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1646	dbpedia	3	73	https://search.proquest.com/openview/6f0f2be739aad366/1%3Fpq-origsite%3Dgscholar%26cbl%3D581	en	Musical Notes	https://search.proquest.…roQuest_logo.gif	https://search.proquest.…roQuest_logo.gif	[ "https://search.proquest.com/assets/ctx/51be0a5b/images/icons/blank.gif", "https://search.proquest.com/assets/ctx/51be0a5b/images/icons/blank.gif" ]	[]	[]	[ "" ]	null	[]	null	Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.	en	/apple-icon-57x57.png		null	This is a short preview of the document. Your library or institution may give you access to the complete full text for this document in ProQuest.
1646	dbpedia	0	26	https://www.marstonrecords.com/products/janssen	en	Marston Records	https://cdn.shopify.com/…jpg?v=1635294552	https://cdn.shopify.com/…jpg?v=1635294552	[ "https://cdn.shopify.com/s/files/1/0614/0837/files/m-banner-preferred-1.png", "https://www.marstonrecords.com/cdn/shop/products/56005_large.jpg?v=1635294552", "https://cdn.shopify.com/s/files/1/0614/0837/files/FindUs-FB-RGB-1024.png" ]	[]	[]	[ "gramophone recording", "phonograph cylinder recording", "classic recording reissue", "historic piano recording", "historic opera recording", "historic voice recording", "Pathe opera recording", "Pathé opera recording", "Edison recording" ]	null	[ "Marston Records", "Takeshi Takahashi" ]	null	Home page of Marston Records. New release, promotions, and the latest information of the company.		//www.marstonrecords.com/cdn/shop/t/2/assets/favicon.ico?v=136588477034757280881416780421		https://www.marstonrecords.com/products/janssen	HERBERT JANSSEN (1892–1965) by Iain O. Miller, ©2017 PREFATORY NOTE: Anyone who writes about Janssen must first acknowledge a debt to the excellent 1965 article by Ted Hart (1921–1970) in the “Record Collector”. Ted Hart was himself a singer and an accomplished musician; he was also a friend of Janssen’s and may even have studied with him. After Janssen’s death, his wife gave Hart access to whatever recordings and scrapbooks of reviews remained in their flat at the Ansonia Hotel in New York. In addition to material gathered during his own research, the present compiler has drawn extensively on Hart’s article for information that is currently unavailable elsewhere. • • • • • JANSSEN’S EARLY LIFE AND VOCAL STUDIES Even during what is now looked back on as one of the ‘Golden Ages’ of singing, there was always an air of exceptional distinction around the name of the German baritone, Herbert Janssen. This distinction was remarked by critics and audiences very early in his career and now, a hundred and twenty-five years after his birth, it remains, undiminished, in the judgment of anyone with a love of fine singing. According to his birth certificate, Herbert Janssen was born on the 23rd of September, 1892, at 59 Brabanterstrasse in Cologne, the son of one Hermann Janssen and his wife, Anna Luise Sophia, née Siewert. On this certificate, Hermann Janssen gave his profession as ‘Merchant’ and according to his son’s account he was the owner of a coal mine and a coal merchant. Janssen used to say that he was of Frisian origin. The family was not only well-to-do, but also extremely cultivated, with several writers, sculptors, and painters amongst its members. In fact, the well-known painter Johann Peter Hasenclever was Herbert Janssen’s great-grandfather. Janssen’s mother was very musical and was herself a gifted amateur singer. Naturally she saw to it that her son and her daughter Anna should, as children, take singing lessons from a Cologne voice teacher, a Madame Batz-Kalender. Even as a child, the young Janssen enjoyed giving performances of operas before family and friends using his model opera house and singing all the parts of, say, Oberon, or Undine, in a high soprano. He was also so talented a pianist that at one time he dreamt of becoming a professional pianist. Cologne was musically and artistically very lively and the Janssen family fully enjoyed the city’s cultural life. As he grew up, Janssen began to think of becoming a singer, but he kept these ideas to himself and the intervention of military service and a full four years of active service as a cavalry officer in the Great War delayed any decision. At the end of the War, Janssen’s thoughts on the matter had matured and he announced to his family his wish to become a professional singer. They were absolutely appalled, and to subsequent generations, who know Janssen’s great artistry, their attitude will seem benighted. But one must remember that though they really were culturally enlightened people and took genuine and profound pleasure in music, from their point of view it was one thing for them to enjoy these things as gifted amateurs or as listeners of good taste, and quite another for their son to become a professional on the stage and to be paid to sing for the enjoyment of others. Janssen’s father had died when he was quite young, and when Janssen announced his intentions, his mother and various uncles immediately gathered round and exhorted him to study the law or go into the church, as befitted a member of his family; they pointed to his elder brother, Ernst, who had studied medicine, as the example to follow. But during the War, Janssen had thought constantly and profoundly about his career and was absolutely determined to study singing. His family, on the other hand, was equally adamant that he should forget such outlandish ideas, come to his senses, and enroll in a law school. Eventually a conditional compromise was reached: his family proposed that they would arrange for him to sing an audition before a famous voice-teacher from Karlsruhe, chosen by them, and if this teacher should give his approval, then the family would agree to finance Janssen’s voice lessons. If, on the other hand, he ruled against his prospects as a singer, then Janssen would abandon singing as a career and study law. At the audition, Janssen was certain he had sung well and expected that his singing would be praised. But to his great astonishment, the teacher gave judgment against him: he had no voice and no hope of cultivating it into anything that would support a career. Fortunately, Janssen remained quite unconvinced by this but, in accordance with the agreement, he duly went to Berlin and enrolled in the university there, ostensibly to study law. In fact, he used to say, he never went near the law school. Instead, he sought out a singing teacher and began to study. Throughout his career, reviewers, no matter what other virtues they mentioned, constantly commented on how “well-schooled” Janssen’s voice was. Comments to that effect crop up again and again to this day when his singing is discussed. Ted Hart quotes Janssen as answering the inevitable question about how he acquired this technical prowess with the quietly teasing remark, “Constant study and training—but in the right way”, this last phrase added “as if in subtle afterthought”, says Hart. The “right” way for Janssen was the way of the Berlin voice teacher he had chosen to study with, the great Dr. Oskar Daniel. This extraordinary man, though often given passing mention in singers’ biographies, deserves a central place in an account of Janssen’s career. He was born in Oedenburg (now Sopron, in Hungary) in 1879. His mother tongue was German and he received a doctorate in law from Vienna in 1906. Because he was extremely musical, he had been studying singing at the same time and had become a protégé of Gustav Mahler. A student of Janssen’s quotes him as saying that Daniel had studied with the younger Lamperti, who taught in both Dresden and latterly in Berlin. I have not been able to confirm this with independent evidence. What is definitely known is that he studied singing in Milan with Vincenzo Lombardi (1856–1914) teacher of de Lucia and Caruso, and also with Vittorio Vanzo (1862–1945). He was taken on as a “jugendlicher Heldentenor” at the Trier Opera for the 1911 Season and seems to have remained there until the outbreak of the Great War. Apart from having an unusually beautiful voice, Daniel soon showed himself to be an extremely gifted teacher of singing and, as a person, he is described as being lively and friendly. He quickly rose to the top of his profession as a teacher and, by the time Janssen went to study with him, he was already famous and had many celebrated pupils. A list of his pupils would be too long to include here, but in fairness to his memory, one can scarcely neglect to mention that amongst singers who studied with Daniel at some stage of their careers were Maria Cebotari, Frieda Hempel, Göta Ljungberg, Margherita Perras, Erna Sack, Lotte Schöne, Paul Schöffler, Elisabeth Ohms, as well as Herbert Janssen. Famous actors or theatre personalities also studied voice production with him, either privately or at the Berlin Hochschule. Marlene Dietrich, Elisabeth Bergner, Erika Mann, and Klaus Mann were among them. When Dr. Daniel was appointed professor of voice training at the Berlin Hochschule in 1922, he was already so famous that the Berlin newspapers were extraordinarily enthusiastic. In fact, such was his fame that the noted Viennese psychologist Dr. Leopold Thoma came to observe his classes and afterwards published an account of what he’d seen at the lessons and what he had discussed with the man he calls ‘The Master’. The article, journalistic, not scholarly in style, has as its title one of Daniel’s exhortations to his pupils: “The core of the tone at the point between the eyes” and underneath, “Draw the tone in from outside, not from inside!” Beneath this is a sketch, showing the pupils seated in a line, a pianist at a grand piano and ‘The Master’ standing beside the piano with his hand on his throat saying, “Not here! Concentrate the tone between the eyes!” Dr. Thoma goes on to describe the lesson and explains Daniel’s practice of group lessons (Lamperti did this too) and describes how each singer in turn gets up, with thumb or finger on the forehead, and sings before the others and then submits to the comments of the teacher and his fellow pupils. When he asks Professor Dr. Daniel why he has the singers hold their finger on the place between their eyes, Daniel replies with what, at first, must seem a perfect example of explaining obscurum per obscurius. He says: The best way to explain is with a comparison. If you light a carbon-arc lamp, a point of light emerges at the point where the carbon rods meet, from which light rays are emitted. It is the same with the voice and the point between the eyes. This is my opinion regarding the building of the core of the vocal tone. Oskar Daniel held an important position in Berlin’s cultural life and the artists and intellectuals of Berlin often met at his beautiful house in the Kaiserallee. Heinz Tietjen, Bruno Walter, whose daughter also took singing lessons from Daniel, Leo Blech, both Heinrich and Thomas Mann, Otto Klemperer, Emil Ludwig, and Max Reinhardt were all among the many regular distinguished visitors to the Daniels’ hospitable salon; years later, several recalled their visits to his house, the evenings of conversation and music surrounded by the beautiful furnishings, the wonderful Persian carpets, and the lovely paintings on the walls. The house and the life within it were to vanish, of course, with so much else of German high culture, in 1933. • • • • • Janssen used all the money sent to him by his family for his voice lessons. For almost two years he kept these studies from them, but a sudden visit by his mother revealed to the family what had been going on. Of course, they were furious and funds were abruptly cut off. He was told that there would be no further support from them until he abandoned singing and began to study law. For Janssen, such a course was more than ever out of the question and he was obliged to finance his continuing studies with Dr. Daniel by giving voice lessons to beginning singers and by accepting such support as his sympathetic brother-in-law was able to give. He studied diligently and in 1922 went for his first audition: remarkably, he was immediately engaged by Max von Schillings at the Berlin Staatsoper. He telegraphed a message to his family in Cologne: “Engaged Berlin Staatsoper” and was amazed to have a grand piano delivered to his flat almost within hours. It was a present and a declaration of peace from his mother. There was more to be revealed, however. It was only eight years later, in the afterglow of Janssen’s engagement to sing at Bayreuth, that his mother dared to tell him a terrible truth about the crucial audition she and the family had arranged years before: the teacher from Karlsruhe who had told him he had no voice had been given a large sum of money in advance, with instructions from the family that he must discourage Janssen from ever attempting to become a professional singer. JANSSEN’S RECEPTION AS A SINGER Of course, Janssen’s triumphant success at his audition before Max von Schillings did not mean an instant advance into taking major roles. He made his debut, on horseback, on May 5th, 1922, in Schrecker’s Schatzgräber. Despite his years in the cavalry, he had to twist himself sideways in the saddle to sing, as the nervous animal refused to face the audience. Leo Blech, the conductor, remonstrated with him afterwards for not ‘singing out’! He then began the usual ‘cursus honorum’ as a comprimario, singing Melot, Montano, Silvano in Ballo in Maschera, as well as small roles in Tiefland and Palestrina. It is obvious, however, that even in his first season Blech, and others, were already aware that with Janssen, they had exceptional material. Oskar Daniel’s training was telling, and Janssen was given the important and highly declamatory role of the Heerrufer in Lohengrin as well as the lyrical role of Silvio in Pagliacci. The critics wrote: “A fine baritone, full of character”; “Mighty and noble toned”; “well-schooled and sonorous”. It was a remarkable first season. In fact, Janssen’s first season was so successful that already, in his second season, he was entrusted with the major role of Wolfram in Tannhäuser. His performance of this role was immediately recognized as being of exceptional beauty and finish; so much so, indeed, that as early as December 1923 he was invited to the Odeon Studios to record two excerpts from the opera, his only acoustic recordings. He also added to his repertoire the roles of Sharpless, the Count di Luna, and that of Liebenau in Waffenschmied. Janssen used later to say that he thought that perhaps it was his singing of Wolfram that had enabled him so quickly to leave the comprimario repertoire and become a singer of major roles. Even now, nearly a century later, his singing of Wolfram’s music is held up as a standard of how well that role can be sung. Hart, using Janssen’s own archive, gives an illuminating list of roles performed by Janssen at the Berlin Staatsoper in his first years. It is a daunting and demanding repertory. In the 1924–1925 season, he added Renato, one of his favourite and most successful roles, Iokanaan, the Tsar in Zar und Zimmermann, and the Count in Schrecker’s Die Ferne Klang. In the 1925–1926 season, he added Gunther, Kurvenal, Albert in Werther, the Secretary in Boris Godunov, and Lothario in Mignon. And, incredibly hard work though it was, in 1926–1927 he added no fewer than eight new, major roles: Escamillio, Tonio, Valentin, Orest, the Count in Figaro, Amonasro, Amfortas, and Carlo in Forza del Destino! After his retirement, he recalled having once sung Silvio in a performance of Pagliacci in which Battistini sang Tonio. When and where can this have been? Janssen’s guest appearances are hard to trace: they began early on, first in and around Berlin itself, but eventually in Paris, Barcelona, Prague, Copenhagen, Antwerp and The Hague, Kiel, Geneva, Lyons, and in Dresden, Hamburg, Nuremberg, Kassel, and Vienna—all over Europe, in fact, except Italy. Janssen’s appearance with his great predecessor could have occurred in many places, but so far, it has not been possible to trace such an occasion. In any case, Janssen’s admiration for Battistini’s singing knew no bounds and I mention this because the German critics and audiences, from the beginning, found Janssen’s own singing “Italian” in character and highly idiomatic for Verdi and other Italian composers. One German critic wrote of him as “a German singer who has the Italian quality, the lyricism, the flowing, fresh vocalism ...” In Berlin, he was described as “Janssen, the Belcantist”, this familiar epithet no doubt referring to his ‘instrumental’ flow of beautiful tone. Janssen himself once said that he had spent nearly an entire year singing “Il balen” every day, until he felt that he had this demanding aria perfectly under control. He would also recall how, when he was beginning his studies, he wanted to sing nothing but Arie antiche. It must be emphasized that within Germany, Janssen sang Verdi and Italian opera a great deal and that he always felt a special affinity towards this repertoire. In addition to the Verdi roles already mentioned, he was a famous Rigoletto and Iago. He also sang Charles V in Ernani and Posa in Don Carlo with great success. It’s a great shame that he was able to record almost nothing of his preferred repertory. There is the Rigoletto duet with Lotte Schöne of which one critic remarked, “Nearest the art of the Italian comes Herbert Janssen with his smooth baritone”, and of which recording Herman Klein wrote that Janssen was first class and had “the right sort of appealing voice for Rigoletto.” Two takes under Blech of “Si pel ciel” from Otello with Melchior were never published but three takes of the singers’ much later recording of the same music have survived. There is the duet from Butterfly with Margherita Perras, but nothing else to help one imagine Janssen’s voice and art in Italian music. Among contemporary operas in which Janssen performed, by far the most important was the 1927 Berlin premiere of Busoni’s masterpiece, Doktor Faust under Blech, whom Busoni had always especially admired. The great Friedrich Schorr was in the title-role, Frida Leider was the ‘Duchess of Parma’, and Janssen was the ‘Maiden’s brother, a soldier’. Janssen’s scene, with its pealing organ music, and its grandly declamatory line, must have been glorious to hear. Certainly, he enjoyed singing it, as he told Oskar Daniel, who had little sympathy with the music and had come backstage to commiserate with “poor” Janssen for having to sing in the opera. Reviews of his performance, however, were full of the highest praise and several critics thought Janssen’s performance was some of his best work to date. Other less commonly performed operas were also in Janssen’s repertory. He took part in Karol Rathaus’s Fremde Erde, Moniuszko’s Halka, and Herbert Windt’s Andromache. For the May-to-June season of 1926, Janssen came to Covent Garden for the first time. He was to appear there every year until the outbreak of the War and was highly esteemed from his very first appearances. In his first season he sang Gunther and Kurvenal only, and the critics were enthusiastic. In the Covent Garden of 1926, Janssen immediately stood out even where singers of an older generation such as Melba, Chaliapin and Journet were still performing, and where Schorr, Leider, Lotte Lehmann, Melchior and Schumann were also singing. His Gunther was called “a remarkable piece of singing” and “unusually convincing” and his Kurvenal “combined power and sympathy”. Indeed, throughout his career, his singing of Gunther always provoked surprised delight at what Janssen could make of that unsympathetic role. It was as though the critics were noticing, were hearing Gunther’s music for the first time. I think that the surprise and the delight of those audiences can be shared by us unusually well in the excerpts recorded live at Covent Garden under Beecham: although we cannot see Janssen’s acting of the role, there is something instantly arresting about the way his voice takes charge of the entire stage and commands attention. In fact, this is always true of Janssen’s singing and it is one of the more striking virtues of his art. It stems, I think, from the stance which Janssen takes up towards the music. It is a question of address, of bearing, of tremendous presence: Janssen used to call this quality “Heil”. It is also, of course, to do with the voice itself, its placement, its firm tonal core, and, not least, its great beauty. Even after the high drama of Hagen’s summoning of the Vassals, the almost magical effect of Janssen’s voice in the brief solo which follows, recalls Homer: he begins to sing “and down the shadowy halls, all were silent, seized by rapture.” Yes, it’s like that. Janssen remained an honoured guest at Covent Garden until the close of the 1939 season. And, while he was indispensable in the Wagnerian roles, he was occasionally given the opportunity to display his talents outside Wagner: as Hidraot in Gluck’s Armide with Leider and Widdop, where he “sang finely” and where his “fine, resonant voice was a joy to hear”; as Prince Igor, where, in a cast that included Kipnis, Janssen was the only singer praised for his style, while the remaining singers were thought “too German”; as Orest in Elektra; Don Fernando in Fidelio; and as the Speaker in the Zauberflöte, where Herman Klein found him “simply perfect” and Cardus thought there was “more wisdom in one syllable of Janssen’s Speaker” than in all of Sarastro’s role. The air of wisdom in Janssen’s singing is something that comes back repeatedly when critics try to describe its effect. It was in Wagner, however, that he left his stamp most definitely at Covent Garden. He sang Donner in Rheingold, as well as the major roles for which he is chiefly remembered: the Dutchman, Wolfram, Telramund, Gunther, Kothner, Kurvenal, and Amfortas. His Dutchman was considered one of his finest achievements: Ernest Newman wrote of it that it was “one of the truly great things of the operatic stage today; here is a sufferer who carries on his shoulders not only his own but the whole world’s woe.” And Legge, writing as ‘Beckmesser’, wrote: “As in all his work, he stood apart from all the rest of the company by reason of his exquisite singing and his complete absorption in the character.” Finally, many years later, Will Crutchfield, referring to the live recording of one of these Covent Garden performances of Holländer, would write of the “almost unbelievably beautiful singing from Flagstad and Janssen.” Wolfram was a role that suited Janssen’s style and aesthetic perfectly. When Siegfried Wagner and Tietjen invited him to make his debut as Wolfram at Bayreuth in 1930, he went to his first rehearsal with Toscanini and sang through the role without interruption from the conductor. When they reached the end, Toscanini simply closed the score and said, “I see that it will not be necessary for us to see one another until the first full dress rehearsal.” When the recording of this production, under Elmendorff, was released by English Columbia, Herman Klein wrote an ecstatic review of it. Warning himself, at the start, not to use up all his superlatives too soon, and having praised the entire production, he comes to the Tournament of Song which he says is performed on the ‘grand scale’ and then he adds: “I think the supreme touch of beauty … comes from the singing of the part of Wolfram by that admirable artist Herbert Janssen; it is not less replete with poetic than vocal charm.” It was much the same with Tristan. Berta Geissmar, the learned and highly musical secretary, first to Furtwängler and later to Beecham, tells us that no matter where in Europe the opera was to be sung, Leider, Melchior, and Janssen were secured first, as a team, and the Brangäne and King Mark allowed to vary according to availability. Neville Cardus wrote of Janssen’s Kurvenal that it was “one of the most movingly beautiful pieces of work I have ever known … his singing and acting alike were wounding to the heart in Act 3.” Janssen’s Amfortas, too, received extraordinary praise from the critics—indeed it still does. Walter Legge, writing as ‘Beckmesser’ once again, wrote of a 1937 Parsifal: “He still stands immeasurably superior to other German baritones, tenors and basses in vocal culture, and without sacrificing any beauty of tone, he conveys even more vividly than before the drained weariness of a man racked by spiritual and physical suffering.” Friedelind Wagner records that when Janssen had suddenly to substitute for a Bayreuth Amfortas who was indisposed, the famously demanding conductor Karl Muck called from the orchestra, “That’s the first Amfortas I’ve heard since Reichmann”, the creator of the role and a pupil of the elder Lamperti. The indelible impression left by Janssen’s Amfortas and Wolfram comes across well in an article written for Opera by the music critic, Alec Robertson (1892–1982), just after the singer’s death. Robertson says that he had been a ‘regular’ at Covent Garden since 1910 and first heard Janssen there in 1927 as Amfortas. At the end of the first act, he and his fellow regulars had decided that they had been listening to a “great” singer and Robertson adds that for him, Janssen’s was the most beautiful baritone voice he had ever heard. Nearly forty years after the event, he can still vividly recall the singer as a stage presence and how, even after the “revelatory experience” of Chaliapin’s acting, he was “greatly impressed by the power of Janssen’s acting in his various roles.” I recall, especially, his economy of gesture. In the Act I Grail scene of Parsifal, he did not flail his arms about in Amfortas’s anguished solo, so that when he did raise them up at the impassioned cry of ‘Allerbarmer, ach! Erbarmen!’, the supreme gesture conveyed all the terrible suffering of the penitent knight. Equally moving, in a quite different way, was his tender gesture to Elisabeth in the last act of Tannhäuser, asking to accompany her up the mountain side, and the way [his] eyes followed her up the path. The poignant beauty of his tone in ‘O Star of eve’ is something I shall never forget. He remembers, too, Janssen’s “touching” Kurvenal and how his portrayal of Kothner was “the very spit of a petty official anxious to make the most of a moment of power and the display of his vocal virtuosity.” These snippets of reviews and memories don’t, of course, tell us all we want to know but they do, I think, give a glimpse of what was special about Janssen’s art: the beautiful and very individual voice, instantly recognizable; the perfectly even emission and Italianate legato; the sensitive response to the words as set to music—what Ernest Newman called “that fine jeweller’s art of his”; and an extraordinary ability to make, through his singing, each character entirely distinct. Legge, writing about a 1936 Meistersinger, sums up this last talent with characteristic vigour: Janssen’s Kothner was the best individual figure on the stage … The Isolde and Brünnhilde of Flagstad are patently one woman, and Bockelmann’s Wotan is disturbingly like his Sachs, but there are no points of similarity between Janssen’s genial Kothner, his suffering Amfortas, his stupid, frustrated Gunther, and his rugged, devoted Kurwenal. There is only one feature common to the characters Janssen creates—they invariably sing as well, if not better than, anyone else on the stage. The fact that this ability to give life to a character arises not only from his skill as an actor, but from the way Janssen sings and colours his voice, means, I think, that we can still collect a good deal, if not all, of what Legge is talking about from Janssen’s records. But what records? The question arises because Janssen’s recording career has certain oddities which have been remarked by all of his admirers. After all, when one considers his operatic successes and popularity in Berlin, in the summer festival at Zoppot, at Bayreuth, Covent Garden, Paris, Prague, and Barcelona—where, incidentally, he sang Kurvenal to Melchior’s first Tristan— one would have expected a rich and varied operatic discography. Instead, one is confronted with relatively few recording sessions for continental European companies and a patchy repertoire curiously unrepresentative of his most famous stage roles apart from that of Wolfram. There are the two duets previously mentioned from Butterfly and Rigoletto, Valentin’s Cavatina and Death from Faust, an aria from each of Lortzing’s Waffenschmied and Zar und Zimmermann, a duet with Ljungberg and a solo from the Benatzky operetta Die drei Muskatiere, and some solo scenes from Tannhäuser. From the other Wagner operas, in which, after all, he had major successes, the only prewar studio recording is the unissued trio from Act II of Götterdämmerung. There was an attempt by Electrola in 1928 at a live recording from the Staatsoper of a complete Cavalleria rusticana with Janssen as Alfio, but the masters no longer exist and no excerpts were issued. One can only wonder why the European companies recorded so little. It seems that from 1930 onwards, all Janssen’s prewar records were produced by (or for) English Columbia, or HMV. Janssen himself seems to have minded that opportunities were being lost: in a letter from him to his English producer, Walter Legge, in early 1936, he actually writes, “I would of course be only too happy to make some new Lieder records but I regard it as much more important at the moment to make orchestral recordings (Amfortas or suchlike) which would indeed sell fabulously well in London during the season and equally in Bayreuth.” But Lieder were at the centre of Legge’s interests just then. In 1932 he had founded the London Lieder Club, in part, at least, to provide support for the Hugo Wolf Society records, which had just been launched. Recitals at the London Lieder Club were very grand affairs altogether: they took place in the Dorchester Hotel—and later at the Hyde Park Hotel—on Sunday evenings over two months and subscribers paid a fee of three guineas for the series and wore evening dress. The patrons included ten ambassadors and even royalty. (One hopes that the atmosphere of the concerts was one of intelligent pleasure rather than the devotional one which often prevails at such gatherings.) Certainly, the audience heard the greatest Lieder singers of their age, amongst them Gerhardt, Tauber, McCormack, Hüsch, Schorr, and Janssen. A programme of one of these concerts tells us that Janssen, accompanied by Ivor Newton, sang a group of Brahms, followed by Schubert, ending the first half with Die Allmacht, a recording of which is published here for the first time. The second half began with songs by Schumann and ended with Wolf. The programme prints the words of each Lied but only in German, which the audience was evidently expected to understand. It is likely that Janssen appeared in every one of the Lieder Club’s annual series of concerts, but I have found no certain corroboration of this. In March of 1938, he took part in the second Serenade concert at Sadler’s Wells, accompanied by the London Philharmonic Orchestra conducted by Menges and sang the three Harfenspieler Lieder, in Wolf’s own orchestrations, with great success. (He also sang the Count’s third act aria from Figaro in the second half of the concert.) Hart mentions that as early as 1924 Janssen had become eminent as a concert artist and that he would include opera excerpts on these occasions. He quotes a critic who praises Janssen for his “joyful song-art”. But despite the obiter dictum attributed to Janssen to the effect that he “only sang opera so that [he] could sing Lieder”, I have only definitely traced one Lieder concert in Germany: a concert of Richard Strauss’s music, with the orchestra conducted by the composer, at which Janssen sang four of the larger songs: Pilgers Morgenlied, Hymnus, Notturno and Nächtlicher Gang. Later performances of the first two of these, taken from recordings in Janssen’s own collection, have recently appeared on Marston’s edition of Strauss songs. Whatever his concert activity in the field of Lieder may have been, Janssen’s recordings of songs by Schubert, Schumann, Brahms, Wolf, and Strauss continued to appear throughout the 1930s. But, despite Janssen’s pleas to Walter Legge, no opera recordings were made in the studio in this period. Live recordings were made as “technical tests” from performances at Covent Garden and included parts of performances of Götterdämmerung with Leider and with Flagstad; a complete Tristan with Melchior and Flagstad; Janssen’s part in Holländer, again with Flagstad; and most of his wonderful performance as Amfortas in Parsifal. But of these, the only record issued at the time was a brief excerpt of his previously mentioned singing of Gunther under Beecham, and Janssen’s dream of making further operatic recordings remained unfulfilled for the time being. The London Lieder concerts and records formed a sort of parallel career for Janssen. The records were extremely well received at the time of their release and have remained ever since among the great classics of the gramophone. Ernest Newman dubbed Janssen the “Prince of Lieder singers” and, in due course, Legge, in a letter to the Gramophone, raised him to “King of Lieder singers” and when Elgar brought Delius an album of the Wolf Society Lieder to listen to, Delius, although he disliked Wolf’s music, nevertheless wrote, “Herbert Janssen sings [the songs] beautifully with the deepest feeling, every syllable declaimed perfectly, with just that graveness of voice that gets to the very heart of the words”. In our own time, J.B. Steane, a great admirer of Janssen’s singing, was still wishing that it had been Janssen who had recorded the Winterreise complete for HMV. Years later, Legge wrote a description of how he remembered the preparation that went into the recording sessions of Lieder with Janssen and Gerald Moore, describing them as some of their happiest working hours: Time did not matter. Day after day, at Abbey Road, or in Gerald’s charming studio, we worked at Wolf and Schubert songs, phrase by phrase, bar by bar, nuance by nuance. Then, after an evening’s recording at Abbey Road, there was the excitement of hearing the first pressings and, in the light of that experience, more rehearsal before recording again. In some cases the production of what we considered a satisfactory recording of a song was spread over years. And when we were satisfied, there was the pleasure of taking the records down to Ernest Newman for his approval. JANSSEN FLEES HITLER’S GERMANY In her book, The Baton and the Jackboot, Berta Geissmar gives a detailed picture of how very quickly things deteriorated in Germany after Hitler came into power in early 1933. Oskar Daniel was one of the first to be dismissed from his post at the Hochschule, on “racial” grounds, to the great dismay of his students and to the outrage of people like Janssen. This event, together with what his friend, Ted Hart, calls his independent judgment and high principles fixed a gulf between Janssen and the Nazis and having a certain esprit, he was given to making derogatory remarks about the regime and its supporters in a dangerously public manner. In spite of this, Janssen’s international prestige was such that, for the time being, he was kept on at Bayreuth and the Berlin Staatsoper and also allowed to continue to sing outside Germany. But his known attitude towards the Nazis, together with his satirical and biting remarks about them, made him an obvious target for their revenge. Stories circulate with different versions of what precipitated the final fall of the axe, but entries in Goebbel’s diary in the summer of 1937 make it clear that the Nazis were determined to find some pretext for arresting Janssen and only waiting for the opera season to end before they acted. One story has, I think, the ring of truth: Janssen, after singing before Hitler in 1937, had been summoned to dine with him and had said too publicly, “I may sing for that man, but I will not eat with him” and had ignored the invitation. Whatever the immediate cause may have been, Geissmar makes it clear that years of jealousy and gossip in opera circles, and the constant spying, which is part of daily life in dictatorships, probably all played their part. At the end of October 1937, the Gestapo pounced, but not before Janssen was warned—in all likelihood by Winifred Wagner or Heinz Tietjen—that they were on their way to arrest him. He escaped in the nick of time, and made his way to Berta Geissmar in England, arriving penniless and looking gaunt, according to Friedelind Wagner. Geissmar took him straight to the BBC to see Toscanini, who was rehearsing for his broadcast of the Beethoven Ninth on November the 3rd. The sympathetic Toscanini could offer him engagements for the next Salzburg Festival and Janssen gladly accepted them. HMV provided him with some money owed from his record royalties and Beecham, with characteristic kindness, immediately included him in a concert scheduled for November the 7th, where the resilient Janssen sang “Die Frist ist um” from Holländer, of all taxing scenes. Back in Germany, Erna Carstens, his companion of many years, was picked up and interrogated by the Gestapo. She handled herself with great intelligence, pretending to hate Janssen, and was finally released. She, too, made her way to England where she and Janssen soon married. Janssen’s life and career were obviously now in a state of crisis. All his savings, German and international, were locked in Germany. Furthermore, his refugee status put an end to certain recording projects already under way and planned. Legge had assembled a team of singers to record the complete Schwanengesang, the second volume of the Brahms Song Society set, and to complete the sixth and start the seventh volume of the Wolf Society sets. Before he fled Germany, Janssen, together with Gerald Moore, Marta Fuchs, Rosewaenge, Karl Erb, Hüsch, and Legge had all met in Berlin for recording sessions, and Janssen had made what were to be his last Berlin recordings at the end of August of 1937. (Some of these sides are published here for the first time.) Further sessions had been planned for September 1939 in London, but the outbreak of war put an end to these plans, and the Brahms volumes and the Schubert cycle were never completed. As for the opera recordings Janssen was so anxious to make, he had, in fact, been wanted for the Speaker in Beecham’s projected Berlin recording of Zauberflöte, together with Tauber and others. But by this time both Tauber and Janssen were refugees from Hitler’s Germany and the recording had to be made without them. After his arrival in England as an exile, Janssen had to start a new career wherever he could find engagements. He was, of course, very busy at Covent Garden throughout the 1938 season, had several good engagements in Paris in Figaro, and he had been engaged immediately and with much joy by the Vienna Opera in December 1937. There, between early December and the first days of March, he sang Telramund, Scarpia, Don Fernando in Fidelio, Tonio, Scarpia again, Amonasro, and a repeat of Telramund. On the 19th of December, 1937, Janssen wrote from Vienna to Walter Legge: Everything is marvellous here. The audience idolizes me and the newspapers are full of the highest praise. Nevertheless, I do not want to stay here permanently… Yesterday, I sang Scarpia here with tremendous success and after that have 12 evenings with the Opera here up to the 12th of May. It was not, of course, to work out like that: the Anschluss took place on the 12th of March, 1938, and once again Janssen and his wife, who had joined him in Vienna after clearing out as much as she could from his Berlin flat, were barely in time to escape the Nazis’ clutches, on this occasion, it is thought, with the help of the distant Toscanini, through connexions set up by him. In addition to his definite engagements at Covent Garden, Janssen was also considering offers from an agent to sing in Chicago, San Francisco, Los Angeles, at the Metropolitan, and in Buenos Aires and “as many concerts as [he] wanted”. But despite his Vienna success and the hope of work in America, he wrote to Legge in January that his nerves were in shreds with tension and begged him to remember that they were not made of steel and also that it was in their common interest for him to remain “fit enough to work as long as possible.” Obviously, he was conscious that he was at a turning-point in his career. His life savings were gone and, clearly, finding engagements in Europe was getting ever more precarious owing to the political situation and his refugee status. Nazi sympathizers among the singers brought to Covent Garden from Germany created tension there by attacking their anti-Nazi colleagues. There was also the major problem of his repertoire: outside Germany and Austria, nearly all his engagements were for Wagner, not for the Verdi or the other Italian and French operas he loved, and Janssen must have realized that unless he took rather drastic steps, his repertoire would be limited to only a very few operas. I think it was at this point that Janssen began to consider attempting other, heavier Wagner roles. The change in Janssen’s thinking about repertoire is evident in his surviving correspondence. In the January 1938 letter to Legge mentioned above, he reminds Legge that the previous September, he had told both Beecham and Legge that he would not sing the role of Sachs in Meistersinger, adding that Tietjen must already have told them that the part was unsuitable for him to sing and would harm him, if he tried it. Yet as early as December 1939, having spent the previous summer studying the role, he was to undertake Sachs twice at the Metropolitan in New York. Furthermore, after singing the Wanderer in Siegfried in four performances at the Teatro Colón in October of 1938, he was evidently heartened enough to go firmly against the advice of both Legge and Beecham, writing to the former in May of 1939 that “after mature reflection and for many pertinent reasons, I am sticking to the decision I have already given you to sing a Wanderer or Wotan this season—come what may.” He actually asks Legge to stop “tormenting” him on the subject and says that he has written a similar request to Beecham. JANSSEN’S AMERICAN CAREER Janssen arrived in America, where he would live for the rest of his life, on the 17th of January 1939. In the light of the above remark concerning the heavy Wagner roles he undertook there, it is clear that we must try to make a more carefully balanced report of his career in the Americas than the summary one so often found in encyclopaedic sources. This account states baldly that Janssen was “induced”, “persuaded against his will”, even “forced” to sing these roles owing to the gradual withdrawal of Friedrich Schorr, his incomparably great predecessor at the Metropolitan, and the lack of any more suitable substitute. As we can see from Janssen’s own words quoted above, at least at first, the decision to sing these roles was very definitely his own. The ‘standard’ account goes on to say that the singing of these roles did, in fact, harm his voice and, though he retired at the perfectly reasonable age of sixty after a career of thirty years, that by singing these roles he significantly shortened his career. Both the written evidence of the reviews, however, and the aural evidence of live recordings of Janssen’s singing of the Wanderer, Wotan, and Hans Sachs in New York and Buenos Aires, suggest once again the need for a distinctly more nuanced understanding of what actually happened. So, to get this matter cleared up before embarking on a chronicle of his reception and career in America, let us see what this evidence shows. As we have already noted, Janssen sang his first Wanderer in Buenos Aires in October of 1938. Erich Kleiber was the conductor and his fellow singers included Konetzni, Max Lorenz, and Rise Stevens as Erda. A recorded excerpt from Act I of the Wanderer’s scene shows that Janssen sounds just wonderful and sings his part very beautifully, as one would expect. The first performance of which I’ve seen reviews, however, took place unexpectedly, and with the Metropolitan Opera in Philadelphia on January the 24th, 1939, before his official debut in New York as Wolfram, four days later. Of his performance in Siegfried (under Leinsdorf and with Flagstad and Melchior) Henry Pleasants wrote: There was a new Wanderer in the person of Herbert Janssen who was making his American debut and who seems to be about the best German