< ::.:.:.: .;;.;;::*.:?•* :-: ;v $mm a , '.,:•'•- % BOSTON ''•-% m SYMPHONY v. vi ORCHESTRA TUESDAY A SERIES EIGHTY-SEVENTH SEASON 1967-1968 -^^VTW-s^ Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer PHILIP K.
    [Show full text]
  • Arthur Foote (1853-1937)
    Old Becoming New: Little Known “Gems” of the String Orchestra Repertoire Sandra Dackow, Clinician Looking for “new” and exciting compositions for your string orchestra? Led by renowned arranger and educator Sandra Dackow, teachers will have the opportunity to hear and learn about the forgotten historical gems of the standard string repertoire. Perfect for concert, festival and competition performances; explore or revisit selections that have been “lost” in the mix of the vast history of string literature. Exhilarate students and audiences alike with these old, yet “new” pieces of music history! Bring your instruments to participate in the reading orchestra! Presented by www.lucksmusic.com (800) 348-8749 2018 TODA Conference Johann Pachelbel (1653-1706) Gigue (from Canon and Gigue) #01494 • Grade III+ (Upper Intermediate or Intermediate) We all know the Canon in D, but how many have experienced the very short Gigue, with which it is paired? Written for the same three violins and bass line as the Canon, the Gigue is a great palate cleanser after the endless repetitions of the Canon progression. Imitative, but not canonic, it is a joyful little dance with an active bass line that’s fun for everyone. The third violin part does not require notes on the E string, and therefore could be played by violas reading treble clef. Very short (two Baroque halves, each repeated), each half builds to a rhythmic climax, showcasing the brilliance which an upper intermediate group can achieve. Learn More about Pachelbel German composer and organist, Johann Pachelbel is best known for his Canon in D. He composed a large body of both sacred and secular music, including works for organ.
    [Show full text]
  • THE VIOLIN MUSIC of ARTHUR FOOTE 80464-2 Kevin Lawrence, Violin Eric Larsen, Piano
    The Violin Music of New World Records 80464 ARTHUR FOOTE Arthur William Foote (1853-1937) was born in Salem, Massachusetts, and lived all of his adult life in Boston. During his lifetime he was nationally acclaimed as a keyboard performer (he was organist at Church of the Disciples in Boston from 1878-1910), educator (he taught at the New England Conservatory from 1920-1937), and composer, and what is more, was one of the earliest American composers to win international recognition. Assuredly, he was one of the most important American musical artists of the late nineteenth and early twentieth centuries. In the last two decades of the twentieth century, a new appreciation of the high quality of his creations has been steadily growing. His parents were descended from old New England families. Arthur's father, Caleb Foote, the son of a sea captain, was orphaned early in life, grew up in poverty and without an education, but eventually by his own efforts acquired learning and became editor and owner of one of New England's oldest newspapers, the Salem Gazette. His determination to succeed against all obstacles, his continuing modesty about his abilities, and his unpretentiousness despite the wide recognition his achievements received are qualities that his son inherited. Arthur Foote was the first prominent American composer totally educated in America. After beginning lessons in piano playing with Fanny Paine (no relation to John Knowles Paine) in Salem, he studied theory with Stephen Emery at the New England Conservatory, keyboard playing with B. J. Lang, Boston's eminent choral director and pianist, and composition with the highly respected John Knowles Paine at Harvard, where he earned the first M.A.
    [Show full text]
  • New Copy- Made in America
    MADE IN AMERICA: THE ORGAN WORKS OF ARTHUR FOOTE BY PATRICK KRONNER Submitted to the faculty of the Jacobs School of Music in partial fulfilment of the requirements for the degree, Doctor of Music Indiana University July, 2017 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Doctoral Committee _______________________________________ Janette Fishell, Research Director and Chair _______________________________________ Andrew Mead _______________________________________ Frank Samaratto _______________________________________ Christopher Young July 11, 2017 ii Copyright © 2017 Patrick J. Kronner iii In memoriam George Grobbel. iv Acknowledgements Thank you to Claire Caruso, Paul Cienniwa, Susan Clermont, Leo Collins, Sallyjo Belanger, Barbara Benedett, George Bozeman, Janette Fishell, Wayne Leupold, Maria Jane Loizou, Andrew Mead, Barbara Owen, Paul Peeters, Maryalice Perrin-Mohr, Mike and Susan Powell, Frank Samarotto, Jacob Taylor, Christopher Young, my friends and colleagues at the University of Notre Dame and my family. v Table of Contents Acknowledgments………...……………………………………………………………….v Table of Contents…………………………………………………………………….…...vi List of Examples………………………..…...…………………………………………..viii List of Tables……………….………………………………………………………….….x List of Appendices ............................................................................................................. xi Chapter 1: Introduction ......................................................................................................
