Ernst Toch Papers, Ca
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Choral Music of Ernst Toch
THE CHORAL MUSIC OF ERNST TOCH By MIRIAM SUSAN ZACH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTL^L FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1993 Copyright 1993 by Miriam Susan Zach ACKNOWLEDGMENTS The author is grateful to Mikesch Miicke, life-partner and architect, for his patience, encouragement, and introduction to Venturi's thought. His ability to clarify mysteries of computers and the German language made this dissertation a reaUty. She would like to express her deepest gratitude to her parents, Margaret Munster Zach and Herbert William Zach, for a lifetime of support and for advocating the research, teaching, and performance of music. She feels fortunate to have had the opportunity to study music history and Uterature wdth Dr. David Z. Kushner, a master teacher, pianist, and researcher, a mentor who cares. The author is grateful to Dr. Otto W. Johnston for his persistence to help her develop a cogent argument, for responding promptly with thoughtful insights that focused fragmentary ideas, and his humor during the long process. She would also like to take this opportunity to thank Dr. Budd Udell, Dr. Arthur Jennings, Dr. PhyUis Dorman, Dr. Russell Robinson, and Professor Reid Poole for their counsel and collective effort to teach her how to fish. She would like to honor Dr. Robert and MilUe Ramey for their encouraging presence and thoughtfulness. Marsha Berman and Stephen Fry at the UCLA Toch Archive gave their time and expertise during the author's two visits to the collection, and made long-distance research possible. -
A Chronology of All Artists' Appearances with the Chamber
75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 Season, 1938 – 1939 Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 Season, 1939 – 1940 The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 Season, 1940 – 1941 Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian PianoString Quartet The Coolidge Quartet th 4 Season, 1941 – 1942 The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 Season, 1942 – 1943 The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 Season, 1943 – 1944 The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 Season, 1944 – 1945 The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 Season, 1945 – 1946 The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 Season, 1946 – 1947 The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 Season, 1947 – 1948 Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 Season, 1948 – 1949 The Alma Trio -
Chamber Music Festival
UNIVERSITY MUSICAL SOCIETY CHARLES A. SINK, PRESIDENT THOR JOHNSON, GUEST CONDUCTOR LESTER MCCOY, ASSOCIATE CONDUCTOR Second Concert 1947-1948 Complete Series 2968 Eighth Annual Chamber Music Festival THE PAGANINI QUARTET HENRI TEMIANKA, First Violin ROBERT COURTE, Viola GUSTAV ROESEELS, Second Violin GABOR REJTO, Violoncello SATURDAY AFTERNOON, JANUARY 17* 1948, AT 2:30 RACKHAM AUDITORIUM ANN ARBOR, MICHIGAN PROGRAM Quartet in B-flat major, Op. 64, No. 3 HAYDN Vivace assai Adagio Menuetto (allegretto) Finale (allegro con spirito) Quartet in C minor, Op. 18, No. 4 BEETHOVEN Allegro ma non tanto Scherzo (andante schcrzoso quasi allegretto) Menuetto (allegretto) Allegro, prestissimo INTERMISSION Quartet in B-flat major, K. 458 ("The Hunt") .... MOZART Allegro vivace assai Minuctto, moderato Adagio Allegro assai The Paganini Quartet may be heard on RCA Victor Red Seal records. THE THIRD CONCERT in the Chamber Music Festival will take place this evening at 8:30 o'clock. (over) ARS LONGA VITA BR E VIS PROGRAM NOTES By H. WILEY HITCHCOCK Quartet in B-flat major, Op. 64, No. 3 JOSEPH HAYDN Chamber music owes much to Joseph Haydn. Almost all of the chamber works before his contributions were based on the continuo principle: the chamber group was supported by a keyboard instrument which filled in the harmonies between a bass part and the florid upper parts. Now, since the continuo player extemporized, there was much indiscriminate doubling of notes, and the written-down parts of the chamber instruments had no absolute tonal meaning; the composer could never be sure how his music would sound. In nearly eighty string quartets, and many other chamber works, Haydn attempted to solve the problem of creating chamber music intended as independent of the "help ing hand" of a continuo. -
