Marston - The Complete Adelina Patti And Victor Maurel Italian soprano. An appreciation and recording from Marston Records.Category Arts Music Vocal Singers Classical P The last words may be left to the American violinist albert spalding, a witty andperspicacious observer of the musical scene who played on tour with her in http://www.marstonrecords.com/patti/patti_liner.htm
Extractions: A NOTE FROM WARD MARSTON In the second half of the 19 th century Adelina Patti and Victor Maurel were arguably the most important opera stars of their day. Patti was peerless. Audiences flocked to see and hear her, from St. Petersburg to San Francisco. Internationally famous authors eulogized her; critics renowned for their severity were unstinting in her praises. Even other prima donnas, members of a breed not noted for generosity to rivals, acknowledged her supremacy. Maurel was the consummate actor with a voice to match. The eminent critic W.J. Henderson declared him "the greatest of singing actors." Verdi chose Maurel to create the role of Iago in Otello and the title-role in Falstaff . Despite the phonograph being invented in the twilight of their careers, history is fortunate to have captured these luminaries on disc. On this two CD set, Patti still evokes the legend that is Patti, and Maurel, often known more for his stage presence than his singing, shines as the singer and not the actor. return to main menu Liner Notes ADELINA PATTI
Untitled Document John Philip Sousa, Composer and Band Director. Leo Sowerby, Composer. albert spalding,violinist. William Steinberg, Conductor. Henry E. Steinway, Philanthropist. http://uhaweb.hartford.edu/phimualph/famous.html
ASO | Atlanta Symphony Orchestra Official Website First performance February 7, 1941; albert spalding, violin; Philadelphia Orchestra,Eugene Ormandy behalf of Iso Briselli, a young Russian violinist who had http://www.atlantasymphony.org/plan/03mw01.htm
Extractions: Composed: 1869-70. Premiere: March 16, 1870, Moscow; Nikolai Rubinstein conducting. Revised: 1880. Performing forces: two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp, and strings. Last ASO performance: August 2001, Wills Park, Alpharetta; Jere Flint conducting. Classical series performances were conducted by Henry Sopkin in 1959, Vladimir Golschmann in January 1967, Robert Shaw in November 1967 and 1982, Kazimierz Kord in 1989, Yoel Levi in 1998, and Marin Alsop in March 2001.
Extractions: TOP-LINK UP-LINK ADD URL SEARCH ... E-MAIL CLASSICAL MUSIC PERFORMERS LINKS ComparePhoneRates.com - FREE phone rate calculator! Find out how much it costs to phone anywhere in the world using different long distance telephone services. Alexandre Moschella - (Brazilian) Samples, agenda, profile, essays about music, links. (Portuguese/English) Amadeus Guitar Duo Anderson, Marian Andrés Segovia Home Page - Article, pictures, discography. Ayres, Paul - British organist, composer, conductor and accompanist Paul Ayres; includes listings of recitals, sound files from organ recordings and ordering information for CDs, tapes and scores. Barachovsky, Anton - Bio, sound samples, reviews, contact information, etc. Barton, Rachel - A ring sites devoted to violinist Rachel Barton. Baxtresser, Jeanne - Principal Flutist with the New York Philharmonic. Bellomy, Dan...Welcome! - Activities of organist and writer Dan Bellomy. Bengt Wikstrom - Classical Guitar - Bengt Wikstrom - Teacher and Performer About his work and art Benjamin Bunch - Information on Connections CD recording by classical guitarist Benjamin Bunch. Includes selection from CD (mpeg 3 format) for downloading. Bernal, Jesus: Organista Mexicano
¦p¦ó¿ïÁÊLP³nÅé Serge KOUSSEVITZKY (conductor), Willem MENGELBERG (conductor), Nathan MILSTEIN (violinist),Fritz REINER (conductor), albert spalding (violinist), Peter RYBAR http://www.goodiscs.com/LP_Begineer_2.htm
Alumni Reopens and Nino Martini in an October recital; American violinist Alber spalding in includeJascha Heifetz; Fritz Kreisler; Dave Rubinoff; albert spalding; and Tossy http://www.music.utk.edu/music/AlumniReopens.html
Extractions: Originally built in 1933, the Memorial Chapel, as it was initially referred during its planning stages in 1920, was to be devoted to those who went from Tennessee to the service during the Great War and would contain about 2,000 people, be equipped with a fine pipe organ and have a stage whereon the student plays may be given and other exercises of the university held in proper fashion. In 1926, with funds generated by a tobacco tax initiated by then Tennessee Gov.. Austin Peay and contributions from university alumni, the Alumni Memorial Auditorium came to fruition. It was formally dedicated to the university’s "war dead" during 1934 homecoming activities. A host of university activities soon found a home at Alumni with Commencement moving from Jefferson Hall, and Carnicus, the carnival/circus benefiting athletics and the YMCA, Torch Night and All Sing following. In addition to these time-honored university traditions, November 1937 featured the "Tennessee Nightingale" Grace Moore returning to her native East Tennessee in her first concert under the auspices of The University of Tennessee The program, according to the papers of Ralph Frost housed in Hoskins Library, was sponsored by the Student-Faculty Entertainment Committee and was a tremendous success, both financially and culturally, with an attendance of 3,911. This resounding turnout by Knoxville and the university community more than indicated a strong desire of the public for other attractions of similar type.
