JJUM B1E~163) Fat\Qle1f'
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
American 1Wusic Has Not Yet Uarrived'', Declares
' / 16 MUSICAL AMERICA September 6, 1919 store .employees who have their daily sings are a more efficient and happier lot of workers than those who do not, and American 1Wusic Has Not Yet uArrived'', he is convinced that the same will appl1 to singers in any other vocation. So it will not be a surprising thing Declares New Leader of Boston Symphony to enter the city hall at lunch time hereafter and hear city surveyors, tax Pierre Monteux, Back from F ranee, Begins Rehearsals-" Let Us Forget the War; It H as No Part collectors, policemen off duty and other eaters blending their melodious voices in in the Selection of Programs," Says Parisian the interpretation of a nything from jazz to grand opera. H. P. ~ OSTON, Aug. 29-With the arrival our best in literature and in poetry re 'dance s·pir·it' which characterizes Rus B her e this week of P ierre Moriteux, ma ins and always will be dear to us. sian music-not of the same style as NOTABLE MU SICIANS that of Russia but with a style char the new Boston Symphony Orchest r-a His View of American Music acteristically American. JOIN PEABODY STAFF conductor, the stage is fast being set f or "You ask whether we ar e t o develop "I think it will come. It will be very a Symphony season of rare distinct ion a true American type of music. Yes, or iginal; very American." Baltimore Conservatory Opens on Sept. and success. M. Monteux, with Mme. perhaps so, but the time has not arrived Mr. -
CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. ReproB/T = Excellent reproduction orange box and printed top Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. “Direct recording” means recorded directly to cylinder, rather than dubbed from a Diamond-Disc master. This is used for cylinders in the lower 28200 series where there might be a question. BLANCHE ARRAL [s] 4108. Edison BA 28125. MIGNON: Je suis Titania (Thomas). Repro B/T. Just about 1-2. $40.00. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her native Italy and was on the roster of the Hammerstein Manhattan Opera, 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Manhattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career continued into the mid-1920s when she retired to Buenos Aires and taught. 4113. Edison BA 28159. LA TRAVIATA: Addio del passato (Verdi). ReproB/T. -
TEATRO REAL / TEMPORADA 2014 - 2015 / Número 30 14 15 5&"5303&"- 5&.103"%" I-BSBJ[GVFSUFIBDFFM¸SCPMT§Mjepw
intermezzo TEATRO REAL / TEMPORADA 2014 - 2015 / número 30 14 15 5&"5303&"- 5&.103"%" i-BSBJ[GVFSUFIBDFFM¸SCPMT§MJEPw INTERMEZZO es una publicación de la Asociación de Amigos de la Ópera de Madrid Editor: Alfredo Flórez Coordinación editorial: Julio Cano Redacción: Fernando Fraga, José Luis Téllez, Luis Suñén, Blas Matamoro, Laia Falcón, Santiago Sa- laverri, Rafael Banús y Andrés Ruiz Tarazona, Arturo Reverter y Juan Lucas. Diseño, maquetación e imágenes: Equipo Kapta La Asociación de Amigos de la Ópera de Madrid, no necesariamente comparte el contenido de los artículos publicados en esta revista, ya que son responsabilidad exclusiva de sus autores. Información: [email protected] Editor: [email protected] Depósito Legal: M-26359-2005 © de los artículos: los autores 1SFTFOUBDJ§O Este número de Intermezzo, continuando lo General anual, en la que unánimemente nues- que ya es costumbre en estas fechas, tiene como tros socios han ratificado las actuaciones lleva- finalidad básica ofrecer a sus lectores una pers- das a cabo por la Junta Directiva, así como los pectiva general de la temporada que en el próxi- proyectos presentados por ésta. Ha quedado así mo septiembre dará comienzo en nuestro Teatro delineado el escenario en que van a desenvol- Real (obviamente, empleo el posesivo “nuestro” verse las actividades de la Asociación desde aho- en una acepción puramente emocional y afectiva; ra, en el presente, desde luego, pero mirando al bien sabemos que, por fortuna, se trata de un bien futuro. El pasado no queda público, que no posee propietarios “físicos”, si se atrás; simplemente, se halla me permite la expresión, aunque sí administrado- incorporado a nuestra res). -
Revista Musical Catalana \ •Butlletí De L'orfeó CATALÀ I