baritone to have trod the boards of the Academy since Friedrich Schorr’s voice lost its glow. Mr. Janssen rejoices in a mellow instrument not extraordinary in size but rather more extensive in range than is customary in German baritones and easily, if not faultlessly, produced. His conception of the part was along conventional lines and suggested a good deal of previous experience. Another reviewer remarked that “Mr. Janssen brought breadth of style to his characterization, sang with a voice fresh and resonant and was well received by the audience.” Of a later performance in the same role, in February 1944, Oscar Thompson wrote that Janssen’s performance was a “highly creditable achievement and one soundly based on the traditions of the past”, but also remarked that his voice was “scarcely heavy enough for the Erda scene”. [Italics added.] Turning to his performances of the Walküre Wotan, one has the added advantage of two splendid recordings of live performances: the first is the Metropolitan’s own issue of the opera from 1944 and in this performance Janssen is in superb voice and never sounds over-parted. His brilliant high range actually sheds a new light on the music, which is, of course, more usually sung by darker and heavier voices, which emphasize and give weight to the low-lying parts of Wotan’s music. And despite the “lighter” character of his voice, Daniel’s training ensures that even when singing on the same stage and to the same microphones as Helen Traubel, his voice never sounds too small or out of balance. A later live performance, this time of (a somewhat cut) Act III alone, again with Traubel, but under Rodzinsky, took place in Carnegie Hall in November of 1945. It is a great pity that this performance, in superb sound, is less well-known than the studio recording made with the same forces the previous May after a tiring season and when Janssen was in noticeably less-good voice. Once more the impression on today’s listeners is of a Wotan one would love to hear in a contemporary performance: again, the music is beautifully and feelingly sung. How did contemporary reviewers find Janssen’s Walküre? Well, Jerome D. Bohm says this, for example: “Mr. Janssen’s Wotan […] is an impressive delineation, both in song and action, suggesting with plastic gestures the various qualities, noble, tender, and wrathful of the ruler of Walhalla. Some portions of the music lie too low for his high baritone voice to encompass resonantly, but for the most part he sang admirably, often with dramatic intensity, as in the climatic “Das Ende” of the second act narrative, or with touching tenderness in the second half of the ‘Abschied’”. Of another performance, the same reviewer writes that Janssen’s Wotan “was not only voiced with unfailing tonal sumptuousness and full realization of the many-faceted musical aspects of the role, but ... distinguished dramatically as well.” Olin Downes, too, was impressed, finding Janssen’s Wotan “beautifully sung with all the essential sonority and bigness of line”. Of his Rheingold Wotan, the same critic observed that “the finest singing of the evening was Mr. Janssen’s, and it was paralleled by his histrionic excellence”. Turning to the other heavy role supposed to have been too much for Janssen, that of Hans Sachs, once again, in a live recording and in the reviews, we find something rather different from the ‘standard’ account. In those early, rather unexpected performances of the role in December 1939, after he had been singing Kothner to great applause, the critics, while acknowledging much beautiful singing, found his characterization not yet fully evolved and wondered if his lyric baritone would ever acquire the power to do the music full justice. By 1945 though, the year from which we have a live performance from the Met, things had changed. Janssen had been working hard at his conception of the role and the critics were now impressed. The distinguished critic, Max de Schauensee, a connoisseur of opera who had a long experience of both European and American performances, gave a glowing review of the whole performance that he heard in January of 1945. Of its Sachs he writes: Herbert Janssen’s voice may lack some of the weight and depth for the music of Hans Sachs, but his singing is so beautiful in quality, his style so noble and distinguished, just to hear him was a constant pleasure. Mr. Janssen’s interpretation of [Hans Sachs’] character was also a matter of rejoicing. Sachs’ human and affectionate traits were vividly portrayed. The character was never heavy or stale. By November 1947, Bohm, in the Herald Tribune, wrote that for him, The most satisfactory aspect was the moving assumption of the role of Hans Sachs by Herbert Janssen. It has taken this distinguished barytone [sic] several years to achieve the complete insight into the many-faceted character attained at this performance. Now he has succeeded in blending the cobbler poet’s manly tenderness, his mordant humor and philosophical resignation into a well-rounded, expressively voiced portrait. A week later, even Irving Kolodin, who was not usually well-disposed towards Janssen, described Janssen’s Sachs as “vocally magnificent”! And that most thoughtful commentator on the Met broadcasts, Paul Jackson, considered that the previously referred-to broadcast from 1945 was, of the many surviving opera broadcasts with Janssen, the performance which most “fully reveals Janssen’s artistry.” In his wonderfully evocative description of this performance, he begins by saying that “Janssen is an able successor to Schorr” and I do not think that there can be any higher praise than that. Jackson is particularly emphatic about how Janssen’s tone, though unsparingly spent throughout the opera, remains opulent. One can hope, as we suggested above, that these letters, reviews, and sound documents will provide a more balanced version of Janssen’s venture into heavy roles. From now on, I think, the emphasis should be put on the fact that Janssen described himself as less temperamentally sympathetic towards these roles than he was towards others in his repertoire. No doubt, too, pressure was applied by the Met management to have him sing the heavy roles more often than he would himself have chosen to. But that he himself first, deliberately, and in the teeth of three of his mentors’ advice to the contrary, chose to study and sing Wotan and Sachs, and that he came to do so with critical and popular success and great distinction, these are indisputable facts. None of this, of course, alters the fact that Janssen’s voice did darken with time, but this is unsurprising in a hard-working singer who is approaching the age of sixty. Turning now to the chronicle of Janssen’s career and its critical reception in the Americas, we can see a further restriction in repertoire, especially in the case of his roles at the Metropolitan Opera. Just as the very large number of roles that he sang in continental Europe was reduced to a much smaller number when he went to Covent Garden, so, when he joined the Metropolitan, his repertoire was reduced even further: apart from a few appearances as the Speaker in Zauberflöte, as Don Fernando in Fidelio, and as Jokanaan in Salome, he was really limited to his Wagnerian roles. In Buenos Aires, he had a rather wider choice: in addition to his appearances in Wagner, he sang Homonay in Johann Strauss’s Der Zigeunerbaron in 1940 and in the same year the title role in Weinberger’s Svanda Dudak. In 1941, he was back to his role of Papageno in the Zauberflöte, and sang Doktor Falke in Die Fledermaus, a role he greatly enjoyed. In 1943 he sang Don Fernando in Fidelio and Orest in Elektra. But in 1946 and 1947, his last two seasons there, he sang only Wagner. At the Metropolitan Opera Janssen was esteemed by critics and audiences from the first. Of what was only his second appearance as Wolfram there, in company with Melchior, Branzell, and Jessner, Oscar Thompson wrote: Lyricism of a kind that never yet made an opera or a music drama less enjoyable played an enlarged part in the beginning of the Metropolitan’s Wagner cycle yesterday afternoon, thanks to the participation of the company’s new German baritone, Herbert Janssen. His beautifully sung Wolfram was an important factor in the success of a sturdy and in many respects admirable, performance of Tannhäuser conducted by Eric Leinsdorf. […] Mr. Janssen treated the several airs of Wolfram much as the highest type of song interpreter might treat Lieder of Schubert or Brahms. That is to say, he sang them with affectionate regard for their poetic feeling as well as their musical qualities. His tone was warm and unforced, his style that of one who knew and respected the uses of legato. Singing so poised, so smooth, so expressive, and of such technical excellence will always be welcomed by the discriminating. When Janssen first sang the very different role of Telramund at the Metropolitan together with Flagstad and Melchior, the same critic wrote: …The baritone sang the role with the lyricism that had distinguished his Wolfram in Tannhäuser, but also with the dramatic weight necessary to carry conviction in the charge against Elsa and the long colloquy with Ortrud in the second act. His production remained that of a well-schooled vocalist who has no need to force the tone and who aspires to preserve rather than shatter a melodic line. As usual, his Gunther was always found “miraculous”, “unusually distinguished” and “vocally admirable”. His Kurvenal, too, was found to be “moving and expressive” and was singled out from time to time as being some of a performance’s “finest, and most touching singing and acting”. Among the roles for which he was so especially admired at Bayreuth, Berlin, or Covent Garden, only his Dutchman seems to have disappointed American audiences, although critics still praised the fine singing. In the Dutchman’s case the reason for this appears to be simply that audiences were used to the role’s being sung by burlier, darker, bass-baritone voices. As for Parsifal, Noel Straus writes that Janssen “delivered the music of Amfortas with his accustomed richness of tone and keen understanding of the needs of the role” and this reaction recalls Janssen’s European reception as Amfortas. Of Janssen’s Kothner in Meistersinger there was no doubt that it was masterful, Quaintance Eaton finding it a “magnificent portrait, unctuous, condescending, pompous”. Against those who argue that Janssen’s voice suffered from significant deterioration as the years passed, two last comments about performances from nearer the end of his career may serve as assessments that give us a more balanced picture of critical opinion in his own time and in ours. If the singing of the heavier Wagner roles had really greatly damaged his voice, it is hard to understand how his singing of the lyric role of Wolfram could provoke the following review—almost an echo of Herman Klein’s review of the 1930 Bayreuth recording—from Noel Straus as late as November 1947, when Janssen sang with Torsten Ralf, Thebom, and Varnay: The most completely satisfying singing was provided by Herbert Janssen, who delivered Wolfram’s music with rich, mellow, finely controlled tones and gave a really distinguished portrayal, one that was both deeply felt and nobly projected. Rarely is Wolfram’s aria at the song contest in the ‘Wartburg’ made as interesting and vital a part of a Tannhäuser performance as Mr. Janssen found possible to achieve with it, and all of his other work was on an equally high plane. The scrupulous and reflective commentator on the Met broadcasts, Paul Jackson, found Janssen’s 1950 performance of the very demanding role of Telramund, only two years before his retirement, to be, like the previously mentioned Meistersinger, among the very best surviving recordings of his Met career: Janssen is in marvelous form…. Though his unique qualities are little served by Telramund’s surly grumblings, the fifty-[eight] year-old baritone sings with complete vocal freedom, his top voice (which could be recalcitrant) particularly resplendent. He prefers passion to self-pity, relying on quantity of tone to convey the miscreant’s anger and despair. And there are always those sensitive Janssen moments […] Yet when Telramund must rage, […] Janssen hurls his mighty mix of declamation and sustained tone with unrelenting force. And in the same year Olin Downes wrote that he was still singing Amfortas “admirably and with feeling”. In addition to his work for the Metropolitan Opera in New York and elsewhere and his appearances at the Colón opera in Buenos Aires, Janssen took part in a good deal of concert work: we have reports of concerts with Barbirolli, Reiner, Rodzinksy, and Walter, as well as much charity work for causes as diverse as the Met Opera Fund, toys for poor children, Danish relief, animal welfare, and so on. Live recordings exist of a St. Matthew Passion under Walter, as well as of a St. John Passion under Kleiber, a wonderful Brahms Requiem under Toscanini, an Elektra under Mitropoulos and a Fidelio from 1944, also under Toscanini, where Janssen is—rather oddly—cast as Don Pizarro. Reviewing the latter recording in 1956, the very sensitive critic Dyneley Hussey writes: “There is a good Pizarro too, Herbert Janssen, whom it is a pleasure to hear again. The singer must have been near the end of his career when this performance was given but his voice sounds strong and he avoids the snarling villainy which has to make do for malevolent power.” A Lieder recital at Town Hall in 1941, with Otto Seyfert as accompanist, was, according to Noel Straus, “fervently welcomed by an audience that punctuated the recital with ovations after every song and insisted on a number of encores.” Straus himself, however, thought the recital a failure and Janssen completely unsuited to the singing of Lieder! He lists as missing from Janssen’s art exactly those virtues for which his Lieder-singing was so highly esteemed in Europe, commends him for his “brilliant work” in opera and suggests that it is there that Janssen is in his element. After his retirement from the Metropolitan in 1952, we find references to at least two more public appearances, one at a Fritz Busch memorial concert in Carnegie Hall in 1953 and, a month later and again at Carnegie Hall, a recital with Erna Berger, where he sang five Lieder. His recording career in America was, once again, curiously intermittent. There are only a few published, studio recordings: a set of a cut Act III of Tristan with Melchior, recorded in 1942 and 1943; four sides from Parsifal available only in the Argentine; two excerpts from Tannhäuser; the Act III of Walküre already referred to; and finally, between 1945 and 1947 three scenes from Meistersinger. In 1945, there were a few sessions of Lieder recordings: nine songs by Grieg on eight sides and two sides each of songs by Schubert, Schumann, Brahms, and Wolf. Although these were all to remain unpublished, fortunately it had been documented that Janssen had had test pressings in his possession and that after his death his widow had guarded his records with the care of a curator. (Vinyl pressings of most of them were later deposited with the Library of Congress by A. F. R. Lawrence.) Before coming to Janssen’s work as a teacher we must briefly review his first postwar appearances in Europe, where he returned to his non-Wagnerian repertoire. In June of 1950, Janssen appeared in six performances at the Vienna Opera: two as Amonasro, two as Don Fernando, and one each as the Speaker and Jokanaan. Then, in October of the same year, he made his only postwar appearance in London. The concert took place in the context of the Philharmonia Society’s chamber concerts and looks as if it may have been a somewhat improvised affair, with Janssen and Gerald Moore sharing the stage with the Pasquier Trio. Furthermore, Janssen seems to have been rather out of voice that night. The Times reviewer wrote that it was a pleasure to welcome him back after some dozen years, but added: Since we last heard him, his vocal tone seems to have lost some of its roundness in the middle register. And the upper partials over-power the fundamental frequency of the note. This was not so in mezza voce singing, which brought moving tenderness to Wolf’s setting of ‘Anakreons Grab’, nor at the top of his compass (he crowned the interpretation of Strauss’s ‘Zueignung’ with a nobly ringing top F sharp). But above all, Mr. Janssen had lessons to teach every aspiring singer of lieder, lessons of enunciation, breath-control, variation of colour, and musical style. An interesting and thoughtful review in the Scotsman is in basic agreement with the Times reviewer. Its author thought Janssen was fifty-four—in fact, he had recently entered his fifty-ninth year—and he added that Janssen’s voice seemed “a little past its prime”. He mentions a “lack of various shades of tone quality” and an occasional lack of resonance. At other times, however, “These faults faded into the background and, in his final encore for example, ‘Zueignung’ by Richard Strauss, the singer achieved perfection and a powerful F sharp that all but cracked the chandelier.” In general, he thought Janssen’s singing was “Not only a delight, but a lesson in the art of Lieder singing …” and he concludes his review: “Above all, there was a complete identification with each song: this was a test of musicality, character, and histrionic ability that Janssen passed with honours.” JANSSEN’S TEACHING CAREER Janssen retired from the Metropolitan in 1952, his last Met broadcast being, surely deliberately, in the role of Kothner in Meistersinger, just as his first 1939 Met broadcast had been. From now on, apart from the odd public appearance as noted above, his professional life would be devoted to the teaching of singing. Actually, even when he was singing professionally himself, Janssen had always been glad to give advice or even vocal coaching to his colleagues, who respected his knowledge of the subject. This continued after his retirement: he is known to have coached Astrid Varnay and even a singer from a very different aesthetic world, Elizabeth Schwarzkopf, for example, would occasionally consult with Janssen about matters of technique. Theodore Uppman, too, while carrying on with his career at the Met in the mid 1950s, came regularly to Janssen for vocal coaching in connexion with method: for as Ted Hart points out, it was method that came first for Janssen the teacher. A student recalled how Janssen used to say that he thought it was stupid of his pupils to rely on their youth and stamina as long as they felt well and to want to use ‘method’ or ‘technique’ only when they were ill! When we first mentioned Janssen’s early move to Berlin, we deliberately said that Janssen chose to study with Dr. Oskar Daniel. It was already a choice actually based on Janssen’s musical aesthetic and it seems that he chose his teacher in the belief that method and aesthetic would interact with one another to help him to express the artistic effects he envisaged. He was to prove one of Daniel’s most eminent pupils and throughout his teaching career he would always begin to teach a new student by referring to his teacher; furthermore, with gifted pupils he would use the same, very demanding Daniel exercises that had caused him difficulty when he was a beginner. There are a few more scraps of historical information that have come down to us through students about Janssen’s own understanding of his teacher’s method and we will run through them briefly. The well-known record historian, Dr. John Stratton, himself a gifted and accomplished singer, did a period of intensive study with Janssen in the mid-1950s. In 1966, Dr. Stratton published a long article in Recorded Sound, in which he put forward a hypothesis—not a thesis—about how a study of the different “schools” of singing method, as manifested in early recordings, might explain the rise of the sort of singing that gave birth to opera. To one of the schools he analyses he gives the name of Lamperti and he describes it as a “shrewd reappraisal” of the classical Italian method. Amongst its distinctive features are a minimum dependence on breath-pressure, and what Stratton describes as a growth of tone through a “quickening of nerve-awareness in the cavities of the upper face, particularly those between the eyes.” He goes on to describe two phases, or what Janssen called ‘movements’: for cantilena, the ‘sniff,’ “a sort of drawing up and sucking in of the sound” and, for fioritura or for declamatory music, a more assertive nerve-action, “a ‘stroke’ outwards from between the eyes”. The echoes of Oskar Daniel’s remarks in 1922 to the interviewing psychologist are obvious. The vibrancy of the voices trained in the “Lamperti” method, says Stratton, is not derived from increased breath-pressure, but is the “counterpart of the amount of determination with which the primary nerve-action … the ‘sniff’, is made.” The enthusiasm that had always characterized Janssen’s singing and gave it the exultant quality of a singer who relishes the physical sensation of producing beautiful sounds, survived in his teaching: he was a genial instructor and would occasionally join in with a suitable student, singing with him right up to a full, high A natural. Furthermore, just like his teacher, he would have his pupils sing with thumb to forehead and call to them as they sang, “Sniff life into the voice!” And more mysteriously still, using, as he said, the ipsissima verba of one of Oskar Daniel’s mantras, he would instruct a student to “Sniff the butter from the bread, but not the bread!” These are acroamatic matters and they are only too obviously very difficult to explain clearly in words. Nevertheless, the family resemblances between Janssen’s placement and method and those of other well-known contemporaries of his are plain to attentive listeners: Schorr, whose sublime voice had been trained by Adolf Robinson, a Lamperti pupil, and Schlusnus, whose teacher, Louis Bachner, was a colleague of Oskar Daniel at the Berlin Hochschule, come to mind. Despite differences in timbre and weight of voice, the wonderful “shimmer” of light that appears to play over the surface of their voices, the instrumental concentration of tone and the gleaming high notes are common to all these singers. Other singers of the same “school” are cited in John Stratton’s fascinating article, mentioned above. • • • • • Janssen and his wife had been granted American citizenship on December the 9th, 1946 and they continued to live in their handsome suite at the Ansonia hotel, surrounded by their extensive library and by their music, until Janssen’s death there on June the 3rd, 1965, after a short illness. According to the New York Times obituary, published the next day, it was at Janssen’s own request that he was cremated with no service other than a reciting of the Lord’s Prayer. Erna Janssen returned to Germany where she died, it seems, in about 1981. As a person, Janssen was very nearly the opposite of the roles he was most famous for singing. He was described in a 1937 English profile as looking like “the most cheerful member of an Old Boy’s cricket side”, and his sense of play, together with his satirical, irreverent wit gave his colleagues, with whom he was very popular, much pleasure. Although he took his teaching seriously, he was modest about it and liked to describe himself as merely a “vocal plumber”. He was also a loyal friend: after Oskar Daniel had been forced out of Germany and was living in cruelly straitened circumstances with his family, first in Paris and later in Switzerland, Janssen kept up what amounted to a running conversation with him through constant correspondence and, until his emigration to America, would meet up with him whenever possible. There are indications, too, that after his arrival in America, Janssen had been at the centre of an attempt by Daniel’s friends and admirers to rescue him from his penurious Swiss exile and bring him to America for treatment of his leukemia. Before this could be arranged, however, Daniel had died in March of 1940. After the end of the war and in spite of their profound political differences, out of gratitude for the warning that had saved him from the Gestapo, Janssen and his wife also sent food parcels to the beleaguered Winifred Wagner. • • • • • Notwithstanding his great reputation as a singer, there was also an element of sadness in Janssen’s American career. Out of a repertoire of an estimated seventy-four roles, he was allowed, in accordance with the unyielding policy of the Met management, to sing only fourteen at the Met. And half of these fourteen he sang fewer than eight times, some not more than twice. Being limited to repetitions of the same few roles over and over again, year after year, was disheartening and stiflingly restrictive for a sensitive, versatile, and musically cultivated singer like Janssen. There is little doubt that despite the acclaim of audiences and critics, he was occasionally overcome by melancholy and a sense of being undervalued. A SUMMING-UP When talking of Janssen’s singing, one must emphasize that the cultivation of a particular type of voice is itself an act of interpretation, of aesthetic choice. The plangent quality of Janssen’s voice (which recalls Wagner’s remark about “the melancholy that lies at the heart of all tone”) expresses an element of Janssen’s aesthetic. This is equally true of the changing colours of the inflexions of his voice. Such qualities were not only esteemed throughout Janssen’s career, but are mentioned again and again by critics of our own generations. Will Crutchfield’s remarks about “unbelievably beautiful” singing have already been quoted and again, referring to a reissue of a live Tannhäuser performance from the 1940s, he says how Janssen’s Wolfram is “balm for sore ears”. Alan Blyth, writing of some of his Lieder recordings, describes how the singer catches “the inner mood of his chosen songs through his aching, introspective voice” and his “insightful” singing. But it is of course J. B. Steane who has some of the most vivid descriptions of what it is that makes Janssen a very special singer, a singer who inspires not only respect and admiration, but also our affection. Comparing him to two of his outstanding contemporaries, Schlusnus and Hüsch, he writes that Janssen, “Even in his prime, was probably a little more risky, but his singing went deeper, was of a richer, softer texture and had a greater capacity for both tenderness and anxiety.” I like this description: it seems to me to suggest the sense of human vulnerability that Janssen’s aesthetic often expresses, for this is a vital part of the particular way he captures the emotional tone of the words and music he is singing. Method and aesthetic are constantly intertwined in Janssen’s singing, and Steane, great critic that he was, sees this clearly: referring to the recording of ‘Die Lotusblume’, he points out how it is Janssen’s “secure breath control” that supports the “evenness of line and texture”, but which, at the same time, does not deprive the voice of its “natural, humanizing degree of vibrato.” [Italics added] The elegiac timbre of his voice has often been remarked on by critics and in his interpretation of Wotan for example, it gives a wonderfully—if paradoxically—human quality of fatherly tenderness and suffering to his interpretation of the god’s farewell to his daughter. It is the voice of the wisest and saddest of men. That is perhaps the most striking difference between Janssen and Schorr in this music: the greater weight and controlled but formidable power of the latter’s voice give other-worldly nobility to his singing of the same music so that it seems to come from a transcendent distance. In Lieder singing, Janssen’s great strength is, I think, his ability to keep the words and musical line of the Lied in a fine balance. There is never manipulation of the words at the expense of good singing: he responds to the words with a thoughtful and intelligent sensitivity and he never allows them to ‘take charge’ of the performance and induce the voice to resort to crooning, bulging, or barking, all of which he would have considered ‘un-singerly’ devices. What he expresses so memorably, he does always through beautiful singing, by assimilation of the words into the musical line so that they become part of it, rather than excrescences on it: for after all, words are not our only means of expressing meaning or significance and often what is most wonderful or moving in a performance is achieved through a musical gesture or the expressive shaping of a phrase. In 1922, Oskar Daniel wrote an article on singing in which he says that a singer should not assemble a performance as a mosaic of mere nuances: for that can only stimulate the audience intellectually. Instead, he says, the singer should concentrate on the ‘Grande Ligne’ of the music, and then, being “under the singer’s spell”, the listeners themselves participate and form their own nuances. I think Janssen will have found these thoughts highly congenial to his own aesthetic. • • • • • In 1936 in the Gramophone, Legge summed up Janssen’s art: “His voice is of ravishing quality, he is musically and mechanically a faultless singer, and a magnificent actor … Janssen, I make bold to say, is the greatest artist on the contemporary operatic stage.” When one thinks of the singers who were on the operatic stage in 1936, it becomes clear that Legge is making an extraordinarily strong claim for Janssen and that, far from anticipating challenges from his readers, he is expecting their agreement. In fact, a later correspondent wrote a long letter to the Gramophone in which, invoking many years of experience of opera performances at Covent Garden and elsewhere, he contrasts the singing of Plançon, Battistini, de Reszke, Journet, Scotti, Bonci, de Luca, Melba, Schumann-Heink, Sembrich, and others of the ‘Golden Age’ with the lesser art of many of their modern counterparts, but goes on, however, to say: “As proof…that music today can be tackled with a beauty of technique and a vocal colouring of the highest order, one has only to hear Herbert Janssen. Here indeed is the standard set by those of the last generation and handed down … to those who, like Janssen, can uphold it.” When we reflect on the names listed above (together with all the other names we might like to add) we realize that these are not the names of those we invoke simply as examples of great singers; these names belong to those whose various ways of singing are what we mean by great singing: they are touchstones of the art and their records are what we point to as standards, models, or ideals, when we want to show just what singing of the highest order is. Janssen’s art is one of these touchstones. Although more than fifty years have passed since his death, we still find the noble distinction of his singing movingly, even urgently present the moment we put on one of his records and hear that unmistakable and beautiful voice begin to sing. It is a pleasure for the compiler of the above notes to give warm thanks to the following for their help with research and with advice: Professore Dottore Osvaldo Alemanno; S.R.M. Beauroy; Stephen Clarke; T.E. Currier; Antje Kalcher of the Archiv der Universität der Künste, Berlin; D. L. Matthews. JANSSEN ON RECORDS by Michael Aspinall, ©2021 The phonograph documents an impressive flowering of great German singing in the nineteen-twenties and thirties, a golden period not only for operatic baritones but also for concert artists. Three baritones in particular demonstrate that a well-managed career as an operatic vocalist can be a fruitful foundation for Lieder singing. Heinrich Schlusnus (1888–1952), Herbert Janssen (1892–1965), and Gerhard Hüsch (1901–1984) were near contemporaries who had in common the artistic integrity and the technical command to be able to reproduce in their Lieder singing all the interpretation marks indicated by the composer, as well as additional refinements of their own. The slightly older baritone Joseph Schwarz (1880–1926) sings in a recognizably earlier nineteenth-century style, closely modeled on Battistini: rich indeed in glorious detail of expression, but, in Lieder, tending not to observe note values so meticulously as the singers of the next generation. They had all learned to sing in a basically “Italian” vocal style, with a sinuous legato line based on portamento di voce and including a certain amount of rubato not written in by the composer, though each one had cultivated his own personal manner. They had been trained in the blending of registers to the extent that they were able to rise effortlessly to brilliant high notes and even to declaim long phrases in a high tessitura without fatigue. They had developed perfect control of the breath, enabling them to “bow” the musical line like a fine string player. None of them seems to have ever recorded an ugly sound. PERSONAL PECULIARITIES OF JANSSEN’S TECHNIQUE Although Janssen’s voice may have lacked the burnished richness of Schlusnus or the plush warmth of Hüsch, it is a lovely, limpid, and firmly focused baritone voice freely produced with no sign of throatiness. Even the imperfect quality of surviving live performance recordings cannot blur our immediate impression of listening to a distinctly individual, authoritative, and nobly eloquent voice, sometimes exposing, by contrast with his easy, unfettered vocal emission, the limited technical training of his colleagues. A very light, unobtrusive vibrato seems to be under perfect control for it only presents itself when the singer calls upon it. After about 1930 he had to be careful about tackling the passaggio, the blending of the chest and head registers, for in this range Janssen is not always able to maintain the purity of tone on certain vowels, where we can detect a breathy sound, mostly when he is singing softly. For example, on the first page of Wolf’s “Denk’ es, o Seele!” he sings two short phrases set entirely on the C above the bass stave: “Ein Rosenstrauch, … wer sagt”. In the published recording (DB2706), the attack on “Ein” is not well placed and supported, but “Rosenstrauch” comes out with perfectly focused tone on the “O”, which then slips into a hoarse sound on “Strauch” (CD 2, Track 14). The attack on “wer” is perfectly clean and focused, but the following “A” in “sagt” is hoarse. These technical points, so fascinating to the vocal student, will not worry the listener who falls under the spell of this great artist’s voice, mind, and art. Janssen is very individual; certain phrases of his haunt the memory, and sometimes even the faintly hoarse notes strike home emotionally. The singing of Herbert Janssen is distinguished by a clear and refined pronunciation of the German language that is a delight to hear, an echo of a vanished age of elegance and refinement. His precisely articulated but never exaggerated consonants do not interfere with the vocal line, which is formed from perfectly equalized vowels. Final consonants are never harsh, separated off, or over-prolonged, but simply and neatly mark the end of a phrase. All is eloquence, but this eloquence is tempered by the singer’s sensitivity to words and music and by his flawless taste. He does not bother to color or stress individual words though the voice always seems to catch the mood of the song. He expresses his meaning without overloading the songs with “interpretation” while his delightful manner and delicate sensitivity to poetry and music make him a good storyteller, his carefully trained voice seeming to spontaneously reflect his thoughts. The vocal range seems to be from a resonant low A to a ringing high G. Other writers have noted that Janssen sometimes does not manage to tune certain notes precisely: this occurs mainly when he is singing in a tessitura uncomfortably low for him. OPERA It is disappointing to find how few operatic records Janssen was called upon to make—strange, too, when copies of the Ultraphone disc of two pages from Act III of Tannhäuser are regularly to be found in German flea markets, meaning that it must have been a best seller. His various recordings from Tannhäuser find him at different stages of his career and vocal development. The acoustic Odeon record of Wolfram’s lovely arioso from the first act, “Als du in kühnem Sange”, is a masterpiece of legato singing, a truly persuasive interpretation of the friendly Wolfram’s urging (CD 1, Track 7). At this stage of his career Janssen seems not to have used the glottal stop, which was frowned upon in classical German singing in the nineteenth century, and he omits the “H” in such phrases as “ihr Herz”, a singers’ mannerism that would soon disappear from German singing. In the abridged recording of Tannhäuser made at Bayreuth by Columbia in 1930, he manages to preserve a general sense of the flow of the musical line, though the fatal Bayreuth tradition has partly influenced his style: a certain over articulation of the consonants leads to a more marcato effect (CD 1, Track 9). Of this recording, Herman Klein wrote: “I think the supreme touch of beauty, individually at any rate, comes from the singing of the part of Wolfram by that admirable artist Herbert Janssen; it is not less replete with poetic than vocal charm.” (William R. Moran, ed. Herman Klein and the Gramophone, Amadeus Press, Portland, Oregon, 1990.) His three recordings of Wolfram’s lovely recitative from Act Three, “Wohl wußt’ ich hier sie im Gebet zu finden”, might serve forever as lessons in how Wagner’s music should be sung: with a majestic solemnity, a pure and warmly human tone (CD 1, Tracks 8 and 11; CD 5, Track 3). Janssen takes his cue from Wagner’s instruction pp in the accompaniment and sings practically all the scene in a reverently hushed voice, with noble line, limpid enunciation of the words and careful attention to the composer’s indications. The Aria “O du mein holder Abendstern” is also a model interpretation, the sensitive singing replete with charm and deep feeling, the voice vying with the cello (CD 1, Track 12; CD 5, Track 4). The 1928 Electrola record of Valentin’s two big scenes from Faust (or rather, Margarethe) is also successful: we hear the golden voice of a “youthful heroic” baritone (young indeed) declaiming these famous melodies with superb dignity and eloquence (CD 1, Tracks 3 and 4). The duet from Madama Butterfly, generously covering both sides of the original 78, goes on to include Butterfly’s aria “Che tua madre” (some cuts are made to fit it all in) (CD 1, Track 2). Janssen, in flawless voice, is worthily partnered by the enchanting Greek soprano Margherita Perras (1908–1984), also a student of Oskar Daniel, who might well have been very proud of both of them. They capture perfectly the alternating of “conversational” passages with those of emotionally charged singing, their enunciation of the excellent German translation perfectly musical and distinct. He is the most gentlemanly Consul imaginable, an aristocratic presence, his voice always elegantly flowing in the higher passages without any shouting. Perras has a beautiful and perfectly produced voice with a brilliant head register: a true Italian dramatic soprano might produce more volume at the top when Butterfly enters holding her child triumphantly aloft, but the soaring head tones of Perras are deeply moving. The orchestra plays well, with a sensitive first violin working hard emotionally; unfortunately, either some orchestral parts were not delivered in time or some players forgot to turn up, because important chords are missing in the hysterical finale of Butterfly’s aria. This great record reminds us that there are many others from the period offering familiar Italian numbers in French, German, Russian, and even English that might be better known. In another duet, from Rigoletto, with the enchanting Lotte Schöne as a delicately expressive Gilda, Janssen is not quite in his best voice, sounding a trifle hoarse, but in compensation he is able to reproduce all the shadings that Verdi demands but which we rarely hear (CD 1, Track 1). A German baritone in those days could not ignore the operas of Albert Lortzing (1801–1851), and Janssen recorded an unusual, short Andantino con espressione sung by the Graf von Liebenau in the Act One Finale to Der Waffenschmied, “Du läßt mich kalt von hinnen scheiden”, in which the composer’s indebtedness to Bellini and Donizetti is highlighted by Janssen’s beautifully poised singing, especially in the exquisite piano passages (CD 1, Track 5). The same may be said of the other side of the record, featuring two strophes of the Tsar’s well-known aria “Sonst spielt’ ich mit Zepter”, a piece of unashamed nostalgia carefully and feelingly sung (CD 1, Track 6). Although German opera singers attached by contract to a particular theater were, and sometimes are still, expected to “help out” by appearing in operettas, musicals and even straight plays, Janssen’s first appearance in an operetta (Die Fledermaus) did not happen until he was singing in Buenos Aires. However, early on Electrola invited him to record an aria and duet from Ralph Benatzky’s Die drei Musketiere, tuneful music if not Benatzky’s most memorable. In his song “Ich liebe dich” the voice seems a trifle throaty, but Janssen sings well, rhythmically and fluently, with really lovely high notes (CD 1, Track 14). In the duet “Du schmeichelst in mein Herz dich ein” (“You insinuate yourself into my heart!”) he competes successfully with the lovely voice of Göta Ljungberg: his high notes are more secure than hers and, again, he throws himself into this gay music with verve and charm (CD 1, Track 15). While singing at the Teatro Colón in 1943, Janssen recorded two souvenirs of his famous interpretation of Amfortas in Parsifal. The surviving multiple takes of each of these two scenes are all remarkable for the appeal and dignity of Janssen’s singing. The extract from Act One, “Nein! Lasst ihn unenthüllt!”, offers an interesting example of the mingling of two different vocal styles: Janssen had been “raised”, through Oskar Daniel, in the school of Lamperti, but when he sang at Bayreuth he seems to have partially adopted the notorious tradition of the “Bayreuth bark” (CD 5, Track 5). He tends towards a too emphatic delivery in some of the more dramatic passages, reserving his beautifully flowing legato for the more tuneful parts of this noble page of declamation. In take 1 he is particularly eloquent in the phrases that describe the piercing of the Saviour’s side. In all three takes, but perhaps specially in the second, he rises easily to the uncomfortably placed high G at “daraus es nun strömt hervor”, producing a brilliant head note of tenor quality to which, understandably, he clings triumphantly for rather longer than prescribed by the composer! Two similar takes of the Act III scene “Ja, Wehe! Weh’ über mich” are equally moving for their beauty and sincerity: Janssen’s touching pronunciation of the word “Wehe” (Woe!) is inimitable and in the last bars he offers a parade of easily taken Fs, F-sharps and another G (CD 5, Track 6). Together with Lauritz Melchior, Janssen recorded three takes of the duet “Sì, pel ciel marmoreo giuro!” from Verdi’s Otello, in the second of which Melchior’s voice is reproduced in all its thrilling intensity as he sails up to the high A and B-flat (CD 5, Track 7). Where Verdi has written molto sostenuto at the beginning of the oath, Melchior does indeed sustain a formidable legato. Janssen begins with a wonderfully insinuating pianissimo, demonstrating his technical mastery as he plants in Othello’s mind the wicked hints about the handkerchief, and in the duet proper maintains a smooth line in the difficult triplet passages, taking the high F and F-sharp in his stride. This is a satisfying version of the great duet (cruelly written for both voices) and one only wishes that both singers had worked harder at their Italian pronunciation. In 1945 Janssen was still in almost unimpaired vocal form when he recorded Sachs’s two monologues from Die Meistersinger for Columbia in New York, sensitively conducted by Paul Breisach. In the Fliedermonolog we hear that Janssen has mostly discarded portamento di voce but will dutifully execute this ancient grace when Wagner has written it in, as at “nun sang er, wie er musst’” (CD 6, Track 17). The style of this monologue owes much to the Italian buffo traditions, and thanks to his fine training Janssen shows true eloquence in his articulation and phrasing. He takes in his stride awkward phrases such as “was unermesslich mir schien”, rising to D above the stave and then descending to the low A. His D is still a model that any baritone might sigh to emulate, a brilliantly placed note that he can modulate into a variety of colors, thanks to his expert blending of the registers. His singing is beautiful throughout and he occasionally gives us his lovely pianissimo. In the “Wahn, Wahn” monologue Wagner tempts him into a too staccato delivery, but relief comes with the soft high E of “Johannisnacht” (CD 6, Track 18). Admirably conducted by Max Rudolf, the Quintet from Die Meistersinger includes the introductory passage “Mein Kind, von Tristan und Isolde” in which Sachs ties up all the loose ends, invites Eva to sing and the American soprano (of Lithuanian parentage) Polyna Stoska opens the Quintet with an appealing performance of Eva’s lovely solo, even managing a genuine trill; later, when the going gets heavier, she occasionally becomes rather tremulous, though her high B-flats are brilliant and steady (CD 6, Track 19). Torsten Ralf manages an attractive pianissimo at Walther’s entrance, and Herta Glaz is a reliably solid Magdalene. Janssen is mostly only distantly audible as he is singing softly, but we can hear how neatly he executes the florid passages and how trustworthy is his legato. JANSSEN “LIVE” There are numerous live performances of opera surviving with Janssen, and one of the most mouthwatering is a set of unpublished records from a performance of Die Götterdämmerung at Covent Garden on 14 May 1936, conducted by Sir Thomas Beecham (CD 2, Tracks 16 and 17). Beecham’s conducting is vigorous and exciting, occasionally too loud, but mostly he observes Wagner’s dynamic instructions, lovingly caressing the soft sections and, in the main, he is not inconsiderate of the needs of his singers. Poor Gunther was not an obvious role for the refined art of Janssen, but he does bring the character to life in the second act, especially in his proud presentation of his bride to his folk: “Brünnhild’, die hehrste Frau”, declaimed with beauty of tone and elegant line. Later, in the passage leading up to the blood-brotherhood trio, he shows Gunther’s noble reluctance to act in a cowardly fashion. Regrettably, his part in the scene is shorter than that of Hagen, sung by Ludwig Weber, a fine bass apparently having an off night, his rich voice sounding gruff and hoarse—but perhaps he was simply overacting the villain’s part? I wonder if Janssen’s changing “die dich auch ja gebar!” into “die mich auch ja gebar!” is a Bayreuth tradition correcting a possible misprint in the score? Janssen seems to be further away from the microphones then the others, but we get glimpses of his lovely style, as in the legato of “Blutbrüderschaft schwuren wir uns!” or the moving passage in which Gunther fears to kill his sister’s husband: “Doch Gutrune, ach! Der ich ihn gönnte!” Frida Leider dominates the whole scene with her thrilling and radiantly lovely singing; her solid vocal training is always in evidence, and the only sign that she was nearing the end of her great career is the obvious effort to reach the high B-natural, but it should not be overlooked that on the high B-flat of “Gutrune heisst der Zauber”, Leider executes in her excitement and enthusiasm what the Italians call a suono ribattuto, repeating the note so that we get a double B-flat! Also from Covent Garden comes a recording of lengthy excerpts from Der fliegende Holländer (1937) in which we can admire the glorious singing of Kirsten Flagstad in her first essay at the role of Senta (CD 2, Tracks 18 and 19). Janssen’s performance, in a role too low for his high baritone voice, is outstanding from beginning to end. (In the nineteenth century a high baritone singing this part would have resolved the problem by singing the lowest notes an octave higher; Battistini used to sing the entrance aria in concert, in Italian, transposed a tone up.) Janssen does not shun any of the low notes, however weak his voice may be in that range, and he even contrives to make some kind of vocal sound on the low F! His Dutchman has all the nobility required to justify Senta’s perplexingly capricious choice and to contrast with the vulgar jollity of Daland. His singing of the Dutchman’s doleful entrance aria “Die Frist ist um” is perhaps a little too staccato, though the voice is never rough and the eloquence of the phrasing is frequently arresting in its beauty. There is never a hint of forcing in his easy negotiation of the higher-lying passages, while the drama of the narrative is fully recreated. Singing with Flagstad in the great duet “Wie aus der Ferne” Janssen becomes more lyrical. Both of these accomplished singers suffer from a weak lower register, for Flagstad’s chest register was never properly developed; this is a grave disadvantage in Wagner’s music but, needless to say, she can compensate with floods of lovely and noble tone in her medium register and in 1937 she still had a certain command of her head register, giving some lovely soft singing around the upper F. Some of the frequent high B-naturals in Senta’s part were removed by judicious cuts, but it must be said that she attacks this note bravely every time and mostly hits it dead center. It is in the medium range that we hear her developing her irritating habit of attacking notes from below. Despite what might have been an unequal match between soprano and baritone where sheer volume of voice is concerned, Janssen holds our attention by the loving care he lavishes on his music, which he clearly knew backwards (she didn’t, not yet); his soft singing is lovely, his phrasing distinguished by its elegance. Although they rush the great double cadenza, shamelessly copied by Wagner from Les Huguenots, they should have brought the house down with their enthusiasm and brilliance, but the Covent Garden audience was too disciplined to applaud—even though the composer had cunningly left some sort of an orchestral pause to accommodate eventual public enthusiasm. This recording is a prize indeed. We have decided to include the guessing game (usually more grandly referred to as the “Riddle Scene”) between the dwarf Mime and Wotan (“The Wanderer”) in Act One of Siegfried from a live performance at the Teatro Colón, Buenos Aires in 1938 (CD 5, Track 2). Despite imperfections in the amateur recording, we can hear at once that Janssen’s is the voice of a god (how could Mime possibly have been fooled as to the identity of his rather encroaching visitor?). When the Wanderer asks that a weary traveler might rest by the evil blacksmith’s hearth—“Dem wegmüden Gast gönne hold des Hauses Herd!”