DOCSLIB.ORG

Philharmonic Au Dito R 1 U M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Philharmonic Au Dito R 1 U M LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living. 11. DePAUR’S INFANTRY CHORUS.................................................................................... Sat. March 5 35 glorious voices . Music from many lands the ex-soldiers visited. 12. TRUDI SCHOOP, “The Inimitable” . and Company................................. Fri. March 11 13. ISAAC STERN ...............................................................................................................Tues- March 15 14. LEONARD PENNARIO ...............................................................................................Tues- March 22 Another young pianist of whom great things are expected. 15. DRAPER & ADLER, Dancer Supreme & Harmonica Virtuoso.........................Sat. March 26 16. BARTLETT & ROBERTSON, Heavenly Twins of the Piano........................Tues. March 29 17. JAMES MELTON, A leading tenor in Opera, Concert and Radio........................Mon. April 4 18. ARTUR RUBINSTEIN .............................................................................................Sun. Mat. May 8 Note: Season Renewals by payment of $1.00 a location March 15 to April 5. New subscribers April 6 to May 1. Your deposit holds your reservation until Oct. 5 and may be applied upon the DeLuxe or one of the regular 10 Event Courses. Secure your location in the Spring and decide in the Fall which Course. Special Events 1 HOROWITZ................................................. Tues. Dec. 7 Not in any Series J HEIFETZ......................................................... Tues. Jan. 1 1 Season Patrons may purchase their same locations for either of these great artists at the time they pick up their season reservations. Prices for either Horowitz or Heifetz: $4.50, $3.60, $3.00, $2.50, $1.80, $1.50. Tax included The Operas and Ballet Will Be Announced at a Later Date 1948 5L BEHYMER 1949 10 EVENT COURSES $8 - $14 - $17.50 - $22 — plus tax CASADESUS (Subject to change) RUBINSTEIN THEBOM MUNSEL BALLET Instrumental, Vocal, Vocal, Opera, Dance Opera, Dance 1. JAROFF DON COSSACKS Nov. 16 or choose 1. JAROFF DON COSSACKS. Nov. 16 DRAPER & ADLER .......... Meh. 26 or choose SAN CARLO OPERA Mat. Feb. FIRKUSNY 2. IGOR CORIN .......................Nov. 23 3. BALLET (To be announced) or choose SAN CARLO OPERA Mat. Feb. 4. PATRICE MUNSEL............... Jan. 18 or choose 3. BALLET (To be announced) RUBINSTEIN ............... Mat. May 8 4. PATRICE MUNSEL...............Jan. 18 5. MIKLOS CAFNI.....................Jan. 25 CORIN or choose 5. MIKLOS CAFNI...................... Jan. 25 LEONARD PENNARIO. March 22 6. BLANCHE THEBOM............. Feb. 15 6. ROBERT CASADESUS.............Feb. 8 7. OPERA ....................................Feb. 22 7. BLANCHE THEBOM.............Feb. 15 8. DE PAUR INFANTRY Chorus . Meh.5 8. RUDOLPH FIRKUSNY......... Meh. 1 9. TRUDI SCHOOP ............... Meh. 11 9. ISAAC STERN ..................Meh. 15 10. BARTLETT & ROBERTSON . Meh.29 10. JAMES MELTON .................Apr. 4 $1.00 per location holds your reserva­ Students Instrumental Course tion for either the DeLuxe or one of Choose 5 Events the 10 Event Courses. New Sub­ $4 - $7 - $9 - $11 — plus tax scribers after Apr. 5 at Box Office. After May 1, send your deposits by Casadesus — Firkusny — Stern mail to Mrs. L. E. Behymer, 415 Pennario — Artur Rubinstein Auditorium Bldg. Enclose self - ad­ Bartlett & Robertson dressed and stamped envelope for Sold after Oct. 5—No Deposits Taken return of your receipt. PENNARIO Page Five pe^ecticf.'W.citc^ecl‘ great music and great artists . the ideal association which distinguishes each performance you hear on Columbia Masterworks Records. NELSON EDDY Excerpts from “The Student Prince” (with Rise Stevens, mezzo- soprano) Columbia Masterworks Set MM-724 Nelson Eddy in Friml Songs from “Northwest Outpost" Columbia Masterworks