November 2, 1975 Mr. Artur Rubinstein Beverly Wilshire Hotel
Scopus Award Recipient 1975 Dinner Chairman ARTUR RUBINSTEIN ALBERT A. SPIEGEL Past Recipients of the Scopus Award LOUIS H. BOYAR HARRY A. GOLDMAN RABBI MAX NUSSBAUM ROSALIND WYMAN EUGENE L. WYMAN DR. FRANKLIN D. MURPHY GREGOR PIATIGORSKY ELIE WIESEL November 2, 1975 Mr. Artur Rubinstein Beverly Wilshire Hotel Beverly Hills, California Dear Mr. Rubinstein: First, let me again tell you how honored and pleased we are to have you with us. I am sorry you did not receive any of our communications. However, this is understandable since your schedule takes you to all four corners of the world. For your information, there is a private dais reception from 6:30 to 7:30 PM in the Brentwood Room of the Century Plaza Hotel. Invitations have been issued only to those individuals who will be seated on the dais. Both you and Mrs. Rubinstein, of course, will be among our distinguished dais guests. I am enclosing the agenda for the evening. The actual programs will not be ready until Wednesday. This should provide the timing and sequence of our program. The eve ning is one in which you will be honored with the Scopus Award, the most coveted and prestigious award of the American Friends of the Hebrew University. I am also pleased to tell you that we were fortunate in securing for our musical program one of your protegees, Janina Fialkowska, whom we were fortunate to hear during our recent visit to Jerusalem this past summer. Her concert on November 2nd in Pasadena made it possible for her to be with us. -
Sexuality Education for Mid and Later Life
Peggy Brick and Jan Lunquist New Expectations Sexuality Education for Mid and Later Life THE AUTHORS Peggy Brick, M.Ed., is a sexuality education consultant currently providing training workshops for professionals and classes for older adults on sexuality and aging. She has trained thousands of educators and health care professionals nationwide, is the author of over 40 articles on sexuality education, and was formerly chair of the Board of the Sexuality Information and Education Council of the United States (SIECUS). Jan Lunquist, M.A., is the vice president of education for Planned Parenthood Centers of West Michigan. She is certified as a sexuality educator by the American Association of Sex Educators, Counselors, and Therapists. She is also a certified family life educator and a Michigan licensed counselor. During the past 29 years, she has designed and delivered hundreds of learning experiences related to the life-affirming gift of sexuality. Cover design by Alan Barnett, Inc. Printing by McNaughton & Gunn Copyright 2003. Sexuality Information and Education Council of the United States (SIECUS), 130 West 42nd Street, New York, NY 10036-7802. Phone: 212/819-9770. Fax: 212/819-9776. E-mail: [email protected] Web site: http://www.siecus.org 2 New Expectations This manual is dedicated to the memory of Richard Cross, M.D. 1915-2003 “What is REAL?” asked the Rabbit one day, when they were lying side by side near the nursery fender before Nana came to tidy the room. “Does it mean having things that buzz inside you and a stick-out handle?” “Real isn’t how you are made,” said the Skin Horse. -
Lynwood Slim Band, Que Acompanhou Nomes Como Leonard Caston, James Smith E Walter Horton
