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The Eclectic Careers of Eva and Juliette Gauthier Anita Slominska
Interpreting success and failure: The eclectic careers of Eva and Juliette Gauthier Anita Slominska Art History and Communication Studies McGill University, Montreal April 2009 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy ©2009 Anita Slominska Abstract My dissertation explores the eclectic singing careers of sisters Eva and Juliette Gauthier. Born in Ottawa, Eva and Juliettte were aided in their musical aspirations by the patronage of Prime Minister Wilfred Laurier and his wife Lady Zoë. They both received classical vocal training in Europe. Eva spent four years in Java. She studied the local music, which later became incorporated into her concert repertoire in North America. She went on to become a leading interpreter of modern art song. Juliette became a performer of Canadian folk music in Canada, the United States and Europe, aiming to reproduce folk music “realistically” in a concert setting. My dissertation is the result of examining archival materials pertaining to their careers, combined with research into the various social and cultural worlds they traversed. Eva and Juliette’s careers are revealing of a period of transition in the arts and in social experience more generally. These transitions are related to the exploitation of non-Western people, uses of the “folk,” and the emergence of a cultural marketplace that was defined by a mixture of highbrow institutions and mass culture industries. My methodology draws from the sociology of art and cultural history, transposing Eva and Juliette Gauthier against the backdrop of the social, cultural and economic conditions that shaped their career trajectories and made them possible. -
Marius Barbeau and Musical Performers Elaine Keillor
Marius Barbeau and Musical Performers Elaine Keillor Abstract: One of Marius Barbeau’s important contributions to heightening awareness of folk music traditions in Canada was his organization and promotion of concerts. These concerts took different forms and involved a range of performers. Concert presentations of folk music, such as those that Barbeau initiated called the Veillées du bon vieux temps, often and typically included a combination of performers. This article examines Barbeau’s “performers,” including classically educated musicians and some of his most prolific, talented informants. Barbeau and Juliette Gaultier Throughout Barbeau’s career as a folklorist, one of his goals was to use trained Canadian classical musicians as folk music performers, thereby introducing Canada’s rich folk music heritage to a broader public. This practice met with some mixed reviews. There are suggestions that he was criticized for depending on an American singer, Loraine Wyman,1 in his early presentations. Certainly, in his first Veillées du bon vieux temps, he used Sarah Fischer (1896-1975), a French-born singer who had made a highly praised operatic debut in 1918 at the Monument national in Montreal. But in 1919, she returned to Europe to pursue her career. Since she was no longer readily available for Barbeau’s efforts, he had to look elsewhere. One of Barbeau’s most prominent Canadian, classically trained singers was Juliette Gauthier de la Verendrye2 (1888-1972). Born in Ottawa, Juliette Gauthier attended McGill University, studied music in Europe, and made her debut with the Boston Opera in the United States. The younger sister of the singer Eva Gauthier,3 Juliette Gauthier made her professional career performing French, Inuit, and Native music. -
The Great American Songbook in the Classical Voice Studio
THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been -
A Feminist Perspective on New Orleans Jazzwomen
A FEMINIST PERSPECTIVE ON NEW ORLEANS JAZZWOMEN Sherrie Tucker Principal Investigator Submitted by Center for Research University of Kansas 2385 Irving Hill Road Lawrence, KS 66045-7563 September 30, 2004 In Partial Fulfillment of #P5705010381 Submitted to New Orleans Jazz National Historical Park National Park Service 419 Rue Decatur New Orleans, LA 70130 This is a study of women in New Orleans jazz, contracted by the National Park Service, completed between 2001 and 2004. Women have participated in numerous ways, and in a variety of complex cultural contexts, throughout the history of jazz in New Orleans. While we do see traces of women’s participation in extant New Orleans jazz histories, we seldom see women presented as central to jazz culture. Therefore, they tend to appear to occupy minor or supporting roles, if they appear at all. This Research Study uses a feminist perspective to increase our knowledge of women and gender in New Orleans jazz history, roughly between 1880 and 1980, with an emphasis on the earlier years. A Feminist Perspective on New Orleans Jazzwomen: A NOJNHP Research Study by Sherrie Tucker, University of Kansas New Orleans Jazz National Historical Park Research Study A Feminist Perspective on New Orleans Jazz Women Sherrie Tucker, University of Kansas September 30, 2004 Table of Contents Acknowledgments ................................................................................................ iii Introduction ...........................................................................................................1 -
