DOCSLIB.ORG

Alfred Scott • Publisher • 156 Fifth Avenue, New York 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alfred Scott • Publisher • 156 Fifth Avenue, New York 3 Photo EDITTA SHERMAN 218-4-I9A-53 Alfred Scott • Publisher • 156 Fifth Avenue, New York 3 CARNEGIE HALL — Evenings at 8:30, May 4, 5, 7, 8: Morning 11:00, May 9 INAUGURAL SEASON! (piopA. 112 CENTRAL PARK SOUTH just west of 6th avenue 70 Members, N. Y. Philharmonic-Symphony Orchestra SKITCH HENDERSON, Conductor NEXT TO Tj4E HOTEL NAVARRO Gala Opening Night, May 4 — For The U. S. Air Forces Blitzstein — Symphony "The Airborne" TYRONE POWER, Narrator LEHIGH UNIVERSITY GLEE CLUB GEORGE GANZ, Director THE-PARK Other Evenings—ROMBERG, J. STRAUSS, GERSHWIN, TSCHAIKOWSKY May 9, 11:00 A.M. — "Lollypops" — Music For Children FAYE EMERSON PROKOFIEFF — "PETER AND THE WOLF" Tickets at Box Office. Mail Orders Filled Promptly. Send check or money order with self-addressed stamped envelope to New York Pops, Carnegie Hall. Pries: 1st Boxes $4.00 — 2nd Boxes & Parquet $3.40 Dress Circle $1.50 — Balcony $1.00 (Tax Included) Steinway Piano Managing Director: Schuyler Chapin fajinaqiA diedi ÜRnouncAnwiiA APRIL, 1953 ï 19, Sun. 5:30 p.m.—Gala Youth String Concert 21, Tues. 8:30 p.m.—The Philadelphia Orchestra 22, Wed. 12:00 Noon—Dr. Ervin Seale, Church of the Truth 23, Thurs. 8':45 p.m.—The Philharmonic - Symphony ENJOY ACONCERT - ANYTIME ON Society of New York Victor 'W g 24, Fri. 2:30 p.m.—The Philharmonic - Symphony k LATIN RHYTHMS BY THE BOS­ TON POPS. La Cumparsita (Rodrí­ g Society of New York guez); Cariosa (Youmans); The » Continental (Magidson-Conrad); Ritual Fire 24, Fri. 8:30 p.m.—Jazz Concert Dance (Falla) g( 22, Wed. 8:30 p.m.—Walter Gieseking, Pianist VWEPR-25 _____________________________ 1.58 24, Fri. Midnight—Jazz Concert DI B ERTY/^©^ 450 MADISON AVE. AT 50th ST. 25, Sat. 8:45 p.m.—The Philharmonic ■ Symphony 975 Madison Ave. at 76th St. • 795 Madison Ave. at Society of New York 67th St., N. Y. 22 • 228 E. Post Road, White Plains 26, Sun. 11:00 a.m.—Dr. Harry Gaze, Church of the Healing Christ 26, Sun. 2:30 p.m.—The Philharmonic - Symphony CHESTERFIELD CIGARETTES Society of New York On sale in Buffet and Ladies’ Rooms 5:30 p.m.—Zoila Galvez, Soprano off of Parquet and First Tier Boxes 8:30 p.m.—Vytautas Bacevicius, Pianist gS ■xA 8:30 p.m.—Vladimir Horowitz, Pianist W 12:00 Noon—Dr. Ervin Seale, Church of the S J Truth 29, Wed. 8:30 p.m.—Dessoff Choirs, concert ^7 PERFECT HARMONY! 30, Thurs. 8:30 p.m.—“Light of Stars” benefit Radio A Carnegie Concert and dinner Rosary at Longchampi—19 W. 57th St. » • I No Compromise with Quality ■ RESTAURANTS LONÚCHAMPJ 5 French Carl Fischer, inc. Music Publishers ARRE'S Restaurant 62 Cooper Square, New York 3 Pour bien manger 50 West 56th Street New York City Carl Fischer Study Score Series NEAR CARNEGIE HALL HOWARD HANSON Lunch 95c up — Dinner $1.75 up Symphony No. I ("Nordic") ________________ 2.00 Symphony No. 2 ("Romantic") ______________ 2.50 RANDALL THOMPSON String Quartet No. I in D Minor_____________ 1.50 NORMAN DELLO JOIO Variations, Chaconne and Finale____________ _ 2.50 New York Profiles (For Symphony Orchestra) — DILLER-QUAILE SCHOOL VLADIMIR DUKELSKY OF MUSIC 3.50 Piano and Musicianship for Children and Adults Pre-School Music Classes Teachers Training Course 66 E. 80th St., N. Y. BU 8-1050 CARNEGIE HALL s SEASON 1952-53 VOCAL SCORES THE PHILHARMONIC-SYMPHONY SOCIETY from America's Musical Theatre OF NEW YORK The First American Opera to achieve 1842 — Consolidated 1928 — 1878 International Success! 