DOCSLIB.ORG

Symphony Hall, Boston Huntington and Massachusetts Avenues

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Symphony Hall, Boston Huntington and Massachusetts Avenues SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 INC. PIERRE MONTEUX, Conductor FORTY-SECOND SEASON, 1922-1923 Programme WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 965 <UHE INSTRUMENT OF THE IMMORTALS QOMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt at his Steinway and convenience a Steinway can be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years. 'Prices: $875 and up. Convenient terms. Used pianos taken in exchange. STEIN 109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE 9G0 \ympk©mj Orel 1KB Forty-second Season, 1922-1923 PIERRE MONTEUX, Conductor 1 7; ! Tte^sowg Not because the name is famous — but because of the qual- ities that have made the name famous. That is a reason for choosing a ltd a PIANO A.nd there is a reason for its great renown enduring now for nearly a Hundred Years: ITS EXQUISITE TONE— which De Pachmannn compared to the loveliest of human voices. ITS AMAZING DURABILITY—there are Chickering pianos much over half a century old still delighting with their musical beauty. THE EXQUISTE GRACE OFTHEIR DESIGN —the small grands are models ofper- fection in this important branch ofpiano making. It is not a coincidence that in the finest homes you find the Chickering— but because its owner, accustomed to the best, demands the best. TheChickenngisobtamablewiththeAMPICO —that marvelous instrument which brings to the piano containing it all the music you love best —ideally played. RETAIL WAREROOMS 169 TREMONT STREET BOSTON 968 — . FORTY-SECOND SEASON, NINETEEN HUNDRED TWENTY-TWO & TWENTY-THREE FRIDAY AFTERNOON, FEBRUARY 16, at 2.30 o'clock SATURDAY EVENING, FEBRUARY 17, at 8.15 o'clock Schumann . Symphony in E-flat major, No. 3, "Rhenish," Op. 97 I. Vivace. II. Moderate- assai. III. Allegro non troppo. IV. \ Maestoso. V. / Vivace. Salzedo . "Enchanted Isles," Symphonic Poem for Harp and Orchestra (First time in Boston) Loeffler "La Mort de Tintagiles," Dramatic Poem after the Drama of Maurice Maeterlinck, for Orchestra and Viola d' Amore, Op. 6 (Viole d' Amour Richard Burgtn) Dvorak Two Slavonic Dances, Op. 46, Nos. 3 and 1 SOLOIST CARLOS SALZEDO There will be an intermission of ten minutes after the symphony City of Boston, Revised Regulation of August 5, 1898,—Chapter 3, relating to the covering of the head in places of public amusement Every licensee shall not. in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN. City Clerk The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert WW AR P rawell 2)er¥H Raymond-Whitcomb, the oldest and largest American travel concern maintain a staff of travel experts to assist individual travelers contemplating journeys at any time of the year to any part of the world where such travel is safe or desirable. As representatives of the numerous steamship lines we are in a position to furnish accommodations to individual requirements at steam- ship companies' regular rates SOME DESIRABLE FIELDS OF TRAVEL In addition we also furnish railroad CALIFORNIA—HAWAII transportation and Pullman accommo- FLORIDA—CUBA dations, plan itineraries — in short, we NASSAU—BERMUDA make your arrangements for you JAMAICA—SOUTHERN RESORTS—EUROPE expertly and economically and save you JAPAN—CHINA time, anxiety and guess work We issue twice i year our "Guide to Travel" which is a concise volume containing complete information essential to preliminary travel planning (including estimated cods and in- dicating all principal resorts and routes) You may have a copy on request 17 TEMPLE PLACE, BOSTON Tel. Beach 6964 970 Symphony in E-flat major, No. 3, "Rhenish," Op. 97 Robert Schumann (Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856.) This symphony was sketched and orchestrated at Dusseldorf be- tween November 2 and December 9, 1850. The autograph score bears these dates: "I. 23, 11, 18(50); II. 29, 11, 50; III. 1, 12, 50/' and at the end of the symphony, "9 Dezbr., Dusseldorf." Clara Schumann wrote in her diary, November 16, 1850: "Robert is now at work on something, I do not know what, for he has said nothing to me about it." It was on December 9 that he