Nota de Imprensa Blues californiano com sotaque brasileiro no Santander Cultural ■ Lynwood Slim, um dos expoentes do swing blues na atualidade, se apresenta em 23 de agosto com os músicos brasileiros da Igor Prado Band Porto Alegre, 17 de agosto – No quarto domingo do mês de agosto (23/8), o Santander Cultural recebe o músico norte-americano Lynwood Slim, em parceria com a banda brasileira Igor Prado Band, às 17h00, no Grande Hall da Instituição. O show integra a programação do projeto Ouvindo Música , da temporada Inverno & Primavera . Richard Duran, ou Lynwood Slim, nasceu no Sul da Califórnia e começou a tocar trompete ainda criança. Aos quinze anos, Lynwood se apaixonou pela harmônica, ao escutar dois grandes expoentes do blues americano, Little Walter e Jimmy Reed. Nos anos 70, depois de atuar ao lado do saxofonista de jazz Eddie “Cleanhead” Vinson, Lynwood mudou-se para Minneapolis, onde logo após sua chegada a cidade, substituiu Kim Wilson em uma banda. Kim havia se mudado para Austin para formar o Fabulous Thunderbirds, com Jimmy Vaughan. Lynwood formou a Lynwood Slim Band, que acompanhou nomes como Leonard Caston, James Smith e Walter Horton. Seu swing blues ganhou inúmeros prêmios da Academia de Música do Minnesota. Nos anos seguintes, Lynwood atuou em diversas regiões dos EUA passando por Los Angeles e Chicago e retornando para o sul da Califórnia. Sua presença de palco, aliada à potência de seus vocais e de sua harmônica de blues , o transformou em uma verdadeira lenda musical na Califórnia. Com oito discos lançados e tendo atuado como produtor musical em mais de 50 álbuns, o trompetista vem pela primeira vez a Porto Alegre lançar seu novo álbum, gravado com a Igor Prado Band, que tem Igor Prado - guitarra, Yuri Prado – bateria, Rodrigo Mantovani – baixo, e Denilson Martins - Sax Barítono. -
2015-2016 Lynn University Wind Ensemble-Wind Works Wit'wit
Lynn Wind Ensemble Wind Works wit' Wit LYNN Conservatory of Music Wind Ensemble Roster FLUTE T' anna Tercero Jared Harrison Hugo Valverde Villalobos Scott Kemsley Robert Williams Al la Sorokoletova TRUMPET OBOE Zachary Brown Paul Chinen Kevin Karabell Walker Harnden Mark Poljak Trevor Mansell Alexander Ramazanov John Weisberg Luke Schwalbach Natalie Smith CLARINET Tsukasa Cherkaoui TROMBONE Jacqueline Gillette Mariana Cisneros Cameron Hewes Halgrimur Hauksson Christine Pascual-Fernandez Zongxi Li Shaquille Southwell Em ily Nichols Isabel Thompson Amalie Wyrick-Flax EUPHONIUM Brian Logan BASSOON Ryan Ruark Sebastian Castellanos Michael Pittman TUBA Sodienye Fi nebone ALTO SAX Joseph Guimaraes Matthew Amedio Dannel Espinoza PERCUSSION Isaac Fernandez Hernandez TENOR SAX Tyler Flynt Kyle Mechmet Juanmanuel Lopez Bernadette Manalo BARITONE SAX Michael Sawzin DOUBLE BASS August Berger FRENCH HORN Mileidy Gonzalez PIANO Shaun Murray Al fonso Hernandez Please silence or turn off all electronic devices, including cell phones, beepers, and watch alarms. Unauthorized recording or photography is strictly prohibited Lynn Wind Ensemble Kenneth Amis, music director and conductor 7:30 pm, Friday, January 15, 2016 Keith C. and Elaine Johnson Wold Performing Arts Center Onze Variations sur un theme de Haydn Jean Fran c;; aix lntroduzione - Thema (1912-1997) Variation 1: Pochissimo piu vivo Variation 2: Moderato Variation 3: Allegro Variation 4: Adagio Variation 5: Mouvement de va/se viennoise Variation 6: Andante Variation 7: Vivace Variation 8: Mouvement de valse Variation 9: Moderato Variation 10: Mo/to tranquil/a Variation 11 : Allegro giocoso Circus Polka Igor Stravinsky (1882-1971) Hommage a Stravinsky Ole Schmidt I. (1928-2010) II. Ill. Spiel, Op.39 Ernst Toch /. -
Under the Arch