Ravel Biography.Pdf
780.92 R2528g Goss Bolero, the life of Maurice Ravel, Kansas city public library Kansas city, missouri Books will be issued only on presentation of library card. Please report lost cards and change of residence promptly. Card holders are responsible for all books, records, films, pictures or other library materials checked out on their cards. 3 1148 00427 6440 . i . V t""\ 5 iul. L-* J d -I- (. _.[_..., BOLERO THE LIFE OF MAURICE .RAVEL '/ ^Bpofas fay Madeleine Goss : BEETHOVEN, MASTER MUSICIAN DEEP-FLOWING BROOK: The Story of Johann Sebastian Bach (for younger readers) BOLERO : The Life of Maurice Ravel Maurice Ravel, Manuel from a photograph by Henri BOLERO THE LIFE OF MAURICE RAVEL BY MADELEINE GOSS "De la musique avant toute chose, De la musique encore et toujours." Verlaine NEW YORK HENRY HOLT AND COMPANY Wfti^zsaRD UNIVERSITY PRESS COPYRIGHT, IQ40, BY HENRY HOLT AND COMPANY, INC. PRINTED IN THE UNITED STATES OF AMERICA '.'/I 19 '40 To the memory of my son ALAN who, in a sense, inspired this work CONTENTS CHAPTER PAGE I. Bolero 1 II. Childhood on the Basque Coast . 14 III. The Paris Conservatory in Ravel's Time 26 IV. He Begins to Compose .... 37 V. Gabriel Faure and His Influence on Ravel 48 VI. Failure and Success .... 62 VII. Les Apaches 74 VIII. The Music of Debussy and Ravel . 87 IX. The "Stories from Nature" ... 100 X. The Lure of Spain 114 XL Ma Mere VOye 128 XII. Daphnis and Chloe 142 XIII. The "Great Year of Ballets" ... 156 XIV. Ravel Fights for France ... -
The East in the Works of Charles Griffes A
2020 ВЕСТНИК САНКТ-ПЕТЕРБУРГСКОГО УНИВЕРСИТЕТА Т. 10. Вып. 1 ИСКУССТВОВЕДЕНИЕ МУЗЫКА UDC 78.03 The East in the Works of Charles Griffes A. E. Krom Nizhny Novgorod State Academy of Music named after M. Glinka, 40, Piskunova str., Nizhny Novgorod, 603005, Russian Federation For citation: Krom, Anna. “The East in the Works of Charles Griffes”. Vestnik of Saint Petersburg University. Arts 10, no. 1 (2020): 3–16. https://doi.org/10.21638/spbu15.2020.101 The article is devoted to the oriental compositions of the American composer Charles Griffes (1884–1920), created in the 1910s. These include the symphonic poem “The Pleasure-Dome of Kubla Khan” (1912–1917), the vocal cycle “Five Poems of Ancient China and Japan” for voice and piano (1916–1917), and the Japanese pantomime “Sho-Jo” (1917). Significant creative con- tacts (Eva Gauthier, A. Coomaraswamy, E. Bloch, A. Bolm, M. Ito), extensive reading, fascination with folklore, poetry, painting, and philosophy of Asian countries led to the formation of his own method of working with oriental materials. The composer saw prospects for the interaction of Western and Eastern music in his address to the archaic, to the stylization of ancient folklore. An example is the music for the pantomime “Sho-Jo” and the cycle “Five Poems of Ancient Chi- na and Japan.” Natural modes (pentatonic modes), organ points, ascetic quarto-quinto-second verticals, spatial sound, and rhythmic ostinato allow us to draw parallels with new folkloristics, in particular, with the works of I. F. Stravinsky. In the symphonic poem “The Pleasure-Dome of Kubla Khan,” the European influences at the forefront are associated with the study of the “Russian” East (first of all the writings of N. -
Ravel Transatlantique
Ravel transatlantique CONCERT Maurice Ravel / George Gershwin with Hélène Tysman, piano & the Percussions Claviers de Lyon © Simona Bua Ravel transatlantique Concert — Duration: 75 min. Rapsodie espagnole Rhapsody in Blue Gaspard de la nuit George Gershwin Piano concerto in G major Maurice Ravel SUMMARY PROGRAMME Artistic Director With Find out more at Gilles Dumoulin Hélène Tysman, piano www.lespcl.com/en/spectacles/ Les Percussions Claviers de Lyon ravel-transatlantic/ Transcription Raphaël Aggery, Gilles Dumoulin ARTISITIC TEAM Team Stage Piano 6 musicians Length: ≥ 12m Parlor grand or Concert grand Steinway or Yamaha 1 technician Depth : ≥ 9m 1 tour manager Height : ≥ 7m TECHNICAL INFORMATION Production Percussions Claviers de Lyon THEY HOSTED THE PROJECT >>> USA / CANADA TOUR IN OCTOBER 2019 The TheTTTTTTtttTtttt Cultural Center of the Lycée Français de New York (USA), Alliance Française Toronto (Canada), Helen M. Hosmer Concert Hall - Potsdam University (USA), Salle Bourgie - Montreal (Canada). See page 8 for more international touring experience of Hélène Tysman and the Percussions Claviers de Lyon — 2 — Ravel transatlantique 4 — About Ravel transatlantique 6 — Biographies SUMMARY 9 — Press review 10 — Contact © Simona Bua — 3 — ABOUT RAVEL TRANSATLANTIQUE New York, March 7th, 1928. Maurice Ravel celebrates his 53rd birthday with a dinner organized by soprano singer Eva Gauthier. Whilst in the United States, he has constant rehearsals, concerts, interviews, conferences and mostly, his excitement for American culture. In 1923, Eva Gauthier is the first lyrical singer who performs George Gershwin’s works, merely one year before Rhapsody in Blue. The young composer is invited to Ravel’s birthday party because they are interested by the musical personality of each other. -
Gamelan in North America by Nathinee Chucherwatanasak
Gamelan in North America by Nathinee Chucherwatanasak Nee Chucherdwatanasak is a PhD pre-cadidate in musicology at the University of Michigan. Her research interests are in the area of composition and performance of contemporary Western art music in Southeast Asia. EARLY INFLUENCE OF GAMELAN IN WESTERN MUSIC The influence of gamelan in the history of Western music is widely known to begin with Claude Debussy (1862–1918) after his encounter with performances of Javanese gamelan at the 1889 Paris Exhibition. The piano piece “Pagodes” from Estampes (1903) is probably the clearest among his other works to capture gamelan sonorities. Soon gamelan musical features appeared in works by other European composers, including Maurice Ravel’s orchestral version of “Laideronnette, impératrice des pagodes” from Ma mere l’oye (1911), Béla Bartók’s “Island of Bali” from the fourth volume of Mikrokosmos (1926–39), Francis Poulenc’s Concerto for Two Pianos and Orchestra (1932) and the prologue to the opera Les mamelles de Tirésias (1944), Olivier Messiaen’s Turangalîla-Symphonie (1946–48), and Benjamin Britten’s The Prince of the Pagodas (1956). On the other side of the Atlantic Ocean, a Sudanese gamelan acquired by the Field Museum of Natural History after the 1893 World’s Columbian Exposition in Chicago became the first set of gamelan instruments in the United States.[i] Yet, American compositions inspired by music from the Indonesian archipelago did not appear until the late 1910s, when German-trained pianist and composer Charles Griffes (1884–1920) wrote a song cycle entitled Three Javanese (Sundanese) Songs (c.1919–20) for voice and piano. -
Boston Symphony Orchestra Concert Programs, Season 75, 1955-1956
BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON SEASON Carnegie Hall, New York Boston Symphony Orchestra (Seventy-fifth Season, 1955-1956) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Contra-Bassoon Roll and Tapley George Humphrey Richard Plaster Norbert Lauga Jerome Lipson Robert Karol Vladimir ResnikofiE Horns Harry Dickson Reuben Green James Stagliano Gottfried Wilfinger Bernard Kadinoff Charles Yancich Einar Hansen Vincent Mauricci Harry Shapiro Joseph Leibovici John Fiasca Harold Meek Emil Kornsand Violoncellos Paul Keaney Roger Shermont Osbourne McConathy Samuel Mayes Minot Beale Alfred Zighera Herman Silberman Trumpets Jacobus Langendoen Roger Voisin Stanley Benson Mischa Nieland Leo Panasevich Marcel Lafosse Karl Zeise Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Clarence Knudson Leon Marjollet Trombones Pierre Mayer Martin Hoherman William Gibson Manuel Zung Louis Berger William Moyer Samuel Diamond Richard Kapuscinski Kauko Kahila Josef Orosz Victor Manusevitch Robert Ripley James Nagy Flutes Tuba Melvin Bryant Doriot Anthony Dwyer K. Vinal Smith Lloyd Stonestreet James Pappoutsakis Saverio Messina Phillip Kaplan Harps William Waterhouse Bernard Zighera Piccolo William Marshall Olivia Luetcke Leonard Moss George Madsen Jesse Ceci Oboes Timpani -
Early Jazz History and Criticism Bibliography John Szwed
