Birmingham Music Club Records

Total Page:16

File Type:pdf, Size:1020Kb

Birmingham Music Club Records BIRMINGHAM PUBLIC LIBRARY Department of Archives and Manuscripts Birmingham Music Club Records Background: In 1905 a group of ladies known as the "Birmingham Music Study Circle" started bringing classical music artists to Birmingham and presenting them in concert. In 1928, the group's name was changed to Birmingham Music Club. In 1933, The BMC launched the Alabama Symphony Orchestra. Scope and Content: This collection includes the organizations Constitution, minutes of meetings and annual reports for 1920-1960, yearbooks for 1909-1933, concert programs for 1899-1982, scrapbooks and newspaper clippings for 1927-1947 and 1970-1987. Related Collections: Alabama Symphony Orchestra Birmingham Civic Symphony Program Collection Size: 4 linear feet/foot ( 4 box/es) Source: Birmingham Music Club Restrictions: Standard preservation and copyright restrictions. File Number: Description: 130.1.1 Organizational Files: Constitution 1973 (revised) 2 items, 13 leaves 130.1.2 Organizational Files: Incorporation Papers 7 April 1932 1 item, 2 leaves 130.1.3 Organizational Files: Minutes of Meetings and Annual Reports 13 - 20 February 1920 1 item, 7 leaves No minutes or reports. Present only is a resolution and letter concerning dispute over the holding of a concert on Sunday afternoon, February 29. 130.1.4 Organizational Files: Minutes of Meetings and Annual Reports 24 March - !4 May 1925 3 items, 3 leaves 130.1.5 Organizational Files: Minutes of Meetings and Annual Reports 10 September 1925 - 8 April 1926 27 items, 36 leaves Minutes from general and Executive Board meetings concerning membership problems, season concerts, and club debt. Annual reports include those from the president, secretary, treasurer, and committee chairman which greatly expand upon the minutes. 130.1.6 Organizational Files: Minutes of Meetings and Annual Reports 8 April 1926 - 14 April 1927 25 items, 36 leaves Majority of minutes are from Executive Board meetings and discuss season and Sunday concerts, membership drives, and the endorsement of a new State Song being considered by the State Legislature. Annual reports include those from the president, secretary, and a few committee chairman. 130.1.7 Organizational Files: Minutes of Meetings and Annual Reports 1 September 1927 - 13 April 1928 25 items, 34 leaves Majority of minutes are from Executive Board meetings and discuss season concerts, sheet music for the public library, and advertisement of programs. Annual reports from the president, second vice president, secretary, treasurer, and committee chairman detail club activities. 130.1.8 Organizational Files: Minutes of Meetings and Annual Reports 19 April 1928 - 18 April 1929 33 items, 46 leaves Majority of minutes are from Executive Board meetings and discuss changes in the Constitution and By-Laws, arrangements for season and Sunday concerts, and membership drives. Annual reports from the president, recording secretary, and committee chairman highlight accomplished projects. 130.1.9 Organizational Files: Minutes of Meetings and Annual Reports 19 April 1929 - 10 April 1930 35 items, 48 leaves Majority of minutes are from Executive Board meetings and discuss library extension work, confirmation of guest artists for concerts, and sponsoring of two concerts in partnership with Mrs. Orline A. Shipman. Annual reports include those from recording secretary, treasurer, and some committee chairmen. 130.1.10 Organizational Files: Minutes of Meetings and Annual Reports 17 April 1930 - 23 April 1931 23 items, 30 leaves Majority of minutes are from Executive Board meetings and concern appointing committee chairmen, season and Sunday concerts, and Federation business. Annual reports include those from the treasurer, recording secretary, and a few committee chairmen. 