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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
Manfred Honeck, Conductor Vilde Frang, Violin Matthias Goerne, Baritone Eric Cutler, Tenor
Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season May 10 and 12, 2019 MANFRED HONECK, CONDUCTOR VILDE FRANG, VIOLIN MATTHIAS GOERNE, BARITONE ERIC CUTLER, TENOR LUDWIG VAN BEETHOVEN Concerto in D major for Violin and Orchestra, Opus 61 I. Allegro ma non troppo II. Larghetto — III. Rondo: Allegro Ms. Frang Intermission GUSTAV MAHLER Das Lied von der Erde for Baritone* and Tenor† Soloists and Orchestra I. Das Trinklied vom Jammer der Erde (“The Drinking Song of the Earth’s Misery”)† II. Der Einsame im Herbst (“The Lonely One in Autumn”)* III. Von der Jugend (“of Youth”)† IV. Von der Schönheit (“of Beauty”)* V. Der Trunkene im Frühling (“The Drunkard in Spring”)† VI. Der Abschied (“The Parting”)* Mr. Goerne Mr. Cutler May 10-12, 2019, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA LUDWIG VAN BEETHOVEN Concerto in D major for Violin and Orchestra, Opus 61 (1806) Ludwig van Beethoven was born in Bonn on December 16, 1770, and died in Vienna on March 26, 1827. He composed his Violin Concerto in 1806, and it was premiered at the Theater-an-der-Wien in Vienna with Beethoven conducting and soloist Franz Clement on December 23, 1806. The Pittsburgh Symphony first performed the concerto at Carnegie Music Hall with conductor Victor Herbert and violinist Luigi von Kunits in November 1898, and most recently performed it with music director Manfred Honeck and violinist Christian Tetzlaff in June 2015. The score calls for flute, pairs of oboes, clarinets, bassoons, horns, and trumpets, timpani and strings. Performance time: approximately 45 minutes. In 1794, two years after he moved to Vienna from Bonn, Beethoven attended a concert by an Austrian violin prodigy named Franz Clement. -
Journal September 1984
The Elgar Society JOURNAL ^■m Z 1 % 1 ?■ • 'y. W ■■ ■ '4 September 1984 Contents Page Editorial 3 News Items and Announcements 5 Articles: Further Notes on Severn House 7 Elgar and the Toronto Symphony 9 Elgar and Hardy 13 International Report 16 AGM and Malvern Dinner 18 Eigar in Rutland 20 A Vice-President’s Tribute 21 Concert Diary 22 Book Reviews 24 Record Reviews 29 Branch Reports 30 Letters 33 Subscription Detaiis 36 The editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views The cover portrait is reproduced by kind permission of National Portrait Gallery This issue of ‘The Elgar Society Journal’ is computer-typeset. The computer programs were written by a committee member, Michael Rostron, and the processing was carried out on Hutton -t- Rostron’s PDPSe computer. The font used is Newton, composed on an APS5 photo-typesetter by Systemset - a division of Microgen Ltd. ELGAR SOCIETY JOURNAL ISSN 0143-121 2 r rhe Elgar Society Journal 01-440 2651 104 CRESCENT ROAD, NEW BARNET. HERTS. EDITORIAL September 1984 .Vol.3.no.6 By the time these words appear the year 1984 will be three parts gone, and most of the musical events which took so long to plan will be pleasant memories. In the Autumn months there are still concerts and lectures to attend, but it must be admitted there is a sense of ‘winding down’. However, the joint meeting with the Delius Society in October is something to be welcomed, and we hope it may be the beginning of an association with other musical societies. -
Gr. 4 to 8 Study Guide
Toronto Symphony TS Orchestra Gr. 4 to 8 Study Guide Conductors for the Toronto Symphony Orchestra School Concerts are generously supported by Mrs. Gert Wharton. The Toronto Symphony Orchestra’s School Concerts are generously supported by The William Birchall Foundation and an anonymous donor. Click on top right of pages to return to the table of contents! Table of Contents Concert Overview Concert Preparation Program Notes 3 4 - 6 7 - 11 Lesson Plans Artist Biographies MusicalGlossary 12 - 38 39 - 42 43 - 44 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 45 - 56 57 - 58 59 - 60 The Toronto Symphony Orchestra gratefully acknowledges Pierre Rivard & Elizabeth Hanson for preparing the lesson plans included in this guide - 2 - Concert Overview No two performances will be the same Play It by Ear! in this laugh-out-loud interactive February 26-28, 2019 concert about improvisation! Featuring Second City alumni, and hosted by Suitable for grades 4–8 Kevin Frank, this delightfully funny show demonstrates improvisatory techniques Simon Rivard, Resident Conductor and includes performances of orchestral Kevin Frank, host works that were created through Second City Alumni, actors improvisation. Each concert promises to Talisa Blackman, piano be one of a kind! Co-production with the National Arts Centre Orchestra Program to include excerpts from*: • Mozart: Overture to The Marriage of Figaro • Rimsky-Korsakov: Scheherazade, Op. 35, Mvt. 2 (Excerpt) • Copland: Variations on a Shaker Melody • Beethoven: Symphony No. 3, Mvt. 4 (Excerpt) • Holst: St. Pauls Suite, Mvt. 4 *Program subject to change - 3 - Concert Preparation Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. -