1952 — One Hundred Eleventh Season — 1953 '5 PORGY AND BESS George Gershwin _ ___ _____9.00 Musical Director: DIMITRI MITROPOULOS (Gershwin Publ. Corp.) Guest Conductors: BRUNO WALTER, GEORGE SZELL, GUIDO CANTELLI From these Broadway Successes by Associate Conductor: FRANCO AUTORI Rodgers and Hammerstein For Young People’s Concerts: IGOR BUKETOFF THE KING AND I___________6.00 5176th Concert Y SOUTH PACIFIC___________6.00 ß Sunday Afternoon, April 19, 1953, at 2:30 o’clock )1 (Williamson Music, Inc.) & )=13 Under the Direction of CHAPPELL & CO.. INC. RKO Bldg., Rockefeller Center, N. Y. 20 tí » DIMITRI MITROPOULOS Y a Assisting Artist: ? tí » ARTUR RUBINSTEIN, Pianist £1 Y ENJOYACONCERT-ANYTIME ON 57 Victor "W PROGRAM "Medley from "ANNIE. GET YOUR GUN" (Berlin); Medley from "KISS ME, KATE" (Porter) 6 Franck-Pierne. .Prelude, Chorale and Fugue Y VWEPR-4.............. I.SB Program Continued on Second Page Following LIBEKTY^©($* 450 MADISON AVE. AT 50th ST. i 975 Madison Ave. at 76th St. • 795 Madison Ave. at 67th St., N. Y. 22 • 228 E. Post Road, White Plains standard of piano excellence BALDWIN PIANOS—20 east fifty-fourth street 7 EUROPEAN MUSIC FESTIVALS • ■‘This is a smooth performance, Tickets and Programs Available ¿4 Day Tour leaves July 2, 1953 Whitey.” MARIO CHAMLEE, Cond. Call HOSTAGE TRAVEL "We ought to know, Blackie - we’ve been giving one for a long, long time.” SERVICE. INC. John H. Zorek 119 West 57th Street • PLaxa 7-5985 THE AGENT OF FAMOUS ARTISTS "BLACK & WHITE" -yfe ^cotct. teHOt CMuvuzctei BLENDED SCOTCH WHISKY 86.8 PROOF THE FLEISCHMANN DISTILLING CORPORATION, NEW YORK • SOLE DISTRIBUTORS Exclusive Editions •ARTOK BRITTEN AMERICAN PREMIERE COPLAND DELIUS Metropolitan Opera, Feb. 14, 1953 FINZI GILLIS HAIEFF KODALY MARTI NU PISTON By IGOR STRAVINSKY PROKOFIEFF R. STRAUSS VOCAL SCORE (Ger.-En ) 15.00 STRAVINSKY LIBRETTO (En. only) .75 and others Boosey and Hawkes 30 West 57th Street, Now York City 19 Wleet me at the Russian Tea Room Restaurant Next to Careegle Holl 150 Weit 57th Street ENJOY A CONCERT - ANYTIME ON AFTERTHOUGHT_______________ ___________________ .60 LA BONNE CUISINE (Four Recipes)__________________1.00 rca Victor "45" Plum Pudding Tavouk Gueunksis Ox-tails Rabbit at Top Speed (VON SUPPE) SILHOUETTE_________________________________________ .75 VWEPR-3 ----------------------------------------------I.M In NEW YORK: 3 East 43rd Street JLI BER G. SCHIRMER In BROOKLYN: 275 Livingaton Street 450 MADISON AVE. AT 50th ST. 975 Madison Ave. at 76th St. • 795 Madison Ave. at 67th St., N. Y. 22 • 228 E. Post Road, White Plains 8 THE INCOMPARABLE diwqAaphical Sketch^ Now in the last two weeks of the 1952-53 season, the New York Philharmonic-Symphony, under Dimitri Mitropoulos has scheduled three works new to the So­ ciety’s repertoire. On Thursday-Friday, April 16 and 17, the program contains, in addition to the Schumann Symphony No. 2 and “Caucasian Sketches” of Ippolitow-Ivanow, the American premiere of “Orchestra Music,” Opus 9, by Gottfried von Einem, and the first New York