130.1.11 Organizational Files: Minutes of Meetings and Annual Reports 7 April 1932 7 items, 18 leaves No minutes are present for year 1931 - 1932. Annual reports are from general chairmen of membership committee, artists' course committee, box office committee, education committee, plus the recording and corresponding secretaries. 130.1.12 Organizational Files: Minutes of Meetings and Annual Reports 27 April - 1 June 1933 15 items, 25 leaves No minutes are present for year 1932 - 1933. Annual reports include those from the corresponding secretary, treasurer, and some committee chairmen. 130.1.13 Organizational Files: Minutes of Meetings and Annual Reports 15 may 1940 1 item, 1 leaf Only the first page of the president's report remains for year 1939 - 1940. 130.1.14 Organizational Files: Minutes of Meetings and Annual Reports 27 May 1941 1 item, 2 leaves Only the annual report of President, Mrs. Laura Jackson Davids remains for year 1940 - 1941. 130.1.15 Organizational Files: Minutes of Meetings and Annual Reports 1 January, 31 April, 1947 4 items, 4 leaves Only two reports from Treasurer, Mrs. Laura Jackson Davids remain for year 1946 - 1947. 130.1.16 Organizational Files: Minutes of Meetings and Annual Reports 31 May 1952 1 item, 2 leaves Only the report of Mrs. Lois Greene Seals, Chairman, Scholarship Committee remains for the year 1951 - 1952. 130.1.17 Organizational Files: Minutes of Meetings and Annual Reports 20 - 27 May 1953 3 items, 9 leaves No minutes of meetings are included and present only are two financial statements regarding year 1952 - 1953. 130.1.18 Organizational Files: Minutes of Meetings and Annual Reports 28 February 1954 1 item, 5 leaves No minutes of meetings are included and present only is a financial summary as of the above shown date. 130.1.19 Organizational Files: Minutes of Meetings and Annual Reports 1955 1 item, 2 leaves Contains a proposed budget for the 1955 - 1956 season. 130.1.20 Organizational Files: Minutes of Meetings and Annual Reports 24 September 1958 - 27 May 1959 + undated 4 items, 18 leaves For the 1958 - 1959 season, the file contains annual reports from the president, extension and award committee chairman. A few notes on the order of business taken by Mrs. Trotter (Marietta) Jones. 130.1.21 Organizational Files: Minutes of Meetings and Annual Reports 22 April 1959 - 27 April 1960 5 items, 20 leaves Notes on the order of business taken by the President Mrs. Trotter (Marietta) Jones. Also, a few annual reports. 130.1.22 Organizational Files: Calendars 1917, 1933, 1936 - 1941 19 items, 58 leaves Lists officers, Executive Board members, committee chairmen, and some concert dates. 130.1.23 Organizational Files: Officer Lists 1958 - 1959, 1959 - 1960 2 items, 6 leaves Listing of officers and past presidents. 130.1.24 Organizational Files: Yearbooks 1908 - 1909 2 items, 30 leaves Includes members, description of programs, and constitution/by-laws. 130.1.25 Organizational Files: Yearbooks 1909 - 1910 1 item, 26 leaves Includes membership list, description of programs, constitution and by-laws, and a treasurer's report for August 1909. 130.1.26 Organizational Files: Yearbooks 1910 - 1911 1 item, 26 leaves Includes membership list, description of program, constitution and by-laws, rules, and a treasurer's report. 130.1.27 Organizational Files: Yearbooks 1911 - 1912 1 item, 32 leaves Includes officer list, program list, constitution and by- laws, membership list, and accompanists for the season. 