June 1949) James Francis Cooke

Total Page:16

File Type:pdf, Size:1020Kb

June 1949) James Francis Cooke Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1949 Volume 67, Number 06 (June 1949) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 67, Number 06 (June 1949)." , (1949). https://digitalcommons.gardner-webb.edu/etude/161 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]. ETUDE the music Paul Whiteman Looks at Television See ptige 341 June 1949 price 30 Cents 1 ———— a . HOWARD MITCH- ELL, for the past two annual festival of THE NINETEENTH years associate conduc- American com- works by contemporary tor of the National Sym- the Eastman Schoo posers, conducted by phony Orchestra, Wash- held at Rochester New has been SHAW of Music, was ington, D. C., s0KG CLIFFORD festival con- ut^e York, May 5 to 12. The appointed conductor, to conducted by of six programs, Hans ICindler, sisted new works succeed Howard Hanson. Among the founder and musical di- ‘ :: ZnS? t we e*£)iscriminattncf r *» two operas: Don resigned, ef- Jor presented were rector, who the Phillips, and In close of All,” by Burrill fective at the . , Alberto Bnnbom. Mitchell received Name of Culture,” by he past season. Mr. given th«r first P® Conservatory Other compositions his training at Peabody Institute of Music. • • • and at The Curtis predecessor Mr. rogratnininff Like his distinguished career as a cellist ShoidJg of McG,e«.;^ Mitchell began his years was principal ^ and for fourteen Jacob Niles Suite,’ organization of which He Brandt; ami “John ’cellist of the Hart. SONGS FAVORED BY by Weldon now is conductor. ORMANDY, GRANT STILL’S opera, EUGENE WILLIAM world EMINENT ARTISTS OF and con- College of Music. She Troubled Island,” had its music director convoca- at the Cincinnati “The GOETHE bicentennial Lhevinne it was given ductor of the world- THE a pupil of Mme. Rosina nremiere on April 1 when festival to be held at is now Or- tion and music at the New York City Opera Company, AND lamed Philadelphia in Mr. Watkins is organist by the New York RADIO, TELEVISION Aspen, Colorado, June 27 to July 16 Wash- Halasz. Principals chestra, received the Avenue Presbyterian Church in conducted by Laszlo commemoration of the two-hundredth inducted Mane degree of Doc- is a graduate of Pea- of characters honorary the great Ger- ington, D. C. He in the cast from Tem- anniversary of the birth of Music in Balti- Nadell, Helena Bliss, THE CONCERT STAGE tor of Letters di- body Conservatory of Powers, Rosalind t philosopher, will be son# eon con- man poet and of Virgil Charles, and ple University at a more, where he was a pupil Robert Weede, Richard iJ 1 into two nearly identical ten-day vocation on May 12. vided Arthur Newman. in order to double the over- Fox. This honor, received sessions; this Cadman High Ab—Medium Gb attendance. The list of speakers will a pupil of Mie- Ernest Bour At Dawning just the day before Dr. all LUCILLE ROTHMAN, MUNCH and F Low E .50 WITHIN tor Dr. Albert Schweitzer of the CHARLES Lower Medium — A DREAM the orchestra sailed be headed by Horzowki, is the winner at the Sffasbourg Ernest D(iwsod Ormandy and cyslav be the conductors ot Ins specialist and medical held in will Raymond given in recognition world-famed Bach Leschetizky Piano Contest pn June P JM.*m n*. Loughborough England, was 1949 Festival, which opens Harris High or Medium A Minor .50 the advance- The musical programs will Miss Rothman Mass, Balloons outstanding contribution to missionary. New York -on April 9. of Liszt s Grauer of Minneapolis Sym- contest, a performance cultural life provided by the first winner in this Cathedral. aru of the musical and be becomes the Strasbourg Forsyth High G—Medium Eb .50 not lonjj, the ment to be sung in Bell-man '"*-*"**« g»» f conducted by Dmitri ot The i«Bfh ter,ter. I^w_Lov Orchestra, in the contests e Philadelphia and the nation. phony as none was chosen and the following soloists: Watts High FS Minor Medium Mitropoulos; 1947 or 1948. in the New York Blue Are Her Eyes — Nathan Milstein, SIGMUND SPAETH in Philadelphia Artur Rubinstein, of popular D Minor .50 ROBIN HOOD DELL in com- has made a survey Morini, Gregor Piatigorsky, Dor- WARNER, instructor Times 1949 season on June 2/, Erica PHILIP in order to select the will open its Glaz, Mack Har- Northwestern University music since 1900 E D more success- othy Maynor, Herta position in the finds that Bon Jour Ma