Set MM-690 Hymns We Love (sung in four-part harmony) Columbia Masterworks Set MM-646 Nelson Eddy in The Whale Who Wanted to Sing at The Met (from the Walt Disney Production "Make Mine Music") Columbia Masterworks Set MM-640 Patter Songs from Gilbert and Sullivan—Volume II Columbia Masterworks Set MM-670 By Request Columbia Masterworks Set MM-571 The Chocolate Soldier (0. Straus) (with Rise Stevens, mezzo-soprano) Columbia Masterworks Set MM-482 Concert Favorites Columbia Masterworks Set MM-507 Malotte: The Lord’s Prayer and Proctor-Sullivan: The Lost Chord Columbia Masterworks Record 70369-D Never have such vast riches of music been available in such brilliant in­ terpretations as can be found today in the complete Columbia Record Trade Marks "Columbia" "Masterworks ” and ©£) Reg. U.S.Pat. Off. NELSON EDDY is among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS PHILHARMONIC MUSIC SHOP Presents A Program for Your Library on COLUMBIA zZj RECORDS NELSON EDDY Concert Favorites Columbia Set MM 507 SERKIN............................................. Brahms : Concerto No. 1 in D minor Columbia Set MM 652 MENOTTI...............................................................The Medium Columbia Set MM 726 A MENOTTI.............................................................. The Telephone Columbia Set MM 726 B MAHLER................................................................ Symphony No. 4 Columbia Set MM 589 FRANCK Symphony in D minor Columbia Set MM 608 BRITTEN............... Young Person’s Guide To the Orchestra Columbia Set MM 703 BARTÓK................ Concerto No. 3 Columbia Set MM 674 RISE STEVENS Love Songs Columbia Set MM 595 BIZET...................... -Symphony in C major Columbia Set MM 596 MORTON GOULD. Concert Columbia Set C 96 OPEN AFTER THE CONCERT We Are Just Two Doors East of the Philharmonic Box Office 423y2 W. 5th St. TU-3787 3®e Mason xifiaitilin The greatness of the Mason & Hamlin piano depends not on the eloquent praise of a spokesman, nor does it depend altogether on the finest materials which go into its making. The character, the ability, the watchfulness, and the experience of the men who build the Mason & Hamlin piano, are the ultimate reasons for Mason & Hamlin greatness. Ever on the alert for possible improvement, these artist-craftsmen— of whom many have devoted more than 25 years to the Mason & Hamlin—dedicate themselves to making their piano the synonym for perfection. Mason & Hamlin artisans have always been imbued with this spirit ever since the earliest days of Mason & Hamlin’s establishment in 1854. We invite you to hear and play the Mason & Hamlin. Then you’ll know why it has such an enviable reputation—the final mark of greatness. , "The Music House of Los Angeles Since 1880" outhern California MUSIC COMPANY 737 S. Hill Street, Los Angeles Phone, VAndike 2221 Tickets on sale here for leading attractions at regular box office prices Page Nine Produced by California theatre publications 415 Auditorium Bldg. 427 West 5th Street Los Angeles 13, Calif. VOL. XLIV APRIL- y|AY, 1948 NOS. 68 to 72 ßala»ulla>i Svestii- 1948-1949 CONTENTS (SUBJECT TO CHANCE Nov. 16 ORICINAL DON COSSACK CHORUS & DANCERS Tues. Eve. Artists in This Issue............................. Page 15 Nov. 23 IGOR CORIN Tues. Eve. Jan. 18 PATRICE MUNSEL Tues. Eve. LUBOSHUTZ & NEMENOFF CONCERT 19 Jan. 25 MIKLOS CAFNI Tues. Eve. Feb. 8 ROBERT CASADESUS Tues. Eve. Memorial Music Scholarship Fund . 23 Feb. 15 BLANCHE THEBOM Tues. Eve. Feb. 27 MARIAN ANDERSON Sun. Mat. DRAPER & ADLER CONCERT 29 Mar. 1 RUDOLF FIRKUSNY Tues. Eve. Mar. 5 DePAUR’S INFANTRY CHORUS Sat. Eve. ARTUR RUBINSTEIN CONCERT 33 Mar. 1 1 TRUDI SCHOOP Fri. Eve. Tues. Eve. Mar. 15 ISAAC STERN YEHUDI MENUHIN CONCERT 37 Mar. 22 LEONARD PENNARIO Tues. Eve. Mar. 26 DRAPER & ADLER Sat. Eve. NELSON EDDY CONCERT
Load more

Recommended publications
  • Who's Who at Metro-Goldwyn-Mayer (1939)
    W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H.