    [Show full text]
  • Concerts of Minnesota Composers, 1889-1935, and Other Related Events a Chronology
    Minnesota Musicians Archival Studies Concerts ofMinnesota Composers, 1889-1935, and other related events A Chronology Robert Tallant Laudon Prof. Emeritus ofMusicology University ofMinnesota 924 - 18th Ave. SE Minneapolis, MN 55414 (612) 331-2710 [email protected] 2001 This chronology springs from my research as author of Minnesota Music Teachers Association, the Profession and the Community, 1901-2000 (Eden Prairie, MN, by the association, 2000), which the quarterly Minnesota History has called more than an organizational history but a book that shows how talented and dedicated musicians, music teachers, and music lovers worked to build 'the musical Gibraltar of the Great Northwest'... and helps to explain Minnesota's prominent place on the nation's musical map." The composers are those that I am calling the First School of Minnesota Composition extending primarily from the 1890s to 1930, a group strongly influenced by German style and tradition, frequently writers of music for church and occasionally for light entertainment, most in the style of the Boston Group such as John Knowles Paine, Horatio Parker, and George W. Chadwick and others strongly influenced by the German Conservatories founded in the decades of the 1840s to the 1860s, hosts to numerous Americans in the 1880s and beyond. The music of this East Coast Group has not found an active place in the concert repertory of our symphonies who still prefer to repeat over and over the works of the greatest European masters, Haydn, Mozart, Beethoven, Schubert, Schumann, and Brahms. The Minnesota group has met the same fate. Yet the sincere efforts of a devoted group representing the taste of several generations of society deserve a place perhaps only in history but perhaps also to serve as contrasts to the Second School ofMinnesota Composition that began with the Modern Music movement ofthe 1920s and the Third School of Minnesota Composition that began with the establishment of the Minnesota Composer's Forum (now the American Composer's Forum) in 1973.
    [Show full text]
  • Isabella Stewart Gardner, Fenway Court, and a Life on Display: French Music in Turn-Of-The-Century Boston Brad A
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Isabella Stewart Gardner, Fenway Court, and a Life on Display: French Music in Turn-of-the-Century Boston Brad A. Rohrer Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ISABELLA STEWART GARDNER, FENWAY COURT, AND A LIFE ON DISPLAY: FRENCH MUSIC IN TURN-OF-THE-CENTURY BOSTON By BRAD A. ROHRER A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2014 Brad A. Rohrer defended this thesis on April 17, 2014. The members of the supervisory committee were: Michael Broyles Professor Directing Thesis Charles Brewer Committee Member Sarah Eyerly Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii To my wife and my daughter: Thank you for patience. Your love motivates me each day. To my mother: Thank you for always encouraging me to follow my heart. To my father: Thank you for everything, Dad. iii ACKNOWLEDGMENTS I would like to thank Michael Broyles for his input throughout the entire research and writing process, from beginning to end. His feedback on communication of ideas has been invaluable. I appreciate the guidance Sarah Eyerly and Charles Brewer provided and the interest that they took in my work. While not involved in this writing, the entire musicology faculty encourages constant critical thinking and dedication.
