DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip INFANTRY HALL . PROVIDENCE Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor ffragntmm? at % Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, FEBRUARY 12 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY, New York, Cincinnati, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E.- Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Hor:tsr. Bass Clarinet. < Z ontra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz. O Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, T. A. Dworak , J. Senia, Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. :>=^g^^-=^»!^^^ Z\)t <£I)tt<urtng litano 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 1823 791 TREMONT STREET BOSTON, U.S.A. Represented in Providence by GOFF & DARLING, 276 Westminster Street Boston INFANTRY HALL, Providence. CvmnflOflV1**1'**"** ^ &J J & Twenty-seventh Season, 1907-J908. /~\«*/-» t^ Af^on ™ One Hundred and Seventh Concert in \J rCIlC^ Lid Providence. Dr. KARL MUCK, Conductor. THIRD AND LAST CONCERT, WEDNESDAY EVENING, FEBRUARY 12, AT 8.15 PRECISELY PROGRAMME. * " Tschaikowsky . Symphony No. 6, Pathetic," in B minor, Op. 74 I Adagio ; Allegro non troppo. II. Allegro con grazia. III. Allegro molto vivace. IV. Finale : Adagio lamentoso. Grieg .... Concerto in A minor, for Pianoforte, Op. 16 I. Allegro molto moderate II. Adagio. III. Allegro moderato molto e marcato. Chabrier . r " Espafia," Rhapsody for Orchestra SOLOIST, Mr. RUDOLPH GANZ- The Mason & Hamlin pianoforte. There will be an intermission of ten minutes after the symphony. 5 ? There are some four hundred different makes of pianos manu- factured in the United States. Horn) many can you name ? Per- haps a dozen. Hardman Piano.— Style " Sheraton," one of the 34 new styles this sea- son in Hardman, Peck & Co.'s remarkable line of 56 different styles. HARDMAN PIANO Is always on the tip of the tongue whenever Pianos are thought of. Now, this universal knowledge of a few makes is no.t alone the result of advertising. All makes of pianos are advertised. It is their presence in thousands of homes, their intimate association with the daily lives of their owners and their friends for many years, that causes this general familiarity with the few well-known makes. The Hardman Piano is an inherent part of our national home life. And nothing but its onvn intrinsic qualities of superiority could ever have made it so. Do you realize that in buying a Hardman Piano you are not paying extra for a name ? That a " Hardman," with all that the name implies of high musical quality, durability, and reputation, can be bought at as moderate a price as hundreds of makes whose names you never heard A call at our warerooms will be a revelation to you in piano values. cAtt makes of pianos taken in exchange. Convenient terms of payment for the balance can be arranged. HARDMAN, PECK & CO. T™ 138 Fifth Avenue (comer 19th Street), New York 524 Fulton Street, Brooklyn Represented in Providence by GOFF & DARLING, 276 Westminster Street — Symphony No. 6, in B minor, "Pathetic," Op. 74. Peter Tschaikows&y (Born at Votkinsk, in the government of Viatka, Russia, May 7,* 1840; died at St. Petersburg, November 6, 1893.) This symphony is in four movements : I. Adagio, B minor, 4-4. Allegro non troppo, B minor, 4-4. II. Allegro con grazia, D major, 5-4. III. Allegro, molto vivace, G major, 4-4 (12-8). IV. Finale : Adagio lamentoso, B minor, 3-4. Tschaikowsky embarked at New York in May, 1891, for Hamburg. The steamer was the "Fiirst Bismarck." His diary tells us that on his voyage he made sketches for a sixth symphony. (The Fifth was first performed in 1888.) The next mention of this work is in a letter dated at Vichy, June 30, 1892, and addressed to W. Naprawnik: "After you left me, I still remained at Klin about a month, and sketched two movements of a symphony. Here I do absolutely nothing; I have neither inclination nor time. Head and heart are empty, and my mental faculties are concentrated wholly on my thoughts. I shall go home soon." He wrote his brother in July that he should finish this symphony in Klin. From Klin he wrote Serge Taneieff, the same month, that before his last journey he had sketched the first movement and the finale. "When I was away, I made no progress with it, and now there is no time." He was then working on the opera "Iolanthe" and the ballet "The Nut-cracker," performed for the first time at St. Petersburg, December i8,f 1892. He was reading the * Mrs. Newmarch, in her translation into English of Modest Tschaikowsky's life of his brother, gives the date of Peter's birth April 28 (May 10). Juon gives the date April 25 (May 7). As there are typographical and other errors in Mrs. Newmarch's version, interesting and valuable as it is, I prefer the date given by Juon, Hugo Riemann, Iwan Knorr, and Heinrich Stum eke. fMrs. Newmarch, in her translation into English of-Modest's life of his brother, gives December 17 as the date. IMPORTANT TO ALL