    [Show full text]
  • Pathetique Symphony New York Philharmonic/Bernstein Columbia
    Title Artist Label Tchaikovsky: Pathetique Symphony New York Philharmonic/Bernstein Columbia MS 6689 Prokofiev: Two Sonatas for Violin and Piano Wilkomirska and Schein Connoiseur CS 2016 Acadie and Flood by Oliver and Allbritton Monroe Symphony/Worthington United Sound 6290 Everything You Always Wanted to Hear on the Moog Kazdin and Shepard Columbia M 30383 Avant Garde Piano various Candide CE 31015 Dance Music of the Renaissance and Baroque various MHS OR 352 Dance Music of the Renaissance and Baroque various MHS OR 353 Claude Debussy Melodies Gerard Souzay/Dalton Baldwin EMI C 065 12049 Honegger: Le Roi David (2 records) various Vanguard VSD 2117/18 Beginnings: A Praise Concert by Buryl Red & Ragan Courtney various Triangle TR 107 Ravel: Quartet in F Major/ Debussy: Quartet in G minor Budapest String Quartet Columbia MS 6015 Jazz Guitar Bach Andre Benichou Nonsuch H 71069 Mozart: Four Sonatas for Piano and Violin George Szell/Rafael Druian Columbia MS 7064 MOZART: Symphony #34 / SCHUBERT: Symphony #3 Berlin Philharmonic/Markevitch Dacca DL 9810 Mozart's Greatest Hits various Columbia MS 7507 Mozart: The 2 Cassations Collegium Musicum, Zurich Turnabout TV-S 34373 Mozart: The Four Horn Concertos Philadelphia Orchestra/Ormandy Mason Jones Columbia MS 6785 Footlifters - A Century of American Marches Gunther Schuller Columbia M 33513 William Schuman Symphony No. 3 / Symphony for Strings New York Philharmonic/Bernstein Columbia MS 7442 Beethoven: Symphony No. 9 in D minor Westminster Choir/various artists Columbia ML 5200 Tchaikovsky: Symphony No. 6 (Pathetique) Philadelphia Orchestra/Ormandy Columbia ML 4544 Tchaikovsky: Symphony No. 5 Cleveland Orchestra/Rodzinski Columbia ML 4052 Haydn: Symphony No 104 / Mendelssohn: Symphony No 4 New York Philharmonic/Bernstein Columbia ML 5349 Porgy and Bess Symphonic Picture / Spirituals Minneapolis Symphony/Dorati Mercury MG 50016 Beethoven: Symphony No 4 and Symphony No.