    [Show full text]
  • LINER NOTES Recorded Anthology of American Music, Inc
    BEACH, FOOTE, FARWELL, OREM New World Records 80542 The "Indianist" Movement in American Music by Gilbert Chase The "Indianist" movement in American musical composition that flourished from the 1880s to the 1920s had its antecedents in nineteenth-century Romanticism, with its cult of “the noble savage" nourished by such writers as Chateaubriand, James Fenimore Cooper, and Longfellow, whose Hiawatha was like a magnet for many musicians. On the stage, the famous actor Edwin Forrest starred in the drama Metamora (1828) as "the noble Indian chief," who leads his warriors in a desperate struggle for freedom—"Our Lands! Our Nation's Freedom!—Or the Grave." Romantic writers tended to identify the Indian with the grandeur of Nature. Chateaubriand, a Frenchman, in his novel of the "noble savage" Atala gushed on "the soul's delight to lose itself amidst the wild sublimities of Nature." Such writers often lost their heads but seldom risked their lives. The American wilderness, viewed as untamed, primitive, exotic, lured not only explorers and adventurers hut also scientists, artists, poets, novelists—and at least one musician who came to know at first hand "the magnificent wilds of Kentucky" about which Chateaubriand rhapsodized. This venturesome musician was Anthony Philip Heinrich (1781–1861), a native of Bohemia who emigrated to America in 1810. From 1817 to 1823 he lived in and around Lexington, Kentucky, calling himself "the Wildwood Troubador." According to a contemporary account: Heinrich passed several years of his life among the Indians that once inhabited Kentucky, and many of his compositions refer to these aboriginal companions. He is a species of musical Catlin, painting his dusky friends on the music staff instead of on the canvas, and composing laments, symphonies, dirges, and on the most intensely Indian subjects.
    [Show full text]
  • REHEARSAL and CONCERT
    Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-FIFTH SEASON, J905-J906. WILHELM GERICKE, CONDUCTOR IProGtamme OF THE TENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, DECEMBER 29, AT 2.30 O'CLOCK. SATURDAY EVENING, DECEMBER 30, AT 8.00 O'CLOCK. PubUahcd by C A. ELLIS, ManA^er. ^ 689 m. Uincent dindy The eminent French Composer who has just been in America as guest of the Boston Sym- phony Orchestra, and who ap- peared as Pianist in his own Chamber Music with the Kneisel Quartet and the Longy Club, \ ^tf^<«" ^V!^ played exclusively the MmmMiumlm PIANO regarding which he writes as follows : New York, December 7, 1905. Mason & Hamlin Co. : I do not wish to leave America without telling you how happy I have been to know and to play your magnificent instruments. ' Your Pianos are quite remarkable for their expressive sonority, which Tias especially appealed to me, and which commends them to all those who see in music an art addressing itself to the heart rather than a pretext for virtuosity. One can sing on your Pianos^ and it is this which, to my mind, consti- tutes their chief charm. I want to tell you this in assuring you of my high esteem. (Signed) VINCENT d'INDY. •492 Boylston Street BOSTON (Oppositt Institute of Techonlogy) C90 Boston Symphony Orchestra, PERSONNEL. Twenty -fifth Season, 1905-1906. WILHELM GERICKE, Conductor. First Violins. Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W.
    [Show full text]
  • THE FOUNDERS of the AGO—WHO WERE THEY? Barbara Owen, Chm
    AMERICAN GUILD OF ORGANISTS CENTENNIAL THE FOUNDERS OF THE AGO—WHO WERE THEY? Barbara Owen, ChM Their names crop up on old anthems that have not been sung for years, and sprightly organ variations played at Organ Historical Society conventions. Go back far enough in old issues of The Diapason or the “original” The American Organist and their stiffly :‘ posed likenesses peer back at you from the V yellowed pages. An occasional plaque in some metropolitan church serves as a re ‘I minder that their fingers once touched the keys of an organ there. - Many of them were giants in their day, - . .• men (they were mostly men) to be reckoned ,:_ ‘ with at an organ console or on a podium. A surprising number are mentioned in the 1935 Grove’s Dictionary or its American Supplement, as well as in other standard sources. Most of them were from the eastern cities, but places as far away as Colorado and California are represented, and one Founder was a Canadian. Most had good Anglo-Sax- on surnames, but there is also a smattering of names betraying German, French, Scandina d’Indy FRANKLIN BASSETT. b. 1852 Wheeling, W.Va.; vian, and Italian origins. And of the 145 that 0: Churches in Meadville, Pa., and Toledo, Ohio, d. 1915 were designated as “Founders” on the final 1879—86 5: Reinecke in Leipzig day of 1896, a tiny minority—four, in fact— First Congregational Church, Oberlin, Ohio 0: First Methodist Church, Plymouth Church, St. were women. Two Founders died durirtg the Second Congregational Church, Oberlin, Ohio Paul’s Church, Cleveland, Ohio year following the founding of the Guild, but T: Oberlin Conservatory 1886; Prof.