Early Jazz History and Criticism Bibliography John Szwed Pre-1940 Writings *“About Books, More or Less: In the Matter of Jazz,” The New York Times , February 18, 1922 *“About Ragtime,” Ragtime Review . August 1916 Adorno, Theodore. “On Jazz” and “Farewell to Jazz” in Essays in Music . Berkeley: University of California Press, 2002, pp. 470-495, 496-500 *Aldrich, Robert. “Drawing a Line for Jazz,” New York Times , December 10, 1922 (Reprinted in Koenig 2002) *Alford, Harry L. “The Make-Up of a Modern Orchestra,” Metronome , July, 1923 (Reprinted in Koenig 2002) *[American jazz in France] The Nation , June 11, 1924 *“American Jazz Is Not African.” Metronome . October 1, 1926 *“America’s Folk Music.” The Outlook . February 2, 1927 *“An Afternoon of Jazz,” The Musical Courier , February 14, 1924 (see Vincent Lopez) *(Editorial Notes) “Another Word about Jazz,” The Musical Observer . November. 1926 (Reprinted in Koenig 2002) Ansermet, Ernest. “Sur un Orchestré Nègre,” Revue Romande , October, 1919 (reprinted as “A ‘Serious” Musician Takes Jazz Seriously,” translated by Walter Schaap, in Robert Walser, ed. Keeping Time: Readings in Jazz History . NY: Oxford, 1999) and in Reading Jazz , Robert Gottlieb, ed., NY: Pantheon, 1996, pp. 741-746 *Antheil, George. “A Discussion of the Debate—‘Is Jazz Music?’—In the July and August Issues of The Forum ,” Forum . December 1928 *_____________. “Jazz,” Life and Letters . July, 1928 _____________. "The Negro on the Spiral, or A Method of Negro Music" in Negro: An Anthology Negro: An Antholog y, Nancy Cunard and Hugh Ford, eds. NY: Frederick Ungar, 1970 [1934], p. 185 *“Anti-Ragtime,” The New Republic , November 6, 1915 Apold, Felix. -
The Legacy of G E O R G E G E R S H W I N
THE UNITED STATES ARMY FIELD BAND The Legacy of G EOR G E G ERSHWIN Washington, DC Featuring The Marcus Roberts Trio “The Musical Ambassadors of the Army” rom Boston to Baghdad, Tampa to Tokyo, The United States Army Field Band has been thrilling audiences of all ages for more than 60 years. Its Fmembers are the most traveled Soldier-Musicians in the world, earning them the title “The Musical Ambassadors of the Army.” Each of the Army Field Band’s performing components, the Concert Band, the Soldiers’ Chorus, The Volunteers, and America’s Big Band—the Jazz Ambassadors, present free concerts across the continental United States more than 100 days annually. They have also performed in more than thirty countries on four continents in support of our Nation’s diplomatic efforts and our fellow Soldiers overseas. Internationally-acclaimed as one of the most versatile and inspirational musical organizations in the world, The United States Army Field Band remains focused on keeping the will of the American people behind their Armed Forces. Since its inception in March 1946, the Army Field Band has fulfilled its mission as defined by its founder, General Jacob L. Devers: “Organize a band that will carry into the grassroots of our country the story of our magnificent Army.” The Military’s Most Traveled Musicians The Legacy of George Gershwin About this Recording The United States Army Field Band proudly presents the fifth in a series of concert band recordings honoring the lives and music of individuals who have made significant contribu- tions to the concert repertoire and to music education. -
AND MAURICE RAVEL (1875-1937) WORKS for PIANO DUO 1 Gershwin Rhapsody in Blue (Original Version for Two Pianos) 15:34
GEORGE GERSHWIN (1898-1937) AND MAURICE RAVEL (1875-1937) WORKS FOR PIANO DUO 1 Gershwin Rhapsody in Blue (original version for two pianos) 15:34 Ravel Ma mère l’Oye (Mother Goose), for piano duet 2 Pavane de la Belle au bois dormant 1:39 3 Petit Poucet 2:29 4 Laideronnette, Impératrice des Pagodes 3:29 5 Les entretiens de la Belle et la Bête 3:35 6 Le jardin féerique 3:08 7 Gershwin Cuban Overture (original version for piano duet) 9:49 Ravel Sites auriculaires, for two pianos 8 Habanera 2:35 9 Entre cloches 3:12 10 Gershwin ‘I Got Rhythm’ Variations (original version for two pianos) 9:07 11 Ravel Boléro (the composer’s version for piano duet) 14:00 total duration 68:39 GOLDSTONE AND CLEMMOW Recorded at the Church of St. John the Baptist, Alkborough, North Lincs, England in 2007 (except track 10 recorded 1997) Piano technicians: Philip Kennedy (works for two pianos); Benjamin Nolan (duets) A Maxim digital recording ℗ 2008 Goldstone and Clemmow © 2018 Divine Art Ltd Ravel, Gershwin and the Piano Duo In the morning of 11 July, 1937, in Cedars of Lebanon Hospital, Hollywood, a musical genius, the son of Russian Jewish immigrants, who wrote the first great American opera (Porgy and Bess), a ‘popular’ composer who had largely redefined ‘serious’ American music for the twentieth century by enriching it with diverse styles, including jazz, died at the age of only thirty-eight after an operation on a brain tumour. He was George Gershwin, a man with a positively Schubertian gift for creating memorable memories, as demonstrated by the plethora of wonderful songs written in partnership with his brother Ira as lyricist, and among his admirers could be counted such respected and disparate ‘serious’ composers as Schoenberg, Bartók, Vaughan Williams and Prokofiev – and the Frenchman Maurice Ravel.