surprised her with this symphony. Sir George Grove, for some reason or other, thought Schumann began to work on it before he left Dresden to accept the position of City Con- ductor at Dusseldorf; that Schumann wished to compose an important work for production at the lower Rhenish Festival. The first performance of this symphony was in Geisler Hall, Diissel- dorf, at the sixth concert of Der Allgemeine Musikverein, February 6, 1851. Schumann conducted from manuscript. The music was coldly received. Mme. Schumann wrote after the performance that the "creative power of Robert was again ever new in melody, harmony and form." She added: "I cannot say which one of the five movements is my favorite. The fourth is the one that at present is the least clear to me; it is most artistically made—that I hear—but I cannot follow JUST ISSUED PIONEER [ERICAM COMPOSER ' ^ (Volume II) A Collection of Early American Songs Selected and Edited by HAi" n VINCENT MILLIGA! Published for High and Low voice. Price $1.25 {Schmidt's Educational Series, No. 288-b) CONTENTS VICTOR PELISSIER JAMES HEWITT Dry Those Eyes The Twin Roses RAYNOR TAYLOR P. A. von HAGEN The Wounded Soldier May Morning P. A. von HAGEN A. REINAGLE Gentle Zephyr Jerry's Song J. WILLSON I Knew By The Smoke In this volume Mr. Milligan (who collected and edited some of the choice songs by Francis Hopkinson) has gathered together another series of songs by early American writers. As he states in the preface, they prove that the Americans of the eighteenth century were not all musical barbarians with their artistic instincts stifled by the hardships of pioneer life. THE ARTHUR R SCHMIDT CO., 120 Boylston St. 971 Xt it so well, while there is scarcely a measure in the other movements that remains unclear to me; and indeed to the layman is this symphony, especially in its second and third movements, easily intelligible." The programme of the first performance gave these heads to the movements: "Allegro vivace. Scherzo. Intermezzo. Im Charak- ter der Begleitung einer feierlichen Zeremonie (In the character of an accompaniment to a solemn ceremony). Finale." The symphony was performed at Cologne, February 25, 1851, in Casino Hall, when Schumann conducted; at Diisseldorf, "repeated by request," March 13, 1851, Schumann conductor; at Leipsic, December 8, 1851, in the Gewandhaus, for the benefit of the orchestra's pension fund, Julius Reitz conductor. The first performance in England was at a concert given by Luigi Arditi in London, December 4, 1865. The first performance in Boston was at a concert of the Harvard Musical Association, February 4, 1869. The Philharmonic Society of New York produced the symphony February 2, 1861. The symphony was published in October, 1851. Schumann wrote (March 19, 1851) to the publisher, Simrock, at Bonn: 'T should have been glad to see a greater work published here on the Rhine, and I mean this symphony, which perhaps mirrors here YO§e GRAND QUALITY and REPUTATION enable you to know in advance that the WQW& is a most satisfactory piano. WE CHALLENGE COMPARISON VOSE & SONS PIANO CO. 160 Boylston St., Boston, Mass. 972 ! m L. P. HOLLANDER CO. Est. 1848 Imported Coitom for Spring and Summer now in complete array Reasonably Priced 202-214 BOYLSTON ST. and PARK SQ., BOSTON ZttUSIC BRINGS SOLACE (ACURSES BRING COMFORT IMIUNITY HEALTH Combining the work of District Nursing Association : » • ; >. < i i - i > >. Baby • Hy ;g The Instructive District Nursing Association and the Baby Hygiene Association have combined in order to do more intensive work and not to overlap. The 160 nurses are making about 1400 visits daily. 33 clinics are held each week for well babies and children. The budget for the year 1923 calls for $375,000. We not only need our o'.d subscribers, but we need new friends. President Mr. William Arthur Dupee Vice Presidents M-s. Ernest Amory Codman Richard M. Smith. M.D. Secretary Mrs. Morton P. Prince Treasurer Mr. INGERSOLL BOWDITCH 561 MASSACHUSETTS AVENUE BOSTON. MASS. and there something of Rhenish life." It is known that the solemn fourth movement was inspired by the recollection of the ceremony at Cologne Cathedral at the installation of the Archbishop of Geissel as Cardinal, at which Schumann was present (November 12, 1856).