CONSERVATORIES AND SCHOOLS OF MUSIC NEW EDITION JUST PUBLISHED By Authority from the Author SCHOOL OF SCALES AND DOUBLE NOTES FOR PIANOFORTE By MAURICE MOSZKOWSKI Op. 64 Book I. Scales in Single Notes. Book III. Exercises in Double Notes Book II. Scales in Double Notes. Book IV. Advanced Studies in Double Notes PRICE, 60 CENTS NET, EACH BOOSEY & COMPANY, 9 East Seventeenth St., New York City — letters of Flaubert with the liveliest pleasure and admiration. In September he went to Vienna, and he visited Sophie Menter, the pianist, at her castle I tter in the Tyrol. He wrote from Klin in October: ''I shall be in St. Petersburg the whole of November; I must devote December to the orchestration of my new symphony, which will be performed at St. Petersburg toward the end of January." But in December he travelled ; he visited Berlin, Basle, Paris ; and from Berlin he wrote to W. Davidoff (December 28) : "To-day I gave myself up to weighty and important reflection. I examined carefully and objectively, as it were, my symphony, which fortunately is not yet scored and presented to the world. The impres- sion was not a flattering one for me; that is to say, the symphony is only a work written by dint of sheer will on the part of the composer: it contains nothing that is interesting or sympathetic. It should be cast aside and forgotten. This determination on my part is admirable and irrevocable. Does it not consequently follow that I am generally dried up, exhausted? I have been thinking this over for three days. Perhaps there is still some subject that might awaken inspiration in me, but I do not dare to write any more absolute music, —that is, symphonic or chamber music. To live without work which would occupy all of one's time, thoughts, and strength, —that would be boresome. What shall I do ? Hang composing upon a nail and forget it ? The decision TWELVE LESSONS IN THE Fundamentals of Voice Production By ARTHUR L. MANCHESTER (IN PRESS) Price, postpaid, $1.00 Good singing is built upon a good foundation, which in turn depends upon a correct tone production. The Tivelve Lessons, by Mr. Manchester, present, in a succinct, clearly stated form, the fundamental principles, which statements are illustrated by simple practical exercises. The special aim is to train the pupil to recognize the conditions, comfort, and firmness which accompany tone production, and are inseparable from good singing. The teacher will find the book an invalua- able aid in the first term's work with a pupil.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
    KRUEGER AUDITORIUM NEWARK, NJ. Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor fhvgrmmtt* of GRAND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, DECEMBER 9 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY, New York, Cincinnati, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, 0. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M.
    [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]
  • UNIVERSITY of CALIFORNIA Los Angeles
    UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism.
    [Show full text]
  • Howe Collection of Musical Instrument Literature ARS.0167
    http://oac.cdlib.org/findaid/ark:/13030/c8cc1668 No online items Guide to the Howe Collection of Musical Instrument Literature ARS.0167 Jonathan Manton; Gurudarshan Khalsa Archive of Recorded Sound 2018 [email protected] URL: http://library.stanford.edu/ars Guide to the Howe Collection of ARS.0167 1 Musical Instrument Literature ARS.0167 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: Howe Collection of Musical Instrument Literature Identifier/Call Number: ARS.0167 Physical Description: 438 box(es)352 linear feet Date (inclusive): 1838-2002 Abstract: The Howe Collection of Musical Instrument Literature documents the development of the music industry, mainly in the United States. The largest known collection of its kind, it contains material about the manufacture of pianos, organs, and mechanical musical instruments. The materials include catalogs, books, magazines, correspondence, photographs, broadsides, advertisements, and price lists. The collection was created, and originally donated to the University of Maryland, by Richard J. Howe. It was transferred to the Stanford Archive of Recorded Sound in 2015 to support the Player Piano Project. Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, California 94305-3076”. Language of Material: The collection is primarily in English. There are additionally some materials in German, French, Italian, and Dutch. Arrangement The collection is divided into the following six separate series: Series 1: Piano literature. Series 2: Organ literature. Series 3: Mechanical musical instruments literature. Series 4: Jukebox literature. Series 5: Phonographic literature. Series 6: General music literature. Scope and Contents The Howe Musical Instrument Literature Collection consists of over 352 linear feet of publications and documents comprising more than 14,000 items.