Historic Opera - Edison Records Opera Stars Chalmers; Julia Heinrich; Arthur Middleton; Christine Miller; MarieRappold; albert spalding (violinist); Alice Verlet; New Edison Diamond http://www.historicopera.com/series_edison_records.htm
Extractions: Historic Opera COLLECTING OPERA POSTCARD SETS Edison "Talking Machine" About the time the Victor Company was producing advertising postcards featuring their recording artists, Edison countered with their own ad campaign. These postcards are significantly more rare than their Victor postcard counterparts. Postcards in this series identified so far: SET SAMPLE Alice Verlet EMail address for questions, additions, changes, comments located on Index Page.
PMJ/1.198 - Greive - Kochanski, Part 2 is made even more likely when one considers that the violinist was increasingly drawn ofhis role as a performing artist, to which albert spalding was refering http://www.usc.edu/dept/polish_music/PMJ/issue/1.1.98/kochanski_part2.html
Extractions: And Szymanowski's Violin Writing Of 1915-16 The violin techniques recognized as characteristic of Szymanowski's color-oriented violin writing of 1915-16 are also found in a number of manuscripts from the Kochañski Collection, composed either by the violinist himself or by other composers. As amply pointed out by previous researchers, while the techniques themselves are traditional in their origin, their uniqueness consists in that they are used in new ways or to create new colors within musically-innovative contexts. The materials from the Collection suggest that Kochañski and other composers continued to work imaginatively with these technical devices, either by using the technique within a context that emphasizes its uniqueness or by using it to an unusually extensive degree in order to create an unusual color. In either case (as in the pieces created by the Szymanowski-Kochañski collaboration), each technique seems to have been used in a highly idiomatic manner. The point will be illustrated by demonstrating six techniques appearing in selected manuscripts from the Kochañski Collection: (1) the use of different registers - especially the very high, (2) harmonics, (3) trills, (4) double stops, (5) chromatic glissandi, and (6) pizzicati.
Obitaries - Sm-Sta 20, 1951, p. 37. HPN Soglin, albert, math professor. Oct. p. 1. HPP Spachner, BeatriceT., violinist. Aug. 3, 1959, p. 45. spalding, Anna M., homemaker. Oct. http://www.highlandpark.org/obits/sm-sta.html
Reissue CDs, OCT. 01, Pt. 1 - AUDIOPHILE AUDITION spalding's spotty recording career has had a vital boost via albert ten Brink'sA perhaps, we can forget the PC and simply say she was a great violinist. http://www.audaud.com/audaud/OCT01/REISSUES/recds1OCT01.html
Extractions: BEETHOVEN: Symphony No. 5 in C Minor, Op. 67; Symphony No. 7 in A Major , Op. 92 Wilhelm Furtwaengler conducts Berlin Philharmonic Classica D'Oro CDO 1002 69:59 (Distrib. Allegro): As part of 'The Great Conductors' series of Classica D'Oro, this is an ambitious choice, two of the 1943 Beethoven inscriptions by Wilhelm Furtwaengler (1886-1954), made in the politically darkest and most musically proficient period of his career. These recordings, however, have already had a life of their own, either in LP form via DG, and in CD form through Music and Arts Programs (CD-4049, Distrib. Koch), where the packaging is maximal, the notes by John Ardoin comprehensive, and the remastering-particularly in the 5th Symphony-much more precise. The major faux pas in this edition is the poor side splice from the Fifth's Scherzo and its long, tympanic crescendo to the C Major finale: there is something like a 6-7 second delay in the arrival of the three explosive chords to the onset of the Allegro. Other than this glitch, the reprocessing is good, the reverb a bit hollow, the pitch distortion (likely taken from an already good dub). -Gary Lemco TCHAIKOVSKY: Violin Concerto in D Major, Op. 35/WIENIAWSKI: Violin Concerto No. 2 in D Minor, Op. 22/SARASATE: Zigueunerweisen, Op. 20
NYTweb featured prominent musicians of the day, including the soprano Anna Case, the baritoneThomas Chalmers, and the violinist albert spalding, performing next to a http://www.music.princeton.edu/~nick/nytimes.html