—the tone of the voice is solemnly majestic, nobly sympathetic. Later in the scene Wotan makes Mime jump out of his skin with some imperious declamation in the upper register, at “Hier sitz’ich am Herd”, but Janssen carefully observes Wagner’s pp marking at “Auf wolkigen Höh’n wohnen die Götter” and how nobly the great artist molds this grateful, arching phrase in his smoothly flowing legato. There are two extensive cuts in the music, and considering the painful performance of Erich Witte, quacking and barking, almost talking Mime’s music, this was not such a bad idea, robbing us, however, of many expressive phrases of Wotan’s that we should have liked to hear from this supremely distinguished singer. A patchy recording of a broadcast of Bach’s St. John Passion gives us a unique and revealing glimpse of Janssen as a singer of eighteenth-century religious music (CD 5, Track 1). The disappointingly short role of Jesus was conceived for a bass, rather than a baritone voice, but Janssen sings smoothly, with his usual model legato and clear, unmannered pronunciation of the words, making a noble thing of the aria with chorus “Mein teurer Heiland” (My beloved Savior), which includes some agility passages and uncomfortable intervals; we forgive him for not attempting the trills. The classical Italian vocal technique in which Janssen was trained allows his voice to float so freely on the breath that the artist can lightly swell or diminish any tone in his scale, and as we have noticed before, his clarity of enunciation is perfectly integrated into his flowing legato. (This recording testifies also to Janssen’s masterly handling of the recitatives, most beautifully sung, with moving eloquence: he finds exactly the right tone for the last word on the Cross, “It is finished—Es ist vollbracht”.) We are fortunate to be able to join the audience at a 1945 concert by the New York Philharmonic Orchestra under their conductor Artur Rodzinski that included Act III of Die Walküre with Helen Traubel and Herbert Janssen as Brünnhilde and Wotan. We have chosen “Wotan’s Farewell” as the closing item of this set (CD 6, Track 20). It was often said that Janssen had never wanted to sing the heavier Wagner roles and that only the retirement of Friedrich Schorr led him reluctantly to undertake them. He sang his first Walküre Wotan at the Met in 1943, eventually chalking up 18 performances of the role there. Janssen’s careful study of Wotan’s music is a revelation. The voice is easily emitted and responsive to every dramatic nuance, while we hear how the excellence of the basic technique he had learned helps him overcome every possible obstacle. Wagner asks a lot from his Wotan: in the angrier, expostulatory parts of the confrontation between father and daughter Janssen tends to a now sadly familiar staccato emission, but whenever a singable melody pops up he rejoices in the opportunity to demonstrate his mastery of legato singing. He opens the “Farewell” with a lovely, tenorish high E on “Leb’wohl”, continuing with smoothly flowing tone to the end of the page: on the last repeat of “Leb’wohl” he executes a beautiful diminuendo on the sustained C. The next phrase begins “Muss ich dich meiden” and Wagner has marked it molto appassionato: Janssen remains truly godlike (or is he just being a German gentleman of the old school?) and expresses the deep feelings of the Farewell in two pages of model legato singing. The voice is so immediately responsive to the artist’s intention that he is able to execute a diminuendo wherever it is indicated by the composer, or where Janssen thinks it might be appropriate, all leading most movingly to Wotan’s regretful “Freier als ich, der Gott!”. Now Wagner leaves the culmination of this great scene, the last embrace of father and daughter, to the overwhelming crescendo in the orchestra. A peaceful contrast ensues: Wotan’s “Der Augen leuchtendes Paar” is marked pp and lento, and all this passage is most beautifully sung. Perhaps as a result of overindulgence in the famous “bark” earlier in the evening, the great singer’s timbre is now not of pristine freshness, though still pleasantly warm as he lovingly molds these touching phrases, drawing upon endless shadings of piano and pianissimo singing. These two pages of supremely eloquent singing end with the almost unbearable moment when Wotan clasps Brünnhilde’s hands and kisses the godhead from her. Wagner must have hoped for, but could hardly ever have heard, such an exquisite realization as Janssen offers in his deeply felt and quietly sung interpretation. What a singing lesson! The scene ends with Wotan summoning Loge in a declamatory page, rather taxing after what has gone before, but Janssen is able to call once more on his head register to end on a well-placed high E. Apart from the glorious recording by another high baritone, Lawrence Tibbett, who enjoys the priceless advantage of Leop
1646	dbpedia	3	24	https://www.wikidata.org/wiki/Q70380	en	Elena Gerhardt	https://upload.wikimedia…ena_Gerhardt.jpg	https://upload.wikimedia…ena_Gerhardt.jpg	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Elena_Gerhardt.jpg/220px-Elena_Gerhardt.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://www.wikidata.org/static/images/footer/wikimedia-button.svg", "https://www.wikidata.org/static/images/footer/poweredby_me...	[]	[]	[ "" ]	null	[]	null	German classical singer (1883-1961)	en	/static/apple-touch/wikidata.png		https://www.wikidata.org/wiki/Q70380	9 April 2014 9 April 2014
1646	dbpedia	2	68	https://www.imdb.com/list/ls029596603/	en	The Best Actresses Ever - 1930s	https://m.media-amazon.c…al/imdb_logo.png	https://m.media-amazon.c…al/imdb_logo.png	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:146-3308649-4459232:Y9KR0SP4ERQHVP8QBHZ0$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DY9KR0SP4ERQHVP8QBHZ0:0", "https://m.media-amazon.com/images/M/MV5BMTQ2NDczNTA1N15BMl5BanBnXkFtZTYwNjk2MjI2._V1_QL75_UX60_CR0,0,60,60_.jpg", "https://m.media-amazon.com/ima...	[]	[]	[ "" ]	null	[]	null	Points from my "The Best Films Ever Made"-Lists. Only Actresses in films from 1930s. Vol. 1 = 100%, Vol. 2 = 50%, Vol. 3 = 33%, Vol. 4 = 25%, Vol. 5 = 20 %, Vol. 6 = 17%	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/list/ls029596603/	This marvelous screen comedienne's best asset was only muffled during her seven years' stint in silent films. That asset? It was, of course, her squeaky, frog-like voice, which silent-era cinema audiences had simply no way of perceiving, much less appreciating. Jean Arthur, born Gladys Georgianna Greene in upstate New York, 20 miles south of the Canadian border, has had her year of birth cited variously as 1900, 1905 and 1908. Her place of birth has often been cited as New York City! (Herein we shall rely for those particulars on Miss Arthur's obituary as given in the authoritative and reliable New York Times. The date and place indicated above shall be deemed correct.) Following her screen debut in a bit part in John Ford's Cameo Kirby (1923), she spent several years playing unremarkable roles as ingénue or leading lady in comedy shorts and cheapie westerns. With the arrival of sound she was able to appear in films whose quality was but slightly improved over that of her past silents. She had to contend, for example, with the consummately evil likes of Dr. Fu Manchu (played by future "Charlie Chan" Warner Oland). Her career bloomed with her appearance in Ford's Stadtgespräch (1935), in which she played opposite Edward G. Robinson, the latter in a dual role as a notorious gangster and his lookalike, a befuddled, well-meaning clerk. Here is where her wholesomeness and flair for farcical comedy began making themselves plain. The turning point in her career came when she was chosen by Frank Capra to star with Gary Cooper in the classic social comedy Mr. Deeds geht in die Stadt (1936). Here she rescues the hero - thus herself becoming heroine! - from rapacious human vultures who are scheming to separate him from his wealth. In Capra's masterpiece Mr. Smith geht nach Washington (1939), she again rescues a besieged hero (James Stewart), protecting him from a band of manipulative and cynical politicians and their cronies and again she ends up as a heroine of sorts. For her performance in George Stevens' Jeder hilft sich wie er kann (1943), in which she starred with Joel McCrea and Charles Coburn, she received a Best Actress Academy Award nomination, but the award went to Jennifer Jones in Das Lied von Bernadette (1943) (Coburn, incidentally, won for Best Supporting Actor). Her career began waning toward the end of the 1940s. She starred with Marlene Dietrich and John Lund in Billy Wilder's fluff about post-World War II Berlin, Eine auswärtige Affäre (1948). Thereafter, the actress would return to the screen but once, again for George Stevens but not in comedy. She starred with Alan Ladd and Van Heflin in Stevens' western Mein großer Freund Shane (1953), playing the wife of a besieged settler (Heflin) who accepts help from a nomadic gunman (Ladd) in the settler's effort to protect his farm. It was her silver-screen swansong. She would provide one more opportunity for a mass audience to appreciate her craft. In 1966 she starred as a witty and sophisticated lawyer, Patricia Marshall, a widow, in the TV series The Jean Arthur Show (1966). Her time was apparently past, however; the show ran for only 11 weeks. Ruth Elizabeth Davis was born April 5, 1908, in Lowell, Massachusetts, to Ruth Augusta (Favor) and Harlow Morrell Davis, a patent attorney. Her parents divorced when she was 10. She and her sister were raised by their mother. Her early interest was dance. To Bette, dancers led a glamorous life, but then she discovered the stage, and gave up dancing for acting. To her, it presented much more of a challenge. After graduation from Cushing Academy, she was refused admittance to Eva Le Gallienne's Manhattan Civic Repertory. She enrolled in John Murray Anderson's Dramatic School and was the star pupil. She was in the off-Broadway play "The Earth Between" (1923), and her Broadway debut in 1929 was in "Broken Dishes". She also appeared in "Solid South". Late in 1930, she was hired by Universal, where she made her first film, called Bad Sister (1931). When she arrived in Hollywood, the studio representative who went to meet her train left without her because he could find no one who looked like a movie star. An official at Universal complained she had "as much sex appeal as Slim Summerville" and her performance in "Bad Sister" didn't impress. In 1932, she signed a seven-year deal with Warner Brothers Pictures. Her first film with them was The Man Who Played God (1932). She became a star after this appearance, known as the actress that could play a variety of very strong and complex roles. More fairly successful movies followed, but it was the role of Mildred Rogers in RKO's Human Bondage (1934) that would give Bette major acclaim from the film critics. She had a significant number of write-in votes for the Best Actress Oscar, but didn't win. Warner Bros. felt their seven-year deal with Bette was more than justified. They had a genuine star on their hands. With this success under her belt, she began pushing for stronger and more meaningful roles. In 1935, she received her first Oscar for her role in Gefährliche Liebe (1935) as Joyce Heath. In 1936, she was suspended without pay for turning down a role that she deemed unworthy of her talent. She went to England, where she had planned to make movies, but was stopped by Warner Bros. because she was still under contract to them. They did not want her to work anywhere. Although she sued to get out of her contract, she lost. Still, they began to take her more seriously after that. Returning after losing her lawsuit, her roles improved dramatically. In 1938, Bette received a second Academy Award win for her work in Jezebel - die boshafte Lady (1938) opposite the soon-to-be-legendary Henry Fonda. The only role she didn't get that she wanted was Scarlett O'Hara in Vom Winde verweht (1939). Warners wouldn't loan her to David O. Selznick unless he hired Errol Flynn to play Rhett Butler, which both Selznick and Davis thought was a terrible choice. It was rumored she had numerous affairs, among them George Brent and William Wyler, and she was married four times, three of which ended in divorce. She admitted her career always came first. She made many successful films in the 1940s, but each picture was weaker than the last and by the time her Warner Brothers contract had ended in 1949, she had been reduced to appearing in such films as the unintentionally hilarious Der Stachel des Bösen (1949). She made a huge comeback in 1950 when she replaced an ill Claudette Colbert in, and received an Oscar nomination for, Alles über Eva (1950). She worked in films through the 1950s, but her career eventually came to a standstill, and in 1961 she placed a now famous Job Wanted ad in the trade papers. She received an Oscar nomination for her role as a demented former child star in Was geschah wirklich mit Baby Jane? (1962). This brought about a new round of super-stardom for generations of fans who were not familiar with her work. Two years later, she starred in Wiegenlied für eine Leiche (1964). Bette was married four times. In 1977 she received the AFI's Lifetime Achievement Award and in 1979 she won a Best Actress Emmy for Heimkehr einer Fremden (1979). In 1977-78 she moved from Connecticut to Los Angeles and filmed a pilot for the series Hotel (1983), which she called Brothel. She refused to do the TV series and suffered a stroke during this time. Her last marriage, to actor Gary Merrill, lasted ten years, longer than any of the previous three. In 1985, her daughter Barbara Davis ("B.D.") Hyman published a scandalous book about Bette called "My Mother's Keeper." Bette worked in the later 1980s in films and TV, even though a stroke had impaired her appearance and mobility. She wrote a book, "This 'N That", during her recovery from the stroke. Her last book was "Bette Davis, The Lonely Life", issued in paperback in 1990. It included an update from 1962 to 1989. She wrote the last chapter in San Sebastian, Spain. Sadly, Bette Davis died on October 6, 1989, of metastasized breast cancer, in Neuilly-sur-Seine, Hauts-de-Seine, France. Many of her fans refused to believe she was gone. Character actress Beulah Bondi was a favorite of directors and audiences and is one of the reasons so many films from the 1930s and 1940s remain so enjoyable, as she was an integral part of many of the ensemble casts (a hallmark of the studio system) of major and/or great films, including Kampf in den Bergen (1936), Mr. Smith geht nach Washington (1939), Unsere kleine Stadt (1940) and Akkorde der Liebe (1941). Highly respected as a first-tier character actress, Bondi won two Best Supporting Actress Oscar nominations, for The Gorgeous Hussy (1936) and Of Human Hearts (1938), and an Emmy Award in 1976 for her turn in the television program Die Waltons (1972). She was born Beulah Bondy on May 3, 1888, in Chicago, and established herself as a stage actress in the first phase of her career. She made her Broadway debut in Kenneth S. Webb's "One of the Family" at the 49th Street Theatre on December 21, 1925. The show was a modest hit, racking up 238 performances. She next appeared in another hit, Maxwell Anderson's "Saturday's Children," which ran for 326 performances, before appearing in her first flop, Clemence Dane's "Mariners" in 1927. Philip Barry's and Elmer Rice's "Cock Robin" was an extremely modest hit in 1928, reaching the century mark (100 performances), but it was Bondi's performance in Rice's "Street Scene," which opened at the Playhouse Theatre on Jamuary 10, 1929, that made her career. This famous play won Rice the 1929 Pulitzer Prize for Drama and was a big hit, playing for 601 performances. Most importantly, though, it brought Bondi to the movies at the advanced age of 43. She made her motion picture debut in 1931 in the movie adaptation (Street Scene (1931)), recreating the role she had originated on the Broadway stage. The talkies were still new, and she had the talent and the voice to thrive in Hollywood. Bondi appeared in four more Broadway plays from 1931 to 1934, only one of which, "The Late Christopher Bean", a comedy by Sidney Howard, was a hit. Her last appearance on Broadway for a generation was in a flop staged by Melvyn Douglas, "Mother Lode" (she made two more appearances on the Great White Way, in "Hilda Crane" (1950) and "On Borrowed Time" in 1953; neither was a success). For the rest of her professional life, her career lay primarily in film and television. She was typecast as mothers and, later, grandmothers, and played James Stewart's mother four times, most famously as "Ma Bailey" in Ist das Leben nicht schön? (1946). Her greatest role is considered her turn in Leo McCarey's Depression-era melodrama Kein Platz für Eltern (1937), in which she played a mother abandoned by her children. Beulah Bondi died on January 1, 1981, from complications from an accident, when she broke her ribs after falling over her cat. She was 92 years old. The possessor of one of Hollywood's gentlest faces and warmest voices, and about as sweet as Tupelo honey both on-and-off camera, character actress Spring Byington was seldom called upon to play callous or unsympathetic (she did once play a half-crazed housekeeper in Weißer Oleander (1946)). Although playing the part of Mrs. March in Vier Schwestern (1933) was hardly what one could call a stretch, it did ignite a heartwarming typecasting that kept her employed on the screen throughout the 1930s and 1940s. Her first name said it all: sunny, sparkling, flowery, energetic, whimsical, eternally cheerful. She was a wonderfully popular and old-fashioned sort. By the 1950s, Spring had sprung on both radio and TV. The petite, be-dimpled darling became the star of her very own sitcom and, in the process, singlehandedly gave the term "mother-in-law" a decidedly positive ring. She was born in Colorado Springs, Colorado, on October 17, 1886 (some sources list the year as 1893), one of two daughters born to a college professor/school superintendent. Her father Edwin died when she was quite young, and mother Helene placed the children with their maternal grandparents while she studied to become a doctor. Spring developed an early interest in the theater as a high-school teenager and ambitiously put together an acting company that toured mining camps in the Colorado Springs area. Her professional career materialized via the stock company circuit in both the U.S. and Canada. At the onset of WWI she joined a repertory company that left for Buenos Aires. There she married the company's manager, Roy Carey Chandler, and had two children by him: Phyllis and Lois. The couple remained in South America and Spring learned fluent Spanish there. About four years into the marriage, the couple divorced and Spring returned to New York with her children. She never married again. Spring took her first Broadway bow at age 31 with a role in the comedy satire "A Beggar on Horseback", a show that lasted several months in 1924. She returned to the show briefly the following year. Other New York plays came and went throughout the 1920s, but none were certifiable hits. She did, however, gain a strong reputation playing up her fluttery comic instincts. Other shows included "Weak Sister" (1925), "Puppy Love" (1926), "Skin Deep" (1927), "To-night at Twelve" (1928) and "Be Your Age" (1929). She also played the role of Nerissa in "The Merchant of Venice" on Broadway alongside George Arliss and Peggy Wood in the roles of Shylock and Portia, respectively. By the 1930s, Spring had established herself as a deft comedienne on stage but had made nary a dent in film. In early 1933, following major hits on Broadway with "Once in a Lifetime" (1930) and "When Ladies Meet" (1932), Spring was noticed by RKO, which had begun the casting for one of its most prestigious pictures of the year, Louisa May Alcott's classic Vier Schwestern (1933). As a testament to her talents and graceful appeal, the studio took a chance on her and gave her the role of Marmee. As mother to daughters Katharine Hepburn, Joan Bennett, Jean Parker and Frances Dee in what is still considered the best film version of the novel, Spring was praised for her work and became immediately captivated by this medium. She never returned to Broadway. She became the quintessentially wise, concerned and understanding mother/relative in scores of films, often to her detriment. The roles were so kind, polite and conservative that it was hard for her to display any of her obvious scene-stealing abilities. As a result, she was often overlooked in her pictures. Her best parts came as a bewildered parent, snooty socialite, flaky eccentric, inveterate gossip or merry mischief-maker. From 1936 to 1939, she did a lot of mothering in the popular "Jones Family" feature film series from 1936 to 1940. but the flavorful roles she won came with her more disparate roles in Zeit der Liebe, Zeit des Abschieds (1936), Theodora wird wild (1936), Die Abenteuer von Tom Sawyer und Huckleberry Finn (1938) (as the Widow Douglas), When Ladies Meet (1941) (in which she recreated her Broadway triumph), and Roxie Hart (1942) (in which she played the sob sister journalist). Spring's only Oscar nomination came with her delightful portrayal of eccentric Penny Sycamore in Lebenskünstler (1938). Throughout the war years, she lent her patented fluff to a number of Hollywood's finest comedies, including Mary und der Millionär (1941), Das große Spiel (1942) and Ein himmlischer Sünder (1943). Her career began to die down in the 1950s, and, like many others in her predicament, she turned to TV. Her sparkling performance in the comedy Alter schützt vor Liebe nicht (1950), in which she played an older lady pursued by both Edmund Gwenn and Charles Coburn, set the perfect tone and image for her Lily Ruskin radio/TV character. December Bride (1954) was initially a popular radio program when it transferred to TV. The result was a success, and Spring became a household name as everybody's favorite mother-in-law. As a widow who lived with her daughter and son-in-law, complications ensued as the married couple tried to set Lily up for marriage--hence the title. Brash and bossy Verna Felton and the ever-droll Harry Morgan were brought in as perfect comic relief. The show ran for a healthy five seasons, and Spring followed this in 1961 with the role of Daisy Cooper, the chief cook and surrogate mother to a bunch of cowpokes in the already established western series Am Fuß der Blauen Berge (1959). Making her last film appearance in the comedy Meisterschaft im Seitensprung (1960) as, of course, a spirited mom (this time to Doris Day), Spring, now in her 70s, started to drop off the acting radar. She eventually retired to her Hollywood Hills home after a few guest spots on such '60s shows as Batman (1966) (playing a wealthy socialite named J. Pauline Spaghetti) and Bezaubernde Jeannie (1965) (as Larry Hagman's mother). A very private individual in real life, Spring enjoyed traveling and reading during her retirement years. She passed away in 1971 from cancer and was survived by her two daughters, three grandchildren and two great-grandchildren. Isabel Jewell, like other actresses in Hollywood in the 1930s, suffered from chronic typecasting. The diminutive, platinum-haired daughter of a doctor and medical researcher seemed to be often playing hard-boiled, tough-talking broads: gangster's molls, dumb blondes, prostitutes and, of course, poor "white trash" Emmy Slattery in Vom Winde verweht (1939). However, she also played ordinary 'nice' next-door girl types, for example in Marked Men. While stardom eluded her for the most part, she nonetheless remained a busy supporting actress with an impressive array of A-budget films to her credit. Signed as an MGM contract player, she reputedly earned up to $3,000 a week -- a small fortune at the time. Isabel was educated at St. Mary's Academy in Minnesota and at Hamilton College in Kentucky. After years in stock companies (including an 87-week stint in Lincoln, Nebraska), she hit the big time after getting a part on Broadway in "Up Pops the Devil" (1930). With just three hours of rehearsal time, she delivered her performance to great critical acclaim and had even better reviews as a fast-talking telephone operator in "Blessed Event". She reprised this role in the screen version of Blessed Event (1932) and her movie career was effectively launched. While her parts were often small, they could also be memorable, as in Höhe Null (1936) and Mord im Nachtclub (1937). Other acting highlights include her consumptive prostitute finding salvation in In den Fesseln von Shangri-La (1937), and her poignant against-type performance as an ill-fated seamstress on her way to the guillotine in Flucht aus Paris (1935). In the 1940s and '50s, her roles diminished from small to bits to uncredited and she fell on hard times: in 1959 she got into trouble with the law in Las Vegas for passing bad checks and, two years later, spent five days in jail for drunk driving. She was found dead in her home in April 1972, aged just 64. One of her two former husbands was writer-producer-director Owen Crump (1903-1998). A lasting memory of Isabel Jewell is her star on the Hollywood Walk of Fame on Vine Street. Born into wealth in Savannah, Georgia, on October 18, 1902, Ellen Miriam Hopkins was able to attend the finest educational institutions, including Goddard Seminary in Plainfield, Vermont, and Syracuse University in New York State. Studying dance in New York, she received her first taste of show business as a chorus girl at twenty. She appeared in local musicals before she began expanding her horizons by trying out dramatic roles four years later. By 1928, Miriam was appearing in stock companies on the East Coast, and her reviews were getting better after she had been vilified earlier in her career. In 1930, Miriam decided to try the silver screen and signed with Paramount Studios. Because she was already established on Broadway, Paramount felt it was getting a seasoned performer after the rave reviews she had received on Broadway. Her first role was in Fast and Loose (1930). The role, in which Miriam played a rebellious girl, was a good start. After appearing in Verhängnis eines Tages (1931), in which she is killed by her husband, Miriam played Princess Anna in Der lächelnde Leutnant (1931) opposite Maurice Chevalier. Still considered a newcomer, Miriam displayed a talent that had all the earmarks of stardom. She was to finish out the year by playing Ivy Pearson in Dr. Jekyll und Mr. Hyde (1931). Miriam began filming The World and the Flesh (1932), which was not a box-office blockbuster. Later, she appeared in Dancers in the Dark (1932) with George Raft. The film was unexpectedly strong and enjoyable, which served as a catalyst to propel Miriam and Raft to bigger stardom. In Two Kinds of Women (1932), directed by William C. de Mille, Miriam once again performed magnificently. Later that year, she played Lily Vautier in the sophisticated comedy Ärger im Paradies (1932). A film that should have been nominated for an Academy Award, it has lasted through the years as a masterpiece in comedy. Even today, film buffs and historians rave about it. Miriam's brilliant performance in Serenade zu dritt (1933) propelled her to the top of Paramount's salary scale. Later that year, Miriam played the title role in The Story of Temple Drake (1933). Paramount was forced to tone down the film's violence and the character's rape in order to pass the Hayes Office code. Despite being watered down, it was still a box-office smash. In 1934, Miriam filmed All of Me (1934), which was less than well received. Soon, the country was abuzz as to who would play Scarlett O'Hara in Margaret Mitchell's Vom Winde verweht (1939). Miriam wanted the coveted spot, especially because she was a Southern lady and a Georgia native. Unfortunately, as we all know, she didn't win the role. As a matter of fact, her only movie role that year was in Die alte Jungfer (1939). By that time, the roles were only trickling in for her. With the slowdown in film work, Miriam found herself returning to the stage. She made two films in 1940, none in 1941, one in 1942, and one in 1943. The stage was her work now. However, in 1949, she received the role of Lavinia Penniman in Die Erbin (1949). Miriam made only three films in the 1950s, but she had begun making appearances on television programs. Miriam made her final big-screen appearance in Savage Intruder (1970). Nine days before her 70th birthday, on October 9, 1972, Miriam died of a heart attack in New York. Myrna Williams, later to become Myrna Loy, was born on August 2, 1905 in Helena, Montana. Her father was the youngest person ever elected to the Montana State legislature. Later on her family moved to Radersburg where she spent her youth on a cattle ranch. At the age of 13, Myrna's father died of influenza and the rest of the family moved to Los Angeles. She was educated in L.A. at the Westlake School for Girls where she caught the acting bug. She started at the age of 15 when she appeared in local stage productions in order to help support her family. Some of the stage plays were held in the now famous Grauman's Theater in Hollywood. Mrs. Rudolph Valentino happened to be in the audience one night who managed to pull some strings to get Myrna some parts in the motion picture industry. Her first film was a small part in the production of What Price Beauty? (1925). Later she appeared the same year in Pretty Ladies (1925) along with Joan Crawford. She was one of the few stars that would start in silent movies and make a successful transition into the sound era. In the silent films, Myrna would appear as an exotic femme fatale. Later in the sound era, she would become a refined, wholesome character. Unable to land a contract with MGM, she continued to appear in small, bit roles, nothing that one could really call acting. In 1926, Myrna appeared in the Warner Brothers film called Satan in Sables (1925) which, at long last, landed her a contract. Her first appearance as a contract player was The Caveman (1926) where she played a maid. Although she was typecast over and over again as a vamp, Myrna continued to stay busy with small parts. Finally, in 1927, she received star billing in Bitter Apples (1927). The excitement was short lived as she returned to the usual smaller roles afterward. Myrna would take any role that would give her exposure and showcase the talent she felt was being wasted. It seemed that she would play one vamp after another. She wanted something better. Finally her contract ran out with WB and she signed with MGM where she got two meaty roles. One was in the Männer um eine Frau (1933), and the other as Nora Charles in Mordsache Dünner Mann (1934) with William Powell. Most agreed that the Thin Man series would never have been successful without Myrna. Her witty perception of situations gave her the image that one could not pull a fast one over on the no-nonsense Mrs. Charles. After The Thin Man, Myrna would appear in five more in the series. Myrna was a big box-office draw. She was popular enough that, in 1936, she was named Queen of the Movies and Clark Gable the king in a nationwide poll of movie goers. Her popularity was at its zenith. With the outbreak of World War II, Myrna all but abandoned her acting career to focus on the war effort. After making THE SHADOW OF THE THIN MAN in November of 1941, Myrna more or less stayed away from Hollywood for five years. She broke this hiatus to appear in one Thin Man sequel while devoting most of her time working with the Red Cross. When she did return her star quality had not diminished a bit, as evidenced by her headlining Die besten Jahre unseres Lebens (1946). The film did superbly at the box-office, winning the Academy Award for Best Picture in 1947. With her career in high gear again, Myrna played opposite Cary Grant in back-to-back hits So einfach ist die Liebe nicht (1947) and Nur meiner Frau zuliebe (1948). She continued to make films through the '50s but the roles started getting fewer, her biggest success coming at the start of that decade with Im Dutzend billiger (1950). By the 1960s the parts had all but dried up as producers and directors looked elsewhere for talent. In 1960 she appeared in Mitternachtsspitzen (1960) and was not in another film until 1969 in Ein Frosch in Manhattan (1969). The 1970s found her mainly in TV movies, not theatrical productions, except for small roles in Giganten am Himmel (1974) and Nobody Is Perfect (1978). Her last film was in 1981 called Sonnenwende (1981), and her final acting credit was a guest spot on the sitcom Geliebter Tony (1981) in 1982. By the time Myrna passed away, on December 14, 1993, at the age of 88, she had appeared in a phenomenal 129 motion pictures. She was buried in Helena, Montana. Sylvia Sidney was born in The Bronx, New York City, on August 8, 1910 as Sophia Kosow to Jewish parents. Her father was born in Russia and her mother was born in Romania. They divorced not long after her birth. Her mother subsequently remarried and young Sophia was adopted by her stepfather, Sigmund Sidney. A shy, only child, her parents tried to encourage her to be more outgoing and gregarious. As an early teen, Sophia (later Sylvia) had decided she wanted a stage career. While most parents would have looked down on such an announcement, Sylvia was encouraged to pursue the dream she had made. She enrolled in the Theater Guild's School for Acting. Sylvia later admitted that when she decided to become a stage actress at 15, it wasn't being star struck that occurred to her, but the expression of beauty that encompassed acting. All she wanted was to be identified with good productions. One school production was held at a Broadway theater and in the audience there was a critic from the New York Times who had nothing but rave reviews for the young woman. On the strength of her performance in New York, she appeared onstage in Washington, D.C. Further stage productions followed, each better than the last and it wasn't long before the film moguls were at the doorstep. She was appearing in the stage production of "Crime" when she made her first appearance on the silver screen in 1927. The film in question was Broadway Nights (1927) which dealt with stage personalities of which Sylvia, despite her extremely tender age, was one. After the film she returned to the stage where she appeared in creations which were, for the most part, forgettable. She moved to Colorado to tour with a stock company. She later returned to Broadway for a series of other plays. By 1929, she was on the big screen with Thru Different Eyes (1929) as Valerie Briand. This was followed by a short film, Five Minutes from the Station (1930). Sylvia Sidney was slowly leaving the stage for the production studios of Paramount. 