DOCSLIB.ORG

Progrsnae the DURABILITY Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Progrsnae the DURABILITY Of PRoGRSnAE The DURABILITY of PIANOS and the permanence of their tone quaHty surpass anything that has ever before been obtained, or is possible uijder any other conditions. This is due to the Mason & HamHn system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construc- tion—The Mason & Hamlin Tension Resonator Catalogue Mailed on Application Old Pianos Taken in [Exchange MASON & HAMLIN COMPANY Established i&54 Opp. Institute of Technologfy 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON cS'MASSACHUSETTS AVENUES , , j Ticket Office, 1492 > „ , „ Telephones„ Back Bay \ Administration Offices, 3200 \ TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor programme of % Twelfth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, JANUARY 7 AT 2.30 O'CLOCK SATURDAY EVENING, JANUARY 8 AT 8.00 O'CLOCK COPYRIGHT, 1909, BY 0. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 881 Mme. TERESA CARRENO On her tour this season will use exclusively Piano. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY G. L SCHIRMER & CO., 338 Boylston Street, Boston, Mass. 882 Boston Symphony Orchestra PERSONNEL Tli( Reputation Is of far greater value to you in purchasing a piano, than the most thorough demonstration; for the demon- stration only tells you what the instrument is today. The Chickering reputation tells you that the Chickering you buy today will be the same Chickering twenty years hence. The Chickering reputation is your assur- ance of a lifetime's perfect service. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET, Corner Northampton Street. Near Mass. Ave. BOSTON 884 TWENTY-NINTH SEASON, NINETEEN HUNDRED NINE AND TEN Twelfth Rehearsal and Concert FRIDAY AFTERNOON, JANUARY 7, at 2.30 o'clock SATURDAY EVENING, JANUARY 8, at 8 o'clock PROGRAMME Elgar Symphony in A- flat major, Op. 55 I. Andante nobilmente e semplice — Allegro. II. ( Allegro molto. III. I Adagio. IV. Lento — Allegro. i Dvofik Concerto for Violin, in A minor, Op. 53 I. Allegro ma non troppo. II. Adagio ma non troppo. ' III. Finale : Allegro giocoso, ma non troppo. Loeffler . "The Devil's Villanelle," Fantasia for Orchestra and Organ (after RoUinat's poem), Op. 9 Organist, Mr. Marshall SOLOIST Mt. MISCHA ELMAN There will be an intermission of ten minutes after the symphony OOhe doors of the hall will be closed durirtg the performance of each number on the programine. Those who wish to leave before the end of the concert are requested to do so in an interval bem tween the numbers. I City of Boston, Revised Re|{ulatlon of Auifust 5. 1898.— Chapter 3, relatinii to the coverin|{ of the head in places of public amusement. II Every licensee shall not, in his place of amusement, allow any person to wear upon the head a coTariag vhich obstructs the view of the exhibition or performance in such place of any person seated in any seat therein >rovided for spectators, it being understood that a low head covering without projection, which doe* not i')tMtruct such view, may be worn. Attest: J. M. GALVIN, Citr Clark. 885 =^ MIGNONETTE Horizontal GRAND Wliere others nave railed to bulla a Small ana Perfect Grana Piano meeting -witn present aay requirements, jJie House of Knaoe, after years or researcn ana experiment, nave succceaea m producing The WORLD'S BEST GRAND PIANO In tne small size or 5 FEET, 2 INCHES a piano tnat carries tne endorsement or tne leading musicians or today. C. C HARVEY CO. 144 BOYLSTON STREET BOSTON J 886 Symphony in A-flat major, Op. 55 Edward Elgar (Born at Broadheath, near Worcester, England, June 2, 1857; now living in Malvern.) This symphony was performed for the first time at Manchester, England, December 3, 1908, by the Halle Orchestra, led by Hans Richter. The first performance in London was on December 7, 1908, by the London Symphony Orchestra, led by Dr. Richter. The first performance in the United States was at New York on January 3, 1909, by the New York Symphony Orchestra, led by Mr. Walter Damrosch. The first performance in Boston was at a concert of the Boston Symphony Orchestra led by Mr. Fiedler, February 27, 1909. * * * This statement was made by the Glasgow Herald of December 4, 1908: "No one can accuse Elgar of composing in haste to repent at leisure. He studied the poem 'of 'Gerontius' for eleven years, and ' the first conception of The Apostles ' goes back to his school-days. The new symphony was begun seriously about a year ago, but, as it was expected for the Elgar Festival of 1904, it probably had been taking shape in the composer's brain long before any actual notes were transferred to paper." At the time of the first performance it was said that the symphony was inspired by the life and death of General Gordon. There was an immediate denial of this