Any XIII 15 Març 1916 Núm. 147 mm 111 i rn-nt n t rr 11«n 111111111111 n i r M M iim m t r • Revista Musical Catalana \ •Butlletí de l'ORFEÓ CATALÀ i El Dr. Torras i Bages A nostra REVISTA deu pagar el tribut d'un record al que fou mestre i orientador de la part més sana i forta del nostre Renaixement, al que fou bisbe de Vich durant setze anys, i, ben mirat, bisbe de tot Catalunya des de la publicació de La Tradició Catalana, llibre fona• mental del catalanisme. Catalunya ha tingut homes eminents, homes representatius, en totes èpoques, que per sí sols demostren la força, la fesomia incon- fundible de nostra rassa; savis i poetes, artistes i filosops : grans reis de la nació, grans reis del pensament i de la fantasia. 1 si hem tingut èpoques de decadència, en canvi, ara última• ment, amb aquesta reacció de rassa que en diem Renaixensa, han surgit altra volta aquests esperits singulars que són com la flor de l'arbre de la Pàtria i que demostren la vida fecunda que l'anima. Però de la última plèiade de grans homes de Catalunya, cap tan alt, cap tan fecundant a l'espiritualitat catalana com el Dr. Torras i Bages. I és perquè ell era el gran català pensador, vident, el gran català cristià. Per la intel·ligència som homes, pel cristianisme pugem a la perfecció i ens divinitzem; el Dr. Torras era potent en la ciència del pensament i tenia el ver esperit d'apòstol de la Veritat revelada, i aixi ell s'imposava a qui sedejava veritat i perfecció, i per això la seva influencia fecundía bellament i sanament en el jardí intel·lectual i espiritual de Catalunya. -
Representing a Christian Nation: Sacred and Providential Discourses in Opera in the United States, 1911–1917
Representing a Christian Nation: Sacred and Providential Discourses in Opera in the United States, 1911–1917 AARON ZIEGEL Abstract As the genre of American opera was coming of age during the 1910s, composers and librettists began to incorporate the materials of sacred music into the operatic context with surprising frequency. This often took the form of prayer arias, sacred choruses, hymnody, or choral apotheoses, examples of which appear in Frederick Converse’s The Sacrifice (1911), Victor Herbert’s Natoma (1911), Mary Carr Moore’s Narcissa (1912), and Henry Hadley’s Azora (1917). These composers modeled their efforts after familiar European precedents, including Wagner’s Lohengrin, Gounod’s Faust, and Meyerbeer’s Les Huguenots, among other works. Close examination of the music, however, reveals a distinctively American approach in which sacred materials function to reinforce statements of patriotic nationalism. By situating these long-overlooked American operas alongside contemporaneous commentary on the United States’ sense of its sacred purpose, this article illustrates how the composers and librettists sought to participate in the discourses of providentialism, the “Christian nation” concept, manifest destiny, and “True Americanism” in order to craft a characteristically national style. The inclusion of sacred musical ingredients thus helped redefine the genre for US listeners, as the operas’ characters give voice to their Americanness through the sacred music they sing. A woman prays to God seeking strength and perseverance through troubled times. A recent convert narrates a dream-vision in which the coming of Christ is revealed. A congregation sings hymns of praise. A choir performs an anthem based upon a liturgical text. -
Cykl Fortepianowy Goyescas Enrique Granadosa W Kontekście Idei Correspondance Des Arts I Muzyki Narodowej*
Małgorzata Jabłońska Cykl fortepianowy Goyescas Enrique Granadosa w kontekście idei correspondance des arts i muzyki narodowej* Enrique Granados (1867–1916) zasłynął w Europie i Ameryce przede wszyst kim jako kompozytor i koncertujący pianista wirtuoz, ale był także cenionym dyrygentem, pedagogiem i sprawnym organizatorem życia muzycznego w Bar celonie 1. Granados miał rozległe zainteresowania i wszechstronne uzdolnienia artystyczne, obok muzycznych także malarskie i literackie; z upodobaniem ry * Artykuł został opracowany na podstawie pracy magisterskiej pt. „Goyescas” Granadosa w kontekście twórczości Goi, napisanej pod kierunkiem prof. dr hab. Alicji Jarzębskiej, Uniwer sytet Jagielloński, Instytut Muzykologii, Kraków 2012. W polskim piśmiennictwie muzycznym brak prac dotyczących działalności arty stycznej Granadosa; w latach 70. na łamach „Ruchu Muzycznego” opublikowano artykuł Wiarosława Sandelewskiego pt. Spotkanie z córką Enrique Granadosa („Ruch Muzyczny” 1977 nr 16, s. 7–8), a podstawowe informacje zawiera encyklopedyczne hasło autorstwa Wiesławy BernyNegrey (Granados Enrique, w: Encyklopedia Muzyczna PWM. Część biograficzna, red. Elżbieta Dziębowska, 1987, t. 3, s. 441–443); Jacek Szerszenowicz w wydanej ostatnio książce zatytułowanej Inspiracje plastyczne w muzyce (Łódź 2008) tylko wspomina, iż Granados jest autorem Goyescas. 1 Por. Walter A. Clark, Enrique Granados: Poet of the Piano, Oxford University Press, Nowy Jork 2006; Mark Larrad, Granados Enrique, w: The New Grove Dictionary of Music and Musicians, red. S. Sadie, t. 10, s. 277–281, Macmillan, Londyn 2001; Carol A. Hess, Enrique Granados: A Bio-bibliography, Greenwood Press, Nowy Jork 1991; Andrés Ruiz Tarazona, En- rique Granados: El ultimo romantico, Real Musical, Madryt 1975; Pablo Villa SanJuan, Papeles intimos de Enrique Granados, Amigos de Granados, Barcelona 1966; Antonio FernandezCit, Granados, Samaran Ediciones, Madryt 1956; Henri Collet, Albéniz et Granados, Librairie Felix Alcan, Paryż 1926. -