    [Show full text]
  • NPTA Membership Directory
    NPTA Membership Directory RIC ADAMO BARRY ARNAULT International Piano Service, Inc. Kawai America Corporation 320 West Larch Road, #14 11155 Hillsboro Mile #204 Tracey, CA 95304 Hillsboro Beach, FL 33062 Tel: (209) 832-1999 Tel: Fax: Fax: E-Mail: [email protected] E=Mail: NPTA Paid Member 2009 NPTA Paid Member 2009 DOMINIQUE AGNEW LARRY ASHLEY National Association of Music Merchants Pierce Piano Atlas 5790 Armada Drive Decals for Pianos Carlsbad, CA 92008 P. O. Box 20520 Tel: (760) 438-8001 Albuquerque, NM 87154-0520 Fax: (760) 438-7327 Tel: (505) 296-5499 E-mail: [email protected] Fax: (505) 323-0252 Cell: (505) 263-6021 CHRIS ANDERSON E-mail: [email protected] Yamaha Corporation of America NPTA Paid Member 2009 Piano Division –District Manager 6535 Canary Street RAY ASTIN Sarasota, FL 34241 Astin-Weight Pianos Tel: (941) 923-7674 120 West 3300 South Fax: (941) 923-9396 Salt Lake City, UT 84115 Cell: (941) 350-2342 Tel: (801) 487-0468 E-mail: E-mail: [email protected] SCOTT ANDERSON BOB AURAND NPTA PRESIDENT, 1968-1969 Conover-Cable Piano Company, Retired Wurlitzer Piano Company, Retired 509 West Meson Street 165 Post & Rail Road Polo, IL 61064 Longwood, FL 32750-3884 Tel: 815-946-9090 Tel: (407) 332-7798 E-mail: E-mail: [email protected] NPTA Member MICHAEL BAILEY Email [email protected] JUN ANDO Kawai America Corporation DOUG BALL 2055 E. University Drive NPTA Paid Member 2010 Compton, CA 90220 Tel: 520-331-9240 Tel: (310) 631-1771 Email [email protected] Fax: (310) 604-6913 DON BARNES RODOLF ARLT Mason
    [Show full text]
  • The a Lis Auth Szt P Hen Pian Ntic No T Cho Trad Opin Diti N an on Nd
    THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 1 2 THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION 3 4 THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 5 Published in 2008 by Wensleydale Press ABN 30 628 090 446 165/137 Victoria Street, Ashfield NSW 2131 Tel +61 2 9799 4226 Email [email protected] Designed and printed in Australia by Wensleydale Press, Ashfield Copyright © Gerard Carter 2008 All rights reserved. This book is copyright. Except as permitted under the Copyright Act 1968 (for example, a fair dealing for the purposes of study, research, criticism or review) no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior permission. Enquiries should be made to the publisher. ISBN 978-0-9805441-2-1 This publication is sold and distributed on the understanding that the publisher and the author cannot guarantee that the contents of this publication are accurate, reliable, complete or up to date; they do not take responsibility for any loss or damage that happens as a result of using or relying on the contents of this publication and they are not giving advice in this publication. 6 7 8 CONTENTS Chapter 1: Introduction ... 11 Chapter 2: Chopin and Liszt as composers ...19 Chapter 3: Chopin and Liszt as pianists and teachers ... 29 Chapter 4: Chopin tradition through Mikuli ... 55 Chapter 5: Liszt tradition through Stavenhagen and Kellermann ..
    [Show full text]
  • Piano Rolls and Contemporary Player Pianos: the Catalogues, Technologies, Archiving and Accessibility
    Piano Rolls and Contemporary Player Pianos: The Catalogues, Technologies, Archiving and Accessibility Peter Phillips A Thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Historical Performance Unit Sydney Conservatorium of Music University of Sydney 2016 i Peter Phillips – Piano Rolls and Contemporary Player Pianos Declaration I declare that the research presented in this thesis is my own original work and that it contains no material previously published or written by another person. This thesis contains no material that has been submitted to any other institution for the award of a higher degree. All illustrations, graphs, drawings and photographs are by the author, unless otherwise cited. Signed: _______________________ Date: 2___________nd July 2017 Peter Phillips © Peter Phillips 2017 Permanent email address: [email protected] ii Peter Phillips – Piano Rolls and Contemporary Player Pianos Acknowledgements A pivotal person in this research project was Professor Neal Peres Da Costa, who encouraged me to undertake a doctorate, and as my main supervisor, provided considerable and insightful guidance while ensuring I presented this thesis in my own way. Professor Anna Reid, my other supervisor, also gave me significant help and support, sometimes just when I absolutely needed it. The guidance from both my supervisors has been invaluable, and I sincerely thank them. One of the greatest pleasures during the course of this research project has been the number of generous people who have provided indispensable help. From a musical point of view, my colleague Glenn Amer spent countless hours helping me record piano rolls, sharing his incredible knowledge and musical skills that often threw new light on a particular work or pianist.