statement. To quote again from the Glasgow Herald: "Elgar's new symphony is suggestive enough, although there is no official 'program' attached. At first sight everything seems orthodox. There are the usual four movements, an Allegro with an introductory Andante, an Allegro molto, which is really a Scherzo, an Adagio, and a final Allegro preceded by a short Lento. Before dis- TO TEACHERS AND SCHOOLS. Educational Music in All its Branches. The Most Representative Music Publishing House in America. Sole Agents for ENOCH & SONS, London. ENOCH & CO., Paris. ELKIN & CO., London. G. RICORDI & CO., Milan. E. DOTESIO & CO., Spain. BOOSEY ^ COMPANY, 9 East Seventeenth Street, NEW YORK CITY. 887 L. P. Hollander & Co. WE are now prepared to show a large assortment of dresses in the latest French models in Muslins, Linens, Foulards and other fabrics suitable for Winter Resorts. ALSO . Imported Lingerie Dresses All of the above at VERV MODBRATB PRICBS meeting the closest competition OLD COLONY TRUST CO. The man with a small or moderate estate finds . par- ticular difficulty in getting an executor and trustee with experience and standing. He is often advised to impose these difficult tasks on his widow or other relative, who is not fitted by experience or inclination for the work. To such men the Old Colony Trust Company particularly oflfers its services. The reduced tax rate of ^5.00 a thousand on trust estates held by trust companies makes possible a wide range of good investments of such funds. Send for our book, "Trust Estates." MAIN OFFICE BRANCH OFFICE COURT STREET TEMPLE PLACE — cussing details, perhaps it might be said here that, although the work has no 'program,' it follows a familiar emotional scheme. Auto- biography has been hinted at, but the experiences that are voiced may be sa;d to be as much general as particular. The 'program,' if there be any, is that evolved by Beethoven, and is in a sense as old as the Greeks—the struggle of man with his environment, Beethoven, unlike the Greek dramatists, believed that man was the master of his fate. He may be said to have invented the symphony that speaks of the victory to be wrested from sorrow. The four movements of the symphony since his day have been much concerned with the hero's indecisive fight with fate, his retiral for reflection, his return to the world in lighter mood, and his final struggle and victory. Sometimes we have what seems to be a love interest, sometimes it ends in the peace of philosophic pessimism, or even in despair, but the general scheme is usually plain enough without words. Elgar's many serious religious works show him to be a man who has thought and felt, and his symphony reflects what one might call the serious optimism of Beethoven. It is full of noble feeling, and its last word is unmistakably of triumph." * * An analysis of the symphony published in the Musical Times (London) of December, 1908, may be considered as official; "The problem of how far the symphonic form can be moulded to meet the individual requirements of a modern composer has been shelved of late, when so many composers have occupied themselves instead with the tone-poem, a form which is entirely pliable to the particular program chosen for illustration. Must the symphony be regarded as too rigid a structure to admit the free play of modern ideas, or can it be satisfactorily used for the illustration of a program EDWARD ELGAB ORCHESTRAL LITERATURE SURSUM CORDA HENDERSON. The Orchestra and Orches- (ELEVATION) tral Music. OP. 11 D. Q. MASON. The Orchestral Instruments and what they do. PROUT. The Orchestra. 2 Vols. PIANO SOLO . $0.50 BERLIOZ. Instrumentation. VIOLIN and PIANO ... .50 ELSON. Orchestral Instruments and their ORGAN 50 (Transcription by E. H. Lemare) CHARLES W.HOMEYER&CG. Arthur P. Schmidt 332 BoylstoD St. (Opp. Arlington St.) 120 BOYLSTON STREET (Walker Bid'tf) BOSTON. MASS. BOSTON. MASS, 889 as Tschaikowsky used it? Or, further, is there something new to be said in music which admits no translation into words, and can the symphony more fitly express that? Many have felt that a symphony by Elgar must help to answer such questions^ or at least give important data to those who are concerned with them. "Now that the symphony is before us, the first fact that strikes us is its likeness to the classical model. It is in four movements: i. An- dante nobilmente e semplice—^Allegro; 2. Allegro molto; 3. Adagio; 4. Lento—Allegro. The first is substantially in what is known as 'first movement ' form, with certain important modifications which we shall note later; the second is practically a Scherzo in all but name; the third is a serene slow movement in a binary form without develop- ment, and with an important Coda; while the fourth, after a slow introduction, breaks into a swinging theme, the principal one of a rondo movement.