Programs of the Week
IN THE WORLD OF CONCERTAANÉTOPËRA Parker and American Music 'Concerning"L'OiseaiiiBieu" H. E. Krehbiel plan. The interruption he believed Maurice Maeterlinck's "fairy play," milk, sugar, light, bread, the fire A By Bird". the The sense of individual loss and the I and hoped would bo but temporary. "L'Oiseau Bleu"---"The Blue cat, dog. to the American the window end of a friendly personal communion Professor Parker's belief that Amer¬ which was introduced Suddenly openin» i New Theater nine vites and to which had brought cheer, encourage- ican students could hold their own in public at the years Tyltyl Mytyl begi<- ,.., done into an of the blue bird. ment and edification for a full gener¬ competition with foreigners in Euro¬ ago, has been opera by quest Off tj.ç., ation must in the pean conservatories was as well found- Albert Wolff. In its musical garb it first to the Land of Memory, «.¡5^ ,' give way contempla¬ Palace of tion of the death of Horatio Parker to ed as his- conviction that they needed will have its first performance on any the Night, next to th» Gs den of some reflections on what the dean of no chauvinistic coddling in their na¬ stage at the Metropolitan Opera House Happiness, then to the Cemet»_ the School of Music of Yale University tive land. Long years ago we took Saturday evening, December 27. M. and then to the Kingdom of is to be the ture. Still have stood for in American music. He did the trouble to look into the report of Maeterlinck expected guest they not captured .¦ blue not belong to the younger generation the Hochschule for the last year of of honor, while the composer, already bird, and,after all their a;r;. -
Two New Books On
In the World oÍMusic and Art THREE SINGERS WHO WILL ._J_i_- -' New Books on the APPEAR ROLES i ¦ i » Ii>Tl£ADÍÑg to [Two _r. y Polacco Head Random Art Notes Origin of Music Opera Company Spanish In San Francisco At Home and Abroad Felipe Pedrell and Eduardo M. Torner Contribute Another American opera company is of Valuable Information About Songs in prospect, to be located in San Fran¬ Goya's Painting Wellington, Long Supposed to of Their Native Land cisco, with the conductor, Giorgio Po¬ Have Been Is Believed To lacco, as the directing head. Mr-.Po- Lost, lucco, who has been spending the sum¬ Be in Italy ( By Katharine Wright Musical Catalana. His present book is mer in Chicago, recently returned in two volumes. A from a Those Interested in Spanish music third is to come. trip to the Golden Gate city, until it His "Cancionero" where he had been ROa&E (by mail). other, came into the possession wil! learn with pleasure of two new contains'classified invited to confer The of those who it to examples of all on the a great portrait of the Duke of brought Italy. traditional of with kj on »he foundations of this art in types subject group of the The reason it Spanish melody. He various leading financiers and Wellington painted by Goya, the Spanish remained in obscurity Musical Popular gives musical ama- was because, after Spain-"Cancionero Pedrell, and "Can¬ theories concerning the origin of the I teurs of the West. painter, which was supposed to have Goya's departure Español," by Felipe been the is in a for Bordeaux, about 1824. -
Representing a Christian Nation: Sacred and Providential Discourses in Opera in the United States, 1911–1917
Representing a Christian Nation: Sacred and Providential Discourses in Opera in the United States, 1911–1917 AARON ZIEGEL Abstract As the genre of American opera was coming of age during the 1910s, composers and librettists began to incorporate the materials of sacred music into the operatic context with surprising frequency. This often took the form of prayer arias, sacred choruses, hymnody, or choral apotheoses, examples of which appear in Frederick Converse’s The Sacrifice (1911), Victor Herbert’s Natoma (1911), Mary Carr Moore’s Narcissa (1912), and Henry Hadley’s Azora (1917). These composers modeled their efforts after familiar European precedents, including Wagner’s Lohengrin, Gounod’s Faust, and Meyerbeer’s Les Huguenots, among other works. Close examination of the music, however, reveals