Load more

Recommended publications
  • LAVINIA MEIJER HARP DIVERTISSEMENTS SALZEDO | CAPLET | IBERT 28908Laviniabooklet 10-09-2008 11:05 Pagina 2
    28908Laviniabooklet 10-09-2008 11:05 Pagina 1 CHANNEL CLASSICS CCS SA 28908 LAVINIA MEIJER HARP DIVERTISSEMENTS SALZEDO | CAPLET | IBERT 28908Laviniabooklet 10-09-2008 11:05 Pagina 2 As a little girl of eight, I was already captivated by the magical sounds of the harp, so pure and rich. Once I discovered the instrument’s wealth of possibilities during my first lessons and my years at the conservatory, I quickly set myself a goal: I wanted to promote the harp as a solo instrument, wherever and however I could. I wanted to do this not only through the performance of well-known pieces, but also by encouraging contemporary composers to produce new harp compositions. For my first Channel Classics CD, I have chosen a combination of three 20th-century French masters. The Parisian firm of Érard, in particular, created technical innovations to the harp which considerably broadened the instrument’s (chromatic) capabilities; these innovations, followed by the first ‘minor’ masterpieces by Debussy and Ravel, soon made Paris the epicentre of a veritable harp explosion. More and more well-trained harpists appeared, and so did composers who became interested in the harp. Even though André Caplet did not compose much for the harp, the ‘Deux Divertissements’ are now an indispensable part of the repertoire. They are one of the harpist’s ‘musts’. And I cannot imagine why Jacques Ibert’s ‘Six Pièces’, those surprisingly colourful miniatures – are so rarely performed in their entirety. French-American Carlos Salzedo occupies a special place in the world of the harp. Famous both as a performer and teacher, he was immensely influential.
    [Show full text]
  • Salzedo's Harp: the Evolution of the Modern Pedal Harp from the Paris Conservatory Culture to Contemporary American Musical Society
    Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2016 Salzedo's Harp: The volutE ion of the Modern Pedal Harp from the Paris Conservatory Culture to Contemporary American Musical Society Celisa C. Gutierrez Follow this and additional works at: http://commons.emich.edu/honors Recommended Citation Gutierrez, Celisa C., "Salzedo's Harp: The vE olution of the Modern Pedal Harp from the Paris Conservatory Culture to Contemporary American Musical Society" (2016). Senior Honors Theses. 491. http://commons.emich.edu/honors/491 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. Salzedo's Harp: The volutE ion of the Modern Pedal Harp from the Paris Conservatory Culture to Contemporary American Musical Society Abstract Carlos Salzedo is one of the most important harpists of the twentieth century. Through innovative compositions, advocacy for modern music, and virtuosic performances, he modernized the pedal harp and brought it to a prominent position in contemporary music. Degree Type Open Access Senior Honors Thesis Department Music and Dance First Advisor Professor Ruth Myers-Brown Second Advisor Dr. David Pierce Keywords pedal harp, modernism, composer, French music, music This open access senior honors thesis is available at DigitalCommons@EMU: http://commons.emich.edu/honors/491 SALZEDO'S HARP: THE EVOLUTION OF THE MODERN PEDAL HARP FROM THE PARIS CONSERVATORY CULTURE TO CONTEMPORARY AMERICAN MUSICAL SOCIETY By Celisa C.