    [Show full text]
  • "Furthering the Cause of American Music" in "Music Librarianship in America, Part 3: Music Librarians and American Music"
    "Furthering the cause of American music" in "Music librarianship in America, Part 3: Music librarians and American music" The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Ledbetter, Steven. 1991. "Furthering the cause of American music" in "Music librarianship in America, Part 3: Music librarians and American music". Harvard Library Bulletin 2 (1), Spring 1991: 100-107. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42661668 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 100 Furthering the Cause of American Music Steven Ledbetter ''American Music" is a vast topic, and there are many ways of "furthering" its cause: through scholarship, collecting, organizing, analyzing (its materials and context), performing, recording, and publishing; in general-by disseminat- ing both the music and information about it. Several speakers have dealt with various aspects of popular music and its genres; I will concentrate on certain areas of the "cultivated" tradition, the kind of music we play in tuxedos-as Bruno Nettl describes it-the music in which I have been most directly involved. It is important first of all to recognize the role music librarians have already played in furthering the cause. To a large degree, music librarians, beginning with Oscar Sonneck, created the subdiscipline of American music. They have led the way by collecting material, organizing it, and informing the rest of us of its existence.
    [Show full text]
  • The History of the Ladies Musical Club Is Like the Biography of a Great Man”: Women, Place
    “The History of the Ladies Musical Club is Like the Biography of a Great Man”: Women, Place, Repertory, Race, and the Ladies Musical Club of Seattle, 1891-1950 Whitney Ann Henderson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Lawrence Starr, Chair Christina Sunardi Judy Tsou Program Authorized to Offer Degree: Music ©Copyright 2018 Whitney Ann Henderson University of Washington Abstract “The History of the Ladies Musical Club is Like the Biography of a Great Man”: Women, Place, Repertory, Race, and the Ladies Musical Club of Seattle, 1891 – 1950 Whitney Ann Henderson Chair of the Supervisory Committee: Lawrence Starr Department of Music The Ladies Musical Club of Seattle (LMC) was formed in 1891 by an all-female group of classically-trained musicians with two stated aims: to provide music of a high standard to the still-burgeoning town of Seattle, and to maintain their own substantial performance skills.1 Beginning in 1900, the LMC cemented the fulfillment of its first aim by bringing hundreds of diverse, world-famous artists in its annual Artist Concert Series to the initially remote Seattle stage. These artists include Sergei Rachmaninoff, Marian Anderson, Percy Grainger, Igor Stravinsky, Jose Iturbi, Winifred Christie, Pablo Casals, Amelita Galli-Curci, Nelson Eddy, Dorothy Maynor, Walter Damrosch and the New York Symphony Orchestra, Todd Duncan, Marilyn Horne, Bidu Sayão, Teresa Carreño, Artur Rubenstein, and many, many others. In 1 The quotation in the title of this paper is taken from “Ladies’ Musical Club’s Success Represents Years of Striving,” Seattle Sunday Times, June 3, 1934, 15.
    [Show full text]
  • Progrsnnc Iiasim^L|Amlm
    PRoGRsnnc iiasim^l|amlm BOSTON'S GREAT ART PRODUCT 492-494 BOYLSTON STREET SYMPHONY HALL, BOSTON HUNTINGTON (S- MASSACHUSETTS AVENUES _, , Ticket Office, 1492 / Telephones, I Back^ ^ Bay-d { Administration Offices. 3200 } TWENTY-EIGHTH SEASON, 1908-1909 MAX FIEDLER, Conductor Programme nf ti|f Twenty-second Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, APRIL 16 AT 2.30 O'CLOCK SATURDAY EVENING, APRIL 17 AT 8.00 O'CLOCK COPYRIGHT, 1908, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 1729 Mme. CECILE CHAMINADE The World's Greatest Woman Composet Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE Piano. THE JOHN CHURCH CO., 37 West sad Street New York City REPRESENTED BY G. L SCHIRMER & CO., 38 Huntington Avenue, Boston, Mass. 1730 Boston Symphony Orchestra PERSONNEL Twenty -jeighth Season, 1908-1909 MAX FIEDLER, Conductor ClTtjiciktring i^taiitD Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1833 791 TREMONT STREET Cor. NORTHAMPTCN ST. Near Mass. Ave. o 1W^ BOSTON '^^^ 'I 1732 TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT- AND NINB Twenty-second Rehearsal and Concert* FRIDAY AFTERNOON, APRIL 16, at 2.30 o'clock.
    [Show full text]