Summer, 1982 Hours of operation A free publication to May 29-September 6 provide information Visitor Center, 8:00 a.m. under about the Jefferson to 10:00 p.m. National Expansion Tram Ride, 8:30 a.m. to Memorial 9:30p.m. the Museum of Westward Expansion, 8:00 a.m. to 1arc h 10:00 p.m. Inside this GATEWAY ARCH: issue How long does it take to ride to the top? Where do I A Monument purchase tickets? These and other often asked questions are answered in "Riding to For Our Time the Top." The Museum of Westward Expansion recreates one of the country's most colorful eras. The next page provides a map of the museum and two articles that explain how to view it. See It Today May 29-September 6: Monument to the Dream, a 30-minute film, documents the construction of the Gateway Arch. Shows begin at 8:15 a.m., 9:15 a.m., 10:45 a.m., 12:15 p.m., 1:45 p.m., 2:30 p.m., 3:15 p.m., 4:45 •i p.m., 6:15 p.m., 7:45 p.m. and 8:45 p.m. in Tucker Theater adja i cent to the Gateway Arch lobby. Charles M. Russell: American Artist, a 20-minute film, interprets i the life and significance of a well- known artist of the West. Shows s begin at 10:00 a.m., 11:30 a.m., •2 1:00 p.m., 4:00 p.m., 5:30 p.m. CO and 7:00 p.m. -
Orchestration — Stokowski & Pictures at an Exhibition
Listening to Orchestration — Stokowski & Pictures at an Exhibition Tracks and clips 1. Introduction 4:33 a. Modest Petrovich Musorgsky (MPM), Pictures at an Exhibition (PixEx), Alexander Brailowsky, Stauffer 007 recorded 5/20/1940. b. Ibid. but Aeyoko Uehara, EMI 3 59606 2 recorded 5/12/2005. c. George Frideric Handel, Solo Sonata in C, Op. 1 No. 7, Ferdinand Conrad, Johannes Koch, Hugo Ruf, Archive ARC 3158 recorded 2/9/1960. d. Ibid. but Henri Temianka, Malcolm Hamilton, Everest SDBR-3143/3 released 1966. e. Johannes Brahms, Hungarian Dance No. 1 in g, Alfons & Aloys Kontarsky, Deutsche Grammophon Gesellschaft (DGG) 429 1802 released 11/1/1989.* f. Ibid. but orchestrated by Brahms, Arturo Toscanini, NBC Symphony Orchestra, RCA 6205-2 RC recorded 2/17/1953. g. Ibid. but orchestrated by Stokowski, Leopold Stokowski (LS), Philadelphia Orchestra (PO), Music & Arts 17685-11732 recorded 3/17/1934. 2. Transcription, Arrangement & Orchestration 12:22 a. Claude Debussy, Petite suite, L. 65, En bateau, Pascal & Ami Rogé, Onyx ONYX4059 released 8/30/2011.* b. Ibid. but arranged for harp by Hainen, Elizabeth Hainen, Avie AV2285 recorded 3/28/2013. c. Ibid. but arranged for woods, strings & harp by Bronniman, Ensemble Pyramide, Divox CDX21005 released 8/30/2011.* d. Ibid. but orchestrated by Büsser, Jun Märkl, Orchestre National de Lyon, Naxos 8.572583 released 4/26/2011. e. Ludwig van Beethoven, Symphony No. 7 in A, Op. 92, Allegretto, LS, PO, Biddulph WHL 033 recorded 4/6/1927. f. Ibid. but arranged for piano by Liszt, Leslie Howard, Hyperion CDA 66671/5 recorded 4/28/1992.† g. -
Dissertation Body
Summary of Three Dissertation Recitals by Leo R. Singer A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2020 Doctoral Committee: Professor Richard Aaron, Chair Professor Colleen Conway Assistant Professor Joseph Gascho Professor Andrew Jennings Professor James Joyce Leo R. Singer [email protected] ORCID iD: 0000-0002-2741-1104 © Leo R. Singer 2020 ACKNOWLEDGMENTS This dissertation was made possible by the incredible faculty at the University of Michigan. Each course presented new information and ways of thinking, which in turn inspired the programming and performing choices for these three dissertation recitals. I would like to thank all the collaborators who worked tirelessly to make these performances special. I also must express my sincere and utmost gratitude to Professor Richard Aaron for his years of guidance, mentorship and inspiration. Lastly, I would like to thank my parents, Scott and Rochelle, my sister, Julie, the rest of my family, and all of my friends for their unwavering support throughout the many ups and downs during my years of education. !ii TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT iv RECITALS I. MUSIC FROM FRANCE 1 RECITAL 1 PROGRAM 1 RECITAL 1 PROGRAM NOTES 2 BIBLIOGRAPHY 8 II. MUSIC FROM GERMANY AND AUSTRIA 10 RECITAL 2 PROGRAM 10 RECITAL 2 PROGRAM NOTES 12 BIBLIOGRAPHY 26 III. MUSIC FROM AMERICA 28 RECITAL 3 PROGRAM 28 RECITAL 3 PROGRAM NOTES 29 BIBLIOGRAPHY 37 !iii ABSTRACT In each of the three dissertation cello recitals, music from a different nation is featured. The first is music from France, the second from Germany and Austria, and the third from America. -