1931 saw her appear in five films, one of which, Straßen der Weltstadt (1931), made her a star. Aware that she was replacing the great Clara Bow, who was suffering from severe and debilitating health issues, mainly depression. The contrast between the two actresses was great but the movie was a hit. The sad-eyed Sylvia made a tremendous impact and her screen career was off a running. Her next film was Ladies of the Big House (1931) as Kathleen Storm McNeil, part of a couple framed for a murder they didn't commit. The film made huge profits at the box-office. She then made Merrily We Go to Hell (1932), appearing opposite Fredric March. The film was an unqualified success. Later, in Madame Butterfly (1932), she starred as the doomed geisha girl (Cho-Cho San); critics agreed that only her performance saved the film from being a total disaster. In 1933, she starred in the title role in Jennie Gerhardt (1933). Yet another doom and gloom picture, she played a girl beset with poverty and the death of her young husband before the birth of their child. Sidney received the star spotlight in Good Dame (1934). Despite her fine performance, the film failed at the box-office. She scored big with the film critics as the lead female in Mary Burns, Fugitive (1935), a restaurant owner who falls for a big time gangster. Her performance was overshadowed by Alan Baxter, who gave an outstanding portrayal as the gangster. That film was quickly followed by "Accent On Youth", in which she played Linda Brown, a young lady fascinated by older men. In 1938, Sidney played in "You and Me", opposite George Raft. The film critics gave it mixed reviews but it did not fare well at the box-office. Afterward, the roles began to dissipate. She filmed ...One Third of a Nation... (1939) and would not be seen again onscreen until The Wagons Roll at Night (1941). There was a four year hiatus before Spionage in Fernost (1945), opposite James Cagney. In 1946, she starred in The Searching Wind (1946) as Cassie Bowman. The film was based on a Broadway play but it just didn't transfer well onto the big screen. It was widely considered to be too serious and flopped with the movie fans. After Love from a Stranger (1947), she didn't appear onscreen again until Die Legion der Verdammten (1952), as "Fantine". Only three more films followed that decade. There were no films throughout the 1960s. After appearing in a made-for-television movie, she returned to the big screen in Sommerwünsche - Winterträume (1973), playing the mother of the character played by Oscar-winning actress Joanne Woodward. For her performance, Sidney received her only Oscar nomination, losing to another actress who also only received one Oscar nomination in her lifetime, Tatum O'Neal (Paper Moon (1973)). O'Neal was 10 years old when she accepted the award. Aside from a few more supporting role film appearances strewn here and there, Sidney mostly appeared on television thereafter. In 1988, she appeared as Juno in Tim Burton 's hit film Beetlejuice (1988). Her last film for the big screen was Mars Attacks! (1996) as the unlikely heroine whose taste in music saves Earth from an exceptionally brutal Martian victory. She had been seriously injured after being hit by a car but director Burton waited for her to be able to appear (in a wheelchair) rather than recast the role. In 1998, she played Clia, the irritable elderly travel agency clerk, who appeared (along with Fyvush Finkel) at the beginning of every episode of Fantasy Island (1998), the short-lived black-humored reboot of the iconic 1970s series of the same name. A lifelong heavy smoker, Sidney died on July 1, 1999, aged 88, of throat cancer. Her father was a police lieutenant and imbued in her a military attitude to life. Marlene was known in school for her "bedroom eyes" and her first affairs were at this stage in her life - a professor at the school was terminated. She entered the cabaret scene in 1920s Germany, first as a spectator then as a cabaret singer. In 1923, she married and, although she and Rudolf Sieber lived together only 5 years, they remained married until his death. She was in over a dozen silent films in increasingly important roles. In 1929, she was seen in a Berlin cabaret by Josef von Sternberg and, after a screen test, captured the role of the cabaret singer in Der blaue Engel (1930) (and became von Sternberg's lover). With the success of this film, von Sternberg immediately took her to Hollywood, introducing her to the world in Marokko (1930), and signing an agreement to produce all her films. A series of successes followed, and Marlene became the highest paid actress of her time, but her later films in the mid-part of the decade were critical and popular failures. She returned to Europe at the end of the decade, with a series of affairs with former leading men (she had a reputation of romancing her co-stars), as well as other prominent artistic figures. In 1939, an offer came to star with James Stewart in a western and, after initial hesitation, she accepted. The film was Der große Bluff (1939) - the siren of film could also be a comedienne and a remarkable comeback was reality. She toured extensively for the allied effort in WW II (she had become a United States citizen) and, after the war, limited her cinematic life. But a new career as a singer and performer appeared, with reviews and shows in Las Vegas, touring theatricals, and even Broadway. New success was accompanied by a too close acquaintance with alcohol, until falls in her performance eventually resulted in a compound fracture of the leg. Although the last 13 years of her life were spent in seclusion in her apartment in Paris, with the last 12 years in bed, she had withdrawn only from public life and maintained active telephone and correspondence contact with friends and associates. Greta Garbo was born Greta Lovisa Gustafsson on September 18, 1905, in Stockholm, Sweden, to Anna Lovisa (Johansdotter), who worked at a jam factory, and Karl Alfred Gustafsson, a laborer. She was fourteen when her father died, which left the family destitute. Greta was forced to leave school and go to work in a department store. The store used her as a model in its newspaper ads. She had no film aspirations until she appeared in short advertising film at that same department store while she was still a teenager. Erik A. Petschler, a comedy director, saw the film and gave her a small part in his Peter, der Vagabund (1922). Encouraged by her own performance, she applied for and won a scholarship to a Swedish drama school. While there she appeared in at least one film, En lyckoriddare (1921). Both were small parts, but it was a start. Finally famed Swedish director Mauritz Stiller pulled her from the drama school for the lead role in Gösta Berling (1924). At 18 Greta was on a roll. Following Die freudlose Gasse (1925) both Greta and Stiller were offered contracts with MGM, and her first film for the studio was the American-made Fluten der Leidenschaft (1926), a silent film in which she didn't have to speak a word of English. After a few more films, including Totentanz der Liebe (1926), Anna Karenina (1927) and Herrin der Liebe (1928), Greta starred in Anna Christie (1930) (her first "talkie"), which not only gave her a powerful screen presence but also garnered her an Academy Award nomination as Best Actress (she didn't win). Later that year she filmed Romanze (1930), which was somewhat of a letdown, but she bounced back in 1931, landing another lead role in Mata Hari (1931), which turned out to be a major hit. Greta continued to give intense performances in whatever was handed her. The next year she was cast in what turned out to be yet another hit, Menschen im Hotel (1932). However, it was in MGM's Anna Karenina (1935) that she gave what some consider the performance of her life. She was absolutely breathtaking in the role as a woman torn between two lovers and her son. Shortly afterwards, she starred in the historical drama Königin Christine (1933) playing the title character to great acclaim. She earned an Oscar nomination for her role in the romantic drama Die Kameliendame (1936), again playing the title character. Her career suffered a setback the following year in Maria Walewska (1937), which was a box office disaster. She later made a comeback when she starred in Ninotschka (1939), which showcased her comedic side. It wasn't until two years later she made what was to be her last film, Die Frau mit den zwei Gesichtern (1941), another comedy. But the film drew controversy and was condemned by the Catholic Church and other groups and was a box office failure, which left Garbo shaken. After World War II Greta, by her own admission, felt that the world had changed perhaps forever and she retired, never again to face the camera. She would work for the rest of her life to perpetuate the Garbo mystique. Her films, she felt, had their proper place in history and would gain in value. She abandoned Hollywood and moved to New York City. She would jet-set with some of the world's best-known personalities such as Aristotle Onassis and others. She spent time gardening and raising flowers and vegetables. In 1954 Greta was given a special Oscar for past unforgettable performances. She even penned her biography in 1990. On April 15, 1990, Greta died of natural causes in New York and with her went the "Garbo Mystique". She was 84. Kay Francis is possibly the biggest of the 'forgotten stars' from Hollywood's Golden Era. Yet, for a while in the 1930s she ranked as one of America's most popular actresses, tagged the 'Queen of Warner Brothers'. By 1935, she earned a yearly salary of $115,000 (compared to Bette Davis with $18,000). The daughter of actress Katherine Clinton and businessman Joseph Gibbs, Kay did not start her working life in show business but sold real estate and arranged extravagant parties for wealthy socialites. Following her marriage in 1922 to James Dwight Francis, the son of a moneyed family, Kay adopted the surname Francis. Her first acting job was in a modernized 1925 version of 'Hamlet' (as the Player Queen), performing as 'Katharine Francis'. She then played Marjorie Grey in the melodrama "Crime" (1927) and appeared in the Ring Lardner play "Elmer the Great" (1928), produced by George M. Cohan and starring Walter Huston as Elmer Kane. On the strength of her stage work, Kay was screen-tested by Paramount and subsequently offered a contract (1929-31). A brief affair with writer/director Edmund Goulding (some time around April 1928) may also have been a contributing factor. She had a bit in the first Marx Brothers outing, The Cocoanuts (1929), and then graduated to playing sophisticated seductresses opposite stars like William Powell and Ronald Colman. She appeared in the Lubitsch comedy Ärger im Paradies (1932), though being unhappy about being billed below Miriam Hopkins in the picture. One of her best early films was the comedy/drama Das letzte Erlebnis (1932), in which Kay portrayed a gravely-ill baroness opposite Powell's gentleman burglar. This doomed romance, interlaced with witty dialogue, was described by a reviewer as 'spilled cocktail and love at first sight'. Paramount, at the time well-stocked with female stars but experiencing financial problems, decided to let Kay move to Warner Brothers. There she would remain for the rest of the decade. A tall, attractive, gray-eyed brunette with undeniable style and poise, she soon acquired a reputation as Hollywood's 'best dressed woman', wearing the most glamorous gowns designed by great studio costumers like Orry-Kelly, Travis Banton and Adrian. Female audiences, in particular, often flocked to see Kay Francis pictures simply to appreciate her sumptuous wardrobe. For her part, Kay spent a lot of time and effort on collaborative efforts with costume designers to select the right clothes for the parts she played. Dorothy Jeakins believed, that Kay possessed an 'innate sense of style'. By the mid-1930s, Kay earned $5,250 per week and was voted by Variety as Hollywood's sixth most popular star. Numerous magazine articles were written about every detail of her life in and off the studio lot. She had major hits with I Found Stella Parish (1935) and Confession (1937), both excellent money-spinners for the studio. While much was made at the time (and since) of her famous lisp, this had not hitherto been a significant detriment to Kay's career. At least, not until her falling out with the studio executives who thought her salary too excessive. The tight control the studio exercised over the roles she played on screen caused her to file a lawsuit against Warner Brothers in an effort to escape her contract. It had all started to go wrong for her when she was assigned the role of 'women's picture star', effectively typecasting her in sentimental melodramas, earnest biopics (The White Angel (1936), and three-handkerchief tearjerkers like My Bill (1938), her script filled with Rs and Ls as chastisement for bucking the system. Though she still managed to give several good performances, the writing was now on the wall. By the end of the decade, the 'Queen of Warner Brothers' mantle had passed on to Bette Davis. During the mid-1940s, Kay co-produced several B-movies as vehicles for herself at Monogram, then made a brief return to stage work, acting in summer stock before retiring permanently in 1952. She spent the remainder of her life in virtual seclusion in New York and in her estate near Falmouth, Cape Cod. She left some of her estate (in excess of one million dollars) to an organization training guide dogs for the blind, Seeing Eye Inc. Her surviving personal papers are accessible at the Wesleyan University Cinema Archives. Carole Lombard was born Jane Alice Peters in Fort Wayne, Indiana, on October 6, 1908. Her parents divorced in 1916 and her mother took the family on a trip out West. While there they decided to settle down in the Los Angeles area. After being spotted playing baseball in the street with the neighborhood boys by a film director, Carole was signed to a one-picture contract in 1921 when she was 12. The film in question was A Perfect Crime (1921). Although she tried for other acting jobs, she would not be seen onscreen again for four years. She returned to a normal life, going to school and participating in athletics, excelling in track and field. By age 15 she had had enough of school, though, and quit. She joined a theater troupe and played in several stage shows, which were for the most part nothing to write home about. In 1925 she passed a screen test and was signed to a contract with Fox Films. Her first role as a Fox player was Hearts and Spurs (1925), in which she had the lead. Right after that film she appeared in a western called Durand of the Bad Lands (1925). She rounded out 1925 in the comedy Marriage in Transit (1925) (she also appeared in a number of two-reel shorts). In 1926 Carole was seriously injured in an automobile accident that resulted in the left side of her face being scarred. Once she had recovered, Fox canceled her contract. She did find work in a number of shorts during 1928 (13 of them, many for slapstick comedy director Mack Sennett), but did go back for a one-time shot with Fox called Me, Gangster (1928). By now the film industry was moving from the silent era to "talkies". While some stars' careers ended because of heavy accents, poor diction or a voice unsuitable to sound, Carole's light, breezy, sexy voice enabled her to transition smoothly during this period. Her first sound film was High Voltage (1929) at Pathe (her new studio) in 1929. In 1931 she was teamed with William Powell in Man of the World (1931). She and Powell hit it off and soon married, but the marriage didn't work out and they divorced in 1933. No Man of Her Own (1932) put Carole opposite Clark Gable for the first and only time (they married seven years later in 1939). By now she was with Paramount Pictures and was one of its top stars. However, it was Napoleon vom Broadway (1934) that showed her true comedic talents and proved to the world what a fine actress she really was. In 1936 Carole received her only Oscar nomination for Best Actress for Mein Mann Godfrey (1936). She was superb as ditzy heiress Irene Bullock. Unfortunately, the coveted award went to Luise Rainer in Der große Ziegfeld (1936), which also won for Best Picture. Carole was now putting out about one film a year of her own choosing, because she wanted whatever role she picked to be a good one. She was adept at picking just the right part, which wasn't surprising as she was smart enough to see through the good-ol'-boy syndrome of the studio moguls. She commanded and received what was one of the top salaries in the business - at one time it was reported she was making $35,000 a week. She made but one film in 1941, Mr. und Mrs. Smith (1941). Her last film was in 1942, when she played Maria Tura opposite Jack Benny in Sein oder Nichtsein (1942). Tragically, she didn't live to see its release. The film was completed in 1941 just at the time the US entered World War II, and was subsequently held back for release until 1942. Meanwhile, Carole went home to Indiana for a war bond rally. On January 16, 1942, Carole, her mother, and 20 other people were flying back to California when the plane went down outside of Las Vegas, Nevada. All aboard perished. The highly acclaimed actress was dead at the age of 33 and few have been able to match her talents since. Mary Astor was born Lucile Vasconcellos Langhanke on May 3, 1906 in Quincy, Illinois to Helen Marie Vasconcellos, an American of Portuguese and Irish ancestry from Illinois, and Otto Ludwig Langhanke, a German immigrant. Mary's parents were very ambitious for her and wanted something better for her than what they had, and knew that if they played their cards right, they could make her famous. Recognizing her beauty, they pushed her into various beauty contests. Luck was with Mary and her parents because one contest came to the attention of Hollywood moguls who signed her when she was 14. Mary's first movie was a bit part in Buster Keatons verhinderte Trauung (1920). It wasn't much, but it was a start. Throughout 1921-1923 she continued her career with bit or minor roles in a number of motion pictures. In 1924, she landed a plum assignment with a role as Lady Margery Alvaney opposite the great John Barrymore in the film Beau Brummel (1924). This launched her career to stardom, as did a lively affair with Barrymore. However, the affair ended before she could star with him again in the classic Don Juan (1926). By now, Mary was the new cinematic darling, with each film packing the theaters. By the end of the 1920s, the sound revolution had taken a stronghold on the industry, and Mary was one of those lucky actresses who made the successful transition to "talkies" because of her voice and strong screen presence. Mary's career soared to greater heights. Films such as Dschungel im Sturm (1932), Convention City (1933), Man of Iron (1935), and Der Gefangene von Zenda (1937) kept her star at the top. In 1938, she turned out five feature films that kept her busy and in the spotlight. After that, she churned out films at a lesser rate. In 1941 she won the Best Supporting Actress Oscar for her role as Sandra Kovac in Vertauschtes Glück (1941). That same year she appeared in the celebrated film Die Spur des Falken (1941), but her star soon began to fall. Because of her three divorces, her first husband Kenneth Hawks' death in a plane crash, alcoholism, a suicide attempt, and a persistent heart condition, Mary started to get smaller film roles. She appeared in only five productions throughout the 1950s. Her final fling with the silver screen was as Jewell Mayhew in Wiegenlied für eine Leiche (1964).Although it was her final film, she had appeared in a phenomenal 123 motion pictures in her entire career. Mary lived out her remaining years confined to the Motion Picture Country Home, where she died of a heart attack on September 25, 1987. She was 81. Ginger Rogers was born Virginia Katherine McMath in Independence, Missouri on July 16, 1911, the daughter of Lela E. Rogers (née Lela Emogene Owens) and William Eddins McMath. Her mother went to Independence to have Ginger away from her husband. She had a baby earlier in their marriage and he allowed the doctor to use forceps and the baby died. She was kidnapped by her father several times until her mother took him to court. Ginger's mother left her child in the care of her parents while she went in search of a job as a scriptwriter in Hollywood and later to New York City. Mrs. McMath found herself with an income good enough to where she could send for Ginger. Lelee became a Marine in 1918 and was in the publicity department and Ginger went back to her grandparents in Missouri. During this time her mother met John Rogers. After leaving the Marines they married in May, 1920 in Liberty, Missouri. He was transferred to Dallas and Ginger (who treated him as a father) went too. Ginger won a Charleston contest in 1925 (age 14) and a 4-week contract on the Interstate circuit. She also appeared in vaudeville acts which she did until she was 17 with her mother by her side to guide her. Now she had discovered true acting. She married in March 1929, and after several months realized she had made a mistake. She acquired an agent and she did several short films. She went to New York where she appeared in the Broadway production of "Top Speed" which debuted Christmas Day, 1929. Her first film was in 1929 in A Night in a Dormitory (1930). It was a bit part, but it was a start. Later that year, Ginger appeared, briefly, in two more films, A Day of a Man of Affairs (1929) and Campus Sweethearts (1930). For awhile she did both movies and theatre. The following year she began to get better parts in films such as Office Blues (1930) and The Tip-Off (1931). But the movie that enamored her to the public was Goldgräber von 1933 (1933). She did not have top billing, but her beauty and voice were enough to have the public want more. One song she popularized in the film was the now famous, "We're in the Money". Also in 1933, she was in Die 42. Straße (1933). She suggested using a monocle, and this also set her apart. In 1934, she starred with Dick Powell in Twenty Million Sweethearts (1934). It was a well-received film about the popularity of radio. Ginger's real stardom occurred when she was teamed with Fred Astaire where they were one of the best cinematic couples ever to hit the silver screen. This is where she achieved real stardom. They were first paired in 1933's Flying Down to Rio (1933) and later in 1935's Roberta (1935) and Ich tanz mich in dein Herz hinein (1935). Ginger also appeared in some very good comedies such as Die Findelmutter (1939) and Fifth Avenue Girl (1939), both in 1939. Also that year, she appeared with Astaire in The Story of Vernon and Irene Castle (1939). The film made money but was not anywhere successful as they had hoped. After that, studio executives at RKO wanted Ginger to strike out on her own. She made several dramatic pictures, but it was 1940's Fräulein Kitty (1940) that allowed her to shine. Playing a young lady from the wrong side of the tracks, she played the lead role well, so well in fact, that she won an Academy Award for her portrayal. Ginger followed that project with the delightful comedy, Tom, Dick und Harry (1941) the following year. It's a story where she has to choose which of three men she wants to marry. Through the rest of the 1940s and early 1950s she continued to make movies but not near the caliber before World War II. After Oh, Men! Oh, Women! (1957) in 1957, Ginger didn't appear on the silver screen for seven years. By 1965, she had appeared for the last time in Harlow (1965). Afterward, she appeared on Broadway and other stage plays traveling in Europe, the U.S., and Canada. After 1984, she retired and wrote an autobiography in 1991 entitled, "Ginger, My Story". On April 25, 1995, Ginger died of natural causes in Rancho Mirage, California. She was 83. Aline MacMahon was born of Scottish-Irish and Russian-Jewish ancestry on May 3,1899, the daughter of William Marcus MacMahon and Jennie Simon MacMahon. Her father became editor-in-chief of Munsey's Magazine, while her mother pursued a theatrical acting career from middle-age and lived to age107. After the family moved to Brooklyn, Aline was educated at then-prestigious Erasmus Hall High School. She later attended Barnard College where she was graduated in 1920. MacMahon first appeared onstage in 'The Madras House' at the Neighborhood Playhouse Theater and subsequently made her bow on Broadway in "The Mirage" in 1921. During the 1920s, she had a prolific career on Broadway, first, as a comedienne adept at impersonations (notably, in "The Grand Street Follies" and "Artists and Models"). By 1926, she proved to be equally adept at dramatic roles, making an impact in Eugene O'Neill's "Beyond the Horizon." Noël Coward described her as "astonishing, moving and beautiful", while critic Alexander Woollcott commented on her "extraordinary beauty, vitality and truth" (New York Times, October 14, 1991). Her distinguished career on the stage went on for five and a half decades, highlighted by many critically acclaimed performances in plays like "The Eve of St. Mark" (1942-43), "The Confidential Clerk" (1954), "Pictures in the Hallway" (1956) and "All the Way Home" (1960-61). Her somewhat melancholic, heavy-lidded and thickly eye-browed features inspired sculptor Isamu Noguchi and photographer Cecil Beaton. MacMahon's film career began on the strength of her wisecracking voice-culture teacher, May Daniels, in the Kaufman and Hart comedy 'Once in a Lifetime', which she had created onstage in Los Angeles in 1931. She reprised her role on screen the following year and was, prior to that, cast in similar roles as feisty secretaries in Spätausgabe (1931), (her debut) and The Mouthpiece (1932). Goldgräber von 1933 (1933) afforded her a well-received co-starring role as the hard-boiled "Trixie Lorraine". McMahon managed to escape typecasting with several strong dramatic performances: Edward G. Robinson's sad, cast-off wife in Silberdollar (1932); the sympathetic self-sacrificing Mrs. Moore of The Life of Jimmy Dolan (1933); her co-starring role as Guy Kibbee's long-suffering wife Myra in Babbitt (1934); and kindly spinster aunt Lily Davis in Ah, Wilderness! (1935). She effortlessly made the transition from Pre-Code films to Post-Code. In the 1940s, she began playing lower-billed character parts, but was nominated for an Academy Award for her performance as the Chinese mother of Katharine Hepburn's character, Ling Tan, in Dragon Seed (1944). After that, she played a succession of gentle mothers and grandmothers, as, for example, in The Eddie Cantor Story (1953). She was also occasionally employed in meatier outdoor roles in anything from swashbucklers, like Der Rebell (1950), to westerns, such as her ranch owner in Der Mann aus Laramie (1955). More exotically cast, she portrayed James Darren's Hawaiian mother, Kapiolani Kahana, in König von Hawaii (1962). In her last motion picture performance, she re-created her stage role as Aunt Hannah for the Paramount film version of All the Way Home (1963). Based on the novel "A Death in the Family" by James Agee, the picture was a huge success with the critics but performed less well at the box office. Aside from a handful of guest appearances on television, she retired from the screen after 1964 and died of pneumonia at her Manhattan home at the age of 92 in 1991. She was married to Clarence S. Stern, who predeceased her in 1975. With blonde hair, big blue eyes and a big smile, Joan Blondell was usually cast as the wisecracking working girl who was the lead's best friend. Joan was born Rose Blondell in Manhattan, New York, the daughter of Katie and Eddie Blondell, who were vaudeville performers. Her father was a Polish Jewish immigrant, and her mother was of Irish heritage. Joan was on the stage when she was three years old. For years, she toured the circuit with her parents and joined a stock company when she was 17. She made her New York debut with the Ziegfeld Follies and appeared in several Broadway productions. She was starring with James Cagney on Broadway in "Penny Arcade" (1929) when Warner Brothers decided to film the play as Sinners' Holiday (1930). Both Cagney and Joan were given the leads, and the film was a success. She would be teamed with Cagney again in Der öffentliche Feind (1931) and Blonde Crazy (1931) among others. In The Office Wife (1930), she stole the scene when she was dressing for work. While Warner Brothers made Cagney a star, Joan never rose to that level. In gangster movies or musicals, her performances were good enough for second leads, but not first lead. In the 1930s, she made a career playing gold-diggers and happy-go-lucky girlfriends. She would be paired with Dick Powell in ten musicals during these years, and they were married for ten years. By 1939, Joan had left Warner Brothers to become an independent actress, but by then, the blonde role was being defined by actresses like Veronica Lake. Her work slowed greatly as she went into straight comedy or dramatic roles. Three of her better roles were in Ich suche meinen Mörder (1941), Cry 'Havoc' (1943), and Ein Baum wächst in Brooklyn (1945). By the 50s, Joan would garner an Academy Award nomination for Das Herz einer Mutter (1951), but her biggest career successes would be on the stage, including a musical version of "A Tree Grows in Brooklyn." In 1957, Joan would again appear on the screen as a drunk in Lizzie (1957) and as mature companion to Jayne Mansfield in Sirene in blond (1957). While she would appear in a number of television shows during the 50s and 60s, she had the regular role of Winifred on The Real McCoys (1957) during the 1963 season. Her role in the drama Cincinnati Kid (1965) was well received, but most of her remaining films would be comedies such as Wasserloch Nr. 3 (1967) and Latigo (1971). Still in demand for TV, she was cast as Lottie on Here Come the Brides (1968) and as Peggy on Los Angeles 1937 (1971).
1646	dbpedia	1	46	https://www.ipernity.com/doc/955739/46766038	en	ipernity: Edyth Walker	https://cdn.ipernity.com…ea833.500.jpg?r2	https://cdn.ipernity.com…ea833.500.jpg?r2	[ "https://cdn.ipernity.com/p/101/5B/95/955739.buddy.jpg", "https://s.ipernity.com/T/L/graphics/widescreen_example.png", "https://cdn.ipernity.com/p/101/5B/95/955739.buddy.jpg", "https://s.ipernity.com/T/L/z.gif", "https://cdn.ipernity.com/200/60/38/46766038.5efea833.640.jpg?r2", "https://s.ipernity.com/T/L...	[]	[]	[ "photo sharing", "community", "photo", "video", "blog", "sharing" ]	null	[]	null	Edyth Walker March 27, 1867 – February 19, 1950 American Mezzo later Soprano She entered and won a singing competition which provided her with a scholarship that enabled her to study singing in Europe. She arrived in Dresden, Germany, in 1891 where she became a pupil of Aglaia Orgeni. She later st	en	https://s.ipernity.com/T…con/16x16.png?v2	ipernity	https://www.ipernity.com/doc/955739/46766038	Dear administrator/moderator, do you accept this photo to be added to these groups: You have requested to add this photo to the following groups:
1646	dbpedia	2	13	https://www.popsike.com/1928-ELENA-GERHARDT-Schubert-CENTENNIAL-FISCHERWEISE-FISCHERMAEDCHEN78/111068082101.html	en	1928 ELENA GERHARDT Schubert CENTENNIAL FISCHERWEISE/ FISCHERMAEDCHEN78	https://www.popsike.ch/p…111068082101.jpg	https://www.popsike.ch/p…111068082101.jpg	[ "https://www.popsike.ch/pix/20130506/111068082101.jpg", "https://www.popsike.com/images/site/app_store_badge.svg", "https://www.popsike.com/images/site/google-play-badge.svg", "https://www.popsike.com/images/anniversary_popsikecom.webp" ]	[]	[]	[ "vinyl", "records", "results", "auction", "ebay", "price", "value" ]	null	[]	null	check the value of your vinyl records by searching our archive	en	../assets/ico/apple-touch-icon-144-precomposed.png		null	WEEK 2 of two weeks of great auctions ending May 11. I will send you a bill after close of auctions May 11. Due to the high volume of records, pls allow 2 - 3 days for packing and invoicing IF you are a non-US buyer or if buy multiple records, pls do not use EBAY check out. Send me an invoice request (click on MORE ACTIONS to the right of the item), I can probably get you better shipping rate. **** I am currently selling a series of great Richard Wagner and classic European 78 rpm orchestral recordings on all the great European labels: Elena Gerhardt, considered a singers singer, and the pioneer of intelligent Lieder interpretation in the line of Schwarzkopf and Fischer-Dieskau is considered by critics to be the singer with greatest subtlety and variety of impression. Her concert evenings with Artur Nikisch at the piano in the Pre WW I Berlin were the toast of town Here from her unfortunately incomplete recording of Schubert's Winterreise: Like Tauber in 1927 and Hans Duhan in 1928, Gerhardt took a crack at the complete Winterreise, unfortunately, only 8 sides from the 1928 session were recorded. Issued originally as 1928 HMV Black Label Schubert Centenary Album - seven 12" and one 10" record (eight items from Winterreise, and ten other songs). From the Schubert Centenary Album: FISCHERWEISE/ FISCHERMAEDCHEN - GEHEIMES w Coenraad van de Bost Piano early electric 12" 78rpm Condition: EXCELLENT minus rubbed, light scratches on Weise, Plays quiet w lightest crackle Elena Gerhardt (11 November 1883, Connewitz (nr. Leipzig) – 11 January 1961, London) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. Training, and first recitals with NikischElena Gerhardt, daughter of a Leipzig restaurateur, studied at the Leipzig Conservatory from 1899 to 1903, first with Professor Carl Rebling and then with Marie Hedmondt (d. 1941), who remained her friend and vocal adviser for many years. After a year of only technical study, she began work on operatic roles, such as Cherubino, Dorabella, the Mignon of Ambroise Thomas and Hermann Goetz's Katharina, interspersed with Lieder. She won the Carl Reinecke Scholarship. Leipzig provided many opportunities to hear international artists and to hear the early masters. In 1902 Arthur Nikisch became director of the Leipzig Conservatory, and approved her to sing publicly in Leipzig, which she first did in November 1902: he also gave her a solo in Liszt's Entfesselte Prometheus. On graduating in 1903, and with many engagements, she mentioned her wish to give a lieder recital, and Nikisch offered to be her accompanist, their first (victorious) performance being at the Kaufhaus in Leipzig on her twentieth birthday. Concert engagements poured in, and she sang lieder in almost every university town as supporting artist to names such as Ysaye, Teresa Carreño or Max Reger. By 1905 she made her first appearances (with Nikisch) in Hamburg and Berlin (the Bechsteinhall), and in Berlin made the friendship of Richard Strauss. From summer 1905 she spent holidays with the Nikisch family near Ostend. [edit] London, Europe, Russia and USA before 1914Gerhardt first appeared at the Leipzig Opera as Mignon, in June 1905, and also performed Charlotte in Massenet's Werther there, under Nikisch, being coached by his student Albert Coates as Korrepetitor. Nikisch arranged and accompanied her 1906 London debut, first in a Mischa Elman concert, and then in a Lieder recital (songs of Schubert, Schumann, Brahms, Hugo Wolf, etc.) at the Bechstein Hall. In April 1907 she first sang at the Royal Albert Hall, with an orchestra under Nikisch. Thereafter she returned to England annually until 1914 for autumn seasons, including regular tours of the provinces with Hamilton Harty or her loyal accompanist Paula Hegner. The partnership with Nikisch was preserved in two series of records made in 1907 and 1911, made in Berlin. A particular triumph was their appearance in the 1908 season of the Philharmonic Society in London. She sang by invitation to entertain royal guests to the Coronation of George V and Queen Mary in 1911. Nikisch introduced her into the highest circles, including the Villa Wahnfried. She sang in many European capitals - Vienna, Budapest, Prague, Copenhagen, Christiania (Oslo) - and with old musical Societies at Cologne and Frankfort, annually in Paris and London, and under Mengelberg at The Hague. Nikisch usually accompanied the first Lieder concert at each centre, after which other accompanists took over. Alexander Siloti arranged her first visit to Russia (to Moscow) in 1909, and until the War she sang there and in St Petersburg. Gerhardt made her American debut at the Carnegie Hall in January 1912, with Paula Hegner, and was then in Cincinnati and Philadelphia with Leopold Stokowski (singing the Wesendonck Lieder), and with the Boston Symphony Orchestra under Max Fiedler, before finally combining there with Nikisch and the London Symphony Orchestra tour. In London in 1912 she performed the angel in Elgar's The Dream of Gerontius, a role more associated with her 'rival' and friend Julia Culp. Her second American tour was in early 1913, opening with the Boston Symphony under Karl Muck, and with Karl Wolff as accompanist, who died during the tour. They visited Boston, New York, Baltimore, Washington and Baton Rouge, Louisiana. Next season she sang in Paris, Moscow, Scandinavia, Hungary, Austria, Holland, Italy, Scotland and England, culminating in London in July 1914 at the Queen's Hall under Richard Strauss - her last appearance there for eight years. [edit] The First World WarReturning from Ostend to Leipzig in August 1914, her English tours were impossible to fulfil, but she sang from Hamburg to Vienna and Budapest and returned triumphantly to America in 1915, and that winter sang in Denmark and Norway. In August 1916 she sang to German troops on the Western Front at Laon, through efforts of her brother the singer Reinhold Gerhardt, a pupil of Karl Scheidemantel. Meanwhile in late 1916 she returned to the USA to give the east coast tour with Karl Muck, and in April 1917 was singing in Los Angeles and San Francisco. As America entered the war she was shipped back to Germany with many other artists. She visited the Front again in summer 1918 with Wilhelm Backhaus (in uniform) as accompanist and concert partner. She continued to tour, from Norway to Hungary, through the chaos following the armistice, and was in Munich when Kurt Eisner was assassinated. [edit] Between the warsIn early 1920 she made a prolonged tour of Spain with Paula Hegner, and later that year to the USA again, where her collaboration with the model accompanist Coenraad van Bos began. This partnership was renewed in the winter season of 1921-22 in New York. In March 1922 (soon after the death of Nikisch) she braved the return to London (Queen's Hall) with Paula Hegner, where her German art was received with an ovation. That was the start of an unbroken tie with England, which later became her home. The following years saw annual winter tours in USA (and the Pacific coast from San Francisco to Vancouver in 1925), with extensive tours in UK, Europe and Germany. There were further Spanish tours, including one in winter 1928 with van Bos. She was then singing Schubert's Winterreise which, as a female singer, she made particularly her own. At the start of 1929 she became head teacher of singing at the Leipzig Conservatory, and after October 1930 she discontinued her American tours, though still touring intensively in Britain and Europe. In 1928 she met and fell in love with Dr Fritz Kohl, Director of Administration of the Mitteldeutsche Rundfunk in Leipzig, and they married in November 1932. In London she reappeared before the Royal Philharmonic Society in January 1931, under John Barbirolli, to perform Wolf songs with orchestral accompaniment, and the Kindertotenlieder of Mahler. Her Hugo Wolf Song Society recordings were made in 1932. Following Hitler's rise to power Kohl was arrested and imprisoned, and not until June 1935 was he released, the only one of the German Broadcasting Directors to be acquitted by the Reichsgericht in Leipzig. With the help of Landon Ronald at the Guildhall School of Music, Elena meanwhile got a foothold in London in 1934, and after a last visit to Bayreuth to see Strauss conduct Parsifal ('It was no longer Richard Wagner's Bayreuth, but Hitler's'[1]), London became the settled home of the couple. Over the following years, as the storm gathered, Elena gave recitals in Holland, France and Britain, often with Gerald Moore accompanying, and developed a circle of singing pupils. [edit] Wartime recitals in EnglandWith the outbreak of war, Gerhardt expected that her singing career was at an end as there should be no taste for German music in Britain, especially as she would only sing in German, and the broadcast of the German language was forbidden on the BBC home programmes. However, Myra Hess insisted upon involving her in the National Gallery mid-day concerts, where she first appeared in December 1939, and afterwards in twenty-two concerts with Myra Hess or Gerald Moore, being very greatly appreciated. With Myra Hess and Lionel Tertis she sang the Brahms viola songs and other Lieder recitals in many parts of England and Scotland, including a complete Winterreise in Reading, and in 1942 gave BBC Lieder broadcasts to Argentina. Her teaching picked up again after 1941. With Myra Hess she sang at Haslemere for Tobias Matthay and his pupils. She gave a sixtieth birthday concert in the Wigmore Hall in 1943, and further National Gallery and Wigmore Hall concerts in 1944. News of the destruction of Leipzig and Dresden, of course, filled her with deep sadness. [edit] Late careerIn 1946, when the BBC Third Programme (i.e., Radio 3, the classical music station) was inaugurated, she gave three broadcasts, including Lieder recitals and talks about her career and the interpretation of Winterreise. She also recorded the Frauenliebe und -leben in that year. She made a broadcast on Brahms's songs in May 1947. That was soon after her formal retirement from the platform in March 1947. Her husband Dr Kohl died in May 1947, and the remainder of her professional life was devoted to teaching in London. She managed to arrange the escape of her brother Reinhold and his family from Eastern Germany, and he joined the staff of the Guildhall School of Music. Gerhardt was one of the very great interpreters of German Lieder, a singer who made her career almost entirely in this genre. She published her autobiography in 1953 and died in 1961. [edit] Recordings(See discography by Desmond Shawe-Taylor, with titles and number listings. Dates may be of recording or of issue.)[2] Acoustic recordings: 1907 G&T recordings with Arthur Nikisch (Wolf, Bungert, Brahms, Strauss, Rubinstein) - six 10" and one 12" record/seven songs. 1911 Red Label German HMV recordings with Arthur Nikisch (Wolf, Brahms, Bungert, Strauss, Schumann, Schubert, Wagner) - ten 10" and seven 12" records/seventeen songs. 1913-1914 as above, with Bruno Seidler-Winkler (pno) - eleven 10" records/songs. (Strauss, Brahms, Schubert, Wolf). 1913-1914 as above, with orchestra cond. Seidler-Winkler - five 12" records/songs. (Strauss, Wagner, Gluck, Wolf). 1915 American Columbia, about 7 titles with orchestral accompaniment. (J. Strauss, Schulz, Grüber, and folk-songs) 1923 Aeolian Vocalion with Ivor Newton (pno) - six 12" records/songs. (Schubert, Grieg, Schumann, Strauss, Brahms) 1924 as above, with Harold Craxton (pno) - six 12" records/songs. (Schubert, Strauss and Brahms) 1924-1925 HMV red label, with ?Harold Craxton (pno) - seven titles (three 10" 2-sided records and one side unissued). (Schubert, Schumann, Wolf and Brahms) Electric recordings: 1926 HMV red label, with Paula Hegner - eight songs, three 10" and two 12" records. (Brahms, Schubert) 1927 HMV red label, with Coenraad van Bos - three songs, two 12" records. (Brahms, Reger) 1928 HMV Black Label Schubert Centenary Album - seven 12" and one 10" record (eight items from Winterreise, and ten other songs). 1929 HMV black label, with Harold Craxton - one 12" record, three songs (Brahms). 1929 HMV black label, with Coenraad van Bos - two 12" records, six songs (Brahms). 1929 HMV red label, with van Bos - one 10" record, three songs (Schubert and Wolf). 1929 HMV red label, with van Bos - one 12" record, two songs (Schumann): another two sides of Schumann were recorded at this time (Wer machte dich so krank, and Alte Laute), but were not issued. 1932 HMV red label Hugo Wolf Society Volume I, with Coenraad van Bos - six 12" records, nineteen songs. 1939 HMV White Label, privately published, with Gerald Moore - six 10" records, GR16-GR21. (Brahms, Complete Zigeunerlieder (eight songs), three other songs; Schubert (four), Wolf (two)). 1947-1948 HMV White Label, privately published, with Gerald Moore - (Schumann, Frauenliebe und -leben Complete, three 12" records). Also Schumann's Meine Rose was recorded, on one 12"" side, but was not issued. * * *<?xml:namespace prefix = o /> Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Fair, I don't give Mint) refers to the WEAR of the record. Any other defects, like cracks, chips and scratches, are stated separately When I listen to a record, I may also make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise. "SUPERQUIET" is basically noiseless, like a vinyl pressing. "VERY QUIET" is an exceptionally quiet record for a given pressing. "Quiet" is a record that is a great example without undue noise for a given pressing. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Pls check my other auctions for more great records and phonograph items: http://stores.ebay.com/carstensf http://stores.ebay.com/carstensf ==== Multiple item shipping: I am happy to combine items for shipment in one parcel. If you win multiple items, pls send me an INVOICE REQUEST to calculate the correct postage. Ebay check out will not give you the multiple item discount! Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless another service is requested. Shipping is at your risk. If you are in the San Francisco area, I encourage pick-up in person. US Domestic Shipping: Here is a guideline for US Media Mail Shipping: Prices below are for regular 78 rpm records. Up to about 5 records, I will ship Edison Discs for the same rates. Albums from Album Sets count as 1 record. Above that and for international shipments, it will be actual weight plus a small packing charge (1-3$ depending on size of shipment) 1 record: 4.50$ 2 records: 5.50$ 5 records: 7.50$ 10 records: 9.50$ MANY MORE RECORDS: Don't worry. I safely ship 40 - 50 pounds of records double boxed in moving boxes, and even then Media Mail will probably not exceed 30$. Please send me a message if you would like to lower your shipping rates! International Buyers: All'attenzione degli acquirenti italiani: ATTENTION TO ITALIAN BUYERS: Due to rare problems with delivery in ITALY, I will NOT GUARANTEE delivery of parcels sent by US Postal Service First Class and Priority Mail. If you prefer secure delivery, I will be happy to quote you either Registered Mail or shipment by FEDEX I am very happy to ship records worldwide. The US POSTAL SERVICE has increased international shipping rates in 2013. A single record ships for around 25$ worldwide, depending on the weight. There are some great options available for shipping multiple records at excellent rates. Pls contact me if you plan to buy multiple records, and I will be happy to give you an estimate for best rates on USPS or Fedex. Pls let me know your country, home town and postal code for an estimate ===== As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and good luck bidding !!!