perform­ ances of Erich Leinsdorf’s arrangement of the Brahms Chorale: “Oh God, Thou Holiest.” On April 18th, the Franck-Pierne Prelude, Chorale and Fugue and Scriabin’s “Poem of Ecstasy” will be played in the first part of the concert; the second part consists of Borodin’s “On the Steppes of Central Asia” and the Rachmaninoff Piano Concerto No. 3 with Anna Xydis as soloist. Artur Rubinstein is assisting artist Sunday afternoon, April 19th, when he will be heard in the Saint-Saëns Concerto No. 2 and César Franck “Symphonic Varia­ tions.” The Franck-Pierne and Scriabin works will com­ prise the first part of the program. On April 23 and 24, when the concert opens with the Bach-Respighi Passacaglia and Fugue in C minor, Nathan Milstein will play the Prokofieff Violin Concerto No. 1 in memory of the composer, which will be fol­ lowed by the Fifth Symphony of Beethoven and the first performance of the Eighth Annual George Gersh­ win Memorial Contest (1952) winning composition, iNothing the music lover could want “Night Music,” by George Rochberg. Saturday night, the program contains Berlioz’ Overture to “Benvenuto surpasses The SARATOGA for sheer Cellini,” the Beethoven Fifth Symphony, the Chausson pleasure. Capehart’s ultra sensitive Symphony in B-flat (which the Philharmonic has not television chassis—with *Reserve Sup­ played in five years) and Ravel’s “La Valse.” Sunday ply Video Power—is engineered in ad­ is the same, except that instead of the Beethoven Sym­ phony, Nathan Milstein will be heard in the Mendelssohn Concerto. vance for UHF and VHF reception in Lithuanian Pianist-Composer, Vytautas Bacevicius, primary and fringe reception areas. graduated from the Conservatory of Paris in 1928 with high honors as pianist-virtuoso and composer, receiving Its 21-inch Crystal-Clear picture is a the diploma “Premier Prix.” He studied piano with marvel of true-to-life clarity. An AM- Joseph Turczynski (Poland) and Santiego Riera (Paris), professor of “Conservatoire National de Paris,” FM radio and phonograph, which pupil of Thomas—a famed Chopin pupil. Mr. Bacevicius plays all types, sizes and speeds of studied composition with K. Sikorski (Poland) and Nicolai Tcherepnine (Paris). When he was 15 years records automatically, open up a vast of age he made his first debut as soloist (playing a treasure-house of music for you. Two Mozart Concerto) with the Philharmonic Orchestra in Lodz, Poland. Since 1928 he has toured in the prin­ 12-inch concert-grand speakers pro­ cipal cities of Europe giving over 300 recitals and vide the full range and depth of ex­ symphony concerts with such conductors as Philipp Gaubert, Nicolai Malko, Albert Wolff, Gregory Fitelberg, Leon Jongen, Juan clusive Symphonic-Tone. Add to this, Jose Castro, etc. In South America he gave 24 concerts and in this country cabinetry of authentic design and dis­ up-to-date over 200 concerts, including radio and symphonic appearances. In 1938 he was a member of the jury to the International Pianists contest in tinctive beauty, and you have an in­ Brussels. He holds the title of Cavalier of the Crown of Leopold III. Mr. strument of endless enjoyment. We Bacevicius’ compositions are published in Vienna, Univeral Edition in Paris, Edition Hengel, Au Menestrel; and in New York, Paragon Music Publishers.