130.1.28 Organizational Files: Yearbooks 1912 - 1913 1 item, 32 leaves Includes officer list, program list, constitution and by- laws, and membership list. 130.1.29 Organizational Files: Yearbooks 1913 - 1914 2 items, 64 leaves Includes officer list, program list, reports from the treasurer and chairman of the Park Concert Fund, constitution and by-laws, and membership list. 130.1.30 Organizational Files: Yearbooks 1914 - 1915 1 item, 32 leaves Includes officer list, members of Program, Publishing, and Park Concert Fund committee, program list, reports from the treasurer and Park Concert Fund, plus active and associate membership lists. 130.1.31 Organizational Files: Yearbooks 1915 - 1916 2 items, 41 leaves Includes officer list, members of Program Printing, Musical Extension, Publicity, Park Concert Fund, Music Scholarship, and Current Topics committee, calendar for this season which includes the program list, constitution and by-laws, and activities and associate membership lists. 130.1.32 Organizational Files: Yearbooks 1916 - 1917 1 item, 25 leaves Contains officer list, members of Program, Printing, Musical Extension, Publicity, Current Topics, Park Concert Fund, and Music Scholarship committee, season calendar, guests for Saturday matinees, constitution and by-laws, active, associate, and junior membership lists, officers of Alabama Organization of Music Clubs, and a treasurer's report. 130.1.33 Organizational Files: Yearbooks 1923 - 1924 1 item, 22 leaves Contains Executive Board, committee chairmen, and Advisory Board lists, season calendars for regular and radio concerts. Various lists for junior club members, officer lists for East Lake, Ensley, Inglenook, and North Birmingham chapters, officers of Alabama Federation of Music Clubs, active membership list, plus constitution and by-laws. 130.1.34 Organizational Files: Yearbooks 1926 - 1927 1 item, 20 leaves Contains officer, committee chairmen, Executive Board and Advisory Board lists, artist concert lists, season calendar, list of junior club chapters, officers of Alabama Federation of Music Clubs, plus constitution and by-laws. 130.1.35 Organizational Files: Yearbooks 1927 - 1928 1 item, 10 leaves Contains officer, committee, Advisory Board, and junior officer lists, season programs, and officers of the Alabama Federation
Recommended publications
  • 18.7 Instrumental 78S, Pp 173-195
    78 rpm INSTRUMENTAL Sets do NOT have original albums unless indicated. If matrix numbers are needed for any of the items below in cases where they have been omitted, just let me know (preferably sooner rather than later). Albums require wider boxes than I use for records. If albums are available and are wanted, they will have to be shipped separately. U.S. postal charges for shipment within the U.S. are still reasonable (book rate) but out of country fees will probably be around $25.00 for an empty album. Capt. H. E. ADKINS dir. KNELLER HALL MUSICIANS 2107. 12” PW Plum HMV C.2445 [2B2922-IIA/2B2923-IIA]. FANFARES (Composed for the Musicians’ Benevolent Fund by Lord Berners, Sir. W. Davies, Dorothy Howell and Dame Edith Smyth). Two sides . Lt. rubs, cons . 2. $15.00. JOHN AMADIO [flutist] 2510. 12” Red Orth. Vla 9706 [Cc8936-II/Cc8937-II]. KONZERTSTÜCK, Op. 98: Finale (Heinrich Hofmann) / CONCERTINO, Op. 102 (Chaminade). Orch. dir. Lawrance Collingwood . Just about 1-2. $12.00. DANIELE AMFITHEATROF [composer, conductor] dir. PASDELOUP ORCH. 3311. 12” Green Italian Columbia GQX 10855, GQX 10866 [CPTX280-2/ CPTX281-2, CPTX282-3/ CPTX283- 1]. PANORAMA AMERICANO (Amfitheatrof). Four sides. Just about 1-2. $25.00. ENRIQUE FERDNANDEZ ARBOS [composer, conductor] dir. ORCH. 2222. 12” Blue Viva-Tonal Columbia 67607-D [WKX-62-2/WKX-63]. NOCHE DE ARABIA (Arbos). Two sides. Stkr. with Arbos’ autograph attached to lbl. side one. Just about 1-2. $20.00. LOUIS AUBERT [composer, con- ductor] dir. PARIS CONSERVA- TOIRE ORCH. 1570. 10” Purple Eng.
    [Show full text]
  • National Arts Awards Monday, October 19, 2015
    2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States.