Load more

Recommended publications
  • 2. Nat Phillips Collection Finding
    NAT PHILLIPS COLLECTION FINDING AID FRYER Library, The University of Queensland (UQFL9) Comprising eleven boxes of miscellanea, including scripts, scores, jokes, lyrics, business and legal papers, and photographs, the Nat Phillips Collection is the most extensive collection of early twentieth-century Australian variety ephemera in existence. While the bulk of the collection is ephemera belonging to Nat Phillips, including items associated with the Stiffy and Mo Revue Company and Fullers' Theatres, it also includes manuscripts and miscellanea belonging to John N. McCallum and Cremorne Theatre (including Will Mahoney and Walter Johnson), Tom Armstrong and Jack Phillips. One of the most significant aspects of the Nat Phillips collection is that it provides us with a much clearer understanding of the Australian larrikin personas developed by Phillips and Rene. Although based on Irish and Jewish theatrical types, Stiffy and Mo found much appeal with audiences throughout the country, capturing the same spirit that was emanating from the larrikin Aussie soldier of the First World War. The collection, which through accidental good fortune survived all odds, is now also able to serve as a reminder to historians and cultural theorists that popular entertainment is an area worthy of much further study. The Collection was discovered through sheer luck in 1972 when University of Queensland lecturer Dr Robert Jordan (later professor of drama at the University of New South Wales) and his first wife were looking through a Brisbane bric-a-brac shop. The Jordans notified the Fryer Library of the boxes and they were apparently purchased for a nominal sum. Descendants of Phillips' brother, Jack, have since informed the Library that the boxes possibly disappeared during a bitter divorce between Jacob "Jack" Phillips (Nat's brother) and his wife.
    [Show full text]
  • Classical Music Manuscripts Collection Finding Aid (PDF)
    University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketches …………………………………………………………………... 2 Scope and Content …………………………………………………………………………... 13 Series Notes …………………………………………………………………………………... 13 Container List …………………………………………………………………………………... 15 Robert Ambrose …………………………………………………………………... 15 Florence Aylward …………………………………………………………………... 15 J.W.B. …………………………………………………………………………………... 15 Jean-Guillain Cardon …………………………………………………………………... 15 Evaristo Felice Dall’Abaco …………………………………………………………... 15 Alphons Darr …………………………………………………………………………... 15 P.F. Fierlein …………………………………………………………………………... 15 Franz Jakob Freystadtler …………………………………………………………... 16 Georg Golterman …………………………………………………………………... 16 Gottlieb Graupner …………………………………………………………………... 16 W. Moralt …………………………………………………………………………... 16 Pietro Nardini …………………………………………………………………………... 17 Camillo de Nardis …………………………………………………………………... 17 Alessandro Rolla …………………………………………………………………... 17 Paul Alfred Rubens …………………………………………………………………... 17 Camillo Ruspoli di Candriano …………………………………………………... 17 Domenico Scarlatti …………………………………………………………………... 17 Friederich Schneider …………………………………………………………………... 17 Ignaz Umlauf …………………………………………………………………………... 17 Miscellaneous Collections …………………………………………………………... 17 Unknown …………………………………………………………………………... 18 MS226-Classical Music Manuscripts Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION
    [Show full text]
  • The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty.