Load more

Recommended publications
  • The Ukrainian Weekly 1984, No.52
    www.ukrweekly.com 3 Ht Pu^lished ЬУ the Ukrainian National Association Inc., a fraternal non-profR" association) Ukrainian Weekl Vol. Lll No. 52 THE UKRAINIAN WEEKLY SUNDAY, DECEMBER 23, 1984 25 cents CHRIST IS BORN - LET US GLORIFY HIM GssetssaesaG^^ Reflections on President's report profound mystery neglects Ukrainians WASHINGTON - A recent presi­ The Christmas message of the dential report on compliance with the Ukrainian Catholic hierarchy in the 1975 Helsinki Accords on human rights United States of A merica. and security in Europe, which includes a section on the Soviet Union, contains Very Reverend and Reverend Fathers, virtually no references to the rights Members of our Religious Commu­ situation in Ukraine and only a cursory nities, Beloved Faithful in Christ! mention of Ukrainian politic;.! pri­ soners, by far the largest group. Christ is Born! Let us glorify Him! The document, officially titled the With the holy Christmas season 17th Semiannual Report by the Presi­ upon us, let us send our thoughts to dent to the Commission on Security and distant Bethlehem! What awesome Cooperation in Europe, also fails to mystery penetrated that night and detail the plight of the Ukrainian permeated the City of David nearly Helsinki Group, the largest of the five 2,000 years agorlt truly was a "Holy citizens' groups set up to monitor Soviet Night" and a "Silent Night." It was compliance with the accords, which the night foretold by the prophets, were signed by 35 countries. Most anticipated by the patriarchs and just members of the group are serving long people throughout the Old Testa­ terms of imprisonment, a fact ommited ment.
    [Show full text]
  • NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum
    Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. 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 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX 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 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky 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.
    [Show full text]
  • Leonard Bernstein
    chapter one Young American Bernstein at Harvard In 1982, at the age of sixty-four, Leonard Bernstein included in his col- lection of his writings, Findings, some essays from his younger days that prefi gured signifi cant elements of his later adult life and career. The fi rst, “Father’s Books,” written in 1935 when he was seventeen, is about his father and the Talmud. Throughout his life, Bernstein was ever mind- ful that he was a Jew; he composed music on Jewish themes and in later years referred to himself as a “rabbi,” a teacher with a penchant to pass on scholarly learning, wisdom, and lore to orchestral musicians.1 Moreover, Bernstein came to adopt an Old Testament prophetic voice for much of his music, including his fi rst symphony, Jeremiah, and his third, Kaddish. The second essay, “The Occult,” an assignment for a freshman composi- tion class at Harvard that he wrote in 1938 when he was twenty years old, was about meeting Dimitri Mitropoulos, who inspired him to take up conducting. The third, his senior thesis of April 1939, was a virtual man- ifesto calling for an organic, vernacular, rhythmically based, distinctly American music, a music that he later championed from the podium and realized in his compositions for the Broadway stage and operatic and concert halls.2 8 Copyrighted Material Seldes 1st pages.indd 8 9/15/2008 2:48:29 PM Young American / 9 EARLY YEARS: PROPHETIC VOICE Bernstein as an Old Testament prophet? Bernstein’s father, Sam, was born in 1892 in an ultraorthodox Jewish shtetl in Russia.