    [Show full text]
  • Howard Dyck Reflects on Glenn Gould's The
    “What you intended to say”: Howard Dyck Reflects on Glenn Gould’s The Quiet in the Land Doreen Helen Klassen The Quiet in the Land is a radio documentary by Canadian pianist and composer Glenn Gould (1932-82) that features the voices of nine Mennonite musicians and theologians who reflect on their Mennonite identity as a people that are in the world yet separate from it. Like the other radio compositions in his The Solitude Trilogy—“The Idea of North” (1967) and “The Latecomers” (1969)—this work focuses on those who, either through geography, history, or ideology, engage in a “deliberate withdrawal from the world.”1 Based on Gould’s interviews in Winnipeg in July 1971, The Quiet in the Land was released by the Canadian Broadcasting Corporation (CBC) only in 1977, as Gould awaited changes in technology that would allow him to weave together snatches of these interviews thematically. His five primary themes were separateness, dealing with an increasingly urban and cosmopolitan lifestyle, the balance between evangelism and isolation, concern with others’ well-being in relation to the historic peace position, and maintaining Mennonite unity in the midst of fissions.2 He contextualized the documentary ideologically and sonically by placing it within the soundscape of a church service recorded at Waterloo-Kitchener United Mennonite Church in Waterloo, Ontario.3 Knowing that the work had received controversial responses from Mennonites upon its release, I framed my questions to former CBC radio producer Howard Dyck,4 one of Gould’s interviewees and later one of his 1 Bradley Lehman, “Review of Glenn Gould’s ‘The Quiet in the Land,’” www.
    [Show full text]
  • American Masters 200 List Finaljan2014
    Premiere Date # American Masters Program Title (Month-YY) Subject Name 1 ARTHUR MILLER: PRIVATE CONVERSATIONS On the Set of "Death of a Salesman" June-86 Arthur Miller 2 PHILIP JOHNSON: A SELF PORTRAIT June-86 Philip Johnson 3 KATHERINE ANNE PORTER: THE EYE OF MEMORY July-86 Katherine Anne Porter 4 UNKNOWN CHAPLIN (Part 1) July-86 Charlie Chaplin 5 UNKNOWN CHAPLIN (Part 2) July-86 Charlie Chaplin 6 UNKNOWN CHAPLIN (Part 3) July-86 Charlie Chaplin 7 BILLIE HOLIDAY: THE LONG NIGHT OF LADY DAY August-86 Billie Holiday 8 JAMES LEVINE: THE LIFE IN MUSIC August-86 James Levine 9 AARON COPLAND: A SELF PORTRAIT August-86 Aaron Copland 10 THOMAS EAKINS: A MOTION PORTRAIT August-86 Thomas Eakins 11 GEORGIA O'KEEFFE September-86 Georgia O'Keeffe 12 EUGENE O'NEILL: A GLORY OF GHOSTS September-86 Eugene O'Neill 13 ISAAC IN AMERICA: A JOURNEY WITH ISAAC BASHEVIS SINGER July-87 Isaac Bashevis Singer 14 DIRECTED BY WILLIAM WYLER July-87 William Wyler 15 ARTHUR RUBENSTEIN: RUBENSTEIN REMEMBERED July-87 Arthur Rubinstein 16 ALWIN NIKOLAIS AND MURRAY LOUIS: NIK AND MURRAY July-87 Alwin Nikolais/Murray Louis 17 GEORGE GERSHWIN REMEMBERED August-87 George Gershwin 18 MAURICE SENDAK: MON CHER PAPA August-87 Maurice Sendak 19 THE NEGRO ENSEMBLE COMPANY September-87 Negro Ensemble Co. 20 UNANSWERED PRAYERS: THE LIFE AND TIMES OF TRUMAN CAPOTE September-87 Truman Capote 21 THE TEN YEAR LUNCH: THE WIT AND LEGEND OF THE ALGONQUIN ROUND TABLE September-87 Algonquin Round Table 22 BUSTER KEATON: A HARD ACT TO FOLLOW (Part 1) November-87 Buster Keaton 23 BUSTER KEATON:
    [Show full text]
  • 23 March 1972 Greenbelt News Review
    CITY COUNCIL POSITION ireenhtlt NO APPROVAL Of SEWAGE PLANT UNTIL HEALTH ASSURANCES GIVEN by Al Skolnik By a tto 1 vote, with no statesmanlike surpris~s, t?e Green­ belt city council adopted last Monday night a resolution mtroduced lttws Rtview by councilman Charles Schwan on the proposed temporary sewage AN INDEPENDINT NIWSPAPEI treatment plant for the Greenbriar and Glen Ora apartment_ pro­ Volume 35, Number 18 GREENBELT,MARYLAND Thursday, March 23, 1972 jects. The resolution recommended that the county council not approve the sewage plant "until it has received assurances from all county and State agencies with responsibility in this area that WHAT GOES ON SPRINGHILL LAKE MANAGEMENT the effluent from the temporary sewage facilities will not rep- Thurs., March 23, 7-9 p.m. Voter resent a health or ecological risk." . Registration, S. Klein's, Main An amendment to the County resolution. She advocated o~right CHARGES LACK OF CITY SERVICES Floor. Ten-Year Water and Sewer Plan disapproval of the plant with no Fri., March 24, 7-9 p.m. Painting CB-45 - wlhich would permit instal~ conditions or qualifications attached, by Al Skolnik Exhibit, Ridge Road Center. lation and use of the temporary but received no support from other Threatening to compete with the Greenbriar affair in drama 8:30, Duplicate Bridge, Co-op ,treatment plant for the Greenbriar council members. and fireworks at last Monday's meeting were charges by Elton Hospitality Rm. and Glen Ora tracts - had been Majority Views Young, property manager for Springhill Lake, that SHL was not Sat., March 25, 8p.m.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • MOZART Symphonies 29,31,32,35,36