    [Show full text]
  • Teaching Harp in America: Selected Print and Video Materials, an Annotated Bibliography Tula Ruggiero
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Teaching Harp in America: Selected Print and Video Materials, an Annotated Bibliography Tula Ruggiero Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC TEACHING HARP IN AMERICA: SELECTED PRINT AND VIDEO MATERIALS, AN ANNOTATED BIBLIOGRAPHY By TULA RUGGIERO A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded Fall Semester, 2014 Tula Ruggiero defended this treatise on October 9, 2014 The members of the supervisory committee were: Mary Roman Professor Directing Treatise Alice-Ann Darrow University Representative Corinne Stillwell Committee Member Bruce Holzman Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated with love to my son, John Eli Thompson. iii ACKNOWLEDGEMENTS I would like to express my gratitude to: My major professor and advisor, Prof. Mary Roman, for her careful attention to detail and the many hours spent editing this treatise. My committee members, Dr. Alice-Ann Darrow, Prof. Corinne Stillwell, and Prof. Bruce Holzman, for their time and effort invested in me throughout my doctoral studies. My former teacher, Elizabeth Blakeslee, for sharing with me her invaluable knowledge of harp pedagogy. My dear friend, Joanna Frankel, for my first harp lessons, her encouragement, and sense of humor. My oldest friend, Rebecca Haines Durren, for her unflagging emotional support.
    [Show full text]
  • Performers C
    PERFORMERS C - played on a concert or recital 7/19 closing - played closing banquet ensemble - played in an ensemble MC - played in masterclass opening - played opening concert solo - played solo concert other than opening Close – Close Awards Winners’ Concert AA – Anne Adams Awards Winners’ Concert AHS – AHS National Competition Winners’ Concert F – Foundation Awards * - Institute Abbey-Lee, Lynne - 93 C th th th Aber, Alice Lawson – 76 18 , 19 , 20 Century Harpists Adams, Anne - 92 C, 91 Reminiscences of Marcel Grandjany, 91 C, 90 C, 86 C, 83 C, 83 Mildred Dilling, 79 ensemble, 77, Judging a Harpist moderator, 75 C, 71 C Adams, Merynda – 12 C Agen, Matthew – 97 (Institute) MC Agresta Copely, Kirsten – 12 C, 07* Amplification, 07* Careers After Graduation, 97* opening, 97* Stage Presence, 93 AHS, 84 AHS Alden, Clare – 84 AHS Alexander, Maria - 92 ensemble director Allen, Barbara - 96 C, 88 solo - Alexandria Quintet, 88 Chamber Music, 87 Free-lance Harpist, 80 C, 77 C Allen, Mimi - 91 Art of Ensemble moderator, 82 Master Class in Jazz Forms, 75 closing Allen, Nancy – 12 C, 96 opening, 89 opening, 87 C, 85 Transcribers Allen, Susan –13* C, 06 C, 06 Harps & Music of the Pacific Rim, 05* Weaving Music, 86 C, 84 Music from Our Time, 81 C, 80 concerto, 79 ensemble, 77 C, 71 C California Institute of the Arts Harp Duo Allport, Allison – 18 C, 13* Meet the Composer: Gary Schocker, 97* MC Allvin, Kerstin – 14 solo, 14 Creative Life Yoga Workshop, 08 C, 08 Body Mechanics and Awareness at the Harp, 93 C, 93 C - Larson/Allvin Duo Altshuler, Jean
    [Show full text]
  • Maurice Ravel Chronology
    Maurice Ravel Chronology by Manuel Cornejo 2018 English Translation by Frank Daykin Last modified date: 10 June 2021 With the kind permission of Le Passeur Éditeur, this PDF, with some corrections and additions by Dr Manuel Cornejo, is a translation of: Maurice Ravel : L’intégrale : Correspondance (1895-1937), écrits et entretiens, édition établie, présentée et annotée par Manuel Cornejo, Paris, Le Passeur Éditeur, 2018, p. 27-62. https://www.le-passeur-editeur.com/les-livres/documents/l-int%C3%A9grale In order to assist the reader in the mass of correspondence, writings, and interviews by Maurice Ravel, we offer here some chronology which may be useful. This chronology attempts not only to complete, but correct, the existent knowledge, notably relying on the documents published herein1. 1 The most recent, reliable, and complete chronology is that of Roger Nichols (Roger Nichols, Ravel: A Life, New Haven, Yale University, 2011, p. 390-398). We have attempted to note only verifiable events with documentary sources. Consultation of many primary sources was necessary. Note also the account of the travels of Maurice Ravel made by John Spiers on the website http://www.Maurice Ravel.net/travels.htm, which closed down on 31 December 2017. We thank in advance any reader who may be able to furnish us with any missing information, for correction in the next edition. Maurice Ravel Chronology by Manuel Cornejo English translation by Frank Daykin 1832 19 September: birth of Pierre-Joseph Ravel in Versoix (Switzerland). 1840 24 March: birth of Marie Delouart in Ciboure. 1857 Pierre-Joseph Ravel obtains a French passport.