    [Show full text]
  • Wallingford Riegger
    WALLINGFORD RIEGGER: Romanza — Music for Orchestra Alfredo Antonini conducting the Orchestra of the “Accademia Nazionale di Santa Cecilia-Roma” Dance Rhythms Alfredo Antonini conducting the Oslo Philharmonic Orchestra THIS RELEASE is but further evidence of the growing and gratifying tendency of recent years to recognize Wallingford Riegger as one of the leading and most influential figures in twentieth century American composition, in fact as the dean of American composers. Herbert Elwell, music critic of the Cleveland Plain Dealer, said it in April, 1956: “I am coming more and more to the conclusion that it is Riegger who has been the real leader and pathfinder in contemporary American music . not only a master of his craft but in some ways a prophet and a seer.” In the same month, in Musical America, Robert Sabin wrote: “I firmly believe that his work will outlast that of many an American composer who has enjoyed far greater momentary fame.” Riegger was born in Albany, Georgia, on April 29, 1885. Both his parents were amateur musicians and were determined to encourage their children in musical study. When the family moved to New York in 1900, the young Wallingford was enrolled at the Institute of Musical Art where he studied the cello and composition. Graduating from there in 1907 Riegger then went to Germany to study at the Hochschule für Musik in Berlin with Max Bruch. In 1915-1916 he conducted opera in Würzburg and Königsberg and the following season he led the Blüthner Orchestra in Berlin. Since his return to the United States in 1917, he has been active in many phases of our musical life.
    [Show full text]
  • The Flutist Quarterly Volume Xxxv, N O
    VOLUME XXXV , NO . 2 W INTER 2010 THE LUTI ST QUARTERLY Music From Within: Peter Bacchus Interviews Robert Dick Remembering Frances Blaisdell Running a Chamber Ensemble The Inner Flute: Lea Pearson THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC :ME:G>:C8: I=: 7DA9 C:L =:69?D>CI ;GDB E:6GA 6 8ji 6WdkZ i]Z GZhi### I]Z cZl 8Vadg ^h EZVgaÉh bdhi gZhedch^kZ VcY ÓZm^WaZ ]ZVY_d^ci ZkZg XgZViZY# Djg XgV[ihbZc ^c ?VeVc ]VkZ YZh^\cZY V eZg[ZXi WaZcY d[ edlZg[ja idcZ! Z[[dgiaZhh Vgi^XjaVi^dc VcY ZmXZei^dcVa YncVb^X gVc\Z ^c dcZ ]ZVY_d^ci i]Vi ^h h^bean V _dn id eaVn# LZ ^ck^iZ ndj id ign EZVgaÉh cZl 8Vadg ]ZVY_d^ci VcY ZmeZg^ZcXZ V cZl aZkZa d[ jcbViX]ZY eZg[dgbVcXZ# EZVga 8dgedgVi^dc *). BZigdeaZm 9g^kZ CVh]k^aaZ! IC (,'&& -%%".),"(',* l l l # e Z V g a [ a j i Z h # X d b Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXV, N O. 2 W INTER 2010 DEPARTMENTS 5 From the Chair 51 Notes from Around the World 7 From the Editor 53 From the Program Chair 10 High Notes 54 New Products 56 Reviews 14 Flute Shots 64 NFA Office, Coordinators, 39 The Inner Flute Committee Chairs 47 Across the Miles 66 Index of Advertisers 16 FEATURES 16 Music From Within: An Interview with Robert Dick by Peter Bacchus This year the composer/musician/teacher celebrates his 60th birthday. Here he discusses his training and the nature of pedagogy and improvisation with composer and flutist Peter Bacchus.