    ALSO AVAILABLE ON LINN RECORDS MOZART Requiem ................................................CKD 211 MOZART Wind Concertos .................................CKD 273 MOZART Serenades ..............................................CKD 287 MOZART Symphonies 38~41 ..........................CKD 308 MOZART Colloredo Serenade............................CKD 320 MOZART Symphonies 29,31,32,35,36 ..........CKD 350 MENDELSSOHN Symphony No.3 ‘Scottish’ ..............CKD 216 SIBELIUS Theatre Music......................................CKD 220 BRAHMS Violin Concerto ..................................CKD 224 BARTÓK Strings, Percussion & Celeste ........CKD 234 PROKOFIEV Symphony No.1 in D major............CKD 219 DVORˇÁK Violin Concerto ..................................CKD 241 BEETHOVEN Piano Concertos 3,4,5 ......................CKD 336 Available on SACD and Studio Master Download from www.linnrecords.com Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart (1756–1791) Divertimento K.334 GIVEN THAT CHAMBER MUSIC takes such an important place in Mozart’s output Oboe Quartet K.370 – the great string quintets and quartets, and the wonderful range of works with SCOTTISH CHAMBER piano – it seems surprising that in the first years of his maturity, from 1774, say, ORCHESTRA ENSEMBLE until 1781, he wrote so little. His earlier string quartets, dating from between Alexander Janiczek director / violin*† 1770 and 1773, had been associated with visits to Italy and Vienna; in Salzburg, it seems, there was more call for serenade music for orchestra or wind ensemble, Divertimento No.17 in D Major Ruth Crouch violin* for 2 violins, viola, bass and 2 horns * Jane Atkins viola*† often performed out-of-doors. There is, however, an important series of works David Watkin cello† for strings and two horns (K.205, 247, 287 and 334) that are designed for single 1 March K.445 (320c) ................................. 2.27 Nikita Naumov double bass* players and attest to his increasing mastery in writing for small ensembles.
    [Show full text]
  • Document .Pdf
    CNDP-CRDP n° 135 octobre 2011 Les dossiers pédagogiques « Théâtre » et « Arts du cirque » du réseau SCÉRÉN en partenariat avec le CDN de Sartrouville et des Yvelines. Une collection coordonnée par le CRDP de l’académie de Paris. L’Opéra de quat’sous Avant de voir le spectacle : la représentation en appétit ! Distanciation brechtienne et théâtre épique [page 5] Vers un renouveau du genre lyrique : l’opéra épique de Kurt Weill [page 6] de Bertolt Brecht, L’Opéra de quat’sous : musique Kurt Weill, les origines [page 7] mise en scène Laurent Frechuret, Fable et personnages direction musicale Samuel Jean [page 11] Accueil et postérité de l’œuvre Du 4 au 21 octobre 2011 au CDN de Sartrouville et des Yvelines © JEAN-MArc LobbÉ / PHOTO DE RÉPÉTITION [page 14] Rebonds et résonances [page 15] Édito Après la représentation : Plus de quatre-vingts ans après la première de L’Opéra de quat’sous, l’œuvre a-t-elle pistes de travail perdu de sa modernité, de son acuité ? « Non », répondent en chœur tous les metteurs en scène qui, de par le monde, plébiscitent cet « opéra », devenu une des œuvres les Juste avant le spectacle : plus populaires du répertoire. Et effectivement, entre l’Angleterre de 1728, l’Allemagne l’affiche [page 16] à la veille de la crise de 1929 et le contexte actuel, marqué par la crise économique, la remise en cause du pouvoir de l’argent et le questionnement sur l’homme, que D’un quat’sous à l’autre d’échos ! C’est la même « danse au bord du volcan – à quatre pas de la descente aux [page 17] enfers 1 » ! Après Laurent Pelly à la Comédie-Française, Laurent Fréchuret, directeur Les partis pris du CDN de Sartrouville et des Yvelines, s’empare de ce matériau pour son ouverture de Laurent Fréchuret, de saison.