Conservatory of Music Piano Examinations, 1887-2015: Their Impact and Influence
A HISTORY OF THE ROYAL (TORONTO) CONSERVATORY OF MUSIC PIANO EXAMINATIONS, 1887-2015: THEIR IMPACT AND INFLUENCE TATIANA VOITOVITCH-CAMILLERI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO November 2019 © Tatiana Voitovitch-Camilleri, 2019 ii ABSTRACT Since its inception in 1887, the Royal Conservatory of Music has maintained its position as one of the largest and oldest community-based music schools and education centres in North America, with an integrated examination body and a comprehensive graded curriculum, influencing and shaping the Canadian musical landscape. For the past 130 years, the Conservatory has presented a wide-ranging art music repertoire for studying piano and offered a comprehensive system for assessing students’ progress through its Examinations, recently retitled as The Certificate Program. The Conservatory’s internal examinations began in 1887, with the external examinations following in 1898. The latter preserved the format of the former and expanded through increasing the number of the examination centres across Canada for both financial and educational reasons. Despite varying opinions of professionals and amateurs on the efficacy and value of the piano examinations in particular from the beginning, this dissertation, using historical sources and interviews, argues that over the years the structure and content of the piano examinations, while innately conservative on the whole, have kept up with a changing demographic of students across the country, and either countered or taken on the many criticisms that surrounded them over the years despite geographical and financial challenges, and indeed competition from other institutions. -
The Canadian Academy of Music Limited : Toronto.
anactiaa r|Eu0itin^ "Toronto 1914-1^ INDEX PAGE Introduction 1-2 The Faculty 4-5 Piano ft-12 Walther Kirschbaum 6-8 Richard Tattersall 8 Maria Bauchop, L.R.A.M 8-10 Laura Newman 10 Mrs. G. E. Grove, Mus. Bac 10 Mary L. Gunther 10 W. F. Pickard 10-12 J. Y. S. Ross 12 G. F. Liddle 12 Grant Gall 12 Dorothy Allen, L.R.A.M., A.R.C.M 12 A. M. Fellman, Dalton McLaughlin, Mary D. Kemp, Mildred F. Pett, Helen Sturrock and Lily McBain 12 Singing 13-18 Otto Morando 13-14 Wm. G. Armstrong 14-16 Stanley Adams 16 Mrs. E. Varty Roberts 16-18 Edith M. Parker 18 A. L. Madeline Carter 18 John Adamson 18 Emily Taylor 18 Violin 19-22 Luigi von Kunits 19-22 Arthur Ely 22 Marie Southall 22 Benedick Clarke 22 Violoncello 22 George A. Bruce 22 Harp 22 Thelma Holm 22 Normal Training for Piano Teachers 23 Children's Department 23-24 Academy Orchestra 24 Preparatory Orchestral Class 24-26 Ensemble Classes 26 Chamber Music Concerts 25 Sight Singing and Part Singing Classes 26 Dancing 26-27 Mrs. J. Melton Adam 26-27 Elocution and Dramatic Art 28 Mrs. May Anderson Trestrail 28 Examination Courses 29-38 Piano 29-30 Vocal Department 30-31 Violin 31 Violoncello 32 Theoretical Course 32-33 Preparatory Examination 32 Junior Examination 32 Intermediate Examination 33 Senior Examination 33 Examination Fees 33 Scholarship 33-34 Partial Scholarships 34 Rules and Regulations 34 Ul INDEX—Continued PAGE Tuition Fees 35-39 Piano 35-36 Assistant Piano Teachers 36 Singing 36 Violin 37 Viola 37 Violoncello 37 Organ 38 Accompanying 38 Harp 38 Harmony, Counterpoint and Composition 38 Sight Singing Classes 38 Dancing , 39 Italian 39 Elocution and Dramatic Art 39 WEST END BRANCH Introduction 42 The Faculty 43 . -
The Ninety-Third Annual Catalogue of Denison University for the Year