    [Show full text]
  • JANUARY 5, 7 & 10, 2012 Thursday, January 5, 2012, 7
    01-05 Gilbert:Layout 1 12/28/11 11:09 AM Page 19 JANUARY 5, 7 & 10, 2012 Thursday , January 5 , 2012, 7:3 0 p.m. 15,2 93rd Concert Open rehearsal at 9:45 a.m. Saturday , January 7 , 2012, 8:00 p.m. 15,295 th Concert Tuesday, January 10 , 2012, 7:3 0 p.m. 15,296 th Concert Alan Gilbert , Conductor Global Sponsor Alan Gilbert, Music Director, holds The Yoko Nagae Ceschina Chair . This concert will last approximately two hours, which includes Major support provided by the Francis one intermission . Goelet Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic Exclusive Timepiece of the New York Philharmonic January 2012 19 01-05 Gilbert:Layout 1 12/28/11 11:09 AM Page 20 New York Philharmonic Alan Gilbert, Conductor Thomas ADÈS Polaris: Voyage for Orchestra (2010–11; New York (b. 1971) Premiere, Co-Commissioned by the New York Philharmonic and Miami’s New World Symphony, Amsterdam’s Royal Concertgebouw Orchestra, Lisbon’s Calouste Gulbenkian Foundation, London’s Barbican Centre, the Los Angeles Philharmonic, and the San Francisco Symphony) Intermission MAHLER Symphony No. 9 (1908–10) (1860–1911) Andante comodo In the tempo of a comfortable ländler, somewhat clumsy and very coarse Allegro assai, very insolent Very slow and even holding back Classical 105.9 FM WQXR is the Radio The New York Philharmonic’s concert -recording Station of the New York Philharmonic. series, Alan Gilbert and the New York Phil - harmonic: 2011–12 Season, is now available for download at all major online music stores.
    [Show full text]
  • Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution.
    [Show full text]
  • Marquetry on Drawer-Model Marionette Duo-Art
    Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number
    [Show full text]
  • Crane Chorus Crane Symphony Orchestra
    JOHANNES BRAHMS A German Requiem JOSEPH FLUMMERFELT, Conductor 2015 Dorothy Albrecht Gregory Visiting Conductor* with the Crane Chorus and the Crane Symphony Orchestra NICOLE CABELL, soprano CRAIG VERM, baritone Saturday, May 2, 2015 at 7:30 pm Hosmer Hall at SUNY Potsdam *The partnership of the Dorothy Albrecht The Lougheed-Kofoed Festival of the Gregory Visiting Conductor Fund, established Arts is made possible by the generosity by Dorothy Albrecht Gregory ’61, and the and artistic vision of Kathryn (Kofoed) Adeline Maltzan Crane Chorus Performance ’54 and Donald Lougheed (Hon. ’54). Tour Fund, established by Dr. Gary C. Jaquay ’67, brings distinguished conductors to The Crane Media Sponsor School of Music for festival performances by the Crane Chorus and Crane Symphony Orchestra, and funds travel for major performances to venues outside of Potsdam. Welcome to the concluding performance of the fourth Lougheed-Kofoed Festival of the Arts, whose scope embracing all the arts, in a continuation of our campus’ historic Spring Festival of the Arts, is generously supported by the visionary gifts of Kathy Kofoed Lougheed ’54 and her husband Don Lougheed (Hon.) ’54. The featured choral-orchestral work on this evening’s program, Johannes Brahms’ beloved German Requiem, had been among those performed most frequently in the Spring Festival, having been featured on nine separate occasions, and having been conducted by some of the iconic figures in the Festival’s history. Helen Hosmer herself conducted it just two years after the beginning of this venerable series, in 1934; and in 1939 her friend and colleague Nadia Boulanger conducted the work.