    [Show full text]
  • Recital Programs 1930-1931
    :'n ^i^)^ <' > ^ t>. List of Concerts and Operas Faculty Recitals First Miss Harriet van Emden, Soprano. .November 17, 1930 _ , (Miss Lucile Lawrence) becond. J >Harpists November 24, 1930 IMr. Carlos Salzedo / Third Mr. Mieczyslaw Munz, Pianist December 9, 1930 Fourth . .Madame Lea Luboshutz, Violinist December 16, 1930 Fifth Mr. Abram Chasins, Pianist January 8, 1931 Sixth Mr. Horatio Connell, Baritone January 12, 1931 Seventh . .Mr. Felix Salmond, Violoncellist January 19, 1931 Eighth Mr. Efrem Zimbalist, Violinist March 2, 1931 (Madame Isabelle Vengerova, Pianist) Ninth . .\ Madame Lea Luboshutz, Violinist, . /April 30, 1931 (^Mr. Felix Salmond, Violoncellist 1 Tenth Mr. Josef Hofmann, Pianist May 12, 1931 Special Concert The Musical Art Quartet March 11, 1931 1 1 Students' Concerts ("These programs, while listed alphabeticallji according to Instructor's name, are bound according to date.) pecember 10, 1930 Students of Mr. Bachmann <; (April 13, 1931 Chamber Music. April 14, 1931 I Students of Dr. Bailly in j ^.^j^ ^^^ ^g^ ^^3^ Students of Mr. Connell May 4, 1931 Students of Mr. de Gogorza April 27, 1931 ("January 14, 1931 Students of Mr. Hofmann < (Apnl 28, 1931 (November 12, 1930 Students of Madame Luboshutz <( (May 20, 1931 Students of Mr. Meiff March 30, 1931 Students of Mr. Salmond April 23, 1931 (March 25, 1931 Students of Mr. Salzedo < .. (April 1, 1931 Students of Mr. Saperton April 24, 193 Students of Madame Sembrich May 1, 1931 Students of Mr. Tabuteau May 5, 1931 Students of Mr. Torello April 16, 1931 Students of Miss van Emden May 15, 1931 (April 22, 1931 „ , r., w Students of Madame Vengerova < (May 19, 1931 Students of Mr.
    [Show full text]
  • Lawrence Morton Papers LSC.1522
    http://oac.cdlib.org/findaid/ark:/13030/kt6d5nb3ht No online items Finding Aid for the Lawrence Morton Papers LSC.1522 Finding aid prepared by Phillip Lehrman, 2002; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Online finding aid last updated on 2020 February 21. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Lawrence LSC.1522 1 Morton Papers LSC.1522 Contributing Institution: UCLA Library Special Collections Title: Lawrence Morton papers Identifier/Call Number: LSC.1522 Physical Description: 42.5 Linear Feet(85 boxes, 1 oversize folder, 50 oversize boxes) Date (inclusive): 1908-1987 Abstract: Lawrence Morton (1904-1987) played the organ for silent movies and studied in New York before moving to Los Angeles, California, in 1940. He was a music critic for Script magazine, was the executive director of Evenings on the Roof, director of the Ojai Music Festival and curator of music at the Los Angeles County Museum of Art. The collection consists of books, articles, musical scores, clippings, manuscripts, and correspondence related to Lawrence Morton and his activities and friends in the Southern California music scene. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page.