Belle Behrend High —Medium with prospects bright for a ot the most popular pieces. He the duo-piano team of Vronsky of Music, is the winner ten .50 before in ns history. rell, and School Harry , Low C ful season than ever nation- are Sweet Adeline, by prize in the twelfth annual they entirely new cabinet of oihcets and Babin. first Days, by Gus Edwards; With an competition sponsored by the strong; School Valley increase of interest on wide song by Nora Bayes Down Through The directors, an . Harvest Moon, and Fes- Teachers Guild. M Shine On, .50 of die Dell, and International Chicago Singing Call You (131-41 00 Young Medium C the part of the Friends THE EDINBURGH Hurdy-Gurdy, lack Norworth; Let Me ) dol- Drama to be pre- Kimball’s winning song is and appropriation of fifty thousand tival of Music and by Leo Friedman Dawn by an 11 received the W. W. Kim- Sweetheart, Bartlett High Ab—Medium F for the repair o August 21 to September for which he Taylor A Dream lars from City Council sented from to- Mill Stream, by Tell successiul in one hundred dollars, the Old Low E Low Db .50 of star-studded be the most ball prize of I hat Medium — the Dell, plus a series promises to publication Girl Just Like the Girl reports a guarantee of I Want a prospects are indeed history. According Jo latest gether with by Harry von programs, the its Mr. Warner, who Married Dear Old Dad Yesterday Dunlap Medium Eb .50 season. tickets is ten per cent by Carl Fischer, Inc. C. Dreams of m bright for a most outstanding the demand for Station Saint Louis Blues by W. cent staff pianist of Tilzer; be directed in year, and thirty-eight per lias served as Roberts, Star - Dell Orchestra will above last ac- by Lee S. High Ab Medium F i The years, has been Handy; Smiles, Forgotten Cowles — Vladimir festival. WCFL for seventeen by Leonard Bernstein, above the 1947 Gladys by Hoagy Carmichael; and God Low Eb .50 mm companist for Richard Crooks, Dust, William Steinberg, and by Irving Berlin. Colschmann, and Lauritz Melchior. Bless America, Alexander Hilsberg. The opening con- MUNROE, ’cellist of Philadel- Swarthout, Goin’ Home Dvorak-Fisher High Eb—Medium Db Trau- LORNE was Tune 27 will present Helen pupil of Gregor Piatigorsky, CHRISTIAN EDU- OF AMER- Low C .50 cert on phia, a THE BOARD OF RADIO CORPORATION Melchior in a concert- auditions held recen Y Church, a new manu- IN bel and Lauritz the winner of the CATION of the Presbyterian ICA has begun work on A FRIENDLY SORT O’ WAY and Isolde, Musical summer production Medium F .50 ized version of "Tristan by the Walter W. Naumberg will sponsor a series of center for the mass Hand In Hand Klemm the USA facturing by Leonard Bernstein; and Miss Munroe will be the present season metal picture LLL8 IDA PETERSON BLACK conducted Foundation. choir schools during of 16-inch direct-view High F Medium Eb .50 programs will feature Na- presented in a ddbut recital various sections ot Marion, Indiana. If God Left Only You Densmore — subsequent only artist They will be held in tubes for television at Piatigorsky, auspices of the than Milstein and Gregor next season under the and each school will be con- Tube Department is con- She the country, The RCA .50 nml dr«eed eo Isaac If There Be Ecstasy Shaw High F ver - , Dorothy Sarnoff; The com- to meet the Kind - - . and plant And the sun’s a mod cst tames Melton Foundation. a college campus. this new come cmt 1 ducted on structing to rtaj Woo - der Levant, if it's Kapell; Oscar John- industry, Stern and William schedule follows: June 6-17, needs of the booming television In Black Medium F .50 plete A Friendy Sort of Way and Patrice Munsel; and will open on Charlotte, as already two Tan Peerce THE GOLDMAN BAND son C. Smith University which has been described Steber and Leonard Warren. season of free to July 8, All - optimistic post- Lady Moon Edwards High Db—Medium Bb .50 Eleanor Tune 17 the thirty-second North Carolina; June 27 years ahead of the most of New New Mex- summer concerts in the parks son-James School, Santa Fe, war predictions. FIFTY SIXTH the Guggenheim School, Easton, Little Song (131-41007) Shaw Medium F .50 THE York City. Given by ico- Tulv 11-22, Lafayette FESTIVAL and August 6, Woo- ANNUAL Foundation in memory of Florence Pennsylvania; July 25 to DR. WILLIAM May, the Maiden Carpenter High F Low D .50 of the University Mu- concerts will Information — Daniel Guggenheim, the ster school, Wooster, Ohio.