    [Show full text]
  • An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States Erik Lee Garriott University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2017 An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States Erik Lee Garriott University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Other Music Commons Recommended Citation Garriott, E. L.(2017). An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4100 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. An Exploration of the Availability and Implementation of Undergraduate Degrees in Conducting in the United States by Erik Lee Garriott Bachelor of Arts Point Loma Nazarene University, 2010 Master of Music California State University Northridge, 2013 _________________________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2017 Accepted by: Donald Portnoy, Major Professor Cormac Cannon, Chair, Examining Committee Andrew Gowan, Committee Member Alicia Walker, Committee Member Kunio Hara, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Erik Lee Garriott,
    [Show full text]
  • April 1911) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1911 Volume 29, Number 04 (April 1911) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 29, Number 04 (April 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/568 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. TWO PIANOS THE ETUDE FOUR HANDS New Publications The following ensemble pieces in- S^s?^yssL*aa.‘Sffi- Anthems of Prayer and Life Stories of Great nai editions, and some of the latest UP-TO-DATE PREMIUMS Sacred Duets novelties are inueamong to addthe WOnumberrks of For All Voices &nd General Use Praise Composers OF STANDARD QUALITY A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. sis Edited by JAMES FRANCIS COOKE Subscription Price, $1.60 per jeer In United States Alaska, Cuba, Po Mexico, Hawaii, Pb’”—1— "-“-“* *k- "•* 5 In Canada, »1.7t STYLISH PARASOLS FOUR DISTINCT ADVANCE STYLES REMITTANCES should be made by post-offlee t No.
    [Show full text]
  • Ferruccio Busoni Biography
    Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso.
    [Show full text]
  • L'age D'or of the Chamber Wind Ensemble
    L’Age d’or of the Chamber Wind Ensemble A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2013 by Danielle D. Gaudry BM, McGill University, 2000 BE, University of Toronto, 2001 MM, The Pennsylvania State University, 2009 Committee Chair: Terence Milligan, DMA ABSTRACT This document presents a narrative history of the chamber wind ensembles led by Paul Taffanel, Georges Barrère and Georges Longy in the late nineteenth and early twentieth centuries. Using different historical approaches, this study examines contemporaneous musical society and the chamber wind ensemble genre to explore the context and setting for the genesis of the Société de musique de chambre pour instruments à vents, the Société moderne des instruments à vents, the Longy Club and the Barrère Ensemble of Wind Instruments. A summary of each ensemble leader’s life and description of the activities of the ensemble, selected repertoire and press reactions towards their performances provide essential insights on each ensemble. In demonstrating their shared origins, ideologies, and similarities in programming philosophies, this document reveals why these chamber wind ensembles created a musical movement, a golden age or age d’or of wind chamber music, affecting the local music scene and continuing to hold influence on today’s performers of wind music. ""!! ! Copyright 2013, Danielle D. Gaudry """! ! ! ACKNOWLEDGMENTS I would like to extend my deepest gratitude to all those who have been a part of my journey, both in the completion of this document and over the course of this degree.
    [Show full text]
  • -Fo Oc Cs>Fiifr[Tftk<L- — Lof <R
    , -fo Oc Cs>fiifr[tfTk<l- — Lof <r - : OXAK" — *5h(VF 6&i-f[/N3 uUPcflUY- J[« (JobL 3 %OAArLdc Mk/J /\ifaxir\Q fU> fbbxJ JUtkLsMc •» • 3 • \HxKxapai tfom pxrz. 5(o '<3>^ 55 5\ 5o (o-3-&\ fa tlJt Brot&* {) 5-22- 45 . c^ J .^^"io^U; 1&uuu^ajp<& CM-M^cyL5ta^ l i /cto^TLT. 6LO^ h&cQtyOte 51 . a -t 15* 35 <?4 u S3 •52. U -CjLl€hj01&-- Iv3l ^tcL?U J^UMj^tO^ zi ^ _.Ei-ciw_p4#_ QoU_. GIMJX ^c^co6 &cJ._^st. Z3 C^dLG— Cr?. fihfoJ^dtf'Gsi 2.2, ^ (jo Z( 2O Q 16 w 17 i ^ 15 4-2-5? <fl 13 II -uSj-f <n. fads - Ste&ttelL TcujrNztrtLti-. .. IP.. of q ..s. - past _ i A 1-13- Q od. .c?_ ttCJL 3 a 2 (-15-59 u % 7 i* DEPARTMEN O F PA R K S ARSENAL, CENTRAL PARK REGENT 4-1000 FOR RELEASE THURSDAY, DECEMBER 24, 1959 l-l-l-60M-707199(58) 114 The Department of Parks announces that a •baby- female hippopotamus weighing approximately 70 lbs. was born on November 24, 1959, at the Prospect Park &oo in Brooklyn. The mother, Betsy, now 9 years old, arrived at the Prospect Park &oo on September 8, 1953, and the sire, "Dodger", was 3 years old v/hen he arrived in 1951. However, "Dodger" passed away on October 8, 1959, and will not be around to hand out cigars. The new offspring has been named "'Annie". N.B. s Press photographs may be taken at tine* 12/23/59 DEPARTMEN O F PA R K S ARSENAL, CENTRAL PARK REGENT 4-1000 FOR RELEASE SUHDAY, D5CBMHBR 20, 1959 M-l-60M-529Q72(59) 114 The Borough President of Richmond and the Department of Parks announce the award of contracts, in the amount of $2,479,487, for the second stage of construction of the South Beach improvement in Staten Islitnd.