    [Show full text]
  • Mnprogrambook.Pdf
    AMERICAN HARP SOCIETY 35th National Conference Macalester College St. Paul, Minnesota June 19-22, 2002 1 AHS National Conference AMERICAN HARP SOCIETY Marcel Grandjany, Chairman, Founding Committee Anne Adams Awards Auditions Lucy Clark Scandrett President Elizabeth Richter Karen Lindquist Vice-Presidents Ruth Papalia Secretary Jan Jennings Treasurer Jan Bishop Chairman of the Board THIRTY-FIFTH NATIONAL CONFERENCE Macalester College St. Paul, Minnesota June 19-22, 2002 2 TABLE OF CONTENTS Letters of Greeting 3 AHS Boards and Committees 8 Support Group 9 Acknowledgements 10 Program of conference 11 Program notes 22 Biographies 29 Exhibitors 46 AHS Chapters and Officers 48 Map of campus 54 3 4 5 Dear AHS Conference 2002 Attendees, We are happy to welcome you to the 35th National Conference of the American Harp Society. This is the third conference held in St. Paul, primarily because of its large number of lovely college campuses. The 75 members of the Minnesota Chapter of the American Harp Society have been preparing this conference for three years and sincerely hope we can make your visit comfortable, educational, and inspiring. St. Paul is the Capitol City of Minnesota and as such has much history behind it. The Sioux Indians lived in what is now the St. Paul area long before white people arrived. In 1819 the United States Army established Fort St. Anthony in a temporary building. Between 1820 and 1822, American soldiers under Colonel Josiah Snelling built Fort St. Anthony as a permanent fort. The fort covered a large area on the West Bank of the Mississippi River and soon attracted settlers.
    [Show full text]
  • Donation of Dewey Owens Detailed Inventory
    Donation of Dewey Owens Detailed Inventory For reference purposes the box numbers in parentheses refer to the Preliminary Inventory List BOX #1 – CORRESPONDENCE FOLDERS 1-10 Folder #1 (BOX 2: Box 2 #31) • Miscellaneous correspondence of Salzedo, programs, and magazine articles • Correspondence to and from Hermann Walecki of Lyon and Healy Harps (1940) • Correspondence to and from Marietta Bitter, a former student (1929-1934) • Correspondence to and from Arthur Judson (1929-1931) • Correspondence to and from E. W. Doty of the University of Texas (1941) • Correspondence to and from students; miscellaneous programs (1932) • Correspondence to and from Steinway & Sons, Inc. (1938-1940) • Correspondence to and from Marcel Grandjany (1938-1940) • 1 program, 2 magazine articles (one by Salzedo and one about the Salzedo harp) • Correspondence from Dolores E. Chilsen to Marie Miller about Chilsen's book on • harpists (1941) Folder #2 (BOX 2: Unnamed folder #2) Correspondence to and from Carlos Salzedo • Correspondence to and from Mrs. Everett G. Lawrence (1924) • Correspondence to and from Miss Lucile Lawrence (1921) Folder #3 (BOX 2: Box 2 #8) Correspondence of Salzedo with the following: • Mrs. Edward Bok (1931) • Mr. Leopold Stokowski (1929-1940) • Mr. Ossip Gabrilowitsch (1931) • Mr. Fritz Reiner (1928, 1932) • Mr. Wallingford Reigger (1932) • Mrs. Lawrence (1918) • Mr. Lawrence (1920) Miscellaneous material included: • Correspondence from Ruth Freeman Gudeman to Lucile Lawrence (1984) • A photograph of the 1956 Camden Summer Institute • A Magazine article: "The Harp In College and University Training" Folder #4 (BOX 2: Folder 3, 4) The Nijinsky fund (1932) Folder 3: • Bank statement, checks, etc. • Correspondence to and from Salzedo concerning donations Folder 4: • Correspondence to and from Carlos Salzedo from those declining to donate to the fund Folder #5 (BOX 1: Box 4 #12) Correspondence and records of Carlos Salzedo concerning the Anonymous Composer's Fund (1937-1938) Folder #6 (BOX 2: Box 4 #22) Correspondence of Salzedo with Juliette (Mrs.