    [Show full text]
  • ARSC Journal, Vol
    WILLIE ROBYN: A RECORDING ARTIST IN THE 19205 (PART 2) By Tim Brooks Victor to Cameo The early 1920s must have been a heady time for young Robyn, with an exclusive Victor contract, a burgeoning stage and radio career, excellent reviews for his concert work, and talk of the Met. But by 1923 he had hit a plateau. The first setback was the loss ofhis agent, the enthusiastic Hugo Boucek. Boucek had run up large bills publicizing his artists. The economic depression of 1921-22 cut into concert revenues, and many concerts were canceled outright. Deeply in debt, Boucek skipped town, never to be heard from again. Left in the lurch, Robyn did not secure another agent, a move he later felt was a mistake. "I was the most mismanaged person that ever lived," he ruefully explained. The first matter he had to deal with was the expiration of his three-year Victor contract, in mid-1923. Victor was happy to renew, but for the same $7,000 per year as the previous term, and with Robyn still pretty much limited to the foreign series. Robyn insisted on more money, and another chance at popular recording. He made a new popular trial, "Dearest," on April 11th with Nat Shilkret accompanying on piano. Robyn scouted around for other options, and even made a test for Edison on May 24th. The test was reviewed by Thomas Edison himself, who noted of Robyn, 1 Has loud tremolo. Sings too loud. Ifsang less loud he would be much better and have less tremolo. He might do with proper songs.
    [Show full text]
  • Lemmel-Greatest-Lect
    SESSION SEVEN NEGLECT OF UNUSUAL INSTRUMEMTS OR COMBINATIONS OF INSTRUMENTS NEGLECTED GEM OF THE WEEK This week’s neglected gem is by a well-known composer of orchestral and organ music. WHY NEGLECTED? ◊ ◊ ◊ NEGLECT BECAUSE OF UNUSUAL INSTRUMENTS Today’s topic is an interesting one, and more complicated than at first it seems. We’re going to explore the neglect of classical music because of unusual instruments or combinations of instruments. Of course, in every era of music history there have been unusual instruments – instruments which, for various reasons, were not as popular, or well-known, or accessible as were others. But we’re not going to take a historical approach today. We’re just going to consider the present day, and the neglect of some excellent music in 2015. As we will see, the instruments, or combination of instruments, for which a piece is written, can result in several possible kinds of neglect. WHY COMPOSE MUSIC FOR UNUSUAL INSTRUMENTS? Why have composers, from time to time, written music for unusual instruments, or combinations of instruments? There are many reasons, from personal ones such as the desire to perform with a friend or family member, to more public ones, such as wanting to honor an excellent performer, or being commissioned by a performer to write such a piece. As we listen to some of these pieces, we’ll find out more about why they came to be written, and why they are neglected in the 21st century. ◊ ◊ ◊ NEGLECT OF MUSIC WRITTEN FOR ARCHAIC INSTRUMENTS One obvious reason for the neglect of some music today is that the instruments for which they were originally written are no longer used, or even available for us to hear.
    [Show full text]
  • The Johnsonian November 7, 1941
    Winthrop University Digital Commons @ Winthrop University The oJ hnsonian 1940-1949 The oJ hnsonian 11-7-1941 The ohnsoniJ an November 7, 1941 Winthrop University Follow this and additional works at: https://digitalcommons.winthrop.edu/thejohnsonian1940s Recommended Citation Winthrop University, "The oJ hnsonian November 7, 1941" (1941). The Johnsonian 1940-1949. 25. https://digitalcommons.winthrop.edu/thejohnsonian1940s/25 This Newspaper is brought to you for free and open access by the The oJ hnsonian at Digital Commons @ Winthrop University. It has been accepted for inclusion in The oJ hnsonian 1940-1949 by an authorized administrator of Digital Commons @ Winthrop University. For more information, please contact [email protected]. OUR CREED: ! v TODAY'S SERMON The Johnsonian wants to deserve a rep- utation for accuracy, thoroughness, and fairness in the covering of the Winthrop Thanksgiving's Coming, But So Arc campus. You will do us a favor to call our attention to any failure in measuring up to Those Little BLUE Things! •ny of these fundamentals or good news- papering. oman P. S. We Hope Not THE OFFICIAL PUBLICATION OF WINTHROP COLLEGE VOLUME XIX ROCK HILL, SOUTH CAROLINA, NOVEMBER 7, 1MI On Their Way To The Inauguration ?. C. Budget Fall Music Festival m Group Gets Friday; Concert In College Plea Auditorium Sunday Winthrop Asks For More Money to Off- Dr. John F. Williamson Will Conduct Clinics set Price Advances, For 30 Music Teachers—400 High School Buy Pipe Organ. Students Expected on Campus for Event— Rock Hill Choral Cluh to Participate in Clos- A 10 per cent salary in- ;rease for staff members and ing Event.