    [Show full text]
  • Weber Baby Grand Piano Serial Numbers
    Weber Baby Grand Piano Serial Numbers 1 / 4 Weber Baby Grand Piano Serial Numbers 2 / 4 3 / 4 Can anyone tell me the age of my Weber (baby grand) serial number CG 0002540. I believe it is a Young Chang piano. thanks! Last edited by .... Models 183 Grand Jul 02, 2011 · Source(s): year piano serial number 80583 weber baby grand: https://biturl. Weber Pianos-Pianos for Sale. Please contact us .... I own a Chickering baby grand built in Boston, Massachusetts. ... What is the value of a kingsbury upright piano, serial number 211916 ... The Weber Piano Company is a former piano manufacturing company based in New .... Weber upright piano in rosewood. Weber Pianos-Pianos for Sale. Weber piano in black logo ... Weber pianos c1990 to today. Year and serial number, Not listed .... The age of your piano is determined by the Serial Number. ... All Baldwin Upright or Vertical Pianos - Does not include Hamilton Studios or Baldwin Grand Pianos. ... include Chickering & Sons, Wm. Knabe & Co., Mason & Hamlin and Weber.. How old is my piano? Find out the year of production for your piano with the help of the serial number. In the form below, select your brand and enter your serial .... Weber Pianos. Serial Numbers. 1903 - 54700 . 1964 - 98738. 1910 - 64500 . 1965 - 99100. 1920 - 76000 . 1966 - 99440. 1930 - 81300 . 1967 - 99800.. 28 Oct 10, 2019 · How to Dismantle a Piano. Nov 15, 2016 · Grand and baby grand pianos will have their serial numbers on or under the .... Each piano is manufactured with a unique serial number that is recorded for future ..
    [Show full text]
  • Autotviatic MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION
    AMICA AUTOtVIATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION 1 THE AMICA NEWS BULLETIN .....--------------------------rThe 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 readers of the bulletin are encouraged and invited by the publisher. All articles must be received by the 15th of the preceding month. Every attempt will be made to publish all articles of general interest to AM ICA 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 else of general interest to AMICA Advertisements: Personal ads are accepted by the AMICA Bulletin Board (address below). Businesses and persons wishing more space use the following guidelines: - Spaces available at the rate of $10 per quarter page or multiple thereof. - Camera ready copy must reach the publisher by the 15th of the preceding month. - Advertiser must pay extra expenses, such as-photographic half-tones and typesetting if required. - All ads will appear on the last pages of the bulletin. PUBLICATION OF BUSINESS ADVERTISING IN NO WAY IMPLIES AMICA'S ENDORSEMENT OF ANY COMMERCIAL OPERATION. However AMICA reserves the right to refuse any ad that is not in keeping with AMICA's general standards or if complaints are received indicating that said business does not serve the best interests of the members of AMICA, according to its goals and by-laws.
    [Show full text]
  • Cfjttfeertng
    Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org STEINWAY Cfjttfeertng One of the contributor/ reasons why the Steinway piano la recognized a* P IA NOS The Worlds Standard may be found In the fact that since Its Inception It has been made under the supervision of members of the Steinway family, and embodied In it are certain For over eighty-four years the leading exponents of Improvements found In no other Instrument, It is not merely the combination of wood, felts and the latest developments in pianoforte construction metals, but it Is the knowing how to combine them In order to produce the highest musical results which has made the Steinway the piano by which all others are measured. THE STEINWAY MADE SOLELY BY Is a work of creative art which stands alone—unquali- fiedly the best. CHICKERING & SONS STEINWAY & SONS, ESTABLISHED if«ji LONDON. NEW YORK. HAMBURG. BOSTON : U. S. A. Paderewski's Choice HARDMAN, PECK & CO.'S OF PIANOS IS Line of Pianos, Autotones and Piano-Players consists of 56 Different Styles, 34 of which are NEW this season HARDMAN PIANOS THE WEBER UPRIGHTS AND GRANDS Piano history is being made rapidly in HARRINGTON PIANOS these days. HENSEL PIANOS There is no such thing as standing still in piano manufacturing. =!.. AUTOTONES The piano that fails to progress is in reality retrograding. HARDMAN PIANO-PLAYER No piano has of late made such rapid progress, has so notably advanced ESTABLISHED 184Z its artistic standards, as has the HARDMAN, PECK & CO. Weber. The musical world has been 138 FIFTH AVENUE - - - NEW YORK quick to appreciate this fact, and one Write tor Terms and Territories great artist after another has added the weight of his personal indorse- ment to the Weber's prestige.