1646	dbpedia	1	11	https://www.amazon.com/Recital-Elena-Gerhardt/dp/B0000CIOJ0	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/perumqgc/Captcha_nbyaavndkb.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=PNJ0KG7XNM04ZT5CXSAZ&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
1646	dbpedia	2	52	https://www.ellinoreginn.co.nz/annaginn.htm	en	Anna Ivy Ginn NZ Singing Teacher from Wellington			[ "https://www.ellinoreginn.co.nz/images/general/columbine.gif", "https://www.ellinoreginn.co.nz/images/family/Nana3.jpg", "https://www.ellinoreginn.co.nz/images/general/columbine.gif", "https://www.ellinoreginn.co.nz/images/general/grapebar.gif", "https://www.ellinoreginn.co.nz/images/family/Nana1.jpg", "h...	[]	[]	[ "" ]	null	[ "Ellinore Ginn" ]	null					null	Ivy Fenwick (Anna) Ginn 1882 - 1971 1969 Ivy (Anna) Ginn - Age 89 Anna Died 18 January, 1971 Wellington - New Zealand Ivy (Anna) Poppelwell and with her mother Elizabeth. Photographs Taken Approx: 1886 Ivy was born 10 October, Dunedin, New Zealand and lived with her parents Elizabeth and William (V) Poppelwell at 300 York Place. She was the only girl among four brothers - George, Henry, Colin and Cecil (Eddie). Her first school was St Joseph's, Dunedin and then on 8 August 1896 she enrolled at the High Street School in Dunedin when she was 13 years 10 months. The Poppelwell Family Photograph Taken Approx: 1894 - 1896 - Family Left To Right - 1886-1946 Henry Kearns 1855-1946 Elizabeth 1882-1971 Anna (Ivy) 1890-1967 Cecil (Eddie) 1850-1934 William (V) 1884-1914 George William 1888-1932 Colin McLachlan Top of Page Ivy (Anna) was a warm generous caring person of strong personality and marked musical gifts. In her teens she lived as companion to her Aunt Fenwick, her mother's sister in Dunedin, who fostered and financed her musical education, and when she died, she left a bequest which enabled Anna to continue her singing training overseas. Anna was a member of St Joseph's Cathedral Choir in Dunedin with her brothers Henry and Colin, as well as her cousin Polly. St. Joseph's Cathedral - Dunedin Photograph Taken: 1886 Then, from her Aunt Fenwick's bequest, Anna became a protege of Dame Nellie Melba at the Melba Conservatorium of Music in Richmond, Australia. Afterwards, she then went on to Germany where she studied Italian and German the Lieder technique with Elena Gerhardt when she was in her twenties. Ivy (Anna) Ginn - 1930's Anna had a fine mezzo soprano voice and had a long career as pianist, accompanist, solo concert singer as well as a music and voice teacher for about 40 years. Her pupils used to call her 'Madam Ginn'. In 1938 Anna was invited to be in a concert with the British Music Society, New Zealand Section, at the Bristol Salon on July 7 in Wellington. Note: The programme is shown in a pop-up window - Concert Programme - as it did not reduce very clearly after scanning because of its age, it is shown at a larger size for better viewing. Anna was very proper indeed, and you had to ask if you were allowed to wear slacks to a singing lesson. She also liked to have good looking young people around her. There were many romances and a lot of suitors and romances. She was engaged to be married before George Ginn, but, unfortunately the young man died in a motorbike accident on the day they were going to be married. Anna's hair turned white from the shock of it all. Top of Page Ivy (Anna) Ginn Photograph Taken Approx: 1914 Details taken from the Wellington Electoral Role - 1922 George Alfred Ginn- Merchant Ivy Fenwick Ginn - Married 3 Park Terrace, Wellington When she was 32 she married George Alfred Ginn who she met on a ship. George had looked over at her and saw her straight back, and wanted her to sit at his table. He was not a very sympathetic man. On one of their Anniversaries, they went for a walk and sat somewhere on a hill. Anna thought he was going to say something romantic, but instead, he said: 'Oh dear, I think we are sitting on a septic tank.' So much for romance! After she married George Ginn, she used her middle name of Anna and went by that for many years - only occasionally was she called Ivy. George was a prosperous tea merchant who had tuberculosis and was supposed to die within 2 years after their marriage, but, went on to live for approximately 12 more years. He died in 1926. They had one son - Russell Henry - born November 23, 1916. They lived in Karori, Wellington for a while before moving to 3 Collina Terrace, Thorndon. St. Mary's College was at the back of their property, where her Aunts Catherine (Kate) and Elizabeth (Lizzie) Poppelwell were early boarders The house in Collina Terrace was a two storey Victorian residence and Anna's Singing Room was in the front of the house which had a wonderful view of Wellington Harbour with the foreign ships and the inter-island ferries coming in and out. That was before the ICI building was erected right in front of Anna's house which then blocked out her view. Dame Nellie Melba 1861 - 1931 The Singing room had pictures of Elena Gerhaardt, Dame Nellie Melba and others. A large bookcase filled one wall with manuscripts of songs all overflowing along the walls. Little ivory elephants and Egyptian scabbards abounded. Brass animals were everywhere. A snake, a buddha, 3 wise monkeys, elephants, frogs, a snail, butterflies and bowls. A lady called Nola used to come in once a week to help polish them all. Mr. Nippert was Anna's right hand man. He was the "I'll fix it mum," to everything. Jeanie Weenie was her maid and was the daughter of an Indian mother and a Scottish Father. When Jeanie left to get married, Annie persuaded Tattie and Dan Eckhoff and family (who were renting a house in Kelburn) to share Collina Terrace with her, and to help with her mother Elizabeth who was rosie-faced with gray hair and very religious. They stayed for 12 years. The Singing room had an ornate white ceiling and a long bamboo curtain pole covered the windows with coffee coloured curtains. One of Anna's favourite scales for her pupils was 'gone-doubt-gone-fear' which used all the 'o' sounds and rounded the mouth. She also practised the Bel Canto method of singing and had many pupils over the years. They included: Robin Dumbell (her star pupil) and George Metcalfe (both tenors), John Simpson, Raymond and Elaine Romanos, Dorothy McKegg, Frank and Jean Malthus, Maria Dronke, Beverley Reid and many others. There were also the monthly tea parties when the little trolley was wheeled out from the kitchen with the best china, little white doileys on each plate waiting for the tempting little cucumber sandwiches, queen cakes, rock cakes and others. A large silver teapot sat in the middle of the trolley and Anna used to turn to one of her pupils and say 'Would you like to be mother?' which meant they were allowed to pour for everyone. A great honour indeed! Wilson Descendants Ginn Descendants Anna Ginn Russel Ginn Russel's Dinghy Frodo George W Ginn Poems Ellinore's Life My Tribute to Mum Poppelwell Descendants Dugald Poppelwell Mackenzie Descendants Ellinore's Daughters Ellinore's Grandchildren Fantasy Paintings Heatherley's School of Art Harlequin Paintings Ellinore's CV Platero & I Paintings Story of Platero Exhibitions Newspaper Clippings Jug of Memories Porirua Little Theatre Titahi Bay NZ Links to other sites Awards Home Page Please email me for information about Ivy (Anna) Ginn. 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1646	dbpedia	1	4	https://chicago.universitypressscholarship.com/view/10.7208/chicago/9780226563602.001.0001/upso-9780226563572-chapter-005	en				[]	[]	[]	[ "" ]	null	[]	null					null
1646	dbpedia	2	72	https://archives.yale.edu/repositories/11/resources/617	en	Collection: Fedor Stepun papers			[]	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null	Fedor Avgustovich Stepun was born in Moscow on February 6 (19) 1884, the eldest son in a family of German and Lithuanian stock. There is some evidence that his original name was Friedrich Steppuhn and that he was born a German citizen, accepting Russian citizenship before entering the army; until 1917 the Russian spelling of his name was Steppun. When he was three, his father, Avgust, became director of a paper factory and received a rural estate at Kondrovo; from then until secondary school, Stepun lived in a small Russian village. Later he would claim that village life, together with the Russophilism of his mother, Mariia, tempered his foreign blood and made him fully Russian. He subsequently converted from the Reformed Church to Orthodox Christianity. In 1900, Stepun graduated from the Technical High School of St. Michael in Moscow, and enlisted for army service in 1901. He spent one year in an artillery division in the city of Kolomna. He underwent further military training there in 1904 and 1911. In 1914 he was called up for active duty in the war with Germany. Stepun's military experiences are described in great detail in his memoirs Vergangenes und Unvergängliches and in his 1918 autobiographical novel Pis'ma praporshchika-artillerista. After his first period of military training, Stepun decided to devote himself to philosophical studies, to which purpose he applied to Heidelberg University. Stepun remained at Heidelberg from 1902 to 1910, attending lectures on a wide range of subjects. Throughout his stay, however, he remained under the particular tutelage and influence of the Neo-Kantian philosopher Wilhelm Windelband, and also enjoyed the advice of Heinrich Rickert and Emil Lask. Stepun received a degree in 1907 from the University of Heidelberg, and his Ph.D. in 1910, also from the University of Heidelberg. His doctoral dissertation, "Die Geschichtsphilosophie Wladimir Ssolowjews", was published by Fritz Eckardt Verlag in Leipzig under the name Friedrich Steppuhn. He published an essay in to Vom Messias. Kulturphilosophische Essays, whose contributors included Stepun's future friends and colleagues Sergei Gessen, Nicolai von Bubnoff, Georg Mehlis and Richard Kroner. In Heidelberg Stepun met his first wife, Anna Aleksandrovna Serebriannikova, whom he married in about 1906 amidst tragic circumstances which are recounted both in his memoirs (where his wife is called Oloviannikova), and in his largely autobiographical novel, Nikolai Pereslegin, where she is called Tania. Both her real name and the date of their marriage remain uncertain. The marriage, which he called "a romance in the style of Dostoevskii", also ended tragically: barely two years after they were married, Anna drowned in the Baltic Sea, while attempting to rescue the younger brother of her own first husband. Stepun recalls in his memoirs that it was Professor Windelband, a classically haughty German philosopher, who broke the news of Anna Aleksandrovna's death to him. This passionate, early marriage, coupled with previous romantic encounters, contributed to Stepun's disenchantment with theoretical philosophy and pushed him in the direction of a more vitalistic thought, so-called 'philosophy of life', which he characterized in his novel Nikolai Pereslegin, "all my philosophy is a defense of life against [theoretical] constructions, of living eyes against points of view." It was about this time that Stepun began to give creative and theoretical expression to his life-long fascination with the artistic element in all aspects of life, from romance to theater and even politics. Memoirists are unanimous in declaring Stepun a primarily 'artistic nature', both in life and in his creative work. Stepun had studied philosophy primarily under Neo-Kantian professors, and had begun his dissertation as a formal study of Solovyov's ethics. With time, however, he moved away from Kantianism towards German idealism and Solovyovian historiosophy. In the years after his first wife's death, Stepun wrote studies of Friedrich Schlegel and Rainer Maria Rilke. Although the Schlegel essay won high praise from Rickert and Georg Simmel, and Stepun continued to associate with his Kantian colleagues in the journal Logos, after his return to Russia in 1910 he soon found his intellectual home in the circle of Russian Symbolists and religious philosophers, such as Andrei Bely, Nikolai Berdiaev, Alexander Blok, Semen Frank, and Viacheslav Ivanov, to whose thought he would devote many of his mature works, and with some of whom he would remain close friends in emigration. In 1910, together with his Heidelberg colleagues, Stepun became a founding editor of Logos. An International Philosophical Journal, which was published simultaneously in Russian (in Moscow) and German (in Tübingen). Stepun and Gessen took on the editorship of the Russian edition, and Stepun even traveled to Italy to arrange for an Italian version of the journal. The initial hostilities between Logos and representatives of Russian religious philosophy eventually abated, and Stepun became an active member of the Philosophical Societies of Moscow and St. Petersburg. In his memoirs, Andrei Belyi recalls a philosophical circle that formed around Stepun, and which included the budding poet Boris Pasternak. Stepun also contributed such essays as "Logos" and "Fenomenologiia landshafta" to the Symbolist journal Trudy i dni. In emigration, Stepun continue to hold a moderate position that allowed him to collaborate with both the stricter philosophers, such as Boris Jakovenko and Nikolai Losskii, and with their religious opponents, such as Nikolai Berdiaev, Sergius Bulgakov, and Vasilii Zen'kovskii. In 1911, Stepun married Natal'ia Nikolaevna Nikol'skaia (born May 5, 1886, new style; she is called Nikitina in his memoirs, probably to protect those of her family who remained in the USSR). Natal'ia Nikolaevna had previously been engaged to Stepun's brother-in-law. Stepun also gave an artistic history of his second love in his novel Nikolai Pereslegin. You, as my Wife, will always remain God's harvester on my fields; whatever grains my life brings to bud, my soul will always know a yearning for Your sickle and the belief that, whatever matures within me, it matures only to die in Your embrace, on the blade of Your love. (203) Although she was from a noble family, Stepun's foreign friends always saw her as an embodiment of peasant Russia: simple, warm and hospitable. They spent much time in the following years, especially between 1918 and 1922, at her family estate Ivanovka, where Stepun worked the land as a peasant, an experience he often remembered with fondness. From 1910 through 1914, Stepun wrote philosophical articles, mostly for Logos, Trudy i dni, and Severnye zapiski, and travelled around provincial Russia giving lectures to large audiences under the auspices of the "Bureau of Provincial Lectors", led by IUlii Isaevich Aikhenval'd. Stepun devotes many pages of his memoirs to his impressions of pre-war, provincial Russia, in particular the city Nizhnii Novgorod. During this time Stepun first exhibited a rare rhetorical gift that continued to stun his listeners throughout his life. In 1914, Stepun was called up to serve in the First World War. He was commanded to the 12th Gunners Artillery Division in the rank of lieutenant, and, after an initial period in the Far East near Irkutsk, Stepun served throughout Ukraine and Poland. The March revolution found his division in Galicia, and he was soon sent to Petersburg as part of an army delegation. Stepun became a representative of the front troops at the All-Russian Soviet of Workers', Peasants' and Soldiers' Deputies. He soon returned to the front, but was immediately called back to serve in the Political Section of the War Ministry, headed by ex-terrorist Boris Savinkov. Stepun played an active role in many important events of the pre-October period; he later told how he was present when A. F. Kerensky signed the order freeing Leon Trotsky from prison. At this time Stepun seems to have been closely tied to the Socialist Revolutionary Party (the SRs), although he was not a member. Stepun continued to write during this period: his first novel, Pis'ma praporshchika-artillerista, was first published in 1916 (in book form it was first published in 1918, together with a work by Savinkov). He was Political Editor for the newspaper Invalid (renamed Armiia i Flot Svobodnoi Rossii), where he published several polemical articles, photostats of which are among his papers. Stepun was briefly arrested during the October Revolution, but soon made his way to Moscow. He was active in the opposition press, particularly in the Right SR Vozrozhdenie, which was closed in June 1918 (and succeeded by Syn otechestva), and as editor of Shipovnik. Called up into the Red Army, he was able to win a post in 1919 as repertoire and stage director of the Revolutionary Theater, where he staged Sophocles' "Oedipus Rex" and Shakespeare's "Measure for Measure". After losing this post in late 1920, Stepun retired to Ivanovka. Throughout the years 1918-22, Stepun continued to participate in meetings of the Free Philosophical Academy and revolutionary theater groups. In 1922 he collaborated with Nikolai Berdiaev and others in the collection Osval'd Shpengler i Zakat Evropy, and edited the literary and artistic almanac Shipovnik. In November of this year he was also expelled from Soviet Russia, together with a hundred and fifty other intellectuals. Stepun left the USSR with his wife and his mother, who died during the Second World War, and to whom Stepun devoted the final pages of his memoirs. Stepun settled at first in Berlin, where he read lectures in the Religious-Philosophical Academy, founded by Nikolai Berdiaev and supported by the American YMCA, and at the Writers' Club. He published his collected philosophical essays in Zhizn' i tvorchestvo (Berlin, 1923), and also a book on the theater he had written at Ivanovka (Osnovnye problemy teatra). An expanded version of this book was later published in German as Theater und Kino (Berlin 1932; updated edition Theater und Film, München, 1953). He began to participate in the émigré press. He became literary editor for Sovremennye zapiski, where he published his semi-autobiographical and highly philosophical novel Nikolai Pereslegin (separate edition Paris, 1929) and a series of "Thoughts on Russia". Together with Sergei Hessen and Boris Jakovenko, Stepun became an editor of the rejuvenated Logos, which appeared in Prague. In early 1926, after a couple of years of residence in Freiburg-im-Breisgau, Stepun was offered a position teaching sociology at Technische Hochschule Dresden, largely thanks to the sponsorship of Richard Kroner and Paul Tillich, who were teaching there. Tillich and Kroner, who both emigrated to America after Hitler's ascent to power, remained lifelong friends of Stepun. It is unknown when Stepun received, or rather resumed his German citizenship. Stepun held his Dresden position for eleven years. He became a well-known figure in the emigrant colony of the city, serving as president of the important Vladimir Solovyov Society. His constant employment also gave him a measure of security unusual among the emigration, allowing him to travel widely to other émigré centers, such as Prague, Berlin, Riga and Paris, and also to Switzerland, Austria and Scandinavia. He quickly became a central participant both in émigré and German intellectual circles, contributing articles to such journals as Put', Sovremennye zapiski and Hochland. Stepun was also active in the Russian Student Christian Movement (RSKhD), through which he developed his love for the Orthodox Church and deepened his concern for the younger generation of émigré Russians. He was an editor of the short-lived journal Utverzhdenie, together with Nikolai Berdiaev. In 1931, together with Georgii Fedotov and Il'ia Isidorovich Fondaminskii (pseud. Bunakov), Stepun became a founding editor of the journal Novyi grad, which would expound a new Christian and Socialist vision, uniting such outstanding thinkers and figures as Berdiaev, Sergius Bulgakov, Mother Mariia (Skobtsova), Marina TSvetaeva, and the three editors themselves. Stepun expressed his critique of Bolshevism and his positive ideals in a German book Das Antlitz Russlands und das Gesicht der Revolution (Leipzig, 1934), translated into English as The Russian Soul and Revolution (London and New York, 1936). The National Socialist coup in Germany gradually began to affect Stepun in 1935. He was removed as an editor of Novyi grad, apparently due to the ambiguity resulting from his decision to remain in Germany and work within the system. A document among Stepun's papers, dated January 2, 1935 (Box 53 Folder 1607) indicates that he expressed public approval of elements of the National Socialist cause. But by 1936, Stepun had been exiled to the economics department in Dresden and had aroused the suspicions of the administration. On a visit to Switzerland in 1936, Paul Tillich told Stepun of the European view of Hitler, and recorded: "He is deeply shaken, feels that he has taken Nazism too lightly". Indeed, in June 1937 Stepun was removed from his position on charges of overt Christianity and sympathy for the Jews. His one-time disavowal of German citizenship and conversion to Orthodoxy, even the spelling of his name, were also held against him. Stepun's personal papers contain chilling evidence of this episode (Box 68 Folders 2079-2081). Stepun was also forbidden to speak publicly, and the rising international tensions further cut him off from his friends abroad. He made his last trip to Paris for many years in 1937, the year of the World's Fair. Stepun spent the war-years writing his memoirs in Dresden and at friends' houses in the country. He was at the house of Paul and Irmengard Mildner in Rottach-am-Tegernsee when Dresden was fire-bombed in February 1945. Thus Stepun and his wife became refugees without money or property. In October 1946, however, Stepun was awarded an honorary professorship at the University of Munich in Russian Spiritual History, a section of the Philosophical Faculty created especially for him. Over the next several years, Stepun endeavored to emigrate to the United States, but was unable to find a suitable position in an American university. His ignorance of English was also an inhibiting factor. From 1946 to 1964, Stepun lectured constantly at the University of Munich and other public forums throughout Germany, as well as abroad, particularly in Switzerland and Scandinavia. Many of these lectures were held under the auspices of the organization Deutsches Vortragsamt (originally Westdeutsches Vortragsamt), and many others were organized by local cultural associations. They covered familiar territory for Stepun, including such titles as: "The Crisis of Freedom in Our Time", "The Fall and Reconstruction of the Personality"; "The Historical Roots of the Bolshevik Revolution", and "Russian Caesaropapism and Russia's Tragedy". His lectures on the history of Russian thought included the following constant themes: "Dostoevsky's World-View", "The Tragedy of Tolstoi's Life", "Vladimir Solovyov - Prophet of the Turn of the Century", "Russia's Image of Goethe". Similar titles recur with great frequency in Stepun's writings and radio speeches. Stepun participated in the Deutsche Gesellschaft für Osteuropakunde (German Society for the Study of East Europe), and other learned societies with interests in Russia. His interpretations of everything from Bolshevism to Russian Symbolism and Dostoyevsky became influential factors in German intellectual life. The original publication of his memoirs (1947-48; abridged version in 1961), together with the republication of both his novels in German translation (1951, 1963), opened new vistas on Russia for a country that was at this time fascinated with the real nature of the Soviet Union and international Communism. An abridged version, titled Das Antlitz Russlands und Gesichte der Revolution, was even a bestseller in Germany. Stepun also published a book of his essays devoted to Russian Communism, Bolschewismus und die christliche Existenz (München, 1958). His final book, Mystische Weltschau (München, 1964), summed up his life-long interest in Vladimir Solovyov and Russian Symbolist literature, and remains a central work on these topics. In these later years, Stepun regularly contributed to the journals Hochland and Merkur, and his articles were published regularly in the German press. He also often appeared on the radio. Stepun also became a key figure in the Deutsches Institut für Film und Fernsehen in 1950s, although this initiative came to a controversial end in 1956. Stepun was also active in the Tolstoy Foundation and other religious charity organizations in Munich and elsewhere. February 20, 1964, Stepun was feted by the Bavarian Academy of Fine Arts on behalf of his German and Russian-émigré admirers. Throughout the early Cold War and subsequent Thaw, Stepun remained a giant of émigré letters and thought. He paid close attention to any significant cultural event, both in the emigration and in the Soviet Union, and refined and repeated his interpretation of Russian history as new events unfolded. Stepun contributed articles to Vestnik RSKhD, Vozrozhdenie, Novyi zhurnal, Opyty, Vozdushnye puti, Mosty (of which he was editor), Russkaia mysl' (La pensée russe), Za svobodu, Novoe russkoe slovo, and others. He frequently traveled to Paris to participate in émigré events. The original, Russian text of his memoirs was published to great acclaim in 1956. A collection of his literary essays was published as Vstrechi in 1962. In 1965 Stepun published his final work of fiction, the story "Revnost'".In recent years Stepun's intellectual legacy has begun to be appreciated in Russia, with the republication of many of his books and articles. After his wife's death in August 1961, Stepun lived next door to his sister, Margarita, with her companion Galina Kuznetsova, who helped to care for him as his health deteriorated. He was also cared for by his former secretary, Dagmar Wienskowski. After enjoying many honors in his final years, "the voice of the other Russia" passed away on February 23, 1965, just days after his eighty-first birthday, after attending a lecture at the Bayern Academy of Fine Arts with his sister and Galina Kuznetsova. He was buried in Nordfriedhof cemetery in Munich on February 26, 1965.
1646	dbpedia	1	70	http://thetownhall.org/history	en	History — The Town Hall	http://static1.squarespace.com/static/55695205e4b0b0ed5ed23665/t/5d3b1f872e4fb900015d2599/1564155787139/Screen+Shot+2019-07-26+at+11.42.44+AM.png?format=1500w	http://static1.squarespace.com/static/55695205e4b0b0ed5ed23665/t/5d3b1f872e4fb900015d2599/1564155787139/Screen+Shot+2019-07-26+at+11.42.44+AM.png?format=1500w	[ "http://images.squarespace-cdn.com/content/v1/55695205e4b0b0ed5ed23665/593a4bc3-4347-4339-be29-1f8737cfbd71/townhall_logo_webc.png?format=400w", "https://images.squarespace-cdn.com/content/v1/55695205e4b0b0ed5ed23665/1559705400641-G7SWNODWEUNRCSN0GVT8/TownHall1933Ext.jpg", "https://images.squarespace-cdn.com/co...	[]	[]	[ "" ]	null	[]	null		en	https://images.squarespace-cdn.com/content/v1/55695205e4b0b0ed5ed23665/73b5958a-4525-4753-89ec-51e0ec5233a6/favicon.ico?format=100w	The Town Hall	http://thetownhall.org/history	The Opening of Town Hall Founded by a group of suffragists (The League for Political Education) seeking to build a space where the people could be educated, The Town Hall was built in 1921, designed by renowned architects McKim, Mead & White to reflect the democratic principles of the League. Box seats were eliminated and no seats had an obstructed view giving birth to the term "Not a bad seat in the house." Richard Strauss Three Intimate Recitals 15 December with Elizabeth Schumann, soprano 24 December with Elena Gerhardt, soprano 31 December with George Meader, tenor Richard Strauss (1864-1949) for a remarkably long time—60 years—was one of the dominant figures on the European musical scene. He was a prolific German composer. Among his numerous works were 15 operas, several ballets, symphonies, concertos, chamber music, choral works and song. Paul Robeson & Lawrence Brown: A Program of Negro Music Paul Robeson (1898-1976) was the son of a former slave who made his name on stage in The Emperor Jones, All God's Children, Showboat, Black Boy, Porgy & Bess, The Hairy Ape and Othello. His first concert appearance was singing black spirituals in New York City. He toured the U.S. and Europe. His films include: The Emperor Jones, Sanders of the River, Show Boat and the Proud Valley. Ruth St. Denis in Ted Denishawn & Denishawn Dancers with Martha Graham, Pearl Wheeler, Betty May, Leonore Schefler, Julia Bennett, Mary Lynn, Louise Brooks, Charles Weidman and Robert Gorham. American dancer and teacher, Ruth St. Denis (1879-1968) started her career as a vaudeville, musical comedy dancer and actor. St. Denis influenced almost every phase of American dance with the introduction of philosophical themes and Asian dance styles and costumes. She founded the Society of Spiritual Arts in 1931 and "promoted the dance as a sacred art." Sacco & Vanzetti Memorial Unable to get a hall in Boston the Sacco -Vanzetti Memorial Committee and the ACLU booked The Town Hall. The memorial was held on the second anniversary of the political radicals arrested in 1920 on the charge of murdering a shoe factory guard in South Braintree, MA during a robbery. Though convicted in 1921, their appeal generated doubt about their guilt and led to widespread support and worldwide protests. After their execution in 1927 after a special committee found the trial to be unfair in their execution. An Evening with Richard Tauber Austrian tenor Richard Tauber’s (1891-1948) sweet and superbly managed voice, full of musicianship, was especially well suited for the Mozartian tenor roles. Fame came almost instantly for him, and he also gained critical acclaim as both a composer and conductor. He was known to have completed an orchestral suite, two operettas and dozens of art songs. Fydor Chaliapan— First Event in the Town Hall Endowment Series 1932-33 Assisting artist: John Corigliano, violinist Widely considered the greatest singing actor of his day Fydor Chaliapan (1873-1938) was largely self-taught and his talents included painting and sculpture as well. As far as his own make-up, costuming and musical and dramatic preparation were concerned, he was a perfectionist and untiring in his attention to the staging of the operas in which he took part. Emma Goldman After 14 years of exile, Emma Goldman made her first stateside public appearance at Town Hall. Arrested by request of J. Edgar Hoover, naturalized citizen Goldman was among the 249 "aliens" deported in 1919 under the Anarchist Exclusion Act. Excited to experience Bolshevist Russia first-hand, Goldman would soon come to question and critique the abuses of power she witnessed, settling in Germany for years and publishing two books on her disillusionment with the revolution. Back in the U.S. on a 90 day visa that prohibited any political lecturing, Goldman's used her time at Town Hall to eulogize her mentor Peter Kropotkin, condemn Hitler and publicly reiterate her commitment to anarchy. First Broadcast of America's Town Meeting of the Air When America's Town Meeting of the Air originally started broadcasts, it was on an experimental basis, but the show quickly became enormously popular. Experts - including a fair share of celebrities - would discuss topical questions, but what really set the show apart was the large amount of audience participation. Antonia Brico performs with an all-female orchestra Born in Rotterdam, Netherlands and raised in California, conductor Antonio Brico made her conducting debut with the Berlin Philharmonic Orchestra. She was soon touring the world largely as a guest conductor, making her New York debut at the Metropolitan Opera House. In 1934, Brico founded the Women’s Symphony and with the support of Eleanor Roosevelt and Mayor Fiorello LaGuardia, Brico and the all-female orchestra made their debut at Town Hall. Brico went on to be the first woman to conduct the New York Philharmonic. Watch Antonia: A Portrait Of The Woman, the Oscar- nominated documentary about the pioneering conductor, co-directed by one of her piano students, Judy Collins. Marian Anderson Kosti Vehanen at the piano After being denied an operatic career because of discrimination against African-Americans, Marian Anderson (1897-1993) made her New York debut at The Town Hall. World famous contralto, Ms. Anderson went on to perform on the steps of the Lincoln Memorial in 1939 (after being denied access to Washington's Constitution Hall), and become the first African-American to perform at New York's Metropolitan Opera. Her numerous awards include: The Congressional Gold Medal and the American Freedom Medal. Town Meeting: Young America Looks Forward First Lady Eleanor Roosevelt appeared as Chairman on "America’s Town Meeting of the Air." The topic was “Young America Looks Forward,” with outreach to a wide-variety of high schools and colleges bringing to bring them into the discussion, and solidifying Town Hall’s connection with, and concern for, education of the city’s youth. Isaac Stern Has His New York Debut at Age 17 Town Hall has long been a place where musicians make their New York debut. Famed violinist Isaac Stern made his New York debut here in 1937, and returned for another concert in 1939. Stern could perform a concert from memory lasting sixteen hours, as his repertoire included fourteen concertos, fifteen sonatas, and a hundred smaller pieces. Alice Tully Sings at Town Hall Alice Tully, U.S. singer, music promoter, and philanthropist, for whom the famous Alice Tully Hall at Lincoln Center is named, performed here at Town Hall. A lifelong patron of the arts, she donated millions of dollars throughout her life, often anonymously. Tully was awarded both the Handel Medallion and The National Medal of the Arts for her contributions to the cultural and artistic climate of New York City. The von Trapp Family Choir makes its New York debut In 1934, encouraged by a visitor to their Austrain home, Lotte Lehman, the von Trapp family entered a folk singing competition where they garnered a prize and the attention of radio broadcasters. The family toured Austria for the next three years before venturing into other European nations. The family dropped the von and headed to the U.S., where they would make their New York debut at Town Hall. With two dates in 1938, the Trapp Family Choir made Town Hall their New York concert home, performing 15 Christmas concerts before their 1955 farewell. Town Meeting: Let's Face the Race Question Langston Hughes discussed how “the Race Question” should be handled in America. Although discussing “a question that [was] considered by some timid souls to be dangerous,” the speakers were able to stir up a thoughtful debate which could inspire people around the country to engage in this important inquiry. Eddie Condon Town Hall Blue Network Broadcast Series 9, 16, 23 & 30 September 1944—Live Recording Comprising programs 17, 18, 19 & 20 From 1944 to 1945 Eddie Condon (1905-1973) lead a series of recordings at Town Hall that were broadcast weekly on the radio. Condon opened his own club in 1945, and recorded for Columbia in the 1950s. He was one of the gang of young white Chicago jazz musicians in the 1920s. After organizing some record sessions, Condon switched to guitar, and moved to New York in 1929 he lead some sessions for the Commodore label and he became a star. Town Meeting: What Can We As Individuals Do To Help Prevent World Famine? In an unusual debate in which all four speakers were in agreement, Former Mayor of New York Fiorello LaGuardia visited The Town Hall to participate in a discussion of how the people of America could help solve the world food crisis. This Town Meeting received the more mail and questions than any had before, showing the deep concerns that people had throughout the country. Dizzy Gillespie and Charlie Parker Diz and Bird were joined by Max Roach in this 1945 concert, the record of which was not initially released, either due to the controversial nature of bebop at the time, or simply because the record was misplaced. Either way, we’re very happy that this legendary concert is now available for us to listen to! (More info here and here.) St. Louis Blues premieres at Bessie Smith memorial Ten years after her sudden death, Town Hall hosted a memorial for Bessie Smith in 1947, which included the premiere of a 16 minute, two-reel film that was thought to be lost forever. Produced by the "father of the blues" W.C. Handy and directed by experimental filmmaker Dudley Murphy, St. Louis Blues (1929) is based on the story of the title song, with Bessie playing a woman left by her philandering lover. In 2006 the film was selected for preservation by the National Film Registry of the Library of Congress as being "culturally, historically, or aesthetically significant". St. Louis Blues is Bessie Smith's only film appearance. Town Meeting: What Can We Do to Improve Race and Religious Relationships in America? Clare Boothe Luce joins Charles P. Taft and Walter White. Interrogators: Max Lerner and Moderator: George V. Denny, Jr. American playwright, congresswoman and ambassador, Clare Boothe Luce (1903-1978) was the managing editor of Vanity Fair, war correspondent for Life magazine, and a member of the US House of Representatives. She was the second woman to serve as US Ambassador. The recipient of the Presidential Medal of Freedom, her plays include: The Women, Kiss The Boys Goodbye and Margin for Error. Kurt Weill Concert featuring Lotte Lenya Program: The Three Penny Opera in concert version as well as excerpts from One Touch of Venus, Knickerbocker Holiday, and Mahagonny Austrian singer and actor Lotte Lenya (1898-1981) gained fame as Jenny in the Berlin production and film version of Brecht and Weill's Die Dreigroschenoper. She also created the roles of Anna in Die Sieben Todsurden, Miriam in the Eternal Road, The Duchess in The Firebrand of Florence, and appeared in the films From Russia with Love and Cabaret. Billy Taylor Trio at Town Hall Billy Taylor performed many well-known standards at this show accompanied by bassist Earl May and drummer Percy Brice, but he also premiered a (very) new song, written the afternoon of the show, “Theodora," written for his wife. (More info here and here.) Betty Allen's New York Debut Internationally known opera singer Betty Allen made her New York recital debut at Town Hall. Allen was part of the first wave of African American opera singers to appear on the world's most prominent stages, aiding the breaking down of racial barriers in the operatic community. American Opera Society presents The Coronation of Poppea with Leontyne Price Acclaimed as one of the greatest sopranos of her time, Leontyne Price (1927-) has been called the "girl with the golden voice," and "the Stradivarius of singers." She caught Virgil Thomson's attention when he heard her sing in a student production at Julliard, and he invited her to sing in the Broadway revival of his opera Four Saints in Three Acts. Her debut was at The Town Hall in 1954 Ravi Shankar debut Pandit Ravi Shankar made his New York solo concert hall debut at Town Hall in 1957. An acolyte of Ustad Allauddin Khan, Shankar worked for All India Radio and scored films, including the Apu Trilogy by Satyajit Ray. During a trip to New York, Shankar recorded in the same studio as The Byrds, who introduced him to their friend George Harrison. Shankar's association with The Beatles catapulted him to international stardom. He was one of the few acts to perform at both Monterey Pop and Woodstock. Shankar trained his daughter, Grammy- nominated sitarist Anoushka Shankar, who has performed to rave reviews and sold-out audiences at Town Hall several times over the last decade. Sammy Davis Jr’s first live album "To me, Sammy Davis Jr. is probably the greatest entertainer in the whole world". These words from Jack Benny are the first sounds on Davis' live recording from Town Hall, his first live album, recorded on May 4th 1958, but released in 1959, a landmark year in Davis' career. The child star and tap phenomenon, filmed both Porgy and Bess and Ocean's 11 in 1959, the latter catapulting a group of performers to shared fame as The Rat Pack. Lady Day’s Final Major Concert Billie Holiday made her solo concert debut at Town Hall to a sold out crowd. Reportedly, hundreds of seats were added onstage and over a thousand people were turned away. Solo concerts by jazz singers were very rare, but inspired by Lotte Lenya’s Town Hall concerts, Holiday and her team put together a nineteen song, lieder-style recital that would serve as the basis of her performances for the rest of her career. Holiday’s last major public appearance in the United States was September 13, 1958 at Town Hall. Holiday died on July 17, 1959. Nichols and May May 1, 1959. After working clubs and opening for acts such as Eartha Kitt and Mort Sahl, legendary comedy duo Elaine May and Mike Nichols made their headlining theater debut at Town Hall. Nichols and May performed their witty skits and improvisational dialogues to rave reviews and two sold-out audiences. Within a few years, they were television regulars with best-selling comedy albums and a hit show at the John Golden Theatre on Broadway. In a conversation with May decades later, Nichols noted: "The best show we did was in Town Hall. Coretta Scott King Freedom Concert - meets Dorothy Height The Southern Christian Leadership Conference (SCLC) presented soprano Coretta Scott King in a program of hymns and freedom songs interspersed with text. During her college years, she had seen Paul Robeson perform political commentary between songs and structured her performance around this template. The New England Conservatory-trained King had not sung publicly in over two years, but with her Town Hall performance embarked on a tour to raise funds for the SNLC. Critically acclaimed, King’s performance at Town Hall is also where she met and began a life-long friendship with the Godmother of the Civil Rights Movement, Dorothy Height. Africa Freedom Day In 1960, the American Committee on Africa declared April 13th Africa Freedom Day. Celebrating the recent independence of eight nations, the Committee’s program at Town Hall was also a protest of the regime in South Africa. Thurgood Marshall joined Kenneth Kaunda, President of Northern Rhodesia, and other African leaders in calling for a boycott of South Africa and raising money for the South Africa Emergency Campaign, which provided support to the survivors of the Sharpeville massacre and legal aid for imprisoned activists. The honorary chairs of the event were Eleanor Roosevelt, Harry Belafonte, A. Philip Randolph, Jackie Robinson, Walter Reuther and Dr. Martin Luther King, Jr. Baldwin and Birmingham The Committee of Artists and Writers for Justice sponsored a memorial service for Addie Mae Collins (14), Cynthia Wesley (14), Carole Robertson (14), and Carol Denise McNair (11), the four African American girls killed in the bombing of the 16th Street Baptist Church in Birmingham, AL. Carol Denise's parents Maxine and Christopher McNair attended were in attendance. James Baldwin, Odetta, Louis Lomax, Carol Brice, Ruby Dee and Don Shirley were among the participants. Lomax, among others questioned MLK's non-violent strategy and many in attendance condemned President Kennedy and the federal government for their lack of passion in response to the attack. Baldwin called for a Christmas boycott "until this nation earns the right to celebrate the birth of Christ." Bob Dylan's Town Hall Debut On April 12, 1963 at Town Hall, Bob Dylan played his first major concert. Over a thousand people attended and Dylan played mostly original and unknown songs from his forthcoming album, songs like Blowin in the Wind and Don't Think Twice, It's Alright. The New York Times reviewed the concert, and Robert Shelton wrote "Mr. Dylan is 21 years old, hails from Hibbing, Minnesota, wears blue jeans, presumably has little to do with barbers, and resembles a Holden Caulfield who got lost in the Dust Bowl." He concluded by thanking legendary promoter Harold Leventhal "for straying from the sure box-office attractions to present a young giant." Leonard Cohen's first large public performance Judy Collins invited her friend and fellow songwriter Leonard Cohen to perform at a benefit for the National Committee for a Sane Nuclear Policy. Collins had recorded Cohen’s “Suzanne” and planned to have them perform it as a duet. Cohen, an unsure performer, made it through half of the song before walking off of the stage. Collins followed him and brought him back out to complete the performance. They received rapturous applause and Cohen continued to write and perform until his death, five decades later. Considering one of the greatest songs ever, Cohen’s “Hallelujah” (1984) is one of the most covered songs in popular music history and is the subject of several books and documentaries. The Judy Collins Concert (Live) Twenty-four-year-old folksinger Judy Collins’ performance at Town Hall in New York City on March 21, 1964, was billed as her first concert, which is to say, her first appearance in a theater, as opposed to the folk clubs she was accustomed to playing. It was a big step up for a performer who was just releasing her third album and was gradually moving from a traditional repertoire to one consisting largely of songs written by her contemporaries, many of them having a political bent. Fannie Lou Hamer At an event sponsored by The Student Nonviolent Coordinating Committee and the Mississippi Project Parents Committee, Fannie Lou Hamer, sharecropper and vice-chairman of the Mississippi Freedom Party, filled the hall with her story of the brutal beatings she endured by the police trying to register black voters. The very next day, Fannie Lou Hamer gave the same testimony before the Credentials Committee at the Democratic National Convention. Her speech is considered one of the landmark moments of the civil rights movement. Her words at Town Hall: “I only have one question. Is this America, where we can go along and be beat up without any Federal intervention in the State of Mississippi?” Pete Seeger Children's Concert at Town Hall Grammy-winning folksinger, national treasure, and untiring environmentalist, Pete Seeger (1919-) has been at the forefront of the labor movement, the struggle for Civil Rights, the peace and anti-war movements, and the fight for a clean world. Pete Seeger has been a beacon for hope for millions of people all over the world and was inducted into the Rock and Roll Hall of Fame. João Gilberto NY Debut João Gilberto made his New York solo concert debut at Town Hall on October 25, 1964, performing his own songs and those of other innovators in Bossa Nova Gilberto’s debut album, Chega de Saudade (1959), revolutionized Brazilian music and is often cited as the first Bossa Nova recording. The Bahia- born Brazilian singer, songwriter and guitarist began an artistic relationship with American saxophonist Stan Getz that would produced Getz/Gilberto (1963), the first jazz album to win the Grammy Award for Album of the Year. Recorded by Astrid Gilberto, then his wife, The Girl from Ipanema won Record of the Year and is the second most recorded song in the history of pop music. Thich Nhất Hạnh After a few weeks of meetings and lectures across the States, Thich Nhất Hạnh held a farewell event at Town Hall. Rabbi Abraham Heschel, playwright Arthur Miller, and poets Ishmael Reed, and Father Dan Berrigan participated in the event sponsored by the International Committee of Conscience on Vietnam of the Fellowship of Reconciliation. Earlier during his stay, Nhất Hạnh met with Martin Luther King, Jr and encouraged him to publicly denounce the Vietnam War. A year later King did so and nominated Nhất Hạnh for the Nobel Peace Prize. Mabel Mercer & Bobby Short This album features the pairing of two generations of sophisticated cabaret singers -- Mabel Mercer and Bobby Short -- in a concert at Manhattan's Town Hall on May 19, 1968. The inspired idea of having these two work together belonged to promoter George Wein. The first LP belonged to Short, who, backed by his usual cohorts, bassist Beverly Peer and drummer Dick Sheridan, turned in an appealing set that began with a quartet of Cole Porter songs and went on to a couple of Cy Coleman songs, and then some jazzier and bluesier material. Mercer's set, heard on the second disc, includes her precise rendering of a set of light, romantic lyrics and winning melodies, also dipping into the Porter and Coleman songbooks, kept the audience transfixed. The two returned together for the encore to duet playfully on "The 59th Street Bridge Song" and Coleman's "Here's to Us." The Black Revolution and the White Backlash The Association of Artists for Freedom, founded in response to the Birmingham bombing, sponsored a forum on the tensions between black activists and white liberals in the civil right movement. The black writers expressed frustrations with the pace of the civil rights movement--most notably, Lorraine Hansberry. The three white writers were outraged by the militancy expressed and the press generally agreed with them. This program at Town Hall was Lorraine Hansberry’s last public appearance before succumbing to pancreatic cancer in January 1965. Her words from the evening: “We have to find some way to persuade the white liberal to stop