The Ninety-third Annual Catalogue Denison University For the Year 1923-1924 CRANVILLE. OHIO 1924 For information concerning Granville and Shepardson Colleges Address CLARENCE M EDDY. SHCUTABY tiranviHc. ' )lnu The Consei valor) ol Musk KARL ll KSCHMAN, Dntccroa i ille, i iliin I).km.' Academy 11. K. HUNDLEY, DEAN (tranvillei '*Hiu All gifts, 1 and bequests for any de- parlmenl of ll «■ I'm: ersity or any phase of its ;. ork should be made payable to DESISON UNIVERSITY Granviile Ohio. Contents PAGE Calendar 4 University Calendar 5 Board of Trustees 6 Committees of tbe Board of Trustees 8 Faculty of Instruction 9 ( Hikers of Administration 14 Committee of Faculty K» General Information History of Denison University. 18 Grounds and Buildings 21 Reserve Officers' Training Corps 26 Departmental Equipment 26 Departmental Organizations 31 Student Organizations 31 Scholastic Awards 34 Admission to the College 39 Registration 42 Requirements for Degrees 44 The Master*s Degree 47 KXJXMISCS 48 Departments and courses of Instruction 53 Conservatory of Music Faculty Information 89 General Information 90 Departments of Instruction 94 The Society of the Alumni 100 Doane Academy 101 Degrees Conferred in 1923 102 Honors and Prizes 104 Lists of Students Granville and Shcpardson Colleges 106 Conservatory of Music 125 Summary of Attendance 141 Indexes Subject* 130 Students 131 mi IWZ C=3 CALKXDAR KOM H»l.'l jKtivnnv *-kU*UXRY. 1 3 I ' » i 4 5 I * * 6 7 & 9 lo ii IJ 3 4 5 6 7 8 9 3 4 5 • 7 « • 7 1 10 1 13 14 15 16 17 18 19 011 II 13 14 15 16 9 10 11 12 13 14 15 13 14 15 '6 "7 18 19 »o ai 22 13 24 35 16 7 18 19 10 ai 11 13 l6 17 18 19 20.2I 12 20 11,2* 13 14 aj'te 1718193531 14 15 36 17 18 29 13 14 15 aS 273*30. -
NEWSLETTER Published by the Institute for Canadian Music, Faculty of Music, University of Toronto
Vol. 3, no. 1 · January 2005 ISSN 1705-1452 NEWSLETTER Published by the Institute for Canadian Music, Faculty of Music, University of Toronto Editor: Robin Elliott _______________________________________________________________________________________ Voicing Toronto: The City and the Arts The University of Toronto Humanities Centre presents The third music event is Muddy York in Story Voicing Toronto: The City and the Arts this and Song, with Ian Bell, on Saturday, May 14th at 12:30 spring. The event is a cultural celebration of Toronto p.m. in Innis College Town Hall. Bell’s repertoire and will explore the many ways in which the city has includes old songs and ballads, Celtic/Canadian dance served as an inspiration for diverse artists over the tunes, and original compositions inspired by the past. years. Voicing Toronto will consist of a scholarly His music is interwoven with his trademark stories: conference from May 13th to May 15th, 2005, and a funny, touching, unlikely, mostly true, and always series of public events relating to the architecture, art, entertaining. Tickets at $40.00 for A Toronto Songbook cinema, drama, literature, and music of Toronto. are available from the ICM; the other events are free. The Institute for Canadian Music has been The scholarly conference for Voicing Toronto responsible for organizing the musical component of will include papers by Beverley Diamond and Robin Voicing Toronto. The public musical events begin with Elliott. The music panelists will include Gage Averill, A Toronto Songbook on Thursday, May 12th at 8:00 Michael Doucet, James Kippen, and Mark Miller. p.m. in Walter Hall, Edward Johnson Building. -
Herbert in Pittsburgh
From the "Idol's Eye" to "Tristan":Victor Herbert in Pittsburgh Robert F. Schmalz University of Southwestern Louisiana For nearly a century, the cities of Philadelphia and Pittsburgh have been represented by two of the nation's finest orchestral ensembles. Although colorful and sometimes controversial personalities spice the histories of both organiza- tions, Victor Herbert's mercurial career as conductor of the Pittsburgh orchestra is particularly noteworthy. Indeed, during his brief tenure in Pittsburgh the composer of "Babes in Toyland" and "Naughty Marietta" exerted an extraordi- nary influence on the musical life of his adopted city. Victor Herbert succeeded Frederick Archer to become the second conduc- tor of the Pittsburgh Symphony Orchestra in 1898, only the fourth season of the orchestra's existence. Inheriting an organization which was confused and divided over Archer's dismissal, the thirty-eight year old conductor launched a six-year association which proved to be a rewarding experience for the city, the orchestra, and the conductor alike. Those who anticipated a new beginning were not disappointed. Herbert brought with him to Pittsburgh a decidedly popular image. Born on February 1, 1859, he was the grandson of Samuel Lover, an Irish novelist, poet and songwriter. He had pursued a musical career in Germany, studying at the Stuttgart Conservatory. Herbert toured France, Germany and Italy as cello soloist with the Stuttgart Orchestra in the late 1870's and early 1880's. It was during this period that he produced his first compositions, completing both a suite and a concerto for cello and orchestra, as well as several songs. -