Extractions: There are enough musical instruments in Nicholas Brooke's small apartment to equip a sizablealbeit motleyorchestra. But the 33-year-old composer and Princeton University music graduate student is mostly preoccupied these days with recorded music, specifically a 1915 Victrola, one of the first phonographs manufactured. In fact, Mr. Brooke is using the phonograph as an instrument, incorporating snippets of recordings into his work. An interest in recorded music and its relationship to live performance has led Mr. Brooke, recent recipient of a John Simon Guggenheim Memorial Foundation Fellowship award, to embark on a project based on the Edison tone tests, a series of marketing events that were held in the 1910's and early 1920's to promote Edison's diamond disc phonographs. In the tests, blindfolded listeners compared the singing and playing of musicians on a stage to the phonographic reproduction of similar performances. In "Tone Test," Mr. Brooke plans to outfit some musicians with small speakers; others will hold boomboxes as they alternately perform and broadcast the music from several linked compositions that he is writing. Two narrators will interact with the musicians and with an original Diamond Disc phonograph.
Thurmond Knight,Maker Of Violins, Violas And 'Cellos the violin to Kathleen, seated, while Thurmond and violinist Drusilla Macy of performancefrom Boston University where she was the albert spalding Scholar and http://www.violinviolacello.com/MovieStar.htm
Extractions: Maker of Violins, Violas and Cellos Movie Star: "Bethany Violin!" MOVIE STAR! One of Thurmond's violins, Bethany stars prominently in the 1999 video "Covered Bridges of New England," produced by Fritz Wetherbee for PBS. As the program opens, viewers are told Thurmond made the violin using wood from the Cornish-Windsor Covered Bridge. What follows is a beautiful serenade on Bethany , played by violinist Victoria Kehler of Concord, NH. Victoria teaches violin and viola at the Concord Community Music School in New Hampshire. The Bethany violin, named in honor of Thurmond's wife, Bethany Greeley Knight, was commissioned in 1990 by Leo Maslan, of Cornish, NH, as an anniversary gift for his wife Kathleen. The violin was presented in 1990 as a surprise gift after an unsuspecting Kathleen was treated to a concert on the Bethany violin by Drusilla Macy, staged at an intimate dinner at a Hartland, Vermont restaurant. Kathleen graciously loaned Bethany to Victoria for the "Covered Bridges" production. Here Leo is presenting the violin to Kathleen, seated, while Thurmond and violinist Drusilla Macy of Barre, Vermont look on.
Thurmond Knight,Maker Of Violins, Violas And 'Cellos then are treated to a beautiful piece played by violinist Victoria Kehler Violin Performanceat Boston University where she was the albert spalding Scholar and http://www.violinviolacello.com/woods.htm
Extractions: forest by Jerry (in harness) and Lloyd Violin makers are always searching for just the right wood to be used in the making of instruments. I have found a source for the finest European tone woods available today and use them in many of my instruments. However, I do not exclude wood from other sources when I find it to be ideal for a particular instrument. Most of my European wood was cut in 1954 and has been quietly aging in an attic in Mittenwald, Germany since then, waiting patiently to be used in an instrument During a bridge restoration project, I acquired red spruce cut in 1866 in New Hampshire, used in the construction of the covered bridge which now spans the Connecticut River between Windsor, Vermont and Cornish, New Hampshire. I find this century-old spruce ideal for the construction of my violas. This wood goes into what I call the Knight Bridge Collection of instruments. The highly figured soft maple used in the construction of my cello backs, ribs and necks hails from the northern forests of Michigan. I found it in a large drying shed outside a furniture factory in North Carolina. I was informed these huge slabs of wood were not used by the factory because it was difficult to make symmetrical furniture with such beautiful, one of a kind figured wood. Unlike the furniture makers, I find highly figured maple wonderful to work with. My cellos are the better for it.