    [Show full text]
  • Usos Do Disco, Do Rádio E Da História Da Música Como Instrumentos De Educação E Divulgação Musicais
    SAID TUMA “Elevar o nível” e “frear” a decadência do gosto: usos do disco, do rádio e da história da música como instrumentos de educação e divulgação musicais SÃO PAULO 2017 2 SAID TUMA “Elevar o nível” e “frear” a decadência do gosto: usos do disco, do rádio e da história da música como instrumentos de educação e divulgação musicais Versão Corrigida Tese apresentada ao Programa de Pós- Graduação em Música, Área de Concentração Musicologia, Linha de Pesquisa Musicologia e Etnomusicologia da Escola de Comunicações e Artes da Universidade de São Paulo, como exigência parcial para obtenção do título de Doutor em Música, sob orientação do prof. Dr. Mário Rodrigues Videira Júnior SÃO PAULO 2017 3 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. 4 TUMA, Said. “Elevar o nível” e “frear” a decadência do gosto: usos do disco, do rádio e da história da música como instrumentos de educação e divulgação musicais. 2017. 217 f. Tese (Doutorado em Música) – Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo, 2017. Aprovado em: Banca Examinadora Prof. Dr. _____________________________________________________ Instituição: _____________________________________________________ Julgamento: _____________________________________________________ Prof. Dr. _____________________________________________________ Instituição: _____________________________________________________ Julgamento: _____________________________________________________
    [Show full text]
  • New York Philharmonic
    New York Philharmonic 2 3 Alan Gilbert and the New York Philharmonic New York Philharmonic 2012–13 Season Alan Gilbert has said that every concert offer with the audience in a very palpable, Alan Gilbert, Conductor should be an event, a philosophy that visceral, and potent way.” Emanuel Ax, Piano pervades the New York Philharmonic’s pro- These high-quality recordings of almost grams week after week. Twelve of these 30 works, available internationally, reflect concerts are captured live in Alan Gilbert Alan Gilbert’s wide-ranging interests and Recorded live October 4–6, 2012 and the New York Philharmonic: 2012–13 passions, from Bach’s B-minor Mass to Avery Fisher Hall at Lincoln Center for the Performing Arts Season, demonstrating the excitement sur- brand-new music by Christopher Rouse. rounding the Orchestra as the Music Direc- Bonus content includes audio record- J.S. BACH (1685–1750) tor has entered the fourth year of his tenure. ings of the Music Director's occasional Keyboard Concerto No. 1 in D minor, BWV 1052 About his rapport with the Philharmonic onstage commentaries, program notes players, Alan Gilbert has said: “The chem- published in each concert’s Playbill, and (ca. 1714–17/ca.1729–39) 21:43 istry between the Orchestra and me is encores — all in the highest audio quality Allegro 8:02 ever-evolving and deepening. It is a great available for download. Adagio 6:01 joy to make music with these incredible For more information about the series, Allegro 7:40 musicians and to share what we have to visit nyphil.org/recordings.
    [Show full text]
  • AMICA New S Bulle Ti N of the a UTOM ATIC MUSICAL INSTRUMENT C O LLECTORS' ASSOCIATION
    CC;~e AMICA New s Bulle ti n of the A UTOM ATIC MUSICAL INSTRUMENT C O LLECTORS' ASSOCIATION ARENT ORGANIZATION ACTIVITIES • •••••••••••••P. 1 1OGRAPHI CAL SKETCHES •• ••••••••• •• ••• •••••• •P. 4 OUTHERN CALI FORNI A CHAPTER • ••••••• ••••••• ••P. 10 NSTRUMENTS • ••••• • • • ••••••••••••• ••••••••• ••·P. 12 oLLS & MUSic P. 15 rECHNICALI 'TIES ••••••• ••••••••••••• •• • •••••••F. 19 AMICA BOARD MEMBERS: F rank L o ob, Pre siden t Roger Jo hnso n, Vice President G in ny B il l in gs, Publisher 1971 Nick Jarr ett, Treasurer A ober ta Ch erney, Re co rd i ng Secretary Dick Re u t linger, Me m b er sh ip Secretary M el L u ch et t i , Adver t isi ng Secretary THE Al\tICA NEWS BULLETIN 1__---------------------------The AMICA News Bulletin .......----..... Published by the Automatic Musical Instrument Collectors' Association, a non-profit club devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls. Contributions: All subjects of interest to readersof the bulletin are encouraged and invited by the publisher. All articles must be received by the first of the month. Every attempt will be made to publish all articles of general interest to AMICA members at the earliest possible time and at the discretion of the Publisher, in the following areas: * Letters to the Publisher * Research Findings *Questions and Answers * Biographical Sketches of Artists and Composers *Photographs, Old Advertisements *Technical Information * Anything elseof general interest to AMICA . Advertisements: Personal ads are accepted by the AMICA Bulletin Board. Businesses which are interested in placing ads must follow these rules: - Each ad will consist of one full standard page in the bulletin.
    [Show full text]