    [Show full text]
  • Mediation Is Provided by Our Management Staff
    What We Do. By arrangement with Jack Price, Price Rubin & Partners has been a leader in the Artist Management, Concert Management, Music, Entertainment and Performing Arts Industries since 1984 providing direct marketing ser- vices to emerging and highly-credentialed classical, jazz, dance, cross-over, country, western, folk, new-age and film artists. Our roster includes some of the most-accomplished and awarded artists performing today. More than just traditional artist representation services, Premium Management delivers super-targeted direct marketing to concert presenters and performing arts organizations who engage performing artists. Our marketing staff makes approximately 3500-4000 calls each month to decision-makers who buy talent. Our clients receive highly-individ- ualized targeted marketing that focuses on branding and getting them much-needed considering from performing arts presenters who will be engaging artists in the future. When interest is expressed our managers take over the lead and work to establish a relationship between the presenter and artist. Contract mediation is provided by our management staff. We also offer various marketing services as well as patron marketing, public relations, adver- tising, fundraising, audience development, general artist management, PRPRadioOne and Price Rubin Music Television. Founder Jack Price. The indomitable Jack Price started Price Rubin & Partners in 1984 in response to his own career as an internationally renowned and celebrated concert pianist. Jack took on the role as manager
    [Show full text]
  • Walton - a List of Works & Discography
    SIR WILLIAM WALTON - A LIST OF WORKS & DISCOGRAPHY Compiled by Martin Rutherford, Penang 2009 See end for sources and legend. Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Catalogue No F'mat St Rel A BIRTHDAY FANFARE Description For Seven Trumpets and Percussion Completion 1981, Ischia Dedication For Karl-Friedrich Still, a neighbour on Ischia, on his 70th birthday First Performances Type Date Orchestra Conductor Performers Recklinghausen First 10-Oct-81 Westphalia SO Karl Rickenbacher Royal Albert Hall L'don 7-Jun-82 Kneller Hall G E Evans A LITANY - ORIGINAL VERSION Description For Unaccompanied Mixed Voices Completion Easter, 1916 Oxford First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.03 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - FIRST REVISION Description First revision by the Composer Completion 1917 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.14 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - SECOND REVISION Description Second revision by the Composer Completion 1930 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel St Johns, Cambridge ? Jan-62 George Guest St Johns, Cambridge 01a ARG ZRG
    [Show full text]
  • DINNERS ENROLL TOM SAWYER.’ at 2:40
    1 11 T 1 Another Film for Film Fans to Suggest Gordon tried out in the drama, "Ch.!« There Is dren of Darkness.” It was thought No ‘Cimarron’ Team. Janet’s Next Role. in Theaters This Week the play would be a failure, so they Photoplays Washington IRENE DUNNE and ^ Wesley Ruggles, of the Nation will * fyJOVIE-GOERS prepared to abandon It. A new man- who as star and director made be asked to suggest the sort of agement took over the property, as- WEEK OP JUNE 12 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY cinematic history in 1931 In “Cimar- Stopping picture In which little Janet Kay signed Basil Sydney and Mary Ellis "Bit Town Olrl." "Manneouln." "Manneouln." are to be "Naughty Marietta" "Haughty Marietta" "Thank You. Ur. ron," reunited as star and Chapman. 4-year-old star dis- to the leads and Academy "alfm*83ifl£L'‘ Jon Hall in Will Rogers in Will Rosen in and ‘•The Shadow of and "The Shadow of Moto.” and "Ride. recently they scored a Broad- " director of a Paramount to Sth »nd O Sts. B.E, "The Hu-rlcane." "The Hurricane." _"David Harum "David Harum."_Silk Lennox."_ Silk Lennox." Ranter. Ride." picture covered by a Warner scout, should be way hit. This Lad in } into in the Rudy Vailee Rudy Valle? in Rudy Vallee in Myrna Loy. Clark Oa- Myrna Loy. Clark Oa- Loretta Yoon* in go production early fall. next seen on the screen. Miss So It Is at this time of Ambassador •■Sm* "Gold Diggers in "Gold Diggers in "Oold in ble and ble Chap- only yea# DuE*niBin Diggers Spencer Tracy and Spencer Tracy "Four Men and a The announcement was made after man the 18th «nd OolumblA Rd.