Indiana University Auditorium - Manager's Records, 1941-1946 15 Jun 1941 Roland Hayes, Tenor 15 Jun 1941 Miles Dresskell, violinist 18 Jun SymphonyOrchestra 6 Jan 1942 Marian Anderson 15 Jan 1942 albert spalding 5 Feb http://www.indiana.edu/~libarch/Inst/c201inst.html
Extractions: The Auditorium was funded in 1938 by the Indiana General Assembly, a grant from the Federal Government, and with student fees. The building is constructed in the style of Modernized Collegiate Gothic with an exterior made of Indiana limestone, much like many of the other buildings on the IU campus. Upon construction, it was the largest building on campus. The Indiana University Auditorium was dedicated on March 22, 1941, with a five- day dedication ceremony that included speeches by Indiana University President, Herman B Wells; Governor of the State of Indiana, Henry F. Schricker; and others. Over 26,800 people attended the five-day event, which also included a production of the play "There Shall Be No Night" starring nationally renowned performers, Alfred Lunt, Lynn Fontanne, and Montgomery Clift. In the first season the Metropolitan Opera Company performed the play "Aida" at the Auditorium, which was the first time that the internationally renowned opera troupe gave a performance at a college or on a university campus. Once open the Auditorium was able to seat 4,000 people while the adjoining "Little Theater" seats approximately 400. Besides the "Little Theater", the building contains classrooms, workshops, the offices of the Division of Speech (now the Department of Theatre and Drama), and a practice room for the University band. Many of the musicians, actors and actresses, as well as speakers who have performed at the Auditorium throughout the years praise it for its great acoustics and subtle use of indirect lighting. Also housed in the Auditorium is the famous "Roosevelt Organ" which was built in 1889 for the Chicago Auditorium and later donated to the university by William H. Barnes in 1943.
Ernst Von Dohnányi School of Music faculty, Dohnányi persuaded numerous outstanding music students,as well as celebrated teachers such as violinist albert spalding and pianist http://otto.cmr.fsu.edu/~grymes_j/dohnanyi.htm
Extractions: From 1949 to 1960, the Florida State University School of Music was honored to have on its faculty the legendary Hungarian-born pianist, composer, conductor, and pedagogue Ernst von Dohnányi (1877-1960). In addition to being the first world-renowned musician to join the School of Music faculty, Dohnányi persuaded numerous outstanding music students, as well as celebrated teachers such as violinist Albert Spalding and pianist Edward Kilenyi, Jr. , to join him at FSU. The prestigious reputation that Dohnányi helped to establish continues to attract exceptional students and teachers to the FSU School of Music. By the time Dohnányi came to Tallahassee, he had already enjoyed a long and incredibly successful musical career. He had appeared as a pianist and conductor in concert venues throughout Europe and the United States in the five decades since his graduation from the Franz Liszt Academy of Music, giving fifteen hundred concerts within the first thirty years of his career. In addition to having received much critical acclaim for his piano-playing, conducting, and composition, he had taught at the Berlin Hochschule für Musik and later at the Franz Liszt Academy. By 1937 Dohnányi was serving as the director of the Franz Liszt Academy, the president and conductor of the Budapest Philharmonic Society, the music director of the Hungarian Radio, and a member of the Hungarian Senate, while continuing to compose and tour internationally.
History Sedore, a violinist, was trained at Eastman and Harvard, and studied in Paris andRobert Shaw, cellist Pablo Casals, and violinists albert spalding and Henryk http://otto.cmr.fsu.edu/~symphony/history.htm
Extractions: History The College Orchestra The Florida State College Orchestra was formed in 1925 by Ethel Maud Tripp, professor of violin at Florida State College for Women. The first concert took place Thursday March 25, 1926. Upon Tripp's retirement in 1930, Walter Ruel Cowles, who studied with Charles Widor in Paris and had served on the faculty at Yale University, was appointed music director. Robert Sedore, 1947 Robert Sedore was appointed to the faculty as director of the University Symphony at the newly co-educational Florida State University in 1947. Sedore, a violinist, was trained at Eastman and Harvard, and studied in Paris with Nadia Boulanger. Mr. Sedore retired in 1972. The Chamber Orchestra In 1949, FSU professor Karl Kuersteiner formed the State Symphony of Florida, the predecessor of the FSU Chamber Orchestra, which gave an annual series concurrent with the USO. Mr. Sedore led both orchestras upon Kuersteiner's retirement in 1955. In 1967, the associate conductor of the Boston Symphony Orchestra, Richard Burgin, was appointed to the School of Music faculty as director of the Chamber Orchestra. Burgin led the orchestra for five seasons.
The Pittsburgh Cultural Trust: About The Trust Kevin McCollum, Jeffrey Seller and albert Nocciolino are PITTSBURGH (October 15,2002) spalding Grays tickets now available for violinist Eileen Ivers http://www.pgharts.org/about/press.cfm