Recommended publications
  • The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
    ! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176
    [Show full text]
  • 'Let US Go Back to the Golden Age of Italian Opera'
    Click here for Full Issue of EIR Volume 15, Number 17, April 22, 1988 Renata Tebaldi 'Let US go back to the golden age of Italian opera' The foLLowing excerpts have been translatedfrom the Italian of the instruments came out better. So things went on, but transcript of Miss Tebaldi's speech to the Milan Schiller their ears adapted to the change of tuning, and hence also in Institute conference on April 9. Renata Tebaldi, a "spinto" performing operas they kept the brilliant sound which they soprano, particularly celebrated for her Verdi roles such as liked so much; without thinking about the problems which Desdemona, Aida, and Violetta, performed regularly at La both instrumentalists and singers would have. I remember Scala of Milan, and the Metropolitan Opera of New York. that in Naples, during rehearsals of the Gioconda, as I was talking to an oboist who had won the San Carlo competition, I am happy to be invited to speak on this subject because I we realized that the pitch had risen. think it is very important. The constant increase in the tuning Now La Gioconda is a hard opera, and a voice with body pitch brings on enormous difficulties for singers. Both in the has trouble adapting to a rise in pitch. I was supposed to sing conservatory and afterward, during the entire arc of one's four acts, one tougher than the other; not only that: At the operatic career, we study constantly to keep the "passage" of end, in the fourth act, there are ornamented passages which the voice in order, because this is what allows us to sing high have some problems.
    [Show full text]
  • Classics in Jazz
    1 Classics in Jazz Introduction - 2 First Jazz Recording - 5 The Influence of Jazz in Europe and the World - 70 Harling - A Light From St. Agnus - 205 2 Jazz’s Use of Classical Material Introduction Jazz, through its history, has progressed past a number of evolutions; it has had its influences and had both a musical and social background. History never begins or stops at a definite time, nor is it developed by one individual. Growth happens by various situations and experimentation and by creative people. Jazz is a style and not a form. Styles develop and forms are created. Thus jazz begins when East meets West. Jazz evolved in the U.S. with the environment of the late 19th and early 20th century; the music system of Europe, and Africa (with influence of Arab music with the rhythms of the native African. The brilliant book “Post & Branches of Jazz” by Dr. Lloyd C. Miller describes the musical cultures that brought their styles that combined to produce jazz. The art of jazz is over 100 years old now and we have the gift of time to examine the past and by careful research and thought we can produce more accurate conclusions of jazz’s past influences. Jazz could not have developed anywhere but the U.S. In his article” Jazz – The National Anthem” by Frank Patterson in the May 4th, 1922 Musical Courier we read: “Is it Americanism? Well, that is a fine point of contention. There are those who say it is not, that it expresses nothing of the American character; that it is exotic, African Oriental, what not.