    [Show full text]
  • BRIDWELL-BRINER, KATHRYN EILEEN, DMA the Horn In
    BRIDWELL-BRINER, KATHRYN EILEEN, D.M.A. The Horn in America from Colonial Society to 1842: Performers, Instruments, and Repertoire. (2014) Directed by Dr. Randy Kohlenberg. 294 pp. The purpose of this study was to address an aspect of the history of the horn neglected in traditional horn scholarship—that of the horn in America from the development of colonial society (ca. 1700) to the early days of the antebellum era (ca. 1840). This choice of time period avoided the massive influx of foreign musicians and exponential growth of American musical activities after 1840, as well as that of the general population, as this information would become too unwieldy for anything but studies of individual cities, regions, or specific musical groups. This time frame also paralleled the popularity of the horn virtuoso in Europe given so much attention by horn scholars. Additionally, all information gathered through examination of sources has been compiled in tables and included in the appendices with the intention of providing a point of reference for others interested in the horn in early America. This survey includes a brief introduction, review of literature, the ways in which the horn was utilized in early America, the individuals and businesses that made or sold horns and horn-related accoutrements such as music, tutors, crooks, and mouthpieces as well as an examination of the body of repertoire gleaned from performances of hornists in early America. THE HORN IN AMERICA FROM COLONIAL SOCIETY TO 1842: PERFORMERS, INSTRUMENTS, AND REPERTOIRE by Kathryn
    [Show full text]
  • 22 November 2013 Page 1 of 10
    Radio 3 Listings for 16 – 22 November 2013 Page 1 of 10 SATURDAY 16 NOVEMBER 2013 Benjamin, Arthur (1893-1960) SAT 16:00 Sound of Cinema (b03hk1yf) Overture to an Italian Comedy The Films of Ridley Scott SAT 01:00 Through the Night (b03h3xdz) Sydney Symphony Orchestra, Joseph Post (conductor) Beethoven's 6th (Pastoral) and Nielsen's 4th Symphony from Matthew Sweet looks back at scores from the films of the Copenhagen with the Danish National Symphony Orchestra 5:27 AM distinguished British director Sir Ridley Scott whose new film conducted by Rafael Frühbeck de Burgos. Jonathan Swain Beethoven, Ludwig van [1770 -1827] "The Counsellor" is released this week. presents. 2 Sonatinas for mandonlin: C minor WoO 43/1 and C major WoW 44/1 Ridley Scott's wide ranging output includes The Duellists, 1:01 AM Avi Avital (mandolin) Shalev Ad-El (harpsichord) Alien, Bladerunner, Legend, Thelma and Louise, 1492 - Olesen, Thomas Agerfeldt [b.1969] Conquest of Paradise, Heaven of Heaven, Hannibal, GI Jane, Fanfare for brass and percussion (Premiere) 5:34 AM Prometheus, Robin Hood, Gladiator and he's collaborated with Saint-Saëns, Camille (1835-1921) some of the greatest film composers of our time, including 1:03 AM Havanaise Jerry Goldsmith, Vangelis, Michael Kamen, Hans Zimmer and Beethoven, Ludwig van [1770 -1827] Vilmos Szabadi (violin), Marta Gulyas (piano) Harry Gregson Williams. His latest project, The Counsellor, Symphony no. 6 (Op.68) in F major "Pastoral"; arrives in cinemas this week with a score by rising British star, 5:43 AM Daniel Pemberton. 1:48 AM Mozart, Wolfgang Amadeus (1756-1791) Nielsen, Carl [1865-1931] 12 Variations for piano in B flat (K.500) Symphony no.