Pittsburgh Concert Programs at Carnegie Library of Pittsburgh
Use Command F (⌘F) or CTRL + F to search this document ORGANIZATION DATE YEAR PROGRAM VENUE LOCATION John H. Mellor 11/27/1855 1855 Soiree by the pupils of Mrs. Ernest Piano warerooMs Music of John H. Mellor DepartMent: Pittsburgh Music Archive, #41 Protestant Episcopal Church of 12/29/1856 1856 Concert of Sacred Music Lafayette Hall Music East Liberty DepartMent: Pittsburgh Music Archive, #46 St. Andrew’s Church 1858 1858 Festival Concert by choral society at St. St. Andrew’s Music Andrew’s Church Church DepartMent: Pittsburgh Music Archive, #46 Lafayette Hall 2/9/1858 1858 Soiree Musicale in Lafayette Hall Lafayette Hall Music DepartMent: Pittsburgh Music Archive, #46 2/21/1859 1859 Mlle. PiccoloMini Music DepartMent: Pittsburgh Music Archive, #46 Grand Concert 186- 1860 The Grand Vocal & InstruMental concert of unknown Music the world-faMed Vienna Lady Orchestra DepartMent: Pittsburgh Concert PrograMs, v. 4 Presbyterian Church, East 5/20/186- 1860 Concert in the Presbyterian Church, East Presbyterian Churc Music Liberty Liberty, Charles C. Mellor, conductor h, East Liberty DepartMent: Pittsburgh Music Archive, #41 St. Peter’s Church 6/18/1860 1860 Oratorios - benefit perforMance for St. Peter’s Church Music purchase of organ for St. Mark’s Church in on Grant Street DepartMent: East BirMinghaM Pittsburgh Music Archive, #46 Returned Soldier Boys 1863 1863 Three PrograMs ChathaM and Wylie Music Ministrels Ave. DepartMent: Pittsburgh Concert PrograMs, v. 1 Green FaMily Minstrels 12/11/1865 1865 Benefit PrograM AcadeMy of Music Music DepartMent: Pittsburgh Concert PrograMs, v. 1 St. John's Choir 12/30/1865 1865 Benefit PrograM BirMinghaM Town Music Hall, South Side DepartMent: Pittsburgh Concert PrograMs, v. -
Neglected Canadian Orchestral Music Robin Elliott
Document generated on 09/25/2021 2:40 p.m. Intersections Canadian Journal of Music Revue canadienne de musique Neglected Canadian Orchestral Music Robin Elliott Musical Perspectives, People, and Places: Essays in Honour of Carl Article abstract Morey This article examines neglected orchestral works by six Canadian composers: Volume 33, Number 2, 2013 Rodolphe Mathieu, Colin McPhee, John Weinzweig, Harry Somers, Istvan Anhalt, and R. Murray Schafer. Despite the considerable professional URI: https://id.erudit.org/iderudit/1032699ar accomplishments and career achievements of these composers, each has at DOI: https://doi.org/10.7202/1032699ar least one orchestral work in his catalogue that failed to make a good impression with the musical public or has never been heard in live performance. The article attempts to find why these compositions did not win a See table of contents place in the repertoire and also considers how these works illustrate broader issues relating to the Canadian orchestral repertoire. Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (print) 1918-512X (digital) Explore this journal Cite this article Elliott, R. (2013). Neglected Canadian Orchestral Music. Intersections, 33(2), 127–139. https://doi.org/10.7202/1032699ar Copyright © Canadian University Music Society / Société de musique des This document is protected by copyright law. Use of the services of Érudit universités canadiennes, 2013 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. -
Volume 61, Number 11 (November 1943) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1943 Volume 61, Number 11 (November 1943) 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 61, Number 11 (November 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/222 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]. ' !the POWER that hath BUY WAR BONDS AND STAMPS FOR VICTORY ISIDOR PHILIPP, dis- tinguished French pian- ist and teacher of many outstanding pianists, in- cluding Guiomar No- vaes, Maurice Dumesnil, Henri Deering, Emma beginners Boyer, and Stell An- dersen, celebrated his piano on eightieth birthday FOR young September 2. M. Philipp, who was compelled to flee his native keyboard town Paris on ten minutes’ notice, has been in New York since May 1941, where he has By Louise Robyn been teaching and lecturing. He also PATH tales has visited cities in the Middle West. A PLEASURE technic book covers a new field in the child's early This of HERE, THERE. AND EVERYWHERE supplies a link that coordinates THE GRIFFITH MUSIC FOUNDATION PIANO book one training, for it TO THE held its fifth an- fingers, and enables the child Newark, New Jersey, CHILP) eves ears and IN THE MUSICAL WORLD PRE SCHOOL Robyn within a sur- nual institute on October 2.