being a liberal and become an American radical.” New Ark Fund Authors James Baldwin and Amiri Baraka came together to raise money for the New-Ark Fund in support of Ken Gibson’s Newark mayoral campaign. Baldwin and Baraka read their work and gave speeches with Baraka summing up the sentiment of the audience: “We are constantly harassed by a city government that’s already been indicted, by criminals who are trying to make us convicts.” Ken Gibson went on to be the first black mayor of Newark, a majority-black city, and the first black president of the U.S. Conference of Mayors. Amiri Baraka’s son, Ras Baraka, is currently the mayor of Newark. Town Bloody Hall Shortly after the publication of “The Prisoner of Sex,” Norman Mailer took the stage at Town Hall for a debate against Jacqueline Ceballos, Germaine Greer, Jill Johnston and Diana Trilling. Celaballos was interrupted by a screaming Gregory Corso, Greer was accused of elitism by protesters in and outside of the hall, and Johnson kissed and rolled around with two women onstage. Betty Friedan and Susan Sontag spoke from the crowd, as Arthur Schlesinger, Cynthia Ozick, Anatole Broyard and other famous New Yorkers watched. In 1979, Chris Hegedus and D A Pennebaker released a documentary about the evening entitled 'Town Bloody Hall." Meredith Monk makes Town Hall debut Meredith Monk made her Town Hall debut with her work "Our Lady of Late", composed in 1972 to a dance by performance artist William Dunas. Performing with Collin Walcott, Monk sat on stage, straddling a stool with a microphone directed towards her and another for the glass of water that sat on the stool. In this piece, Monk's exploration of a vocal sounds would prove instrumental in the practice of extended vocal technique, a major development in the history of 20th century art music. "Our Lady of Late" would go on to be recorded and performed in various iterations over the next four decades. Allende’s Widow Barred from Speaking at Town Hall Rally On September 11, 1973 Salvador Allende committed suicide during a military coup by led by General Augusto Pinochet. Hortensia Bussi de Allende, the President's widow, was slated to speak at the Town Hall rally while in town for a United Nations deposition, but the State Department barred her from participating. Actor Ossie Davis chaired the rally, where organizers accused the CIA of supporting the junta and demanding the release of political prisoners. Under Pinochet's 17 dictatorship, thousands of Chileans died or disappeared, while over 200,000 became refugees. The declassification of CIA documents proved what many thought: that the United States had actively aided Pinochet's regime. Legendary Ladies series launches with Bette Davis Bette Davis appears in the first of the "Legendary Ladies" series dreamed up by veteran film publicist John Springer, the idea - to present great scenes from her greatest movies and then to meet the lady herself. Others that appeared in the series are Joan Crawford, Sylvia Sydney, Myrna Loy, and later, Rosalind Russell and Lana Turner. Philip Glass makes his concert hall debut with “Music in 12 Parts” Written over the course of four years, Music in Twelve Parts is arguably the most ambitious composition written by Philip Glass. Performed by the Philip Glass Ensemble over the course of six hours, the avant-garde piece took inspiration from Indian ragas, utilizing repetition and mantra-like vocals in parts that could be performed in any sequence. Glass sites Music in Twelve Parts as a breakthrough work for him; a work with ideas that he would continue to explore for years. Just as in the 1974 debut, the Philip Glass Ensemble performed the piece in 2018 with one 90 minute dinner break and two 15 minute intermissions. Cab Calloway Leads Duke Ellington’s Band Less than a year after Duke Ellington's passing, his old friend banded with his son to recreate the sound and feel of the Cotton Club at its height. Mercer Ellington led the Duke Ellington Orchestra, an outfit of young musicians, none of whom had performed with the elder Ellington. Cab Calloway, singer, dancer and bandleader performed in his signature tails and a yellow zoot suit, bringing the audience to its feet for the Hi De Hos of his hit "Minnie the Moocher". Mama Lu Parks' Lindy Hoppers rounded out the program with their virtuosity and acrobatics, taking Town Hall back to the social dances of Harlem in the 20s. Andy Kaufman After guest appearances on The Tonight Show with Johnny Carson, SNL alum Andy Kaufman made his New York concert hall debut at Town Hall. The show opened with Tony Clifton, the vegas lounge singer alter-ego before Kaufman performed as himself singing and dancing to "Oklahoma" and performing his famous bits like Mighty Mouse, Foreign Man (later to become Taxi’s Latka) and Elvis. Kaufman ended it with his cover of Fabian's hit single "This Friendly World." Kaufman's cover became iconic and was played at his own funeral in 1984. Thankful for this friendly, friendly world. Philip Glass Ensemble Performs 3 concerts: 12 & 15 Feb: Einstein on the Beach, 1st Complete Concert Version 13 Feb: Music with Chaing Parts, Music with Similar Motion 14 Feb: Music in 12 Parts American composer and musician, Philip Glass (1937-) discovered an interest in Indian music when working with Ravi Shankar in Paris. Indian rhythms influenced a series of ensemble pieces, which, though they vary considerably in density, all share the technique of extending and contracting rhythmic figures in a stable diatonic framework. Famous for his opera Einstein on the Beach Black Broadway From Elisabeth Welch who made her Broadway debut 50 years earlier in Cole Porter's The New Yorkers to the recently-Tony nominated Gregory Hines, Black Broadway brought together several generations of the nation's greatest stage performers. The performers included tap royalty like Cookie Cook, John W. Bubbles and Bubba Gaines, one of the "Aristocrats of Tap". Town Hall-regular Bobby Short led a bare-bones, cabaret style production where Adelaide Hall, Edith Wilson, Nell Carter and the aforementioned Elisabeth Welch sang the songs that brought them fame, whilst also performing tributes to their deceased predecessors Florence Mills and Ethel Waters. Grover Washington, Sonny Rollins Saxophonist Grover Washington Jr. had achieved pop success with multiple gold and platinum records under his belt when tenor sax legend Sonny Rollins invited him to perform with him at Town Hall. Rollins, widely lauded as one of jazz's greatest improvisers admired the oft-maligned Washington, citing “Mister Magic” as one of the top ten tenor sax recordings of all time. Still Washington came on stage with his soprano sax, not his tenor, and followed Rollins lead throughout the program. A year later, high off of the success of his top ten hit with Bill Withers "Just the Two of Us", Washington took off for a joint tour with Rollins. Harolyn Blackwell, soprano, appears as part of Town Hall's Select Debut series Harolyn Blackwell’s career began on Broadway in a revival of Leonard Bernstein’s West Side Story in 1980, but she soon discovered her true passion for opera and was selected as a finalist for the Metropolitan Opera National Council Auditions in 1983. Soon after, she appeared in several productions at the MET. Blackwell’s radiant soprano and expressive performance style is renowned in opera and concert halls around the world. Throughout her 30-year career she has toured nationally and internationally with well-known opera companies and performed as part of many opera festivals, concert series and recitals, earning numerous awards and credentials as one of the brightest stars on the stage. Terry Riley and Kronos Quartet Town Hall Debut His first New York appearance in almost a decade, Terry Riley made his Town Hall debut with a program of solo improvisational performance and the premiere of three compositions written for Riley and the Kronos Quartet. "Sunrise for the Planetary Dream Collector", "G Song" and "Remember This O Mind", all written for voice, synthesizer and string quartet, were the first pieces that Riley had composed since his 1964 landmark work "In C" ushered in the minimalist movement. The decades-long collaboration between Terry Riley and the Kronos Quartet has resulted in 27 new works, critically acclaimed albums and a commission by NASA. Phylicia Rashad’s First One Woman Show Phylicia Rashad (then Phylicia Ayers-Allen) made her solo stage debut in a concert entitled ''For Someone Special". A student of Swami Muktananda, Rashad's show mixed a jazz-style band with sitar and tablas and a tribute to guru Gurumayi Chidvilasananda. The year before, after a succession of small parts in musicals and on soap operas, Rashad landed the role of Claire Huxtable on The Cosby Show. The show was the most successful show of the decade and one of the highest rated television programs in history. Rashad later returned to the stage and in 2004 became the first African American woman to win the Tony Award for Best Actress in a Play. Sharon Isbin Sharon Isbin has been acclaimed for expanding the guitar repertoire with some of the finest new works of the century. She has commissioned and premiered more concerti than any other guitarist, as well as numerous solo and chamber works. Among the many other composers who have written for her are Joan Tower, David Diamond, Ned Rorem, Aaron Jay Kernis and Leo Brouwer. In 2003, Sharon Isbin premiered the Joan Baez Suite written for her by John Duarte. The Town Hall Not Just Jazz series featuring Meredith Monk with Nurit Tilles Composer, singer, filmmaker, choreographer and director Meredith Monk (1942-) is a pioneer in what is now called "extended vocal technique" and "interdisciplinary performance." During a career that spans more than 30 years, she has created over 100 works and been acclaimed by audiences and critics as a major creative force in the performing arts. Archy & Mehitable, a back alley musical, with Taylor Dane The Town Hall's Century of Change series presented the back alley musical, archy & mehitable, starring Taylor Dane and Lee Wilkof. Taylor Dayne, American pop and freestyle music singer-songwriter and actress, made her Town Hall debut in archy & mehitabel, a revival of the musical with a book by Joe Darion and Mel Brooks, lyrics by Darion, and music by George Kleinsinger. Based onarchy and mehitabel, a series of New York Tribune columns by Don Marquis, it focuses on poetic cockroach archy (who wasn't strong enough to depress the typewriter's shift-key), alley cat mehitabel, and her relationships with theatrical cat tyrone t. tattersal and tomcat big bill, under the watchful eye of the newspaperman, the voice-over narrator and only human being in the show David Byrne presents “Music of the Spirits” David Byrne made his Town Hall debut presenting a double bill of La Troupe Makandal and Eya Aranla, bands in the tradition of Haitian Vodou and Puerto Rican Santeria, respectively. Frisner Augustin, founder and leader of La Troupe Makandal, was a Haitian Vodou drumming virtuoso and is the only Haitian citizen to be awarded the National Heritage Fellowship, the United States's highest honor for folk artists. Milton Cardona, known for this work with salseros Willie Colon and Hector Lavoe, was the first practitioner in history to record a bembé, a Santeria ceremony. That night, Town Hall audiences experienced two priests perform sacred music. Gene Harris and the Philip Morris Superband Live at Town Hall This CD documents one of the first concerts by Gene Harris' star-studded big band, an orchestra heard at the beginning of an 80-day world tour. The straightforward arrangements (by John Clayton, Frank Wess, Torrie Zito, Bob Pronk and Lex Jasper) balance swingers with ballads. Among the more memorable tracks are Harry "Sweets" Edison's feature (both muted and open) on "Sleepy Time Down South," a pair of fine vocals apiece by Ernie Andrews and Ernestine Anderson, the roaring "Old Man River" and Harris' interpretation of Erroll Garner's ballad "Creme de Menthe." Toss in short solos from the likes of Ralph Moore, James Morrison (on trombone), Frank Wess, Michael Mossman and baritonist Gary Smulyan. Celine Dion makes her U.S. solo debut Quebecois singer Celine Dion was already a star in Canada, but upon the release of her third English album The Colour of My Love, she was primed to become a pop phenomenon in the U.S. and all over the world. In 1994, having already won a Grammy and Oscar for the duet "Beauty and the Beast" with Peabo Bryson, the 26 year old just had achieved her first number one single with "The Power of Love" and began her decade long dominance of the adult contemporary charts. Her U.S. solo debut was here at Town Hall, where she performed a mostly English set with multiple encores. Dion went on to sell over 200 million records over the course of her career. JVC Jazz Festival presents a night of Chesky Jazz Live The music on this CD comes from the June 24, 1992, concert at Town Hall in New York City, with a host of artists featured. Trumpeter Tom Harrell leads off with two fine originals, the turbulent "Journey to the Center" and the mellow but swinging "Weaver." His supporting cast includes ex-boss Phil Woods on alto sax, tenor saxophonist Joe Lovano, and pianist Jim McNeely, as well as bassist Peter Washington and drummer Bill Goodwin. Pianist Fred Hersch is next, beginning with a dazzling trio arrangement of Brazilian composer Egberto Gismonti's "Nostalgia," with some superb arco cello by Erik Friedlander and powerful percussion from Tom Rainey. A captivating medley of two Hersch originals, "Child's Song" and "Forward Motion," and the humorous "Nostalgia," adding saxophonist Rich Perry, round out his set. Brazilian guitarist and singer Ana Caram, one of Chesky's most-recorded artists during the 1990s, shows why she had such strong appeal to a bossa nova crowd with her set. Woods returns to the stage to join Paquito D'Rivera and his band for a sensational two-clarinet version of "Birk's Works," and more. A Tribute to Oscar Peterson Oscar Peterson suffered a stroke in 1993 and made a partial comeback. Although his left hand was weakened, the pianist's right hand was powerful as ever, and he was able to mostly cover up his deficiencies. The evenings all-star line-up included: Oscar Peterson (piano); Shirley Horn, The Manhattan Transfer (vocals); Clark Terry (vocals, trumpet); Stanley Turrentine (tenor saxophone); Roy Hargrove (flugelhorn); Milt Jackson (vibraphone); Benny Green (piano); Herb Ellis (guitar); Ray Brown, Neils-Henning Orsted Pedersen (bass); Lewis Nash (drums). Natalie Merchant Lead singer, and primary lyricist for the 10,000 maniacs, performed music from her first solo album Tigerlilly. The album that launched her solo career. Tigerlily was a critical and commercial success, spawning her first top-ten hit in the single "Carnival", and achieving top-40 success with subsequent singles "Wonder" and "Jealousy". The album would go on to sell over 5 million copies, and continues to be Merchant’s most successful album to date. August Wilson/Robert Brustein Debate The debate between Pulitzer Prize winning playwright August Wilson ("Fences", "The Piano Lesson") and Robert Brustein, founder of the Yale Repertory Theater and the American Repertory Theater contended with questions of race and cultural equity in American theater. Wilson, irate at the lack of black-run theaters, railed against color-blind casting as diverting resources and talent from the development of African American theater. Brustein objected and questioned Wilson's separatism as self-limiting, accusing Wilson as being "the best mind of the 17th century." The evening was moderated by actress and playwright Anna Deveare Smith, and is considered a historic night of American theater. 70s Jazz Pioneers Live at the Town Hall The '70s were a very creative and banner decade for jazz. On March 20, 1998, trumpeter Mark Morganelli celebrated the richness of '70s jazz by organizing a special concert that was held at New York's Town Hall. Morganelli's idea was to feature improvisers who made an impact during the '70s, and those improvisers included trumpeter Randy Brecker, soprano and tenor saxman Dave Liebman, guitarist Pat Martino, pianist Joanne Brackeen, bassist Buster Williams, and drummer Al Foster. That concert resulted in this excellent post-bop CD, which finds the '70s jazz pioneers offering acoustic-oriented versions of '70s classics like Freddie Hubbard's "Red Clay," Stanley Turrentine's "Sugar," and Chick Corea's "500 Miles High" Joan Armatrading Three-time Grammy Award-nominee Armatrading made her first NY appearence in three years. Ann Powers of The New York Times reviewed the concert, "Some singers can make each performance seem like a whispered disclosure, offered in love and trust. Such intimacy comes not from technical perfection but from the careful exploitation of individual quirks, the deployment of range and tone to express personality. Joan Armatrading, the veteran English singer-songwriter who appeared at Town Hall on Wednesday night, is a masterly creator of such artistic confidences." Eddie Izzard begins 3 Night Stint After a sold-out tour of the UK, British comedian Eddie Izzard brough his hilarious one-man show Circle to Town Hall for three nights from June 22-26, 2000. The show was taped and is available on video. Laurie Anderson One of the first concerts in New York City after 9/11, Laurie Anderson opened her show with a statement on peace and followed with a performance of "Statue of Liberty". A longtime representative of New York's downtown avant-garde, the Tribeca resident performed songs from her new album Life on A String, her first in seven years. Performing with just three musicians Anderson shared anecdotes and solo comedy, and sang songs new and old to a largely silent and breathless audience. Anderson ended the show with this chant from her song “Coolsville”: This train, This city, This train, This city, This train. Town Hall's Brave New World, a Sept. 11 Theatrical Remembrance Designed to commemorate the one-year anniversary of Sept. 11, a Brave New World was a theater marathon featuring fifty new plays and songs created by America's premiere playwrights, composers, and lyricists, and presented by some of our nation's most talented performers and directors, in a coordinated stroke of creativity and fellowship. Participants included Stockard Channing, Billy Crudup, Christopher Durang, John Guare, Beth Henley, Tina Howe, David Henry Hwang, Anne Jackson, Arthur Kopit, Frank Langella, Camryn Manheim, Alan Menken, Gregory Mosher, Bebe Neuwirth, Mary Louise Parker, Estelle Parsons, David Rabe, John Rando, Ann Reinking, Lloyd Richards, Chita Rivera, John Patrick Shanley, Anna Deveare Smith, Stephen Sondheim, Marisa Tomei, Alfred Uhry, Eli Wallach, Sam Waterston, Sigourney Weaver, Vanessa Williams, Lanford Wilson, and Jerry Zaks. Elvis Costello begins three nights at Town Hall Elvis Costello appeared at Town Hall for three nights to promote his new album, ''North'' (Deutsche Grammophon), accompanied only by Steve Nieve on piano, Mr. Costello retrofitted his old songs with his latest approach while he unveiled new ones. Marianne Faithful Ms. Faithfull appeared to promote her new album, "Before the Poison" (Anti-/Epitaph), which featured collaborations with the cult figures P. J. Harvey and Nick Cave. Stephen Holden from The New York Times wrote in his review of her performance, "To hear Marianne Faithfull spit out John Lennon's Working Class Hero in her ravaged, all-knowing sneer is to discover how a great song can accrue sharper meanings over time. ... Ms. Faithfull, who recorded Working Class Hero on her classic 1979 album "Broken English," has long since settled comfortably into her persona of the debauched fallen aristocrat, a faux Victorian princess exiled from polite society, flaunting her scarlet letter as she ravenously prowls the land, an arrogant pariah. It is only pop mythology, of course, but Ms. Faithfull still plays the role for all it's worth, infusing it with considerable humor." Gilberto Gil and David Byrne Gilberto Gil, one of the stars of the tropicalia movement, which revolutionized Brazilian pop, performed at Town Hall on a double bill with American Pop star and visionary David Byrne. In the 1960's, Gilberto's iconoclasm and cosmopolitan ambition marked him as a troublemaker; Mr. Gil was imprisoned and exiled by Brazil's military government. He outlasted his opponents, and was appointed Brazil's minister of culture in 2002. Bright Eyes begins 7 night run at Town Hall During a 7-night stint at The Town Hall in New York City from May 25 to June 1, Bright Eyes welcomed the following guests on stage for special performances: Lou Reed (May 25); Ben Kweller (May 26); Jenny Lewis and Johnathan Rice (May 28); Norah Jones, Little Willie and Derrick E (May 29); Nick Zinner, Maria Taylor and Ben Gibbard (May 30); Steve Earle (May 31); and Ron Sexsmith and Britt Daniel (June 1). Oprah and Whitney Houston The 24th season of the Oprah Winfrey Show premiered with a two night interview with a then-reclusive Whitney Houston. In her first major interview since her infamous Diane Sawyer appearance, Whitney Houston opened up about her struggles with fame, addiction and the end of her marriage to R&B singer Bobby Brown. Houston chose Town Hall for the interview as a tribute to her first performances here with her mother, the legendary gospel vocalist Cissy Houston. Houston's recently released I Look to You dominated the charts and along with her Oprah interview, signaled a new era in the pop star's career. The most awarded act in pop music history, Whitney Houston died in 2013 at 48 years old.
1646	dbpedia	3	86	https://challengingperformance.com/dido-belinda-whats-wrong-with-classical-music/	en	‘Dido & Belinda’: What’s Wrong with Classical Music? – Challenging Performance	https://challengingperfo…/2023/11/VnC.png		[ "https://challengingperformance.com/wp-content/uploads/2023/11/VnC.png", "https://challengingperformance.com/wp-content/uploads/2023/11/McCormick-cover_0001.jpg", "https://challengingperformance.com/wp-content/uploads/2023/11/Wagner-cover.png", "https://challengingperformance.com/wp-content/uploads/2023/11/Cf...	[ "https://www.youtube.com/embed/A-TRi1OdQ4Y?si=s0WNKxrXqBMA3VoE", "https://www.youtube.com/embed/kW-tatmIMPQ?si=R8vRdAyGKwMnGoCN" ]	[]	[ "" ]	null	[]	null		en			https://challengingperformance.com/dido-belinda-whats-wrong-with-classical-music/	What’s wrong with classical music? The research context for ‘Dido & Belinda’ By Daniel Leech-Wilkinson As part of King’s College London’s Arts & Humanities Festival 2016 (for which the overall theme was PLAY), the young opera company Helios Collective, their artistic director Ella Marchment, conductor Leo Geyer, and a cast of young professional opera singers and players, staged a ‘Dido & Aeneas’ that departed in many ways from what’s currently the standard version. I choose my words carefully here—not ‘Purcell’s version’ or (most misleading of all) ‘the original’—although it very often is the original that we suppose we’re getting when we go to a modern performance. We’ve become used to assume that when original instruments and carefully edited scores are being used we are somehow getting the original musical interpretation, or at least the original performance style and sounds. Let me show why I don’t think it is remotely like any ca 1700 original by providing an example of Mozart. I’m using Mozart because the demonstration requires early recordings, and there are no very early recordings of Purcell. So here is the first phrase of the second movement of Mozart’s ‘Coronation’ concerto, recorded by pianist (and composer and conductor) Carl Reinecke in 1905. Reinecke uses dislocation of the hands (he rarely plays all the notes of a chord together), uses inégalité (he turns regularly notated rhythms into irregular sounding ones), melodic decoration and rubato (he varies the length of the beat), only one of which (melodic decoration) would be acceptable in a modern performance (and then only in a ‘historically informed’ one). https://challengingperformance.com/wp-content/uploads/sites/221/2017/11/Moz-Cor-Cto-ii-Reinecke-1st-2-phrases.mp3 Carl Reinecke: Mozart, Piano concerto no. 26 in D K.537, 2nd mvt, opening (recorded 1905) [Click on the left-hand end of the black bar if there’s no PLAY button] Why should this performance matter to us? Because Reinecke was born in 1824, the year Beethoven’s 9th Symphony was first heard. Apart from that melodic decoration, none of this belongs to current ‘historical’ (or non-historical) Mozart playing, because no one at the moment can believe that Mozart could ever have sounded like that. But it did; at least when played by a very long-lived pianist in 1905, and very probably by that same pianist many decades earlier, perhaps as early as ca 1840 when as a young performer he was establishing his way of being musical, in relation to the performance style current around him. How much of this goes back to the end of the 18th century we cannot know; but it is certainly much closer to Mozart than we are. What this huge distance in musicianship shows us is not how Mozart sounded to his contemporaries; rather it shows us just how many other ways there must be, than we have ever heard, of playing the same notes. And this is actually much more important. We must assume we don’t know and never shall know how Mozart’s performances sounded. This isn’t just a matter of which instruments were used and which notes were played. Every tiny detail of a performance affects the character of the sound and interpretation. And none of that can be described in words that can survive from one generation to another, nor does it emerge intact from using the same instruments. It’s lost, forever. We may stumble across it again by chance, but we shall never know that we have, and if we do it will soon be gone again as performance style continues to change, as it always inevitably does. And so, when it comes to performing scores, whatever we may intend to do and however we wrap it up with justifications of various kinds, in practice we take the notes in the score and we make the music we like with them. Recordings show that what we like changes all the time. * ‘Dido’ is opera, so let’s look next at a vocal example. Here is the first phrase from Schubert’s ‘An die Musik’, a homage to music in which singers get to tell us about their deepest feelings for the art. To a modern singer this is a relatively straightforward song, with even-length notes sung over a very regular piano accompaniment. But this is how it sounded in 1911: https://challengingperformance.com/wp-content/uploads/sites/221/2017/11/Gerhardt-An-die-1911-HMV-043202-ac5112f.mp3 Elena Gerhardt, acc. Arthur Nikisch: Schubert, ‘An die Musik’ (recorded 1911 on HMV 043202 ac5112f, transferred for the author by Roger Beardsley) Many today can’t see how that could ever have been thought musical, let alone ideal. But it was. Elena Gerhardt was one of the most famous and admired singers of her day, and her accompanist was one of the leading conductors, Artur Nikisch. This was Schubert 100 years ago: in 1911 Schubert was this composer. Since then he has changed a very great deal. And presumably he changed a very great deal to become the Schubert of 1911. But we cannot sensibly assume that our age has found the historical Schubert once more. How could we? Why should we imagine we have? Except that we, like every generation including Gerhardt’s, simply assume that, because the way we sing and play makes perfect sense to us, therefore we have at last got Schubert right, and that everyone before us was simply wrong. So humility as to what is historical and unhistorical is required of us. And that already offers a huge challenge to the basic ideology of classical music practice. Let’s ask the same question of painting. You may say this is the wrong comparison, that I should be comparing compositions with paintings, not performances of compositions, but actually the paintings are performances of Virgin-and-Child with its associated iconography, which is entirely comparable with what’s in a composer’s score: they’re two renditions of the same moderately detailed instructions. If this were two musical performances you can easily see how anyone who believed one was correct (in its use of the colours, the clothing and the positions of the bodies) could be outraged by those details in the other. “The veil covers her forehead, you can see the lining of her sleeve, her mouth is almost touching the infant’s hair. This is disgraceful, it wilfully misrepresents the church’s intentions”, and so on. And someone ca 1500 might have thought that. But in art criticism we’ve got over that now; we don’t require our aesthetic responses to be determined by what’s doctrinally correct, let alone what was doctrinally correct in 1500. But in music criticism we’ve not grown out of that, as yet. Our aesthetic responses are rigidly ruled by which we think is the more ‘correct’. If the one on the left, then the one on the right is “self-indulgent, deliberately perverse, a travesty of the church’s intentions”, and so on. And this is the kind of language you read in reviews of musical performances all the time. What is going on here? Why are critics so nasty about performers: performers, let’s remember, at the very highest level of accomplishment? What has upset them so much that they feel comfortable to write in these terms? What has happened here? Only that the reviewer noticed something was different, didn’t like it being different, and wants to stop it, by being so unpleasant and so personal that the player never risks it again. It’s all about policing difference, promoting conformity. Is that what we require of classical music performance, and if we do, is there something wrong with us rather than with the performances? We practise homogenised, unchallenging classical music as a kind of Utopia, a sort of post-Brexit Albion, a perfect society, walled off from the rest of the world, which it would be unforgivable to disrupt. Music will produce Utopian experiences, we believe, provided that we follow the composer’s commands. The composer is the beloved leader in this ideal society whom—if we want to produce ideal results—we must always obey. But in truth he is no more than a front for all the rules and obligations through which order is maintained. Utopias are inherently totalitarian: everyone has to follow the rules. And it’s exactly that uniformity of behaviour and belief that we’ve just seen these reviewers trying to impose (one hopes without any idea of what their words imply). At first this isn’t a problem. The young musician accepts their teacher’s word, learns the fundamental rule: ‘play what the composer says, get praise’. (Though of course what that really means is, ‘play what teacher says, get praise.’) Young musicians feel they’re being creative as they learn the moves their body needs to make to sound acceptably expressive: as the moves start to work they’re happy to accept the beloved leader as the source of their delight. But norms are of course oppressive, and as the student learns to behave within them they are also aware of gradually increasing fear: fear of making a mistake, fear of playing out of style, fear of non-conforming, of being judged unsuitable for work, of being judged ‘unmusical’. This is brilliantly, if unintentionally encapsulated in the trailer for the 2013 B-movie ‘Grand Piano’: a concerto soloist turns the page to see scrawled on this score, ‘Play one wrong note and you die’: ‘Grand Piano’, dir. Eugenio Mira, 2013: trailer For many performers, that’s exactly what it feels like to go on stage and face the critics. So, with increasing technical and stylistic demands comes fear. With fear comes stress, anxiety, and performance-related illness, a plague now for which the ideology is substantially responsible. The performance police are everywhere. Teachers, examiners, adjudicators, agents, critics, promoters, producers, record reviewers, bloggers. Performance is policed from first lesson to farewell recital. Musicology also has a lot to answer for, with its claims to be able to discover what the composer wanted. And so the performer is persuaded that their job is to manufacture the composer’s wish. The critic purports to represent the composer’s best interest, and claims they have a duty to enforce it. At the end of the chain, the listener pays for it all by buying the tickets along with the ideology. Lisa McCormick, Performing Civility: International Competitions in Classical Music (Cambridge, 2015) As Lisa McCormick reveals in her recent book on music competitions, on the one hand jurors, agents, and programmers will all tell you they are looking for a performer who has something unique to say, while on the other all their values in relation to composer, score and performance tradition, tend towards enforcing conformity. The competition between performers is thus to conform more strikingly, more persuasively, to be a better cheerleader for the system. Thus whenever a performer risks playing significantly differently—and it doesn’t happen often—you can be sure there’ll be a critic there ready to denounce them for narcissism and self-indulgence. These writers, parroting this fearful phrase, belong to an army of gatekeepers who police performers to ensure that their playing conforms to the State’s norms of virtuous behaviour. The gatekeepers’ sense of their own loyalty to the imagined, beloved composer, drives their urge to enforce rules – social, moral, stylistic rules. And those rules tend to conflate, into one overarching law, the two key requirements of approved performance: to be perfect in execution and to be perfectly faithful to the imagined composer. Runaway selection then ensures that ever higher performance-display, and ever more faithful representation of the imagined composer’s imagined wishes, spiral in an apparently unstoppable inflation, because they offer performers the only remaining route to ‘outstanding’ success, the only legal way of being different from all the others. Izabela Wagner, Producing Excellence: The Making of Virtuosos (Rutgers University Press, 2015) There is a persuasive view of how virtuosos are made in this recent book by Izabela Wagner.[1] Wagner was a parent of a child violinist being prepared for a career as a virtuoso. But she’s also a sociologist. So she was able to use her insider access to the rarified world of the international virtuoso class and the competition circuit to write a close-up study, that a sociologist who observed only as an outsider could never have achieved. She doesn’t, I think, set out intending to reveal that world as corrupt, nepotistic, dishonest, ruthless, cruel, above all self-sustaining. But simply reporting what she sees and hears inevitably leads the reader to that conclusion. We see how parents, with the best of intentions, conspire with teachers, silently looking on as teachers bully and threaten young children to practice to the exclusion of all else, to forego other education, to obey their teacher without complaint, as far as possible without contributing anything of themselves at all. Through routine, children become willing slaves, hoodwinked, like their parents, into believing that if they do exactly as they are told by their teacher they will become the next Heifetz. Wagner shows how teachers on the virtuoso circuit promote the idea that only they can lead a child to international stardom. She exposes the way in which students who leave a teacher, or who are expelled for being insufficiently obedient, are never spoken of again, so maintaining the illusion that all the teacher’s students will succeed, alongside secret fear, among those remaining, of stepping out of line. She shows also how the teacher and student become mutually dependent: the teacher needs the student to preserve, perform and pass on their own approach to technique and interpretation, so that the teacher’s memes are reproduced; while the student needs the teacher’s support to make contacts, win competitions, get work. She shows how teachers actively intervene to prevent people who challenge them getting gigs. She reveals the extent of corruption in competition judging, the promotion of the judges’ students, the bending or ignoring of the rules to produce a result that promotes the judges’ interests, the way in which judges and organisers interchange from one competition to another. Above all, in the ways in which untruths are promoted and repeated in order to maintain the effectiveness of these teachers’ grip on power, the world Wagner describes corresponds exactly to the police state I’ve just described. This should come as no surprise. Police states aspire to the condition of Utopias, and Utopias are necessarily police states. But actually, why on earth do we need a police state for classical music? Theatre isn’t nearly this restrictive. It’s perfectly normal to perform Shakespeare in search of new meanings that tell us something about our situation today. The idea that an actor is obliged, in order to get work, to perform a play according to Shakespeare’s intentions is comical, insulting even, because we know that actors can do so many differently persuasive things with the same text. Occasionally it’s interesting to hear an attempt at Shakespearean theatre, but few people think there’s a moral obligation there, or that the text won’t be Shakespeare, or will be outrageously misrepresented, if it’s interpreted differently. In the visual arts, the idea that one is obliged to as far as possible reproduce tradition seems completely mad. So what makes us behave so utterly differently when we perform classical music? What makes it professionally impossible for the Royal Opera House to perform Mozart as creatively in the pit as it does on stage (below, Cosi fan Tutte), something which seems on the face of it so thoroughly hypocritical? This is the issue we’re trying to address with our reimagining of Dido & Aeneas, as Dido &… Belinda. But before we go there, how should we rethink our attitude to the composer’s intentions? I’ve already shown how this is a problem peculiar to classical music. No one else thinks they have to obey someone who’s been dead for centuries, except of course… the religious. And you can see how treating music as a Utopia, in which doing exactly what the score says (and what our gatekeepers tell us the composer wanted) is the only route to the perfect performance, is a form of religious observance, with all the peculiarities and shortcomings of any belief system. Let’s instead try to think afresh about what we might ethically owe a composer. First of all let’s consider living composers. Composers are imaginative musicians. They imagine music, and notate what they can. As they notate, they imagine their scores played by performers they know or have heard. So, if they’re writing conventional scores, they have expectations. As first performers of their scores, I think we’re all interested in hearing what they imagined. Or we are if we have any respect for them as imaginative musicians. But in any case, it seems a simple courtesy to living composers to try to make the sounds they had in mind. When someone gives you a score on which they’re worked hard, and offers you the chance to play it before anyone else, the least you can do, out of politeness and respect, is to try to give them a performance of what they’ve imagined. I think that’s a basic obligation of courtesy. Of course, you may do some things, perhaps many things, that they’d not expected. And usually composers are delighted when that happens and willingly accept your view of their score. I think it’s important to remember that, when we come to think about dead composers. But the main point is that the composer is there, they can be consulted, you can work with them, and in the end you represent them to a wider audience. And all this brings some obligation to please them as well as your listeners. Because this is a human relationship, in which, as in any humane relationship, you try not to hurt their feelings; ideally, you try to give them pleasure, to make them happier. That’s what we do for one another when we interact on equal and friendly terms. But how much of this applies in the same way when the composer is dead? When they’ve recently died, then there are many friends and admirers, and family, who remember them and thinking lovingly of them. And to the extent that that is maintained or enhanced or fed by the way you play their scores, then I think there remains an obligation to play scores in ways that please survivors. It’s exactly as one would not speak critically of the dead to those who knew and loved them. But as time passes, this obligation diminishes. Their closest friends and family die too, and there is less and less need, out of human kindness, to play scores in the same way as before. And more and more opportunity, therefore, to see what else those scores can do. And this is exciting. It’s an opening up of possibilities, as time passes, to explore scores in search of new meanings, meanings that perhaps are more interesting and relevant and revealing for new generations. That, too, seems to be an ethical obligation to the living; to make scores sound relevant and revealing. What is absolutely clear—unless one believes that the dead are alive, and have nowhere else to be—is that dead composers are not harmed by performances of their scores that they might not have liked. And once nobody else is harmed (and I mean harmed, not offended: of course art must be allowed to offend, and it’s high time classical music audiences got used to that idea); once nobody else is harmed, there is no ethical obligation at all to continue to perform in the original manner. We’ve seen that new kinds of performances are possible, and that they emerge over time in any case. But what I am arguing, and I think on strong ethical grounds, is that new performances can and should be deliberately made. Because scores can mean so many different things, because performers can be so innovative in persuasive ways, because the results can offer audiences new kinds of musical experiences from scores rich in potential, because performers and audiences can find delight in unexpected insights, in being creative and in experiencing creativity, because innovation offers a reason to go to concerts, to make and buy new recordings, to maintain a healthy economy of musical performance that keeps classical music lively and rewarding, financially and spiritually; for all these reasons, allowing performers to imagine and play scores differently is not just desirable, it is the right thing to do. And that makes it our obligation. * So, why is the music business so ruthlessly and resolutely opposed to substantial performer creativity or innovation? The reasons, as ever, include power, and money. I’ve already suggested, and Izabela Wagner has implicitly shown, that music education is designed to ensure that the most brilliant performers perform existing normative readings of scores. The whole purpose of the system is to control performance interpretation, and to constrain it within the narrowest possible bounds. Performers, as I have said, win competitions and get the best gigs, by performing the norm more persuasively than anyone else. By the time they are renowned enough to do what they like, without losing their audience or losing work, they are so invested in their superlative normative readings that there is no incentive to innovate. Why would they? The norm is part of their embodied musicality, part of the way their body and brain have learned to be musical. Significant change is far too challenging to contemplate. The slightly less successful performers are teaching the next generation, and their interest is in passing on themselves to students who may, through their own success as soloists, be able to pass those teachers’ memes back into public consciousness. Cultural power, then, depends on passing on very slightly personalised norms. Each teacher, each soloist, is slightly different, enough for specialists to recognise, enough for them to feel they have something of themselves to reproduce in the next generation. But not enough for any rival to be able to accuse them of betraying the norm. There is rivalry, of course, enough to keep teachers’ pupils loyal, enough to see other teachers’ classes as Other, but not enough for critics or similarly ideologically invested audiences to see any one of these micro-schools of playing as deviant, rather than as fractionally (and to the specialist, interestingly) different. The pressures on performers to conform Those are all aspects of power. What about money? First, of course, the money men—the agents, critics, promoters, fixers—have to work with the products of the conservatories and the virtuoso classes. They are just as invested as the teachers, therefore, in representing, in order to sell, these tiny differences between one player and another as excitingly new products to eager customers, themselves indoctrinated by the record review magazines, by radio and the press, and by popular musicology around performers: performer biographies, CD booklets, programme notes, and so on. In this way, critics, writers and broadcasters are equally implicated in the business of policing norms: they are paid to. So the business is organised around the nature of the products. Like Windows laptops, performers are almost identical, but marketed as excitingly new. (If you want to pursue the analogy, think of Apple as the Historically Informed Performance, the HIP, of musical performance, but it’s just the only other orthodoxy, and in it’s fact very little, and less and less, different.) But more important than the marketing of normative performance is that side of the business that costs employers money, namely concerts and rehearsals. The industry is most profitable, the costs lowest, when there is least paid rehearsal. Rehearsal is as far as possible squeezed into unpaid hours, at home alone, so that when musicians have to be paid they are reproducing a known performance in front of a paying audience. Conformity is simply the most profitable model for the employer. The stunning trick that’s been pulled off is to have persuaded the worker to believe that this is both morally and artistically ideal. And in addition to get them to compete with one another, at their own expense, until only a handful (relatively speaking)—the approved virtuosi—are left doing all the best work. This is capitalism at its most ruthless, operating in artistic culture at its most moving. And it’s that contradiction that I’d like now to address. We believe classical music constructs Utopias, in which all is miraculously harmonious in the best of all possible musical worlds. We enjoy performances achieved at an astonishingly high level of artistry which seem, by their very excellence, to validate the system and beliefs on which it rests. The very fact that, thinking we are representing the all-knowing composer-god, great experiences are produced, seems to prove that all is well, that we have found the key to experiencing composer-god’s mind; and that we must continue to represent it in just that way in order to experience his full glory. But in fact, all that wonderful music-making comes from the hard labour of people ruthlessly trained since childhood to make something apparently (or actually) emotionally moving, out of nothing more than notes in a score, filtered through a carefully controlled set of interpretative habits. A few, some middlemen, and a tiny number of corporations, then take the profits. So we have fabulous artistry generated from deep belief in a rich mythology, controlled and exploited by the meanest of motives. You could say the same about Renaissance painting, or the Pharoahs’ tombs. But we don’t organise painting and architecture like that any more; only in classical music, the strictest disciplinary regime in the western world, outside prison (stricter even than armies, where you’ll find a lot more creative improvisation). Nonetheless, performers are contributing a huge amount to the music that results, because none of these performance norms is there in the scores. They are habits that have evolved, despite the best efforts of gatekeepers to prevent evolution, and they are habits of performance, not of composition. The habits the composer assumed are not encoded in the score. They are lost. The notes in the score are all there is. And they are just notes. It’s up to us, living performers and listeners, what kinds of experiences they generate. And, I am arguing, it should be up to us individually, not collectively. * So what follows? Two new principles and a host of benefits. First, a performer should see the score as nothing more than a starting point for creativity. There is no valid ethical or historical reason against this. The notes left by the composer are there. You can change them if you want to, and they’ll still be there in other copies. You can interpret them in any way you like that generates powerful experiences for a listener (who may be just yourself). The dead composer doesn’t suffer, the notes can always be returned to and treated differently by others. You’re not drawing a moustache on the Mona Lisa. Nothing is irreparably