    [Show full text]
  • Flutists' Family Tree : in Search of the American Flute School / by Demetra
    FLUTISTS’ FAMILY TREE: IN SEARCH OF THE AMERICAN FLUTE SCHOOL DOCUMENT Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Demetra Baferos Fair, M.M. ***** The Ohio State University 2003 Dissertation Committee: Professor Katherine Borst Jones, Adviser Approved by Professor Lois Rosow Professor Christopher Weait Adviser School of Music Copyright by Demetra Baferos Fair 2003 ABSTRACT For decades, American flutists have sought to identify specific traits that define their playing as a whole. While the “French School” has been characterized by a preoccupation with tone, a standard repertoire, and set of teaching materials written by Paris Conservatoire professors, no such definition can yet be set forth for the “American School.” This document provides a clear starting point for research into the what, where, why, and how of the “American Flute School” by first identifying who is associated with that school. By tracing the lineage of transverse flute playing from teacher to student through the past 300 years, we may identify orchestral flutist, soloist, and teacher, Georges Barrère, as a primary influence upon American flute playing. Barrère and his students – and his students’ students – have taught approximately 91% of all living flutists in the United States today. Of that vast number, approximately 87% can trace their heritage (through one or more of their teachers) to Barrère student William Kincaid, renowned flutist of the Philadelphia Orchestra and pedagogue at the Curtis Institute of Music. It is important to note that most modern musicians study with more than one teacher over the course of their career (usually between three and eight).
    [Show full text]
  • 78 Rpm INSTRUMENTAL RECORDINGS
    78 rpm INSTRUMENTAL RECORDINGS String, Keyboard & Wind Soloists – Conductors - Orchestras If anything is not clear, please advise as soon as possible and I’ll try to help. JOHN AMADIO [flutist] 3631. 12” Red Orth. Victrola 9695 [Cc17488-IV/17489-III]. THE CARNIVAL OF VENICE (arr. Briccaldi)/HUNGARIAN PASTORAL FANTASIE (Doppler). With Orch. dir. George Byng. Small lbl. stkr., few lightest rubs. Cons. 2. $12.00. AMAR STRING QUARTET [L. Amar; W. Caspar; P. Hindemith; R. Hindemith] 2388. 12” Blk. EE Polydor 66422-66424 [429bg-434bg]. STRING QUARTET, Op. 22 (Paul Hindemith). Six sides. Just about 1-2. $60.00. AARON AVSHALOMOV [composer/conductor]. Siberia, 1894-Portland, OR, 1964. Avshalomov developed an approach that grafted elements of traditional Chinese music—which he had first encountered as a child among the Chinese community of his Siberian home- town—onto a colorful Russian style in the manner of Rimsky- Korsakov. He used the Western-oriented symphony orchestra to imitate and evoke sounds of traditional Chinese instru- ments, and he also transcribed characteristic ornamentations and used such instruments as temple blocks and finger cymbals. His only musical studies were in Zurich and he then resided in Shanghai, excepting a few years in the U.S. and elsewhere, until 1946. He then permanently moved to Portland, OR, where his son, Jacob, was conductor of the Portland Symphony. – American Composers Alliance website. 3507. 12” PW Columbia Master Works Set 286 (68870-D – 68873-D). [A3074/3075-2, 3076/3077, 3078/3079-2, 3080/3081-2]. CONCERT IN G UPON CHINESE THEMES AND RHYTHMS (Aaran Avshalomov). Eight sides.
    [Show full text]
  • The New York Chamber Music Society, 1915-1937: a Contribution to Wind Chamber Music and a Reflection of Concert Life in New York City in the Early 20Th Century
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2013 The New York Chamber Music Society, 1915-1937: A Contribution to Wind Chamber Music and a Reflection of Concert Life in New York City in the Early 20th Century Lisa Kozenko The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2557 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The New York Chamber Music Society, 1915-1937: A Contribution to Wind Chamber Music and a Reflection of Concert Life in New York City in the Early 20th Century by LISA A. KOZENKO A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2013 © 2013 Lisa A. Kozenko All rights reserved. This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Professor Jeffrey Taylor ___________________ ________________________ Date Chair of Examining Committee Professor David Olan ___________________ ________________________ Date Executive Officer Professor Richard Burke Professor Sylvia Kahan Professor Catherine Coppola Supervisory Committee THE CITY UNIVERSITY OF NEW YORK Abstract The New York Chamber Music Society, 1915-1937: A Contribution to Wind Chamber Music and a Reflection of Concert Life in New York City in the Early 20th Century by Lisa A.
    [Show full text]