a distinctively American approach in which sacred materials function to reinforce statements of patriotic nationalism. By situating these long-overlooked American operas alongside contemporaneous commentary on the United States’ sense of its sacred purpose, this article illustrates how the composers and librettists sought to participate in the discourses of providentialism, the “Christian nation” concept, manifest destiny, and “True Americanism” in order to craft a characteristically national style. The inclusion of sacred musical ingredients thus helped redefine the genre for US listeners, as the operas’ characters give voice to their Americanness through the sacred music they sing. A woman prays to God seeking strength and perseverance through troubled times. A recent convert narrates a dream-vision in which the coming of Christ is revealed. A congregation sings hymns of praise. A choir performs an anthem based upon a liturgical text. -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s). * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommend- dation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. -
CATÁLOGOS DE DOCUMENTOS DE ARTE 25 Noticias Y Opiniones Sobre Música Y Artes Plásticas En El Periódico Excélsior Durante 1917
Universidad Instituto Nacional Autónoma de Investigaciones de México Estéticas CATÁLOGOS DE DOCUMENTOS DE ARTE 25 Noticias y opiniones sobre música y artes plásticas en el periódico Excélsior durante 1917 Margarito Sandoval Pérez UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO INSTITUTO DE INVESTIGACIONES ESTÉTICAS CATÁLOGOS DE DOCUMENTOS DE ARTE NOTICIAS Y OPINIONES SOBRE MÚSICA Y ARTES PLÁSTICAS EN EL PERIÓDICO EXCÉLSIOR DURANTE 1917 CATÁLOGOS DE DOCUMENTOS DE ARTE 25 Margarito Sandoval Pérez CATÁLOGOS DE DOCUMENTOS DE ARTE Noticias y opiniones sobre música y artes plásticas en el periódico Excélsior durante 1917 UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO INSTITUTO DE INVESTIGACIONES ESTÉTICAS MÉXICO 1999 INSTITUTO DE INVESTIGACIONES ESTÉTICAS Directora: Ma. Teresa Uriarte Secretaria Académica: Cecilia Gutiérrez Arriola Diseño de portada: Ivonne Fernández Ilustración de portada: José Luciano Castañeda: Musa Clío 1797 (fragmento) D.R. © 1999 Universidad Nacional Autónoma de México Instituto de Investigaciones Estéticas Circuito Mario de la Cueva, Zona Cultural Ciudad Universitaria, México, D.F. 04510 Tels.: 5 622-7540, 5 665-2465 ext. 237 Fax: 5 665-4740 E-mail: [email protected] http://www.unam.mx/iies ISBN: 968-36-7498-4 Impreso y hecho en México CONTENIDO Presentación 9 Nota introductoria 11 Catálogo 13 Índice onomástico 145 Índice de temas 177 PRESENTACIÓN Con esta serie, el Instituto intenta difundir información que se encuentra en diversos archivos históricos nacionales y extranjeros, en los distintos ramos que contienen datos referentes a la historia del arte, por lo que estos catálogos se han convertido en instrumento de consulta para quienes desean acercarse a las fuentes primarias. También resultan de suma utilidad los índices de cada catálogo, pues tanto los onomásticos como los temáticos remiten rápida y eficazmente hacia el tema de investigación, de acuerdo con el ramo del que se trate. -
Boston Symphony Orchestra Concert Programs, Summer, 1981
/'" J- I am concerned about next year's soaring vacation costs. F A Berkshire "summer" whets my appetite for other Berkshire seasons. F . I like the best of two worlds. The Berkshires now, March in the sun. Did you find yourself checking "TRUE" more than once? IDEA! Share your vacation dream with "The Fox". The Ponds at Foxhollow offers the ultimate in affordable time-shared vacations: a famous 230-acre country estate- turned resort. Lovely lake, sailing, riding, tennis, pool, posh dining, evening entertainment. Your own home with breathtaking views; exquisitely furnished, even a private Jacuzzi. And the clincher: you can trade at 240 exchange resorts worldwide— and never pay escalating rates again! Out-Fox Vacation Inflation. Make an appointment for a personal tour with wine and cheese welcome. Phone (413) 637-2706, Mass. toll-free 800-292-6631 Out-of-state 800-628-8840 Route 7, Lenox, Mass. 01240 Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundredth Season, 1980-81 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Mrs. Harris Fahnestock, Vice-President Leo L. Beranek, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden E. Morton Jennings, Jr. Irving W. Rabb Mrs. John M. Bradley Edward M. Kennedy Paul C. Reardon Mrs. Norman L. Cahners George H. Kidder David Rockefeller, Jr. George H.A. Clowes, Jr. David G. Mugar Mrs. George Lee Sargent Archie C. Epps III Albert L.