    [Show full text]
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
    [Show full text]
  • The Cakewalk in Twentieth-Century French Concert Music Lindy Smith Bowling Green State University
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 1 | Issue 1 Article 6 Out of Africa: The Cakewalk in Twentieth-Century French Concert Music Lindy Smith Bowling Green State University Recommended Citation Smith, Lindy (2008) "Out of Africa: The Cakewalk in Twentieth-Century French Concert Music," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 1: Iss. 1, Article 6. Out of Africa: The Cakewalk in Twentieth-Century French Concert Music Lindy Smith Year IV – Bowling Green State University, Ohio The term “cakewalk” has traditionally been used in a number of different contexts to embody different meanings. For instance, “cakewalk” may refer to a social event revolving around dance. The term is also used synonymously with “ragtime” to identify early jazz styles. An alternative definition refers to the syncopated short-long- short rhythm (in which the long is twice the duration of the short) found in early jazz, which forms the accompaniment for the cakewalk dance and is incorporated into a significant amount of French concert music from the early twentieth-century. In this paper, I will discuss the background and cultural significance of the cakewalk in several of its forms and definitions. I will look first at the evolution of the cakewalk in America and secondly at its development in France by three twentieth-century composers: Erik Satie, Darius Milhaud, and Claude Debussy. Milhaud uses the cakewalk to represent “primitive” cultures while Satie references current popular dance hall music and Debussy offers the cakewalk as an antithesis to the late 19 th -century Germanic tradition. Out of Africa: The Cakewalk in Twentieth-Century French Concert Music The cakewalk dance was first initiated by slaves on plantations in the southern United States.
    [Show full text]
  • VINCENZO BELLINI, Norma, Orchestra Sinfonica E Coro Del Gran
    IV, 2018 VINCENZO BELLINI, Norma, Orchestra sinfonica e Coro del Gran Teatre del Liceu di Barcellona, direttore d’orchestra Renato Palumbo, regia di Kevin Newbury, 2 DVD C Major 737208, 2015. • Norma, Orchestra of the Royal Opera House, Royal Opera Chorus, direttore d’orchestra Antonio Pappano, regia di Àlex Ollé. 2 DVD Opus Arte OA 1247 D, 2016. La fortuna teatrale e discografica di Norma sta attraversando un periodo di intensa vitalità che sembrava quasi impossibile fino a qualche anno fa. Molteplici ragioni danno conto di questo rinnovato interesse. Da un lato, l’intenso lavoro critico attorno alla figura di Bellini e dei suoi interpreti ha contribuito a mettere in discussione la tradizione esecutiva dell’opera che si era cristallizzata durante la prima metà del Novecento e di cui, per molti aspetti, Maria Callas ha rappresentato l’apogeo. Dall’altro, la graduale estensione dell’uso di strumenti d’epoca nell’ambito del melodramma italiano del primo Ottocento ha reso possibile la coesistenza, e reciproca influenza, di prassi esecutive le cui premesse storiche e culturali erano in origine diverse. Molti degli sforzi di critici e studiosi interessati agli aspetti esecutivi di Norma sono stati dedicati alla definizione delle caratteristiche vocali e drammatiche dei cantanti per i quali i tre ruoli principali furono scritti: Giuditta Pasta (Norma), Giulia Grisi (Adalgisa) e Domenico Donzelli (Pollione). Tale attività di ricerca ha contribuito a scardinare luoghi comuni e consuetudini esecutive di lunga data, mettendo in luce tanto una frattura tra le concezioni della vocalità del tempo e quelle che dirigono le aspettative del pubblico contemporaneo, quanto il fatto che la proliferazione di soluzioni esecutive quanto mai diversificate non è solo caratteristica dei nostri giorni, ma ha accompagnato la fortuna dell’opera durante gran parte dell’Ottocento.