    [Show full text]
  • A Caravan of Culture: Visitors to Emporia, Kansas by Charles E
    A Caravan of Culture: Visitors to Emporia, Kansas by Charles E. Webb INTRODUCTION hat do Ulysses S. Grant, "Buffalo Bill" Cody, Susan B. Anthony, Will Rogers, Ethel Barrymore, and Dr. \Verner Von Braun haye in common"? They were W among the hundreds of famous people that have visited EmpOria, Kansas during the past one hundred years. In­ dividuals and groups of national and international fame, represen­ ting the arts, seiencl's. education, politics, and entertainment, have pa~sed before Emporia audiences in a century long parade. Since 1879, this formidable array of personalities has provided informa­ tion and entertainment to Emporia citizens at an average rate of once eaeh fifteen days, The occasional appearanee of a famous personality in a small city may well be considered a matter of historical coineidence. When, however, such visits are numbered in the hundreds, arc fre­ quent, and persist for a century, it appears reasonable to rank the phenomenon as an important part of that eity's cultural heritage. Emporia, although located in the interior plains, never ae­ cepted the role of being an isolated community. It seems that the (own's pioneers eonsidered themselves not on the frontier fringi'" of America, but strategically situated near its heart. From the town's beginning, its inhabitants indicated an intention of being informed and participating members of the national and world communities. To better understand why Emporia was able to attract so many distinguished guests, a brief examination of its early development is required. In the formative years of the city's history wc may identify some of the events, attitudes, and preparations Ihat literally set the stage for a procession of renowned visitors.
    [Show full text]
  • The Evolution of Eva Jessye's Programming As Evidenced in Her Choral Concert Programs from 1927-1982
    The Evolution of Eva Jessye's Programming as Evidenced in Her Choral Concert Programs from 1927-1982 Item Type text; Electronic Dissertation Authors Jenkins, Lynnel 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 25/09/2021 23:30:45 Link to Item http://hdl.handle.net/10150/622962 THE EVOLUTION OF EVA JESSYE’S PROGRAMMING AS EVIDENCED IN HER CHORAL CONCERT PROGRAMS FROM 1927-1982 by Lynnel Jenkins __________________________ Copyright © Lynnel Jenkins 2016 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 2016 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Lynnel Jenkins, titled The Evolution of Eva Jessye’s Programming as Evidenced in Her Choral Concert Programs from 1927-1982 and recommend that it be accepted as fulfilling the document requirement for the Doctor of Musical Arts Degree. ________________________________________________ Date: 10/14/16 Bruce Chamberlain ________________________________________________ Date: 10/14/16 Elizabeth Schauer ________________________________________________ Date: 10/14/16 John Brobeck 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]
  • Chapter Three the Philadelphia Orchestra Stokowski Inherited 15