    [Show full text]
  • Daniel Saidenberg Faculty Recital Series
    Daniel Saidenberg Faculty Recital Series Frank Morelli, Bassoon Behind every Juilliard artist is all of Juilliard —including you. With hundreds of dance, drama, and music performances, Juilliard is a wonderful place. When you join one of our membership programs, you become a part of this singular and celebrated community. by Claudio Papapietro Photo of cellist Khari Joyner Photo by Claudio Papapietro Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including • Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Invitations to special • Invitations to behind-the-scenes events members-only gatherings • Access to master classes, performance previews, and rehearsal observations (212) 799-5000, ext. 303 [email protected] juilliard.edu The Juilliard School presents Faculty Recital: Frank Morelli, Bassoon Jesse Brault, Conductor Jonathan Feldman, Piano Jacob Wellman, Bassoon Wednesday, January 17, 2018, 7:30pm Paul Hall Part of the Daniel Saidenberg Faculty Recital Series GIOACHINO From The Barber of Seville (1816) ROSSINI (arr. François-René Gebauer/Frank Morelli) (1792–1868) All’idea di quell metallo Numero quindici a mano manca Largo al factotum Frank Morelli and Jacob Wellman, Bassoons JOHANNES Sonata for Cello, No. 1 in E Minor, Op. 38 (1862–65) BRAHMS Allegro non troppo (1833–97) Allegro quasi menuetto-Trio Allegro Frank Morelli, Bassoon Jonathan Feldman, Piano Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C.
    [Show full text]
  • Hybridity and Identity in the Pan-American Jazz Piano Tradition
    Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory.
    [Show full text]
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.
    [Show full text]
  • Carnegie Hall a Rn Eg Ie an D H Is W Ife Lo 12 Then and Now Uise, 19
    A n d r e w C Carnegie Hall a rn eg ie an d h is w ife Lo 12 Then and Now uise, 19 Introduction The story of Carnegie Hall begins in the middle of the Atlantic. itself with the history of our country.” Indeed, some of the most In the spring of 1887, on board a ship traveling from New York prominent political figures, authors, and intellectuals have to London, newlyweds Andrew Carnegie (the ridiculously rich appeared at Carnegie Hall, from Woodrow Wilson and Theodore industrialist) and Louise Whitfield (daughter of a well-to-do New Roosevelt to Mark Twain and Booker T. Washington. In addition to York merchant) were on their way to the groom’s native Scotland standing as the pinnacle of musical achievement, Carnegie Hall has for their honeymoon. Also on board was the 25-year-old Walter been an integral player in the development of American history. Damrosch, who had just finished his second season as conductor and musical director of the Symphony Society of New York and ••• the Oratorio Society of New York, and was traveling to Europe for a summer of study with Hans von Bülow. Over the course of After he returned to the US from his honeymoon, Carnegie set in the voyage, the couple developed a friendship with Damrosch, motion his plan, which he started formulating during his time with inviting him to visit them in Scotland. It was there, at an estate Damrosch in Scotland, for a new concert hall. He established The called Kilgraston, that Damrosch discussed his vision for a new Music Hall Company of New York, Ltd., acquired parcels of land concert hall in New York City.
    [Show full text]