Eça De Queiroz E a Cozinha Burguesa Literatura E Alimentação
UNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM CIÊNCIAS SOCIAIS MICHELLE CRISTINE MEDEIROS DA SILVA EÇA DE QUEIROZ E A COZINHA BURGUESA LITERATURA E ALIMENTAÇÃO NATAL-RN 2012 MICHELLE CRISTINE MEDEIROS DA SILVA EÇA DE QUEIROZ E A COZINHA BURGUESA LITERATURA E ALIMENTAÇÃO Dissertação apresentada ao Programa de pós- graduação em Ciências Sociais, como exigência parcial à obtenção do título de Mestre em Ciências Sociais, sob a orientação do professor Dr. Alexsandro Galeno Araújo Dantas. NATAL-RN 2012 MICHELLE CRISTINE MEDEIROS DA SILVA EÇA DE QUEIROZ E A COZINHA BURGUESA. LITERATURA E ALIMENTAÇÃO. Dissertação apresentada ao Programa de pós-graduação em Ciências Sociais, da Universidade Federal do Rio Grande do Norte, como exigência parcial à obtenção do título de Mestre em Ciências Sociais. BANCA EXAMINADORA ______________________________________________ Prof. Dr. Alexsandro Galeno Araújo Dantas Orientador ______________________________________________ Prof. Dr. Hermano Machado Ferreira Lima Membro externo - UECE ______________________________________________ Profa. Dra. Maria da Conceição Xavier de Almeida Membro interno - UFRN ______________________________________________ Profa. Dra. Norma Missae Takeuti Suplente - UFRN Natal, 01 de agosto de 2012. Aos amantes das ocupações livres, das tarefas sem importância, dos simulacros que de nada adiantam. AGRADECIMENTOS A Alex Galeno pela zelosa orientação: leituras minuciosas, ideias criativas, sugestões de design e cultivo intelectual pleno de cuidado. Agradeço ainda pela disposição de alma em debruçar-se sobre um tema que aparentemente poderia parecer estranho. Obrigada pela aposta. E pela aposta maior: aquela de vida. Às mulheres das primeiras cozinhas que frequentei: minha mãe e avós. Obrigada pela educação que se fez em silêncio ao redor das caçarolas e por um amor que plantaram nos meus sentidos mesmo sem percebê-lo. -
Ernst Toch Archive, Date (Inclusive): Ca
http://oac.cdlib.org/findaid/ark:/13030/ft0z09n428 No online items Finding Aid for the Ernst Toch Archive ca. 1835-1988 Processed by UCLA Library Special Collections staff; Kendra Wittreich. UCLA Library, UCLA Library Special Collections University of California, Los Angeles, Library UCLA Library Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm ©2008 The Regents of the University of California. All rights reserved. Finding Aid for the Ernst Toch PASC-M 1 1 Archive ca. 1835-1988 Descriptive Summary Title: Ernst Toch Archive, Date (inclusive): ca. 1835-1988 Collection number: PASC-M 1 Creator: Toch, Ernst 1887-1964 Extent: 88 boxes (44 linear ft.) Repository: University of California, Los Angeles. Library. UCLA Library Special Collections Los Angeles, California 90095-1575 Abstract: The Collection consists of materials relating to the Austrian-American composer, Ernst Toch. Included are music manuscripts and scores, books of his personal library, manuscripts, biographical material, correspondence, articles, essays, speeches, lectures, programs, clippings, photographs, sound recordings, financial records, and memorabilia. Also included are manuscripts and published works of other composers, as well as Lilly Toch's letters and lectures. Physical location: SRLF Language of Material: Collection materials in German, English, French Access Collection is open for research. Publication Rights Property rights in the physical objects belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish if the UCLA Library Special Collections does not hold the copyright.