    [Show full text]
  • Sophie Menter Zählte in Den Letzten Jahrzehnten Des 19
    Menter, Sophie standensein nicht in Unzufriedenheit mündet.“ (César Cui in „Nedelja“ [„Die Woche“] vom 18. Februar 1884, zit. n. Vinocour 2006, S. 61) Profil Sophie Menter zählte in den letzten Jahrzehnten des 19. Jahrhunderts zu den großen Virtuosinnen und herausra- genden Liszt-Interpretinnen, die von London bis St. Pe- tersburg über 40 Jahre das Publikum zu Begeisterungs- stürmen hinriss. Sophie Menter wurde u. a. von Friedrich Niest in Mün- chen und Carl Tausig in Berlin ausgebildet und musizier- te häufig gemeinsam mit Franz Liszt an zwei Flügeln, der sie als Pianistin sehr schätzte. Ihre Interpretationen sei- ner Werke, darunter besonders das Klavierkonzert Es- Dur, wurden legendär. Entsprechend wurde Sophie Men- ter von Beginn ihrer Karriere an von konservativer Seite angegriffen, die ihr zu wenig musikalische Sensibilität und zu viel Kraft vorwarf. Während ihrer Zeit als Hofpianistin am Hof von Löwen- berg lernte sie den Cellisten David Popper kennen, den Die Pianistin Sophie Menter. Fotografie Wegner &amp; Mottu, sie 1872 heiratete und mit dem sie nach ihrer Ernennung Amsterdam und Utrecht, o.D. zur k.k. Hofpianistin 1877 vermutlich nach Pest zog. Von 1884 bis 1887 war Sophie Menter Professorin am Konser- Sophie Menter vatorium in St. Petersburg, wo sie die Klavierklasse von Ehename: Sophie Menter-Popper Louis Brassin übernahm, zu deren Schüler u. a. Vasilij Sa- pellnikoff und Vasilij Safnov gehörten. Nach ihrer Rück- * 17. Juli 1846 in M&uuml;nchen, Deutschland kehr aus St. Petersburg und der Scheidung von David † 23. Februar 1918 in Stockdorf bei M&uuml;nchen, Popper 1886 ließ sie sich auf Schloss Itter bei Kitzbühel Deutschland in Tirol nieder und unternahm von dort aus ihre Konzert- reisen nach Russland und England.
    [Show full text]
  • Josef Hofmann 1 Josef Hofmann
    Josef Hofmann 1 Josef Hofmann Josef Casimir Hofmann (originally Józef Kazimierz Hofmann; January 20, 1876 – February 16, 1957) was a Polish-American virtuoso pianist, composer, music teacher, and inventor. Biography Josef Hofmann was born in Podgórze, near Kraków, Austria-Hungary (now Poland) in 1876. His father was the composer, conductor and pianist Kazimierz Hofmann, and his mother the singer Matylda Pindelska. A child prodigy, he gave a debut recital in Warsaw at the age of 5, and a long series of concerts throughout Europe and Scandinavia, culminating in a series of concerts in America in 1887-88 that elicited comparisons with young Mozart and young Mendelssohn.[1] Anton Rubinstein took Hofmann as his only private student in 1892 and arranged the debut of his pupil in Hamburg, Germany in 1894. Hofmann toured and performed extensively over the next 50 years as one of the most celebrated pianists of the era.[2] In 1913, he was presented with a set of keys to the city of St. Petersburg, Russia. As a composer, Hofmann published over one hundred works, many of those under the pseudonym Michel Dvorsky, including two piano concertos and ballet music. He made the United States his base during World War I and became a US citizen in 1926. In 1924, he became the first head of the piano department at the inception of the Curtis Institute of Music, Philadelphia, and became the Institute's director in 1927 and remained so until 1938. He was instrumental in recruiting illustrious musicians such as Efrem Zimbalist, Fritz Reiner, Marcella Sembrich, and Leopold Auer as Curtis faculty.
    [Show full text]