    [Show full text]
  • Catalogo Delle Opere a Stampa E Una Cartolina Con Firma Autografa, Il Primo 24 Pp
    Lim Antiqua s.a.s - Studio bibliografico Via della Chiesa IX, 44 Loc. Monte San Quirico 55100 LUCCA Telefono e Fax +39 0583 34 2218 (dalle 9 alle 13) +39 333 2551758 www.limantiqua.com/it email: [email protected] P. IVA 01286300460 Dati per bonifico: C/C postale n. 11367554 IBAN: IT 67 Q 07601 13700 000011367554 BIC: BPPIITRRXXX Orario di apertura Lunedì – Venerdì ore 9.00/14.00 Gli ordini possono essere effettuati per telefono, email o via fax. Il pagamento può avvenire tramite contrassegno, bollettino postale, bonifico sul conto postale o PayPal. Le spese di spedizione sono a carico del destinatario. I prezzi indicati sono comprensivi di IVA. Gli ordini saranno ritenuti validi e quindi evasi anche in caso di disponibilità parziale dei pezzi richiesti. Compositori p. 2 Direttori d’orchestra p. 26 Strumentisti e pianisti p. 38 Cantanti d’opera p. 43 5. Pierre Boulez Compositori 1. Franco Alfano (Napoli 1875 – Sanremo 1954) Lettera autografa firmata del compositore napoletano noto per aver completato Turandot di Puccini, indirizzata al giornalista Giorgio Pillon. Dat. 12 gennaio 1946: “Chiarissimo Professore, la notizia della morte di Romualdo Pantini, mio vecchio caro amico, mi è giunta di sorpresa …Io devo a Pantini innumerevoli consigli se non altrettante reali collaborazioni. “Eliana” datosi al Teatro Reale di Roma, dopo l’estero, due anni fa, appartiene a queste ultime. Anche per “Sakuntala” egli mi è stato largo di suggerimenti”. Franco Alfano rivestì prestigiosi incarichi tra i quali ricordiamo l'insegnamento al Liceo di Bologna, nel 1918 la direzione del Conservatorio di Bologna e dal 1923 la direzione del conservatorio "Giuseppe Verdi" di Torino che mantenne sino al 1939.
    [Show full text]
  • Rathauskurier DAS AMTSBLATT DER STADT WEIMAR Kulturstadt Europas
    RathausKurier DAS AMTSBLATT DER STADT WEIMAR Kulturstadt Europas Nr. 19 SPRECHTAG WINTERDIENST GEDENKEN NEUERUNG 9. November 2013 Die Thüringer Bürger- Verzeichnis der bei Weimar erinnert mit Umstellung der Wert- 24. Jahrgang beauftragte hält Vor- Schnee- und Eisglätte zahlreichen Veran- stofferfassung vom Ort-Sprechtag in der durch die Stadt zu staltungen an das Bring- ins Holsystem NÄCHSTE AUSGABE: Stadtverwaltung ab räumenden Straßen Novemberpogrom vor geht in die heiße 23. November 2013 Seite 6878 Seite 6879 75 Jahren Seite 6890 Phase Seite 6894 Ein dreitägiges Weimarer »Geschichtsfestmahl« DAS »WEIMARER RENDEZ-VOUS MIT DER GESCHICHTE« FEIERT SEINEN 5. GEBURTSTAG! DISKUSSIONEN, FILME, LESUNGEN, VORTRÄGE UND SCHÜLERPROJEKTE RUND UMS THEMA »ESSEN«. FÜR DIE BESUCHER GIBT’S ZUM JUBILÄUM ZAHLREICHE »KOSTPROBEN« UND DAS WIE IMMER BEI FREIEM EINTRITT! »Junge auf SeiteStadt« 6872 FOTO: STEPHAN PICK / BÜRO ALFRED BIOLEK FOTO: Alfred Biolek, einer der ersten »Fernsehköche«, ist Gesprächsgast zur Eröffnung des Weimarer »Geschichtsfestmahls«. In der Musikschule »Ottmar Gerster« wird er über sein Leben und über seine Lieblingsrezepte sprechen. eim Essen spricht man nicht?! Oh, historischen Festmahlen und vom beißen- Dies also ist das Weimarer »Geschichts- ganz im Gegenteil! Wann lässt sich den Hunger hinter Stacheldraht; Geschich- festmahl« 2013. Von seiner Eröffnung am Bschöner plaudern und schwad- ten von der deutschen, polnischen und – Freitagabend mit Alfred Biolek bis zum ronieren, wenn nicht rund ums Essen?! natürliisch! – französischen Küche; Diskus- Teeritual am Sonntag zieht sich durch Weimars Geschichtsfestival macht sich sionen ums Fasten, Fatness und Fitness Weimar ein überbordendes Programm dies vom 15. bis 17. November zum und unsere Freuden am Kakao, 3,5 Pro- an geschichtlichen Diskussionen, Filmen, Motto: Wir feiern ein »Geschichtsfestmahl« zent, mit 100 Prozent Schlagsahne, bitte! Lesungen, Vorträgen, Schülerprojekten und erzählen uns dabei die unendliche Es geht also um uns, unsere Mütter und rund ums Thema Essen … oft auch mit Geschichte vom Essen.