damaged if you’re unsuccessful. Second, we all have a moral obligation to performers, in return for all the years they’ve invested, to allow them to be creative and to personalise their reading of the notes, to find happiness in the joy of doing that, to avoid the stress that comes from fear of transgression [Biasutti & Concina 2014]. Performers would be far happier and healthier if they were freer to contribute. And we have no right to prevent that. Let me list some of the benefits of this new approach. Performers will be able to generate a much greater variety of musical experiences from scores, they will be able to use scores to comment on aspects of our own world, in just the way that theatre directors and actors are able to use new readings to enable old texts to tell us something new about our own situation. Benefits will flow, from allowing and encouraging more performer innovation, not just for performers but also for listeners and for employers and for satellite professions, including commentators, indeed for everyone in and around the music business. Listeners will find concerts far less predictable, more like going to the theatre in fact, in order to hear a score mean something new; and it seems very likely that new audiences will be attracted to classical music, reversing its decline. That, of course, will generate new income for everyone else in the business. Dolan et al. (2013) The improvisatory approach. Music Performance Research 6:1-38 There’s an indication of how advantageous a new approach could be in a study by David Dolan, John Sloboda, and others, at the Guildhall School of Music and Drama, in which an audience rated standard performances and performances including improvisation and unconventional expressivity. The results could not be clearer. On every measure the audience preferred the innovative performance (the grey bars in the chart above) by a huge margin. That’s a pretty strong economic case, never mind the artistic benefits. Of course, teachers will have to learn to encourage creativity, not stifle it. That’s perhaps the biggest change of all. But once they’re discovered how to do it as performers, they’ll begin to experience and understand the delight that it can bring, and they’ll want to share that with their pupils. From which you’ll understand why I believe this revolution can only be made by young professional performers like those who made this production of ‘Dido’. With diminishing opportunities to make a living from the present system, a whole career ahead of them, and enough technique, and in the best conservatoires an increasingly imaginative education, only young professionals have the tools and the incentive to introduce radical change. Examination systems will have to change to incorporate credit for creativity. (Incidentally we’ve already done this with our performance regulations here at King’s, and we’ve introduced a final-year course that fosters innovation.) Agents will have to select performers to promote on the basis of their imaginations as well as their reliability and sexiness, which shamefully is often a significant consideration now. Critics will have to learn how to respond to and how to value readings of scores unlike anything they’ve heard before (and you can see what a tough battle that’s going to be). And everyone will have to stop asking whether a performance is correct or not. There is no correct or incorrect, because there are no valid criteria for evaluating performances other than the extent to which they move or excite or interest or fascinate us as we listen. One further point, a vital one: we learned from HIP, which over time and with much experimentation created a new performance style, that the only way other performers change their habits is by hearing convincing performances in the new manner. It’s no good just talking about changes that ought to be made. We have to hear the results before anyone else will be persuaded. Which brings us to ‘Dido & Belinda’. We had two aims here; first the more general aim of allowing and encouraging performer creativity; secondly to narrow the gap that bedevils opera between the attitudes of the stage and music directors. This relationship can in theory take any of these four forms (not excluding others), in each of which the notion of ‘matching’ stage and music interpretation imagines a situation in which both aim to communicate the same understanding of what the notes and words might mean in a particular production. The staging tries to match the musical interpretation. This would be interesting to try to achieve. Where would you set a production that did that? In modern dress? Or in the 1950s perhaps, where current musical performance style became an international norm and whose values (of regularity, sobriety, good manners) it could be said to represent? Certainly it would require to be set in a socially narrow context, among the relatively affluent upper-middle class white westerners who make up most of the audience and most of the performers. Inevitably, productions would all be very much the same, but that in itself tells us something about the way we currently make music from these scores. The music tries to match the staging. This is very hard for musicians to conceive at the moment. How do you perform notes so that they sound Nazi, for example? But it’s a problem that’s not as insoluble as it seems. We’ve just not been able to try it yet because of all the political-moral constraints placed on (and accepted by) musicians: the obligation to continue to play the notes according to current norms. The music and staging just ignore each other. That’s what happens at the moment. How is that good? What’s sensible about it, artistically? It’s only because music, well-performed, can be so overpowering that this blithe indifference works at all. We go along with the music, and hope that the staging seems carried along with it. Or we just shut our eyes. Both directors—stage and music—work together on an interpretation of story, words and notes, and try to get them to work as one, mutually adjusting their vision to one another’s until they have something that makes coherent sense in both domains. In ‘Dido & Belinda’ we’ve taken a combination of the second and fourth options. In our production both stage and music director are aiming to allow the ‘Dido & Aeneas’ text and notation to shed some light on the same set of current social concerns, namely the limiting of gender choice (which can stand as a symbol for everything I’ve been saying about the limitations imposed on musical performance), and the resulting conflict between feeling and behaviour, and appearance and reality. We began by workshopping alternative performances of Dido’s lament, since that inevitably is the focal point of any performance in the minds of anyone who knows the piece. At this stage it seemed to work best as a love duet for Dido and Belinda, sinuously sensual, with the final duet of ‘Poppea’ in mind as one possible model. Knowing now that other musical readings were possible, and intrigued by how the opera might work if Dido and Belinda were the lovers, and Aeneas an inconvenient obstacle, we then developed a new reading of the complete plot. It’s a commonplace of ‘Dido’ criticism that Aeneas is unconvincing both as lover and beloved. Dido and Belinda are obviously much closer to each other than Dido is to Aeneas, and Belinda is there with Dido at all the most intimate moments. If there is a loving relationship in ‘Dido’ it’s more plausibly theirs, one might think. In that case it’s easy to imagine why Aeneas finds himself in the wrong place at the wrong time, and why they should be so keen (and Dido really is keen) to get rid of him. (‘I’ll stay’ – ‘no, no.’) Around that core observation the other details fall into place. Aeneas, whose main enthusiasm is for the massive boar he’s killed and that’s bending his spear, is an narcissistic oaf, and Dido’s extravagant praise of his manliness in the first act (‘when could so much virtue spring? What storms, what battles did he sing?’) becomes bitingly sarcastic. In the second and third acts Belinda and Dido conspire with the witches to get rid of Aeneas by conjuring up a storm and having Belinda dress up as a messenger from the gods. At the same time, they are hemmed in by their own retinue whose values are entirely conventional, who expect her to marry a macho warrior, and among whom it’s impossible for Dido and Belinda to live openly as a couple. And so, in the famous lament in the final act, Dido and Belinda are free to construct a fake suicide note, and leave it behind for the chorus to discover, while they elope and, let’s assume, live happily ever after. With that as a guide, the conductor Leo Geyer and the musicians took over, and, together with Ella Marchment as director and Simeon John-Wake as movement director, they developed their own reading of the score in order to tell that same story as persuasively as possible. It’s my own belief that with enough practice, perhaps several years’ worth, it’s possible to do this without changing the notes Purcell left: that there’s enough space, in the notional world of possible persuasive performances, for a score to mean radically different things simply by the way the notes are played. As we didn’t, however, have unlimited funds for rehearsal (though with wonderfully generous funding, even so, from King’s College London) Leo next constructed a score in which he imagined a complete reading that fleshed out our original outline, making some modest changes to the score as a way of testing what might be possible (including some reordering of numbers, reassigning (as we always envisaged) some passages between characters, some changes of harmonisation and rhythmicisation). That’s absolutely a right we have with any score, in my view, given the points made above about obligations to composers, musicians and audiences. So when you listen to the video you’ll hear some compositional differences here and there. Then, as an essential part of the rehearsal process, the production team and the musicians experimented with different readings of key scenes, some of which we later performed as alternatives after each performance. In those post-performance sessions we asked the audience and performers to interact, and for the audience to suggest further possibilities which the musicians might try out. That in turn could be fed back into the next night’s performance. In other words, we were not just offering a new way of hearing this score, but also a new attitude to what a score can do and to what it’s for. And we wanted to explore that with our audiences, not perform it at them. * In conclusion, I want to step back and look at these questions on a much wider stage. The United Nations’ guidance on Human Rights pertaining to the right to artistic freedom includes: “the right of all persons to freely experience and contribute to artistic expressions and creations, through individual or joint practice, to have access to and enjoy the arts, and to disseminate their expressions and creations.” And that is exactly what we are doing. It seems to us that any claim one might make for Western classical music to be exempt on grounds of artistic quality or ontology is bogus, concerned with protecting privilege and not with artistic quality which is easily achievable in myriad other ways, much to be benefit of musicians’ wellbeing psychologically, socially and economically. And so for us ‘Dido & Belinda’ is a first, tentative, no doubt only partly successful step towards a radically new situation in which professional musicians have the agency their astonishing abilities deserve, and indeed that their human rights require. In the long run I think we’ll all benefit, difficult as it may be at first for all to accept! I can’t end without expressing my heartfelt thanks to King’s College London for enabling this production. It’s not easy, in these times of ever-increasing government scrutiny and therefore conformist pressure, to put so many resources into something so experimental, but that is exactly what universities should be for: to generate and test ideas that may in the long run benefit society but that society is not yet perhaps quite ready to imagine and fund. Warmest thanks to King’s, then, and thanks to you for reading. Watch ‘Dido & Belinda’: [1] The three paragraphs on Wagner’s Producing Excellence appear also in Daniel Leech-Wilkinson, ‘Afterword: The Danger of Virtuosity’, in Musicae Scientiae 22/4 (2018) 558–61. See Feedback from audiences (report)
1646	dbpedia	3	69	https://www.independent.co.uk/news/people/obituary-winifred-radford-1455776.html	en	Obituary: Winifred Radford	https://www.independent.…icon-192x192.png	https://www.independent.…icon-192x192.png	[ "https://static.independent.co.uk/static-assets/images/newsletter/breaking-news/breaking-news-thumb.png", "https://www.independent.co.uk/img/icons/google.svg" ]	[]	[]	[ "French Fashion", "French Politics", "Retirement", "Singers", "Internal" ]	null	[ "Sidney Buckland" ]	1993-04-16T23:02:00+00:00	Winifred Eva Radford, singer, teacher, translator: born London 2 October 1901; married 1920 Douglas Illingworth (died 1949); died Cheltenham 15 April 1993.	en	/img/shortcut-icons/favicon.ico	The Independent	https://www.independent.co.uk/news/people/obituary-winifred-radford-1455776.html	Winifred Eva Radford, singer, teacher, translator: born London 2 October 1901; married 1920 Douglas Illingworth (died 1949); died Cheltenham 15 April 1993. WINIFRED RADFORD, the singer and teacher, will long be remembered for her impassioned work as champion of the French melodie in Britain and of song in all its forms. She was born in 1901, the daughter of the celebrated bass Robert Radford. Her childhood was steeped in music: before the age of eight she heard Patti, Melba and Tetrazzini sing, and sat on Elgar's knee. At 14 she entered the Royal Academy of Music, where she studied ballet, piano, and later, singing. When she was 16, the conductor and composer Sir Hamilton Harty introduced her to Douglas Illingworth, 22 years her senior, a barrister and man of great culture and taste. She married him two years later. Together, they travelled to Leipzig, where she studied singing with Elena Gerhardt. It was there, under the aegis of Gerhardt, that Radford made her concert debut in 1930. Radford's initial appearance in opera was at the first Glyndebourne Festival in 1934, where she sang the small soprano role of Barbarina in The Marriage of Figaro. In the four subsequent seasons at Glyndebourne her roles included Zerlina in Don Giovanni and Cherubino in Figaro. Soon after, Radford joined Frederick Woodhouse and Geoffrey Dunn in Intimate Opera at the Mercury Theatre and on tour. During the Second World War she also gave frequent recitals of Lieder and French song for the renowned lunch-hour series at the National Gallery. For many years she travelled widely, giving solo performances of song, poetry and drama in period costume. Eric Blom, in the 1954 Grove, wrote of these recitals: '(They) are by no means mere pretty fancy-dress affairs, but show a great deal of taste and erudition in the choice of material as well as uncommon vocal and histrionic gifts in their presentation.' In 1949, after 29 years of marriage, and after sadly declining health, Douglas Illingworth died. It was around this time that Radford forged two new relationships that were to enrich the rest of her life. One was with the singer of folk songs Constance Carrodus. Well known to BBC listeners in the 1940s and 1950s for her characterisations and collection of voices, including a male voice, Carrodus joined forces with Radford in a programme entitled City and Countryside. 'The two artists are superbly contrasted,' wrote the Yorkshire Observer. 'Miss Radford brings forward (with elegant period attire) the sophistication of bygone ages, Miss Carrodus delivers, in down-to-earth manner, the personalities and the true atmosphere of the Folk Songs.' The striking and eccentric Constance Carrodus became not only a valued colleague but also the lifelong companion of Winifred Radford. The other meeting that greatly enhanced Radford's life at this time was with the French baritone Pierre Pernac. Radford met Bernac and Francis Poulenc in 1945, when she sang Poulenc's Fiancailles pour rire at the Wigmore Hall, accompanied by Gerald Moore. Discovering that this was the first performance of the song cycle in Britain, Poulenc and Bernac, who happened to be in London at the time, coached Radford before the recital. Thus began Radford's close association with Bernac that was to last for over 30 years. She studied with Bernac in Paris whenever her commitments allowed. She established the course in the Interpretation of French Song at the Guildhall School of Music and Drama, where she continued to teach until 1971. After her retirement, she taught privately, devoting herself to the French song repertoire. She organised the highly successful series of master-classes that Bernac gave in London during the Sixties and Seventies. She also assisted Bernac in the production of his book The Interpretation of French Song (1976), providing English translations of all the song texts discussed. Bernac dedicated the book to her. She translated his second book Francis Poulenc - the man and his songs (1977) as well as Poulenc's Diary of My Songs (1985). After Bernac's death in 1979, Radford founded the Friends of Pierre Bernac, a society devoted to perpetuating his memory. In 1921 Winifred Radford was immortalised in a portrait of haunting beauty by Meredith Frampton, commissioned by her husband Douglas Illingworth. The portrait remains a fitting tribute to her, embodying all the qualities her friends, colleagues and pupils grew to cherish in her: her quiet resolve, determination and integrity beneath a gracious, radiant charm. She will be remembered by all who knew her with deep affection. (Photograph omitted)
1646	dbpedia	0	1	https://en.wikipedia.org/wiki/Elena_Gerhardt	en	Elena Gerhardt	https://upload.wikimedia…ena_Gerhardt.jpg	https://upload.wikimedia…ena_Gerhardt.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/cc/Elena_Gerhardt.jpg/2...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2007-06-16T14:17:15+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Elena_Gerhardt	German opera singer Elena Gerhardt (11 November 1883 – 11 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She emigrated to London in October 1934. Training, and first recitals with Nikisch [edit] Elena Gerhardt was born at Connewitz near Leipzig, the daughter of a Leipzig restaurateur. She studied at the Leipzig Conservatory from 1899 to 1903, first with Professor Carl Rebling and then with Marie Hedmondt (d. 1941), who remained her friend and vocal adviser for many years. After a year of only technical study, she began work on operatic roles, such as Cherubino, Dorabella, the Mignon of Ambroise Thomas and Hermann Goetz's Katharina, interspersed with lieder. She won the Carl Reinecke Scholarship. Leipzig provided many opportunities to hear international artists and to hear the early masters. In 1902, Arthur Nikisch became director of the Leipzig Conservatory, and approved her to sing publicly in Leipzig, which she first did in November 1902: he also gave her a solo in Franz Liszt's "Choruses from Herder's Entfesselter Prometheus" (S. 69). On graduating in 1903 and with many engagements, she mentioned her wish to give a lieder recital, and Nikisch offered to be her accompanist, their first (victorious) performance being at the Kaufhaus in Leipzig on her twentieth birthday. Concert engagements poured in, and she sang lieder in almost every university town as supporting artist to names such as Eugène Ysaÿe, Teresa Carreño and Max Reger. By 1905 she made her first appearances (with Nikisch) in Hamburg and Berlin (the Bechsteinhall), and in Berlin made the friendship of Richard Strauss. From summer 1905 she spent holidays with the Nikisch family near Ostend. London, Europe, Russia, and USA before 1914 [edit] Gerhardt first appeared at the Leipzig Opera as Mignon, in June 1905, and also performed Charlotte in Massenet's Werther there, under Nikisch, being coached by his student Albert Coates as Korrepetitor. Nikisch arranged and accompanied her 1906 London debut, first in a Mischa Elman concert, and then in a lieder recital (songs of Schubert, Schumann, Brahms, Wolf, etc.) at the Bechstein Hall. In April 1907 she first sang at the Royal Albert Hall, with an orchestra under Nikisch. Thereafter she returned to England annually until 1914 for autumn seasons, including regular tours of the provinces with Hamilton Harty or her loyal accompanist Paula Hegner. The partnership with Nikisch was preserved in two series of records made in 1907 and 1911 in Berlin. A particular triumph was their appearance in the 1908 season of the Philharmonic Society in London. She sang by invitation to entertain royal guests to the Coronation of King George V and Queen Mary in 1911. Nikisch introduced her into the highest circles, including the Villa Wahnfried. She sang in many European capitals - Vienna, Budapest, Prague, Copenhagen, Christiania (Oslo) - and with old musical Societies at Cologne and Frankfurt, annually in Paris and London, and under Mengelberg at The Hague. Nikisch usually accompanied the first lieder concert at each centre, after which other accompanists took over. Alexander Siloti arranged her first visit to Russia (to Moscow) in 1909, and until the War she sang there and in St Petersburg. Gerhardt made her American debut at the Carnegie Hall in January 1912, with Paula Hegner, and was then in Cincinnati and Philadelphia with Leopold Stokowski (singing the Wesendonck Lieder), and with the Boston Symphony Orchestra under Max Fiedler, before finally combining there with Nikisch and the London Symphony Orchestra tour. In London in 1912 she performed the Angel in Elgar's The Dream of Gerontius, a role more associated with her 'rival' and friend Julia Culp. Her second American tour was in early 1913, opening with the Boston Symphony under Karl Muck, and with Erich J. Wolff as accompanist, who died during the tour. They visited Boston, New York, Baltimore, Washington and Baton Rouge, Louisiana. Meta Schumann also served as her accompanist in America. Next season she sang in Paris, Moscow, Scandinavia, Hungary, Austria, the Netherlands, Italy, Scotland and England, culminating in London in July 1914 at the Queen's Hall under Richard Strauss - her last appearance there for eight years. The First World War [edit] Returning from Ostend to Leipzig in August 1914, her English tours were impossible to fulfil, but she sang from Hamburg to Vienna and Budapest and returned triumphantly to America in 1915, and that winter sang in Denmark and Norway. In August 1916 she sang to German troops on the Western Front at Laon, through the efforts of her brother the singer Reinhold Gerhardt, a pupil of Karl Scheidemantel. Meanwhile in late 1916 she returned to the USA to give the East Coast tour with Karl Muck, and in April 1917 was singing in Los Angeles and San Francisco. As America entered the war she was shipped back to Germany with many other artists. She visited the Front again in summer 1918 with Wilhelm Backhaus (in uniform) as accompanist and concert partner. She continued to tour, from Norway to Hungary, through the chaos following the armistice, and was in Munich when Kurt Eisner was assassinated. Between the wars [edit] In early 1920, she made a prolonged tour of Spain with Paula Hegner, and later that year to the USA again, where her collaboration with the model accompanist Coenraad V. Bos began. This partnership was renewed in the winter season of 1921-22 in New York. In March 1922 (soon after the death of Nikisch) she braved the return to London (Queen's Hall) with Paula Hegner, where her German art was received with an ovation. That was the start of an unbroken tie with England, which later became her home. The following years saw annual winter tours in USA (and the Pacific Coast from San Francisco to Vancouver in 1925), with extensive tours in UK, Europe and Germany. There were further Spanish tours, including one in winter 1928 with Bos. She was then singing Schubert's Winterreise which, as a female singer, she made particularly her own. At the start of 1929 she became head teacher of singing at the Leipzig Conservatory, and after October 1930 she discontinued her American tours, though still touring intensively in Britain and Europe. One of her students in Leipzig was Indian contralto Bina Addy.[1] In 1928, she met and fell in love with Dr Fritz Kohl, Director of Administration of the Mitteldeutscher Rundfunk in Leipzig, and they married in November 1932. In London she reappeared before the Royal Philharmonic Society in January 1931, under John Barbirolli, to perform Wolf songs with orchestral accompaniment, and Mahler's Kindertotenlieder. Her Hugo Wolf Song Society recordings were made in 1932. Following Hitler's rise to power, Kohl was arrested and imprisoned, not being released until June 1935, the only one of the German Broadcasting Directors to be acquitted by the Reichsgericht in Leipzig. With the help of Landon Ronald at the Guildhall School of Music, Elena meanwhile got a foothold in London in 1934, and after a last visit to Bayreuth to see Strauss conduct Parsifal ('It was no longer Richard Wagner's Bayreuth, but Hitler's'[2]), London became the settled home of the couple. Over the following years, as the storm gathered, Elena gave recitals in the Netherlands, France and Britain, often with Gerald Moore accompanying, and developed a circle of singing pupils. Wartime recitals in England [edit] With the outbreak of war, Gerhardt expected that her singing career was at an end as there should be no taste for German music in Britain, especially as she would only sing in German, and the broadcast of the German language was forbidden on the BBC home programmes. However, Myra Hess insisted upon involving her in the National Gallery mid-day concerts, where she first appeared in December 1939, and afterwards in twenty-two concerts with Myra Hess or Gerald Moore, being very greatly appreciated. With Myra Hess and Lionel Tertis she sang the Brahms viola songs and other lieder recitals in many parts of England and Scotland, including a complete Winterreise in Reading, and in 1942 gave BBC lieder broadcasts to Argentina. Her teaching picked up again after 1941. With Myra Hess she sang at Haslemere for Tobias Matthay and his pupils. She gave a sixtieth birthday concert in the Wigmore Hall in 1943, and further National Gallery and Wigmore Hall concerts in 1944. News of the destruction of Leipzig and Dresden filled her with deep sadness. The diarist James Lees-Milne recorded a performance of Schubert by Gerhardt on Wednesday, March 18, 1942 at the National Gallery in London: "Elena Gerhardt came out close to where we were sitting. She is an enormous woman with so dropsical a belly that it looks like a pillow tied to her front not belonging to her person at all. She wore a black velvet dress like a monk's habit, tied with a black cord round her middle. She must be about sixty but still has a voice. When she walked in she was beautifully powdered, her grey hair tied up, immaculate. When she came out all the powder was gone, her face shining with sweat. She was mopping her forehead with a handkerchief. Yet she looked happy, fulfilled. Where we were sitting it was difficult to hear her clearly, and her low notes not at all."[3] Late career [edit] In 1946, when the BBC Third Programme (i.e., Radio 3, the classical music station) was inaugurated, she gave three broadcasts, including lieder recitals and talks about her career and the interpretation of Winterreise. She also recorded Schumann's Frauenliebe und -leben in that year. She made a broadcast of Brahms's songs in May 1947. That was soon after her formal retirement from the platform in March 1947. Her husband Dr Kohl died in May 1947 and the remainder of her professional life was devoted to teaching in London, where one of her earliest pupils was Marina de Gabaráin. She managed to arrange the escape of her brother Reinhold and his family from Eastern Germany, and he joined the staff of the Guildhall School of Music. Gerhardt was one of the very great interpreters of German lieder, a singer who made her career almost entirely in this genre. She published her autobiography in 1953. She died on 11 January 1961 aged 77, in London. Recordings [edit] (See discography by Desmond Shawe-Taylor, with titles and number listings. Dates may be of recording or of issue.)[4] Acoustic recordings: 1907 G&T recordings with Arthur Nikisch (Wolf, Bungert, Brahms, Strauss, Rubinstein) - six 10" and one 12" record/seven songs. 1911 Red Label German HMV recordings with Arthur Nikisch (Wolf, Brahms, Bungert, Strauss, Schumann, Schubert, Wagner) - ten 10" and seven 12" records/seventeen songs. 1913-1914 as above, with Bruno Seidler-Winkler (pno) - eleven 10" records/songs. (Strauss, Brahms, Schubert, Wolf). 1913-1914 as above, with orchestra cond. Seidler-Winkler - five 12" records/songs. (Strauss, Wagner, Gluck, Wolf). 1915 American Columbia, about 7 titles with orchestral accompaniment. (J. Strauss, Schulz, Grüber, and folk-songs) 1923 Aeolian Vocalion with Ivor Newton (pno) - six 12" records/songs. (Schubert, Grieg, Schumann, Strauss, Brahms) 1924 as above, with Harold Craxton (pno) - six 12" records/songs. (Schubert, Strauss and Brahms) 1924-1925 HMV red label, with ?Harold Craxton (pno) - seven titles (three 10" 2-sided records and one side unissued). (Schubert, Schumann, Wolf and Brahms) Electric recordings: 1926 HMV red label, with Paula Hegner - eight songs, three 10" and two 12" records. (Brahms, Schubert) 1927 HMV red label, with Coenraad V. Bos - three songs, two 12" records. (Brahms, Reger) 1928 HMV Black Label Schubert Centenary Album - seven 12" and one 10" record (eight items from Winterreise, and ten other songs). 1929 HMV black label, with Harold Craxton - one 12" record, three songs (Brahms). 1929 HMV black label, with Coenraad V. Bos - two 12" records, six songs (Brahms). 1929 HMV red label, with Bos - one 10" record, three songs (Schubert and Wolf). 1929 HMV red label, with Bos - one 12" record, two songs (Schumann): another two sides of Schumann were recorded at this time (Wer machte dich so krank, and Alte Laute), but were not issued. 1932 HMV red label Hugo Wolf Society Volume I, with Coenraad V. Bos - six 12" records, nineteen songs. 1939 HMV White Label, privately published, with Gerald Moore - six 10" records, GR16-GR21. (Brahms, Complete Zigeunerlieder (eight songs), three other songs; Schubert (four), Wolf (two)). 1947-1948 HMV White Label, privately published, with Gerald Moore - (Schumann, Frauenliebe und -leben Complete, three 12" records). Also Schumann's Meine Rose was recorded, on one 12"" side, but was not issued. Notes [edit] Sources [edit] Arthur Eaglefield Hull, A Dictionary of Modern Music and Musicians (Dent, London 1924) R. Elkin, Royal Philharmonic (Rider & co, London 1946) E. Gerhardt, Recital (autobiography), (Methuen, London 1953). G. Moore, Am I too loud? (Penguin, Harmondsworth 1966). M. Scott, The Record of Singing Vol II (Duckworth, London 1979) E. Williams, (Sleevenotes), Gerhardt & Nikisch recital, Delta LP TQD 3024 (Delta Records, London 1962). H. Wood, My Life of Music (Gollancz, London 1938)
1646	dbpedia	3	53	https://charm.rhul.ac.uk/studies/p6_1_3.html	en	CHARM publications			[]	[]	[]	[ "" ]	null	[]	null			Assets/g/i/favicon.ico		null	Publication list arranged by project Â Analysing motif in performance <back to top> Â Expressive gesture and style in Schubert song performance <back to top> Â Style, performance, and meaning in Chopin's Mazurkas <back to top> Â The recording business and performance, 1925-32 <back to top> Abstracts for project publications ANALYSING MOTIF IN PERFORMANCE Neta Spiro, Nicolas Gold and John Rink. âThe form of performance: analyzing pattern distribution in select recordings of Chopinâs Mazurka Op. 24 No. 2â, Musicae Scientiae (forthcoming 2010) The investigation described here focuses on twenty-nine performances of Chopinâs Mazurka Op. 24 No. 2, which features clear four-bar phrases and correspondingly consistent sectional units, but which also has characteristics such as a steady crotchet accompaniment that remain constant throughout. This results in a potential tension between 'through-performed' and sectionalized features. In this study we examine the performances accordingly, investigating the relationship between the workâs structural and thematic characteristics on the one hand and the timing and dynamic characteristics of performances of that work on the other. Following this, we narrow our investigation of these and other features by undertaking a comparative analysis of three recordings by the same performer, Artur Rubinstein. A toolkit of methods is employed, including an approach that has been little used for this purpose, i.e. Self-Organising Maps. This method enables the systematic analysis and comparison of different performances by identifying recurrent expressive patterns and their location within the respective performances. The results show that, in general, the structure of the music as performed emerges from and is defined by the performance patterns. Particular patterns occur in a range of contexts, and this may reflect the structural and/or thematic status of the locations in question. Whereas the performance patterns at section ends seem to be most closely related to the large-scale structural context, however, those within some sections apparently arise from typical features of the mazurka genre. Performances by the same performer over a 27-year span are characterized by striking similarities as well as differences on a global level in terms of the patterns themselves as well as the use thereof. John Rink, Neta Spiro and Nicolas Gold. âMotive, gesture and the analysis of performanceâ, in New Perspectives on Music and Gesture, ed. Anthony Gritten and Elaine King (Aldershot: Ashgate, forthcoming 2010) âMusical gestures are musical acts, and our perception and understanding of gestures involves understanding the physicality involved in their production.â Arnie Coxâs provocative statement serves as the point of departure for this essay. One of its main premises is that musicâs gestural properties are neither captured by nor fully encoded within musical notation, but instead require the agency of performance to achieve their full realisation. The performance in question need not be live: recordings too have distinctly gestural properties even if the visual dimension and experiential character of live music-making are lacking. This essay also reverses a common tendency to assign the status of musical gestures to conventional musical motives. In contrast, we regard the gestures created in and through performance as potentially having motivic functions within the performed music. Such âmotivesâ are defined not in terms of pitch, harmony or rhythm, however, but as expressive patterns in timing, dynamics, articulation, timbre and/or other performative parameters which maintain their identity upon literal or varied repetition. The essential point has to do with the nature and function of the given motives. By way of example, the discussion focuses on the motivic properties of select performances of Chopinâs Mazurka Op. 24 No. 2, including certain dance-related gestures characteristic of the mazurka genre as a whole. Neta Spiro, Nicolas Gold and John Rink. âPlus Ã§a change: analyzing performances of Chopinâs Mazurka Op. 24 No. 2â, in Proceedings of 10th International Conference on Music Perception and Cognition, ed. Kenâichi Miyazaki et al (Sapporo: ICMPC10, 2008), 418-27 Performances of the same piece can differ from one another in innumerable ways and for many different reasons. Such differences are of considerable interest to musicologists and psychologists. The aim of the current study is to analyze the timing and dynamic patterns of numerous performances in order to explore the musical reasons for use as well as differences in use of those patterns. More specifically it investigates the relationship between 1) structural and thematic characteristics of a piece and the timing and dynamic characteristics of performances of that work and 2) the relationship between patterns of timing and those of dynamics. A new methodology is developed and applied which enables the systematic analysis and comparison of different performances by identifying patterns of performance, or performance motives, and their location in performance. The results show that, in general, the structure of a piece emerges from the performance patterns. The relationship between timing and dynamics is not direct and the sources for use of particular patterns seem to be many and varied, including structural and thematic considerations. However, the performance patterns at section ends seem to be most closely related to the surrounding long-term structural characteristics, while those within some sections seem to be closely related to the motivic patterns driven by genre-specific characteristics of the piece. Neta Spiro, Nicolas Gold and John Rink. âIn search of motive: identification of repeated patterns in performance and their structural contextâ, in Proceedings of the Inaugural International Conference on Music Communication Science (ICoMCS), ed. Emery Schubert et al. (Sydney: ARC Research Network in Human Communication Science (HCSNet), 2007), 152-54 Motives are short melodic, rhythmic, and/or harmonic patterns repeated either exactly or in varied form and have long been recognised as important elements of musical structure. Less well-explored is the relationship between motives and their manifestation in performance, and the perception thereof. Expressive motives originating in performance â which we term âperformance motivesâ â are also of considerable interest but have received scant theoretical attention, despite their potential significance in music performance and perception. In this paper we present a method that combines a simple pattern-matching approach with Formal Concept Analysis to allow the exploration of repeating timing patterns in performance. We present the initial results of applying this method to quaver-timing data from performances of Chopinâs Etude Op. 10, No. 3. The results demonstrate the viability of the method and identify repetitions in timing patterns in several contexts: those occurring with motivic material identifiable in the score, those with the same structural positions, those occurring in areas played very quickly, and those not directly coinciding with any of the above. All of these warrant further exploration. (Click here for full text of this paper.) Neta Spiro, Nicolas Gold and John Rink. âPerformance motives: Analysis and comparison of performance timing repetitions using pattern matching and Formal Concept Analysisâ, in Proceedings of the International Symposium on Performance Science, ed. Aaron Williamon and Daniela Coimbra (Utrecht: European Association of Conservatoires, 2007), 175-80 A method combining a pattern-matching approach with Formal Concept Analysis is used to explore repeated timing patterns in performance in order to analyse characteristics of performances and differences among them. Initial analysis of timing data from performances of Chopinâs Etude Op. 10, No. 3 suggests that repetitions in timing patterns occur in several contexts: with motivic material identifiable in the score, with the same structural positions, in parts played very quickly, and not directly coinciding with any of the above. The paper explores the relation between these contexts and the roles of such repetitions in different performances of the same piece. (Click here for full text of this paper.) <back to top> EXPRESSIVE GESTURE AND STYLE IN SCHUBERT SONG PERFORMANCE Leech-Wilkinson, Daniel. 'Performance style in Elena Gerhardt's Schubert song recordings', Musicae Scientiae (forthcoming) This final study from the CHARM Schubert project aims to examine personal style in one early recorded singer, Elena Gerhardt (1883-1961). The period style of Gerhardtâs generation of Lieder singers presents the problem of changing performance style and its relation to musical meaning with special clarity. The stark differences compared to modern performance on the one hand force us to confront the contingency of musicianship and on the other render performance style far easier to disassemble into its constituent elements. Gerhardtâs Schubert recordings, made right through her career, offer a good environment in which to develop suitable techniques of performance analysis. The article examines her manipulation of timbre, especially in relation to problems of register left over from an abbreviated studenthood, exacerbated by her prioritising emotional communication over technical perfection, and her use of timbral change for text illustration and for formal articulation. Also under the microscope are her ability to vary vibrato and tuning in response to text and form; her use of pitch scoops for text illustration and rhythmic articulation; her characteristic manner of portamento used rarely but when used (for texts with particular associations) used overwhelmingly; and her rubato, especially its interaction with portamento and loudness. All these elements are examined as constituents of her personal style. Leech-Wilkinson, Daniel. 'Recordings and histories of performance style', in The Cambridge Companion to Recordings, ed. Nicholas Cook, Eric Clarke, Daniel Leech-Wilkinson and John Rink (Cambridge University Press, forthcoming) Performance style is conceptualised here as a set of habits characteristic of individuals, periods, (once) nationalities, and potentially other kinds of groups. Habits consist of ways in which performers do not perform the score literally but adjust the notated details for expressive effect. An outline is offered of changing performance styles as documented by recordings of western classical music. A mechanism is then proposed by which style changes in unnoticeably small steps which accumulate into massive style changes over many decades. Drawing on theories of natural selection applied to cultural change, the chapter shows how teaching, learning, being examined, hired, reviewed, recorded, and other selective processes, lead some approaches to performance to be inherited and others not. Runaway sexual selection and optimal foraging principles, among other aspects of selection theory, have close correlates in the development of musical performance styles in relation to careers. Recordings are seen to function as one-to-many disseminators that can spread stylistic variants very quickly. On the one hand this can encourage homogenisation, but on the other it engineers rapid change. This in turn may have consequences for our understanding of performance style change before the invention of recording. Leech-Wilkinson, Daniel. 'Musicology and performance', in Musicâs Intellectual History: Founders, Followers and Fads, ed. Zdravko Blazekovic (New York: RILM, forthcoming) The relationship between performance style change and writings on music is examined through two case studies. Recordings of modernist scores (Boulez and Schoenberg) between 1960 and 2000 show a major shift from a pointillistic to a melodic approach following on behind an identical change in compositional priorities in Boulez especially. Writing about the scores, away from matters of compostional technique towards an interest in effect, in turn follow the changes in performance. In the case of Schubert Lieder singing, writings on the songs follow on behind recordings, from naÃ¯ve readings of text and music at face values (in both performances and commentaries) towards a search for psychological depth and hidden meaning, first in performance (Fischer-Dieskau most influentially) and later in writings (from Fischer-Dieskau to Lawrence Kramer). This process offers one respect in which recorded performance can be seen to interact with wider changes in musicâs cultural context. Leech-Wilkinson, Daniel. The Changing Sound of Music: Approaches to Studying Recorded Musical Performances (London: CHARM, 2009). [eBook] This book aims to cover some of the major issues that students need to consider when using recordings to study performance. Chapter 1 examines the relationship between music and performance, chapter 2 that between music and recordings, and between musicology and recordings. Chapter 3 outlines the history of recording technologies and the limitations each technology places on what can be known of performance through recordings. The following three chapters outline histories of style-change in singing, violin playing and piano playing respectively, introducing techniques for studying performances along the way. Chapter 7 proposes a mechanism underlying style change in performance. Chapter 8 models musical performance style as a collection of expressive gestures in sound and offers ways of studying them in great detail. Chapter 9 concludes the book by looking at the interaction of disciplines required for the successful study of the relationship between performance and musical meaning. The text is linked to 54 sound examples, most drawn from the holdings of the Kingâs Sound Archive and transferred especially for the book, as well as software, data files, charts, tables, figures and plates. It is published online in order to permit students free access. Leech-Wilkinson, Daniel. 'Sound and meaning in recordings of Schubert's "Die junge Nonne"', Musicae Scientiae 11/2 (2007), 209-236 Musicologyâs growing interest in performance brings it closer to musical science through a shared interest in the relationship between musical sounds and emotional states. However, the fact that musical performance styles change over time implies that understandings of musical compositions change too. And this has implications for studies of music perception. While the mechanisms by which musical sounds suggest meaning are likely to be biologically grounded, what musical sounds signify in specific performance contexts today may not always be what they signified in the past, nor what they will signify in the future. Studies of music perception need to take account of performance style change and its potential to inflect conclusions with cultural assumptions. The recorded performance history of Schubertâs âDie junge Nonneâ offers examples of significant change in style, as well as a range of radically contrasting views of what the songâs text may mean. By examining details of performances, and interpreting them in the light of work on music perception, it is possible to gain a clearer understanding of how signs of emotional state are deployed in performance by singers. At the same time, in the absence of strong evidence as to how individual performances were understood in the past, we have to recognise that we can only speak with any confidence for our own time. Leech-Wilkinson, Daniel. 'Expressive gesture in Schubert singing on record', Nordisk Estetisk Tidskrift [Nordic Journal of Aesthetics] 33 (2006), 50-70 Evidence from 100 years of recorded musical performance undermines many of the old certainties about music's identity. Performance style translates into sound manners of emotional communication that change over time, and with changes in performance come changes in musical meaning. A detailed understanding of this process lies beyond musicology and music philosophy as currently practised. Similarly, while music psychology has shown effectively how performance expression is achieved through irregularities in timing, loudness and frequency, it has not yet taken on board the fact that these habits of irregularity change over time, with possibly consequent changes in listener response. Through recordings, therefore, we seem to see a large-scale shift in the way that a perceptual system in the mind is engaged in making sense of incoming data. Functionally the data remains the same B the importance of certain notes continues to be signalled B but the way those functions are signalled changes. Examples from recordings of Schubert songs by Elena Gerhardt, Kathleen Battle, Arleen Auger and Janet Baker are used to explore the components of performance style and the ways in which they draw on sounds from life (including speech) in order to bring meaning to music. The ways in which this modelling of sounds from life changes over time now requires much more focused study. Leech-Wilkinson, Daniel. 'Portamento and musical meaning', Journal of Musicological Research 25 (2006), 233-61 Portamento was a significant expressive device among performers for at least two hundred years; yet, for the past sixty it has made musicians uncomfortable. More than a change of fashion, this suggests responses formed at a relatively deep psychological level. Drawing on work in developmental psychology, and reading in the light of it performances of art music lullabies, it is suggested that portamento draws on innate emotional responses to human sound, as well as on our earliest memories of secure, loving communication, in order to bring to performances a sense of comfort, sincerity, and deep emotion. The decline of portamento after the First World War and its sudden disappearance after the Second is traced to a new emphasisâinfluenced by psychoanalysis and reflected in writings on musicâon darker meanings in music, which can be understood in the light of the reinterpretation of human motives and behavior forced on a wider public by the Second War. Portamento, because of its association (however unconscious) with naive trust and love, became embarrassingly inappropriate. This hypothesis also sheds light on the deepening of vibrato after the War, new objectivity and authenticity in Bach, the rise of music analysis, and the performances and writings of the avant-garde. Timmers, Renee. 