    [Show full text]
  • A Season in Federal Street J
    A Season In Federal Street J. B. W^illiamson and the Boston Theatre 1796-1797 BY JOHN ALDEN F each autumn brings with it its own atmosphere of ex- I citement and suspense at the opening of a new theater season, we who experience it share no doubt a feeling as old as the theater itself. And we can the more readily project ourselves backwards to the evening of September 19, 1796, when the curtains of the Boston Theatre parted upon the first scene of Reynolds's comedy, The Dramatist. Emotions on both sides of the footlights may well have resembled ours today: optimistic anticipation tempered by an awareness of the uncertain fortunes of the stage. The fact of the matter is that the season of 1796-97 in Federal Street was a disastrous one. But the very misfor- tunes of the ten months in question provide the substance of our interest in it today. Had the season been a successful one, it would probably mean that we should know less about it, for the disasters which fell upon the Theatre have left their skeletons from which it is now possible to recon- struct more effectively the theatrical life of Boston over a century and a half ago. It is true that both W. W. Clapp in his Record of the Boston Stage (Boston, 1853) and G. O. Seilhamer in his History of the American Theatre (Philadelphia, 1881-91) have already given a generous picture of the early drama in Boston. There remains, however, a copious body of documentation regarding the Federal Street Theatre from which much IO AMERICAN ANTIQUARIAN SOCIETY [April, may be learned.
    [Show full text]
  • Holland Memorial. Sketch of the Life of George
    Jr n rr m Hi SB ess MM . > > > » > i >> II * > >> >.l ••> > I •» > > »"» > ;x>>> >> >> >> > >) >> » _>>» &3 .' Xk\ >^> ^ >> > > » » i -O J; - > > > "> * -> > » a > :> > » . -> * >-> > J» > JP»- -> > '> »>« . > i >z» *> »> :> > > •> > > >» . > .). >> > i) i» > . >• > ' >y> ) > >>> "> -> •' - > p • > o> "» > 5 > >> > o> > -> -, o> > > ->. .>> >» ii> Tt> j > > > > -> ""» • ,- >> . - > 3E» > > , ) > -i "» ~» ."> >> a < O I >*> T> » >;> - >"5 V> >-> ' 3> '™ ->.>' I » i >•> . 3i » >>> » £> 3 > » >••; .-» -' -3*' - . >. 8> "3^ >>>.. - "3^ & > » »T7 ^fc i > 2 > • » j>-> > ^ i » I >J>.; :» • > "> ~J>: » > > > . :» > » t> > i> > -> S>> IB > > ^>» >, 3 "a ^3> > > I 5>J3I > • > ) > > i.> J» > i --3 >> -; >a»-^» 3 J3J> ;. > P J 5» > > • > 3 ' • » ^^> .D>>>£e»-»5o -^ . ' > •> J> 3 . >] > .3 • > 1 J •> > - > s> > > -• - > » -• .> _> > > • >J > > _, ^> . > • • a » a a » 3 j > > >-^> i _! * »^ >~.»'ji " * •* -> -» > J*» •i> 1 -^ "^ >'_'> Tfc • o ->;. C; >3t v» ^j * > •> v^>~ S »a . *'' :' -^£j* • * -S 'm» ' > »>j > ' ^» >»> > > ^>~7afc - ^-U^P *~ > > >'ito . t». 'Mm >J^£, c."»orare Holland. "> Ftom tht New York Ihrald, Dec :<:jty, arter A lorg life of 79 vuara and a**" >" f < ' h. -j '',,-j/ <7> j o ( : L HOLLAND MEMORIAL. SKETCH OF THE LIFE OF George Holly n d . THE VETERAN COMEDIAN, WITH DRAMATIC REM I X [SC E XC ES. ANECDOTES, &c. Edition limited to 250 Copies, 50 of which are on quarto paper. NEW YORK T . H . MORE E L 78 Nassau Street. 1871. 7tf' ' MEMORIAL. AZLITT, an acute critic in all that relates to the stage, has justly observed that "the most pleasant feature in the profession of a player, and which, indeed, is peculiar to it, is that we not only admire the talents of those who adorn it, but we contract a personal intimacy with them. There is no class of society whom so many persons regard with affection as actors.
    [Show full text]