    [Show full text]
  • Waghalter Rose from an Impoverished Childhood in Poland to Become Conductor at the Newly Founded Deutsches Opernhaus in Berlin in 1912
    NAXOS NAXOS Ignatz Waghalter rose from an impoverished childhood in Poland to become conductor at the newly founded Deutsches Opernhaus in Berlin in 1912. Here, the first performance of his youthful comic opera Mandragola, attended by luminaries such as Richard Strauss, Busoni, and Humperdinck, won him huge acclaim: the Overture and Intermezzo reveal his orchestral mastery. With the rise of Nazism Waghalter left Europe for America where he strongly identified with the 8.573338 WAGHALTER: WAGHALTER: Afro-American cause, and began work on the New World Suite, ten short movements of rich melodic imagination that illustrate his constant desire to write approachable and lively music. DDD Volume 1 in this series [8.572809] was an ICMA (International Classical Music Awards) nominee. Ignatz Playing Time 53:36 WAGHALTER 7 (1881-1949) Mandragola – Opera (1914) 7:17 47313 33387 Orchestral Music Orchestral Orchestral Music Orchestral 1 Overture: Allegro moderato, fliessend 3:59 2 Intermezzo: Allegretto grazioso 3:18 New World Suite (reconstructed by Alexander Walker) (1939/2013) 35:55 3 1. Intrada: Allegro moderato, fliessend 4:18 4 2. Intermezzo: Moderato 1:02 5 5 3. Hymn and Variations: Moderato assai 3:53 6 4. Promenade: Allegro vivo 3:34 www.naxos.com Made in Germany Booklet notes in English ൿ 7 5. Idyll and Hornpipe: Andantino 5:55 & 8 6. Pastorale: Larghetto 3:10 9 7. City Dance: Tempo comodo 2:54 Ꭿ 0 8. Vaudeville: Allegro vivo 1:49 2015 Naxos Rights US, Inc. ! 9. Berceuse: Andante con moto 4:36 @ 10. Finale: Allegro 4:44 # Masaryk’s Peace March (1935) 10:22 Flottes Marschtempo WORLD PREMIÈRE RECORDINGS New Russia State Symphony Orchestra • Alexander Walker 8.573338 Recorded in Studio 5, Russian State TV & Radio Company KULTURA, Moscow, 8.573338 from 14th to 17th November, 2013 • Producer: Pavel Lavrenenkov • Engineers: Aleksander Karasev and Gennady Trabantov • Editors: Pavel Lavrenenkov and Natalia Ruzhanskaya Booklet notes: Alexander Walker • Publishers: Schott Music GmbH & Co.
    [Show full text]
  • Stylistic Influences and Musical Quotations in Claude Debussy's Children's Corner and La Boîte A
    EVOCATIONS FROM CHILDHOOD: STYLISTIC INFLUENCES AND MUSICAL QUOTATIONS IN CLAUDE DEBUSSY’S CHILDREN’S CORNER AND LA BOÎTE À JOUJOUX Hsing-Yin Ko, M.B., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2011 APPROVED: Vladimir Viardo, Major Professor Elvia Puccinelli, Minor Professor Frank Heidlberger, Committee Member Jesse Eschbach, Chair of the Division of Keyboard Studies Lynn Eustis, Director of Graduate Studies in the College of Music James Scott, Dean of College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Ko, Hsing-Yin, Evocations from Childhood: Stylistic Influences and Musical Quotations in Claude Debussy’s Children’s Corner and La Boîte à Joujoux. Doctor of Musical Arts (Performance), May 2011, 44 pp., 33 musical examples, bibliographies, 43 titles. Claude Debussy is considered one of the most influential figures of the late 19th century and early 20th centuries. Among the various works that he wrote for the piano, Children’s Corner and La Boîte à joujoux distinguish themselves as being evocative of childhood. However, compared to more substantial works like Pelléas et Mélisande or La Mer, his children’s piano music has been underrated and seldom performed. Children’s Corner and La Boîte à joujoux were influenced by a series of eclectic sources, including jazz, novel “views” from Russian composers, and traditional musical elements such as folk songs and Eastern music. The study examines several stylistic parallels found in these two pieces and is followed by a discussion of Debussy’s use of musical quotations and allusions, important elements used by the composer to achieve what could be dubbed as a unique “children’s wonderland.” Copyright 2011 by Hsing-Yin Ko ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES ...............................................................................................