    <The "(PhiCacCeCpfiia Sound": The Formative Years (1912-1920) Candis nUreC^eCcf The "Philadelphia Sound": The Formative Years (1912-1920) HONORS THESIS Presented in Partial Fulfillment Of the Requirements For the UNIVERSITY OF NORTH TEXAS HONORS PROGRAM By Candis Threlkeld Denton, Texas April 1999 CamJm (J- <rSuJLJa) Student APfljROVED: acuity Advisor a-/ C Cjjy, Honors Director The "Philadelphia Sound": The Formative Years (1912-1920) HONORS THESIS Presented in Partial Fulfillment Of the Requirements For the UNIVERSITY OF NORTH TEXAS HONORS PROGRAM By Candis Threlkeld Denton, Texas April 1999 Student APPROVED: Faculty Advisor • n juts • Honors Director Acknowledgements This paper would not have been possible without the help of the following people, who aided me immensely while I was researching in Philadelphia: JoAnne Barry - archivist with the Philadelphia Orchestra Marjorie Hassen - curator of the Stokowski Collection, Otto E. Albrecht Music Library, University of Pennsylvania John Pollock and the Student Staff of the Ross Reading Room - Van Pelt Library, University of Pennsylvania Paul Sadedov - Music Librarian at the Free Library of Philadelphia Members of the Philadelphia Orchestra - who were a daily inspiration to me (I would particularly like to thank those members who took the time out to talk with me: Luis Biava, Booker Rowe, Richard Woodhams, David Bilger, Elizabeth Starr, and Pete Smith.) Phil - the security guard at the Academy who always helped me find JoAnne Barry, and who always greeted "Texas" with such a wonderful smile in the mornings Stephanie Wilson - one of my dearest friends who let me stay at her house during the second week of my trip - and who gave me great reed advice before my senior recital Janet Miller, Laura Lucas, and Darryl - Stephanie's housemates, who always made me always feel welcome I would also like to thank the following people at the University of North Texas for all of their assistance: Maestro Anshel Brusilow - director of orchestras and my faculty advisor Dr.
    [Show full text]
  • Choral Union Concert Series
    UNIVERSITY MUSICAL SOCIETY Charles A. Sink, President Thor Johnson, Guest Conductor Lester McCoy, Associate Conductor Eighth Concert 1950-1951 Complete Series 3050 Seventy-second Annual Choral Union Concert Series CHICAGO SYMPHONY ORCHESTRA RAFAEL KUBELIK, Conductor SUNDAY EVENING, MARCH 4, 1951 AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Overture to "The School for Scandal" BARBER Symphony No. 1 in D major, Op. 60 DVORAK Allegro non tanto * Adagio Scherzo (furient) Finale—allegro con spirito INTERMISSION Theme and Four Variations ("The Four Temperaments") for String Orchestra and Piano HINDEMITH Theme Variation No. 1: Melancholic Variation No. 2: Sanguine Variation No. 3: Phlegmatic Variation No. 4: Choleric GEORGE SCHICK at the Piano Prelude to "The Mastersingers of Nuremberg" .... WAGNER The Chicago Symphony Orchestra uses the Baldwin piano, and records exclusively for R.CA. Victor. NOTE.—The University Musical Society has presented the Chicago Symphony Orchestra on pre­ vious occasions as follows: Choral Union Series, Theodore Thomas, conductor (8); in thirty-one May Festivals (1905-1935 inclusive), and in the Choral Union Series, Nov. 2, 1936 and Nov. 30, 1941, Frederick Stock, conductor; Mar. 19, 1945, Jan. 31, 1946, and Mar. 16, 1947, Desire Defauw, conductor; Oct. 26, 1947, Artur Rodzinski, conductor; Mar. 27, 1949, Fritz Busch, Guest Conductor; and Mar. 12, 1950, Fritz Reiner, Guest Conductor. ARS LONGA VITA BREVIS PROGRAM NOTES By FELIX BOROWSKI (Taken from the Program Book of the Chicago Symphony Orchestra) Overture to "The School for Scandal" .... SAMUEL BARBER The overture to "The School for Scandal" was composed in 1932 and was per­ formed for the first time at a summer concert of the Philadelphia Orchestra at Robin Hood Dell, Philadelphia, August 30, 1933.
    [Show full text]