    [Show full text]
  • The Unique Cultural & Innnovative Twelfty 1820
    Chekhov reading The Seagull to the Moscow Art Theatre Group, Stanislavski, Olga Knipper THE UNIQUE CULTURAL & INNNOVATIVE TWELFTY 1820-1939, by JACQUES CORY 2 TABLE OF CONTENTS No. of Page INSPIRATION 5 INTRODUCTION 6 THE METHODOLOGY OF THE BOOK 8 CULTURE IN EUROPEAN LANGUAGES IN THE “CENTURY”/TWELFTY 1820-1939 14 LITERATURE 16 NOBEL PRIZES IN LITERATURE 16 CORY'S LIST OF BEST AUTHORS IN 1820-1939, WITH COMMENTS AND LISTS OF BOOKS 37 CORY'S LIST OF BEST AUTHORS IN TWELFTY 1820-1939 39 THE 3 MOST SIGNIFICANT LITERATURES – FRENCH, ENGLISH, GERMAN 39 THE 3 MORE SIGNIFICANT LITERATURES – SPANISH, RUSSIAN, ITALIAN 46 THE 10 SIGNIFICANT LITERATURES – PORTUGUESE, BRAZILIAN, DUTCH, CZECH, GREEK, POLISH, SWEDISH, NORWEGIAN, DANISH, FINNISH 50 12 OTHER EUROPEAN LITERATURES – ROMANIAN, TURKISH, HUNGARIAN, SERBIAN, CROATIAN, UKRAINIAN (20 EACH), AND IRISH GAELIC, BULGARIAN, ALBANIAN, ARMENIAN, GEORGIAN, LITHUANIAN (10 EACH) 56 TOTAL OF NOS. OF AUTHORS IN EUROPEAN LANGUAGES BY CLUSTERS 59 JEWISH LANGUAGES LITERATURES 60 LITERATURES IN NON-EUROPEAN LANGUAGES 74 CORY'S LIST OF THE BEST BOOKS IN LITERATURE IN 1860-1899 78 3 SURVEY ON THE MOST/MORE/SIGNIFICANT LITERATURE/ART/MUSIC IN THE ROMANTICISM/REALISM/MODERNISM ERAS 113 ROMANTICISM IN LITERATURE, ART AND MUSIC 113 Analysis of the Results of the Romantic Era 125 REALISM IN LITERATURE, ART AND MUSIC 128 Analysis of the Results of the Realism/Naturalism Era 150 MODERNISM IN LITERATURE, ART AND MUSIC 153 Analysis of the Results of the Modernism Era 168 Analysis of the Results of the Total Period of 1820-1939
    [Show full text]
  • Table of Contents Welcome to the CD Sheet Music™ Edition of French Piano Music, Part II, the Ulti- Mate Collection
    Sheet TM Version 2.0 CDMusic 1 French Piano Music, Part II The Ultimate Collection Table of Contents Welcome to the CD Sheet Music™ edition of French Piano Music, Part II, the Ulti- mate Collection. This Table of Contents is interactive. Click on a title below to open the sheet music. The “composers” on this page and the bookmarks section on the left side of the screen navigate to sections of The Table of Contents.Once the music is open, the bookmarks become navigation aids to find section(s) of the work. Return to the Table of Contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. The FIND feature may be used to search for a particular word or phrase. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Contents of this CD-ROM (click on a composer/category to go to that section of the Table of Contents) DEBUSSY FAURÉ SOLO PIANO SOLO PIANO PIANO FOUR-HANDS PIANO FOUR-HANDS TWO PIANOS The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 CDMusic 2 CLAUDE DEBUSSY Pièce pour Piano (Morceau de Concours) SOLO PIANO L’isle Joyeuse (IN CHRONOLOGICAL ORDER) Masques Deux Arabesques Images, Book I Ballade I. Reflets dans l’Eau Rêverie II. Hommage à Rameau Suite Bergamasque III. Mouvement I. Prélude Children’s Corner II.
    [Show full text]