'Vocal expression in recorded performances of Schubert songs', Musicae Scientiae 11/2 (2007), 237-268 In an exploratory study, the relation between vocal expression and the structure and emotion of music was investigated in performances of three Schubert songs. Measurements were made of variations in tempo, dynamics and pitch from recordings of famous singers. All singers showed highly systematic relationships between these measured variations and emotional and structural characteristics of music. Strongest relationships included relationships with emotional activity and valence. The relationships with emotional activity were consistent over singers and musical pieces, but the relationships with emotional valence depended on musical piece. Clear changes in performing style over the 20th century were observed, including diminishing rubato, an increase followed by a decrease of the use of pitch glides, and a widening and slowing of vibrato. These systematic changes over time only concerned the style of performance and not the strategies to express structural and emotional aspects of music. Timmers, Renee. 'Communication of (e)motion through performance: two case studies', Orbis Musicae 14 (2007), 116-140. [special issue on performance] This paper examines the role of the communication of activity in the communication of emotion in music performance. The starting point is the hypothesis that performers are especially well able to communicate levels of activity and that communication of emotions is to a considerable extent based on this communication. Two case studies are reported that confirm that the ability of performers to communicate the activity of an emotional interpretation of a musical passage is stronger than the ability to communicate the valence of an emotional interpretation. In the first case study, the performers expressed discrete categories of emotions, but the two low activity emotions were strongly associated and happiness was not always reliably communicated. In the second case study, the communication of activity was much stronger than the communication of valence. The question is raised whether emotion in music performance exists without perception of activity and whether communication of emotion is sometimes rather communication of motion. Timmers, Renee. âPerception of music performance on historical and modern commercial recordingsâ, Journal of the Acoustical Society of America 122 (5) (2007), 2872-80 Performing styles as well as recording styles have changed considerably within the 20th century. To what extent do the age of a recording, the unfamiliarity with performing style, and the quality of a reproduction of a recording systematically influence how we perceive performances on record? Four exploratory experiments were run to formulate an answer to this question. Each experiment examined a different aspect of the perception of performance, including judgments of quality, perceived emotion, and dynamics. Fragments from 'Die junge Nonne' sung by famous singers from the start, middle, and second half of the 20th century were presented in a noisy and clean version to musically trained participants. The results show independence of perception of emotional activity from recording date, strong dependence of perceived quality and emotional impact on recording date, and only limited effects of reproduction quality. Standards have clearly changed, which influence judgments of quality and age. Additionally, changes restrict the communication between early recorded performers and modern listeners to some extent as shown by systematically smaller variations in communicated dynamics and emotional valence for older recordings. <back to top> STYLE, PERFORMANCE, AND MEANING IN CHOPIN'S MAZURKAS Cook, Nicholas. 'The ghost in the machine: towards a musicology of recordings', Musicae Scientiae (forthcoming) This article introduces the other contributions to this second issue of Musicae Scientiae devoted to the work of the AHRC Research Centre for the HIstory and Analysis of Recorded Music (CHARM), and sets them into the larger context of musicological research into recorded musical performance. There is consideration of musicology's historically odd relationship to performance, including the historically informed performance musuc and what is referred to as the 'page-to-stage' approach of recent music theory: CHARM's analytical projects focussed on aspects overlooked by the score-based approach, on the potential for bottom-up methods, and on the nature of performance style and the extent to which it can be meaningfully analysed by empirical methods. Another strand of CHARM's research investigated the extent to which the commercial practices of the record industry help to shape twentieth-century performance. The author includes brief accounts of his own projects with CHARM so as to provide an overview of the Centre's work as a whole. Cook, Nicholas. 'Off the record: performance, history, and musical logic', in Music and the Mind: Investigating the Functions and Processes of Music, ed. IrÃ¨ne Deliege (Oxford: Oxford University Press, forthcoming). German translation in Musik.Theorien der Gegenwart, ed. Clemens GadenstÃ¤tter and Christian Utz (SaarbrÃ¼cken: PFAU-Verlag, forthcoming) Empirical approaches to the study of recorded performance, originally developed by psychologists and subsequently adopted by music theorists, are opening up new areas of historical study. Both psychology and music theory, however, are oriented towards general principles rather historical contingencies; an example is Schenkerian performance pedagogy, which applies insights drawn from the work of Heinrich Schenker (1868-1935) to present-day performance. But today's performance style is quite different from that with which Schenker was familiar. Comparison of Schenker's 1925 article on Schubert's Impromptu Op. 90 No. 3 (which includes prescriptions for performance as well as a structural analysis) with a 1905 piano roll by Eugen d'Albert, a pianist Schenker particularly admired, suggests a 'rhetorical' approach fundamentally opposed to the structurally oriented approaches advocated by Schenkerian pedagogy today. It also evidences a striking disconnect between the modernist theoretical approach set out in Schenker's 1925 article and his decidedly pre-modern sense of how music should go in performance. Cook, Nicholas. 'Bridging the unbridgeable? Empirical musicology and interdisciplinary performance studies', in New Perspectives on Peformance Studies: Music across the Disciplines, ed. Nicholas Cook and Richard Pettengill (Ann Arbor: Michigan University Press, forthcoming) At first sight, nothing could be further apart than interdisciplinary performance studies, which emphases the generation of meaning in real time, and the empirical and computational analysis of recorded performances that is occupying an increasingly high profile in musicology: the latter could be criticised for applying the traditional discipline's text-oriented approach to recordings rather than rethinking music as performance. In this chapter I claim that, appropriately applied, empirical methods can elucidate aspects highly pertinent to the performative generation of musical meaning, illustrating my argument by reference to video recordings of Chopin's Mazurka Op. 63 No. 3 by Grigory Sokolov and others. I conclude that the approach of interdisciplinary performance studies helps to clarify what performances mean, while more empirical approaches help to clarify how performances mean what they meanâand that with as complex a phenomenon as performance, we need every interpretive weapon at our disposal. Cook, Nicholas. 'Objective expression: phrase arching in recordings of Chopin's Mazurkas', in Reactions to the Record: Perspectives on Historical Performance, ed. George Barth and Kumaran Arul (forthcoming). Abridged version: 'Squaring the circle: phrase arching in recordings of Chopin's mazurkas', Musica Humana (forthcoming) Classical pianists tend to get faster and louder as they play into a musical phrase, and slower and softer as they emerge from it: this phenomenon of phrase arching has been seen by both music theorists and psychologists as central to expressive performance. But has it always been so, or is phrase arching a strictly historical phenomenon? Based on recordings of Chopin's Mazurkas Op. 63, no. 3 and using analytical approaches developed at CHARM, this study indicates that the modern style of phrase arching, with tempo and dynamics strongly coordinated with one another and with composed phrasing, developed only after the Second World War, and attempts to understand it in light of the larger culture within which it developed. Cook, Nicholas. 'Beyond reproduction: semiotic perspectives on musical performance', Zeitschrift fÃ¼r Semiotik, special issue 'Zeichen jenseits von Bezeichnung. Musiksemiotische Konzepte' (forthcoming) The traditional musicological conception of performance is as the reproduction of pre-existing texts. This makes no allowance for the extent to which meaning emerges from the very act of performance, and from the interactions between the various participants in performance events. A broadly semiotic approach focuses attention on such issues, and in this article I illustrate such an approach in terms of the communicative function of the mazurka 'script' and the role of performance gesture in conditioning musical meaning. I argue that instead of thinking in terms of the reproduction of works, it is better to borrow Jeff Pressing's term 'referent', and think in terms of performances referencing scores, traditions, and other pre-existing entities. This allows conceptualisation of performances that range from the Werktreue ideology or tribute bands to parody or burlesque. Discourses of the relationship between works and performances are mirrored by those between performances and recordings. Consideration of the latter helps to clarify features shared by both performances and their referents: creativity, collaboration, and semiosis. Cook, Nicholas. 'Methods for analysing recordings', in The Cambridge Companion to Recorded Music, ed. Nicholas Cook, Eric Clarke, Daniel Leech-Wilkinson and John Rink (Cambridge: Cambridge University Press, forthcoming) Important work on the analysis of recorded music has been carried out using no more than a CD player, score, and pencil. But modern tchnology provides more convenient and sophisticated environments for such research, allowing flexible navigation and a range of visualisations. It also makes it possible to compare large numbers of recordings in order to focus on aspects of style, in contrast to the traditional focus on a few 'representative' examples. This chapter surveys a range of approaches drawn primarily from empirical musicology and MIR (Music Information Retrieval), assessing the strengths and weaknesses of each. It also counteracts some of the arguments that have been put forward againt empirical approaches in general, emphasising the relationship between analysis and perceptual experience, the different purposes for which people study recordings, and the desirability of working as large and varied an analytical toolkit as possible. Cook, Nicholas. 'Changing the musical object: approaches to performance analysis', in Music's Intellectual History: Founders, Followers and Fads, ed. Zdravko Blazekovic (New York: RILM, forthcoming) For almost everybody, music means performed music, whether live or recorded. Yet the traditional way of thinking about musicâat least in academiaâhas been as if it were an obscure branch of literature, as if its meaning was all there in the score, just waiting to be reproduced in performance. This speculative chapter outlines what a musicology of performance (rather than of scores) might look like, illustrating a range of possible approaches that range of empirical measurement to ethnography and cultural analysis, and arguing for the need to adopt as wide as possible a range of methods. Cook, Nicholas. 'Beyond the Notes', Nature 453 (25 June 2008), 1186-7 This short article, commissioned for a series of articles on music and science, surveys some of the intersections between empirical musicology and performance, asking to what extent it is possible to gain useful understanding of complex cultural behaviours by means of quantitative methods. Cook, Nicholas. 'Performance analysis and Chopin's mazurkas', Musicae Scientiae 11/2 (2007), 183-207; also published in Chopin in Paris: The 1830s (Warsaw: Narodowy Instytut Fryderyka Chopina, 2009), 119-39 Reporting on work carried out in conjunction with Andrew Earis and Craig Sapp, this paper introduces recently developed approaches to the analysis of recorded music, illustrating them in terms of selected Chopin mazurkas. Topics covered include the stylistic characterisation and aesthetic values of Paderewski's playing of Op. 17 No. 4, contrasted with performances from the last quarter of the twentieth century, as well as relationships between different pianists' interpretations of Op. 68 No. 3. A possible performance genealogy of performances of the latter is proposed, in which recordings by Rubinstein and Cortot play a key role, while clustering based on Pearson correlation of tempo data yields relationships supported in one instance by documented teacher/pupil relationships. Representing the early outcomes of a more extended research project, these findings are encouraging in that it appears possible to draw meaningful conclusions from the consideration only of tempo data. The current phase of the project is also working with rhythmic and dynamic data, which should significantly enhance the potential for objective modelling of musically meaningful relationships. Cook, Nicholas and Craig Sapp. 'Une pure coÃ¯ncidence? Joyce Hatto et les Mazurkas de Chopin', trans. Jean-FranÃ§ois Cornu, L'Ã©tincelle: Le journal de la crÃ©ation Ã l'IRCAM 3 (2008), 19-21 Originally published to coincide with the exposure of the so called 'Hatto Hoax', this article adopts a computational approach to demonstrate that the the Concert Artists/Fidelio box set of Chopin's Mazurkas ascribed to Hatto was in fact a lightly modified and mislabelled reissue of Eugene Indjic's recording, originally released on the Claves label in 1988. [Full text of English version here] Earis, Andrew. 'An algorithm to extract expressive timing and dynamics from piano recordings', Musicae Scientiae 11/2 (2007), 155-82 Measurable features of expressive musical performance include timing, dynamics, articulation and pedaling. This paper concerns the measurement of expressive timing and dynamics in acoustic recordings of piano music with reference to a digitized musical score of the work being performed. A multi-stage semi-automated expression extraction process is described. Initial synchronisation of score and recording is achieved using a simple manual beat tapping system. The continuous wavelet transform (CWT) is then employed, with a Morlet wavelet, to measure the beat tapped times more precisely, and any errors are then corrected manually. The different analysis parameters are described in detail. Precise note and chord onset times and dynamics of the performance are then calculated using the CWT. Sample results of the analysis of expression in keyboard music by Bach and Chopin are given. Sapp, Craig. 'Performance authenticity: a case study of the Concert Artist label', paper presented at the ARSC Conference 2008, Stanford In 2007, over 60 out of 100 compact discs released by the English pianist Joyce Hatto were identified as forgeries taken from other commercial recordings made by other pianists. The first identification of the plagiarism was made in a comparative study between performances of Chopin mazurkas being conducted at the Centre for the History and Analysis of Recorded Music at Royal Holloway, University of London. In this paper the authenticity of two more pianists distributed on the same record label, Concert Artist, is discussed. The source of the mazurka recordings from one of these pianists distributed on the Concert Artist label has long been questioned, while analysis of the mazurka recordings of a third pianist on the Concert Artist label has recently uncovered additional plagiarised performances from other commercial recordings. The paper presents the analytical techniques used to uncover this performance copying, as well as how outlining how the method can be extended to verify the identity of a performer in an unattributed or disputed recording. [Full text (audio) here] Sapp, Craig. 'Hybrid numeric/rank similarity metrics for musical performance analysis', paper presented at ISMIR 2008, Philadelphia This paper describes a numerical method for examining similarities among tempo and loudness features extracted from recordings of the same musical work and evaluates its effectiveness compared to Pearson correlation. Starting with correlation at multiple timescales, other concepts such as a performance 'noise-floor' are used to generate measurements which are more refined than correlation alone. The measurements are evaluated and compared to plain correlation in their ability to identify performances of the same Chopin mazurka played by the same pianist out of a collection of recordings by various pianists. [Full text available here] Sapp, Craig. 'Comparative analysis of multiple musical performances', Proceedings of the International Conference on Music Information Retrieval (ISMIR) 2007 (Vienna, Austria), 497-500 A technique for comparing numerous performances of an identical selection of music is described. The basic methodology is to split a one-dimensional sequence into all possible sequential sub-sequences, perform some operation on these sequences, and then display a summary of the results as a two-dimensional plot; the horizontal axis being time and the vertical axis being sub-sequence length (longer lengths on top by convention). Most types of timewise data extracted from performances can be compared with this technique, although the current focus is on beat-level information for tempo and dynamics as well as commixtures of the two. The primary operation used on each sub-sequence is correlation between a reference performance and analogous segments of other performances, then selecting the best correlated performances for the summary display. The result is a useful navigational aid for coping with large numbers of performances of the same piece of music and for searching for possible influence between performances. Volioti, Georgia. 'Playing with tradition: weighing up similarity and the buoyancy of the game', Musicae Scientiae (forthcoming) This is an exploration of some of the common assumptions and beliefs surrounding the concept of âtraditionâ in performance. The paper presents an exploratory study which interrogates the use of style analysis for determining whether tradition can be detected effectively within a specific cultural-historical context; it seeks to highlight the distinction between âtraditionâ as objective reality, which can be captured and quantified through stylistic likeness in performance, and tradition as an intersubjective practice which might elude empirical measurement and could even resist conceptualisation. Using a comparative case-study of recordings, it shows that a quantitative index of stylistic relatedness may not always capture the plausibility of tradition. Instead, other approaches are proposed for understanding the operation of tradition and elucidating more fully the involvement of social actors. <back to top> THE RECORDING BUSINESS AND PERFORMANCE, 1925-32 Morgan, Nicholas. '"A new pleasure": listening to National Gramophonic Society records, 1924-1931', Musicae Scientiae (forthcoming) This article draws on research into the National Gramophonic Society (NGS), a British record label of the 1920s which specialized in chamber music. Existing accounts of the early development of the record industry concentrate on the production and marketing of recordings; reception of recordings has also been addressed but on very broad scales, chiefly in the field of popular music, and mainly using the words of prominent critics and well-known, published sources. Because it operated by subscription, the NGS can be used, in the manner of a historical microscope, to sharpen this focus considerably and so identify individual consumers of recorded âclassicalâ music during this period and study their backgrounds, motivation, tastes and listening habits. Patmore, David. 'The Columbia Graphophone Company, 1923-1931: commercial competition, cultural plurality and beyond' Musicae Scientiae (forthcoming) Although the Columbia brand name has a long and distinguished history as a record label, it only reflected the work of an independent commercial organisation in the United Kingdom between 1923 and 1931. At all other times it was part of a larger body. This article considers the work and achievements of the Columbia Graphophone Company during this short period, and assesses its influence, particularly in relation to the classical music repertoire and the performers who committed their interpretations to disc. The commercial and cultural impact of the merger of this company in 1931 with its rival, the Gramophone Company, to form Electric and Musical Industries Ltd (EMI), is then considered, together with the longer-term influence of the American media industrialist, David Sarnoff, the chief executive officer of RCA-Victor and a board member of the Gramophone Company and of EMI at this time. Patmore, David. 'Albert Coates â a forgotten masterâ, Three Oranges: the Journal of the Serge Prokofiev Foundation (forthcoming) This article examines the life of the distinguished musician Albert Coates, a colleague and supporter of Serge Prokofiev throughout his life, and specifically in relation to his recording career. Different sections consider his life, his general style as a conductor, his recording career, the repertoire in which he specialised on record, and the reasons for the cessation of his relationship with Electric and Musical Industries Limited (EMI). The article concludes with a discussion of the wider issues affecting the later reputation of musicians who flourished during the 1920s. Patmore, David. 'Selling sounds', in The Cambridge Companion to Recorded Music, ed. Nicholas Cook, Eric Clarke, Daniel Leech-Wilkinson, and John Rink (Cambridge: Cambridge University Press, forthcoming) The distinguished economic and social historian, Cyril Ehrlich, writing in 1998, suggested that the history of the record industry could be divided into five phases. Each of these has been driven by new sound recording technologies. They are: the recording horn and the cylinder (1877 â c.1907); the acoustic disc (c.1907 â c.1925); the microphone and electrical recording (c.1925 â c.1948); tape recording and the vinyl long-playing record (c.1948 â c.1983); and digital sound and the compact disc (c.1983 â c.1998). To the last phase may now be added the computer file, such as the mp3 format (c.1998 â ). This chapter examines each of these periods. It outlines the dominant technologies of each phase, their commercial exploitation and related artistic developments, principally in the fields of musical repertoire. Patmore, David. The Columbia Graphophone Company, 1925-1931 (Sheffield: Department of Music, University of Sheffield, forthcoming) [CD-ROM] A survey, designed to accompany the article âThe Columbia Graphophone Company, 1923-1931: commercial competition, cultural plurality and beyondâ (forthcoming in Musicae Scientiae), of some of the most significant of the Columbia Graphophone Companyâs recordings, made when the company was autonomous between 1925 and 1931. As one of the companyâs most important legacies was the introduction into the gramophone record catalogue of complete works, these are favoured over short individual items, as are significant conductors, whose different interpretations Columbia proactively sought to promote. Patmore, David. Piero Coppola: Autobiography, Biography, Discography, Sound Recordings (Sheffield: Department of Music, University of Sheffield, 2008) [CD-ROM] This CD-ROM is intended as a research resource for the study of the life and work of the conductor Piero Coppola. It consists of four elements: (i) Coppolaâs autobiography Dix-sept ans de musique Ã Paris, 1922-1939. This is a scan of the reprint of the original Lausanne edition of 1944, published by Slatkine Resources, Paris and Geneva, in 1982. (ii) The biography of Coppola by William A. Holmes, published in Le Grand Baton, the Journal of The Sir Thomas Beecham Society, Volume 10, Numbers 3 and 4 (double issue), September â December 1973, pages 1-47. (iii) The discography of Coppolaâs recordings, prepared by William A. Holmes and contained in the same issue of Le Grand Baton. (iv) Sound files of a selection of Coppolaâs recordings, consisting of approximately eighteen hours of music in total. Patmore, David. 'John Culshaw and the recording as a work of art', Journal of the Association of Recorded Sound Collections 39/1 (2008), 20-40 This article examines the ideas and work of the record producer John Culshaw. It seeks to demonstrate that Culshaw had a clear set of ideas as to how recordings for the gramophone could approximate to being considered as works of art, as opposed to being simply a sound record of a moment in time. Following a brief outline of Culshawâs life, his ideas as to the components of a successful recording are discussed. The development of these ideas is outlined against the background of the making of those recordings through which his ideas and their development were actually articulated. The possibility of these recordings being considered as works of arts is then addressed, after which consideration is given to the possible reasons for the abandonment of Culshawâs ideas. Patmore, David and Eric Clarke. 'Making and hearing virtual worlds: John Culshaw and the art of record productionâ, Musicae Scientiae 11 (2007), 269-93 A recording represents a paradoxical perceptual source: we can either attend to the sound of the medium, or to the virtual world conveyed by it, and the work of a record producer can be understood as either a process of capturing performances or one of creating virtual worlds. This article demonstrates that the record producer John Culshaw had clear ideas about how recordings might approach the condition of a work of art, rather than being simply the trace of a moment in time. Culshaw's fundamental aesthetic and technical approach is described and illustrated with reference to a number of key recordings. Taking the relationship between sound recording and film as a starting point, and making use of the concept of subject-position, the tension between Culshawâs radical approach to the listener and traditional approach to the authority of the score is explored. Possible reasons are proposed for the abandonment of his ideas, and for the absence of a Culshaw legacy (apart from the recordings themselves). The article ends with a brief discussion of the current paradigm for the recording of classical music, which seeks in various ways to reproduce âthe live experienceâ in 'the finest seat in the house'.
1646	dbpedia	0	47	https://search.proquest.com/openview/07b572438f5887f60b21ca2fe3749bbf/1.pdf%3Fpq-origsite%3Dgscholar%26cbl%3D18750	en	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 20<sup>th</sup> Century	https://search.proquest.…roQuest_logo.gif	https://search.proquest.…roQuest_logo.gif	[ "https://search.proquest.com/assets/ctx/51be0a5b/images/icons/blank.gif" ]	[]	[]	[ "" ]	null	[]	null	Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.	en	/apple-icon-57x57.png		null	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 Kozenko, Lisa A Preview author details . City University of New York ProQuest Dissertations & Theses, 2013. 3553564.
1646	dbpedia	3	12	https://dbpedia.org/page/Elena_Gerhardt	en	About: Elena Gerhardt	http://commons.wikimedia.org/wiki/Special:FilePath/Elena_Gerhardt.jpg?width=300	http://commons.wikimedia.org/wiki/Special:FilePath/Elena_Gerhardt.jpg?width=300	[ "https://dbpedia.org/statics/images/dbpedia_logo_land_120.png", "http://commons.wikimedia.org/wiki/Special:FilePath/Elena_Gerhardt.jpg?width=300", "https://dbpedia.org/statics/images/virt_power_no_border.png", "https://dbpedia.org/statics/images/LoDLogo.gif", "https://dbpedia.org/statics/images/sw-sparql-bl...	[]	[]	[ "" ]	null	[]	null	Elena Gerhardt (11 November 1883 – 11 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934.			DBpedia	http://dbpedia.org/resource/Elena_Gerhardt	dbo:abstract Elena Gerhardt fou una mezzosoprano alemanya associada al repertori de cambra i cançons (Lieder), considerada un dels seus màxims exponents i pionera com a cantant de cambra. Les seves successores foren , Elisabeth Schwarzkopf, Kathleen Ferrier, Christa Ludwig, i altres. Estudià en el Conservatori de la seva ciutat natal amb , però fou el gran pianista Arthur Nikisch que formà el seu estil i perfeccionà al seu art dramàtic. Fou considerada unànimement per la critica i el públic de les principal capitals d'Europa i Amèrica com una de les més perfectes intèrprets del lied alemany, especialment de Schumann, Schubert i Brahms, en els quals concerts fou acompanyada sovint del pianista alemany Walter Pfitzner (1882-1956). (ca) إيلينا غيرهارد (بالألمانية: Elena Gerhardt)‏ هي مغنية ومغنية أوبرا ألمانية، ولدت في 11 نوفمبر 1883 في Connewitz ‏ في ألمانيا، وتوفيت في 11 يناير 1961 في لندن في المملكة المتحدة. (ar) Elena Gerhardt (* 11. November 1883 in Connewitz; † 11. Januar 1961 in London) war eine deutsche Opernsängerin (Mezzosopran), die 1934 zur Emigration gezwungen wurde. Sie war eine der bedeutendsten Lied-Interpretinnen der ersten Hälfte des 20. Jahrhunderts. (de) Elena Gerhardt (11 November 1883 – 11 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. (en) Elena Gerhardt (Leipzig, 11 de noviembre de 1883-Londres, 11 de enero de 1961), fue una mezzosoprano alemana asociada al repertorio de cámara y canciones (Lieder) considerada una de sus máximos exponentes y pionera de la cantante de cámara actual como sus dilectas sucesoras Lotte Lehmann, Elisabeth Schwarzkopf, Kathleen Ferrier, Christa Ludwig, Janet Baker y otras. (es) Elena Gerhardt (Connewitz, 11 novembre 1883 – Londres, 11 janvier 1961) est une chanteuse mezzo-soprano allemande. Son nom est associé au Lied classique allemand, dont elle est considérée comme une des plus grandes interprètes. Elle quitte définitivement l'Allemagne en 1934, pour vivre à Londres. (fr) Elena Gerhardt (Lipsia (Connewitz), 11 novembre 1883 – Londra, 11 gennaio 1961) è stata un mezzosoprano tedesco legata al classico lied tedesco, di cui era considerata una delle grandi interpreti. Lasciò definitivamente la Germania per vivere a Londra nell'ottobre del 1934. (it) エレナ・ゲルハルト（Elena Gerhardt, 1883年11月11日 - 1961年1月11日は、ドイツのメゾソプラノ歌手。 (ja) Елена Герхардт (нем. Elena Gerhardt; 11 ноября 1883, Конневиц[d], Королевство Саксония — 11 января 1961, Лондон) — немецкая певица, меццо-сопрано, исполнительница Lied’ов. (ru) rdfs:comment إيلينا غيرهارد (بالألمانية: Elena Gerhardt)‏ هي مغنية ومغنية أوبرا ألمانية، ولدت في 11 نوفمبر 1883 في Connewitz ‏ في ألمانيا، وتوفيت في 11 يناير 1961 في لندن في المملكة المتحدة. (ar) Elena Gerhardt (* 11. November 1883 in Connewitz; † 11. Januar 1961 in London) war eine deutsche Opernsängerin (Mezzosopran), die 1934 zur Emigration gezwungen wurde. Sie war eine der bedeutendsten Lied-Interpretinnen der ersten Hälfte des 20. Jahrhunderts. (de) Elena Gerhardt (11 November 1883 – 11 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. (en) Elena Gerhardt (Leipzig, 11 de noviembre de 1883-Londres, 11 de enero de 1961), fue una mezzosoprano alemana asociada al repertorio de cámara y canciones (Lieder) considerada una de sus máximos exponentes y pionera de la cantante de cámara actual como sus dilectas sucesoras Lotte Lehmann, Elisabeth Schwarzkopf, Kathleen Ferrier, Christa Ludwig, Janet Baker y otras. (es) Elena Gerhardt (Connewitz, 11 novembre 1883 – Londres, 11 janvier 1961) est une chanteuse mezzo-soprano allemande. Son nom est associé au Lied classique allemand, dont elle est considérée comme une des plus grandes interprètes. Elle quitte définitivement l'Allemagne en 1934, pour vivre à Londres. (fr) Elena Gerhardt (Lipsia (Connewitz), 11 novembre 1883 – Londra, 11 gennaio 1961) è stata un mezzosoprano tedesco legata al classico lied tedesco, di cui era considerata una delle grandi interpreti. Lasciò definitivamente la Germania per vivere a Londra nell'ottobre del 1934. (it) エレナ・ゲルハルト（Elena Gerhardt, 1883年11月11日 - 1961年1月11日は、ドイツのメゾソプラノ歌手。 (ja) Елена Герхардт (нем. Elena Gerhardt; 11 ноября 1883, Конневиц[d], Королевство Саксония — 11 января 1961, Лондон) — немецкая певица, меццо-сопрано, исполнительница Lied’ов. (ru) Elena Gerhardt fou una mezzosoprano alemanya associada al repertori de cambra i cançons (Lieder), considerada un dels seus màxims exponents i pionera com a cantant de cambra. Les seves successores foren , Elisabeth Schwarzkopf, Kathleen Ferrier, Christa Ludwig, i altres. (ca)
1646	dbpedia	0	10	https://www.memorabilia-uk.co.uk/p/elena-gerhardt	en	Elena Gerhardt	https://www.memorabilia-uk.co.uk/favicon.ico	https://www.memorabilia-uk.co.uk/favicon.ico	[ "https://www.memorabilia-uk.co.uk/images/logo.png", "https://www.memorabilia-uk.co.uk/images/subject_images/imageFile_imageFile__0170161045e58e3b322625a86883_7ub2.jpeg", "https://www.memorabilia-uk.co.uk/images/item_image_images/imageFile_imageFile__aa814bcaad8ccc7c011e30d28a22_Dih5.jpeg", "https://www.memora...	[]	[]	[ "" ]	null	[]	null	ELENA GERHARDT d1961. German mezzo-soprano singer associated with the singing of German classical lieder of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. She died in London aged 77 on January 11th 1961.	en	/favicon.ico	Memorabilia UK	https://www.memorabilia-uk.co.uk/p/elena-gerhardt	ELENA GERHARDT d1961. German mezzo-soprano singer associated with the singing of German classical lieder of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. She died in London aged 77 on January 11th 1961.
1646	dbpedia	3	45	https://www.gramophone.co.uk/review/schubert-winterreise-17	en	Schubert Winterreise	https://reviews.azureedg…eneral-image.jpg	https://reviews.azureedg…eneral-image.jpg	[ "https://www.facebook.com/tr?id=1212098742461537&ev=PageView&noscript=1", "https://www.gramophone.co.uk/media/233361/e64c2718796a53a23b65326a1c69e6d253b27705-photoroom-png-photoroom.png?height=69", "https://www.gramophone.co.uk/media/232137/953472d9ca7ea8fad442e86a32a1f0f8199b200d.png?height=25", "https://www...	[]	[]	[ "" ]	null	[]	null	One of the very first complete recordings...	en	/media/127553/bge7m-5ffd4-0.png	Gramophone	https://www.gramophone.co.uk/reviews/review?slug=schubert-winterreise-17
1646	dbpedia	2	3	https://dbpedia.org/page/Elena_Gerhardt	en	About: Elena Gerhardt	http://commons.wikimedia.org/wiki/Special:FilePath/Elena_Gerhardt.jpg?width=300	http://commons.wikimedia.org/wiki/Special:FilePath/Elena_Gerhardt.jpg?width=300	[ "https://dbpedia.org/statics/images/dbpedia_logo_land_120.png", "http://commons.wikimedia.org/wiki/Special:FilePath/Elena_Gerhardt.jpg?width=300", "https://dbpedia.org/statics/images/virt_power_no_border.png", "https://dbpedia.org/statics/images/LoDLogo.gif", "https://dbpedia.org/statics/images/sw-sparql-bl...	[]	[]	[ "" ]	null	[]	null	Elena Gerhardt (11 November 1883 – 11 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934.			DBpedia	http://dbpedia.org/resource/Elena_Gerhardt	dbo:abstract Elena Gerhardt fou una mezzosoprano alemanya associada al repertori de cambra i cançons (Lieder), considerada un dels seus màxims exponents i pionera com a cantant de cambra. Les seves successores foren , Elisabeth Schwarzkopf, Kathleen Ferrier, Christa Ludwig, i altres. Estudià en el Conservatori de la seva ciutat natal amb , però fou el gran pianista Arthur Nikisch que formà el seu estil i perfeccionà al seu art dramàtic. Fou considerada unànimement per la critica i el públic de les principal capitals d'Europa i Amèrica com una de les més perfectes intèrprets del lied alemany, especialment de Schumann, Schubert i Brahms, en els quals concerts fou acompanyada sovint del pianista alemany Walter Pfitzner (1882-1956). (ca) إيلينا غيرهارد (بالألمانية: Elena Gerhardt)‏ هي مغنية ومغنية أوبرا ألمانية، ولدت في 11 نوفمبر 1883 في Connewitz ‏ في ألمانيا، وتوفيت في 11 يناير 1961 في لندن في المملكة المتحدة. (ar) Elena Gerhardt (* 11. November 1883 in Connewitz; † 11. Januar 1961 in London) war eine deutsche Opernsängerin (Mezzosopran), die 1934 zur Emigration gezwungen wurde. Sie war eine der bedeutendsten Lied-Interpretinnen der ersten Hälfte des 20. Jahrhunderts. (de) Elena Gerhardt (11 November 1883 – 11 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. (en) Elena Gerhardt (Leipzig, 11 de noviembre de 1883-Londres, 11 de enero de 1961), fue una mezzosoprano alemana asociada al repertorio de cámara y canciones (Lieder) considerada una de sus máximos exponentes y pionera de la cantante de cámara actual como sus dilectas sucesoras Lotte Lehmann, Elisabeth Schwarzkopf, Kathleen Ferrier, Christa Ludwig, Janet Baker y otras. (es) Elena Gerhardt (Connewitz, 11 novembre 1883 – Londres, 11 janvier 1961) est une chanteuse mezzo-soprano allemande. Son nom est associé au Lied classique allemand, dont elle est considérée comme une des plus grandes interprètes. Elle quitte définitivement l'Allemagne en 1934, pour vivre à Londres. (fr) Elena Gerhardt (Lipsia (Connewitz), 11 novembre 1883 – Londra, 11 gennaio 1961) è stata un mezzosoprano tedesco legata al classico lied tedesco, di cui era considerata una delle grandi interpreti. Lasciò definitivamente la Germania per vivere a Londra nell'ottobre del 1934. (it) エレナ・ゲルハルト（Elena Gerhardt, 1883年11月11日 - 1961年1月11日は、ドイツのメゾソプラノ歌手。 (ja) Елена Герхардт (нем. Elena Gerhardt; 11 ноября 1883, Конневиц[d], Королевство Саксония — 11 января 1961, Лондон) — немецкая певица, меццо-сопрано, исполнительница Lied’ов. (ru) rdfs:comment إيلينا غيرهارد (بالألمانية: Elena Gerhardt)‏ هي مغنية ومغنية أوبرا ألمانية، ولدت في 11 نوفمبر 1883 في Connewitz ‏ في ألمانيا، وتوفيت في 11 يناير 1961 في لندن في المملكة المتحدة. (ar) Elena Gerhardt (* 11. November 1883 in Connewitz; † 11. Januar 1961 in London) war eine deutsche Opernsängerin (Mezzosopran), die 1934 zur Emigration gezwungen wurde. Sie war eine der bedeutendsten Lied-Interpretinnen der ersten Hälfte des 20. Jahrhunderts. (de) Elena Gerhardt (11 November 1883 – 11 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. (en) Elena Gerhardt (Leipzig, 11 de noviembre de 1883-Londres, 11 de enero de 1961), fue una mezzosoprano alemana asociada al repertorio de cámara y canciones (Lieder) considerada una de sus máximos exponentes y pionera de la cantante de cámara actual como sus dilectas sucesoras Lotte Lehmann, Elisabeth Schwarzkopf, Kathleen Ferrier, Christa Ludwig, Janet Baker y otras. (es) Elena Gerhardt (Connewitz, 11 novembre 1883 – Londres, 11 janvier 1961) est une chanteuse mezzo-soprano allemande. Son nom est associé au Lied classique allemand, dont elle est considérée comme une des plus grandes interprètes. Elle quitte définitivement l'Allemagne en 1934, pour vivre à Londres. (fr) Elena Gerhardt (Lipsia (Connewitz), 11 novembre 1883 – Londra, 11 gennaio 1961) è stata un mezzosoprano tedesco legata al classico lied tedesco, di cui era considerata una delle grandi interpreti. Lasciò definitivamente la Germania per vivere a Londra nell'ottobre del 1934. (it) エレナ・ゲルハルト（Elena Gerhardt, 1883年11月11日 - 1961年1月11日は、ドイツのメゾソプラノ歌手。 (ja) Елена Герхардт (нем. Elena Gerhardt; 11 ноября 1883, Конневиц[d], Королевство Саксония — 11 января 1961, Лондон) — немецкая певица, меццо-сопрано, исполнительница Lied’ов. (ru) Elena Gerhardt fou una mezzosoprano alemanya associada al repertori de cambra i cançons (Lieder), considerada un dels seus màxims exponents i pionera com a cantant de cambra. Les seves successores foren , Elisabeth Schwarzkopf, Kathleen Ferrier, Christa Ludwig, i altres. (ca)
1646	dbpedia	3	44	https://lottelehmannleague.org/2014/juynbolls-introduction/	en	Juynboll’s Introduction	https://lottelehmannleag…-Lotte-32x32.png	https://lottelehmannleag…-Lotte-32x32.png	[ "https://lottelehmannleague.org/wp-content/uploads/2021/10/LL-HEADER-3.jpg", "https://lottelehmannleague.org/wp-content/uploads/2011/05/ButterflyProgram1923-300x225.jpg", "https://lottelehmannleague.org/wp-content/uploads/2011/05/Innocent-Elsa-e1305305808707-300x286.jpg", "https://lottelehmannleague.org/wp-co...	[]	[]	[ "" ]	null	[]	null		en	https://lottelehmannleag…-Lotte-32x32.png		https://lottelehmannleague.org/2014/juynbolls-introduction/	This is the English version of Floris Juynboll’s introduction to his Lotte Lehmann Discography which he prepared for the biography written by Alan Jefferson. Lotte Lehmann had the kind of soprano voice that made her predestined for the performance of Lieder. Although her earlier recordings show that she could command a D flat above top C (for example, the acoustic Odeon version of ‘Butterfly’s Entrance’), her voice had the mellow quality of a mezzo-soprano, the type of voice for which Schubert, Schumann, Brahms and Wolf had composed most of the standard Lieder repertoire. The advantage of this particular voice over the true, high soprano, is that the singer can often more easily color the tone in order to express the subtle nuances of a song text. She made her first recordings for Pathé in 1914 just after she had been engaged by the Vienna Court Opera; from 1916 to 1921 she recorded for Polydor, then from 1924 onwards for Odeon in Berlin. The opera sets, Der Rosenkavalier and Die Walküre, both recorded in Vienna, followed in 1933 and 1935 for Electrola (German HMV), though Act 1 of the Walküre actually first appeared in Germany on the German Columbia label. From 1935 onwards she recorded only in the USA. Recordings are comparatively few after 1944 considering how well known she was, but this lack is made up for to some extent by a number of live concert recitals preserved on record, including an important Wolf recital, which she gave in New York in 1938. Her earliest records, made before 1927 by the acoustic horn method, contain many gems which she did not later re-record. If we listen carefully to the excellent transfers issued by Preiser in their Lebendige Vergangenheit series (‘Lotte Lehmann’, Vols. II, III, IV and V) we hear a young, warm, beautifully produced voice. However dated they may sound, these discs are technically good for the period and the late acoustics from Odeon come across very well. The accompanying orchestra can be heard in correct perspective and details such as the bells in the ‘Entrance of Butterfly’ scene and in ‘Der Erste, der Lieb’ mich gelehrt’ from Korngold’s opera, Die Tote Stadt are clearly audible. At the end of this last aria she sharpens a top C, a lapse in intonation seldom heard in her recordings. [Or, on careful listening, is it a technical recording or pressing problem? How else would the artist and company approve the release? The Marston recordings show it to be excellent.] The introduction of electric recordings during 1925 and 1926 brought with it a vast improvement in sound quality and tonal definition. Columbia began to use the new process by the end of 1925 and Odeon followed, rather hesitantly at first, a year later. A week after Lotte’s last acoustic session, a recording of the Rosenlieder in August 1926, Odeon produced transfers from a series of recordings of the Concertgebouw Orchestra conducted by Willem Mengelberg made by Columbia, with whom they were affiliated. [Lehmann recorded the Rosenlieder with a microphone but was dissatisfied with the results and chose rather the acoustic.] The improvement in tonal clarity is at once evident from the first electric recordings made by Lotte Lehmann in February 1927. Unfortunately, the Odeon company did not immediately use the new medium to the best advantage, nor did they seem to realize that electric recording would show up, all to audibly, any defects in the quality of orchestral accompaniments and inadequacies on the part of instrumentalists and conductors. Odeon began electric recording by following the former acoustic practice of having singers and instrumentalists grouped closely around the microphone, and making the recordings in acoustically ‘dead’ studios. Horst Wahl, who was employed by Odeon during this period, relates how he used to visit the Musikerbörse in Berlin, a kind of exchange where musicians without engagements that day could be hired. If too many players had been hired, thus overcrowding the microphone, some were sent away and the reduced volume of sound available was amplified in order to suggest an ‘orchestra’ when only a small instrumental ensemble – sometimes only a trio – was actually playing. The resultant sound-quality was far from as good as it should have been, and matters were not improved by Odeon’s current policy of having almost all singers accompanied by instrumentalists even when singing German Lieder. The practice of singing Lieder to orchestral accompaniment seems to have originated from the nineteenth century custom of having songs by Schubert and Schumann orchestrated by well-known composers for performance at symphony concerts. [Something that still occurs in the 21st century!] Schubert himself never made orchestrations of his songs as his entire output was intended for performance by a small circle of music-loving friends. Since there was a lack of published song accompaniments arranged for small instrumental groups, the Odeon company had to have them specially prepared, and the words Eigene Bearbeitung, which occur frequently in the recording books, meant that the orchestrations were the work of house conductors like Weissmann, Gurlitt, Römer and others, who were paid direct by Odeon for their services. Some Lieder recordings were accompanied by the piano, but the instruments in the Odeon studios seemed to have been in poor shape and, more often than not, sound badly out of tune. This is noticeable even with keyboard recordings by pianists such as Siegfried Gundeis and Cor de Groot. Few arrangers seemed able to transcribe piano accompaniments without making some ‘improvements’, most of them in very questionable taste. Frieder Weissmann, for example, when orchestrating the songs of Schumann, not only rearranged the accompaniment and altered the composer’s harmonies now and then, but frequently added inner contrapuntal parts. Nor is the conducting beyond criticism. Lack of rehearsal may have been a contributory cause but bad intonation, faulty balance and poor ensemble, which occur too often on the recordings, and which the close microphone positioning exposes, display a quality of musicianship so poor as to be almost inexplicable, especially when it is remembered that these ad hoc instrumental ensembles often included members of the Berlin Philharmonic Orchestra. Not until 1930 did matters improve, at the same time as the recordings themselves improved. But even in June 1930 Schumann’s ‘Ich grolle nicht’ suffers from orchestral maltreatment as well as excessive rubato. Not that the use of piano accompaniment guaranteed satisfactory results, as, for example, in the recording of Schubert’s ‘Erlkönig’. Lotte sings well in what must be the fastest version of this song on record. The famous octave triplets are absent most of the time, and the whole performance is one mad rush by pianist and singer to cram the song on to a ten-inch side. [Lehmann told me that these were elements beyond her control and used the word “dreadful” to describe the orchestrated accompaniments.] Odeon’s predilection for ten-inch recordings gave rise to endless artistic problems, especially in the performance of Lieder. The playing time is simply too short in, for example, some of the songs in Schumann’s song cycle, Frauenliebe und –leben, especially at the rather dragging tempo adopted on the 1928 recording, where the preludes and postludes are either cut short or omitted altogether when the song is too long for the side. The recordings of Wagner’s Wesendonck-Lieder, otherwise beautifully sung, suffer in exactly the same way. When a song was too short other measures were taken in order to fill the side. In Schumann’s ‘An meinem Herze’ the accompaniment to the first verse is played as an instrumental prelude, contrary to the composer’s intentions, the tempo is slow and the closing ritardando is dragged out at length. Even so there is half a minute of empty grooves after the music stops. In Schubert’s ‘Der Tod und das Mädchen’ the use of a string quartet instead of the piano, which could remind listeners of the well-known set of variations of the second movement of the composer’s own string quartet, might have been acceptable, but the intonation of the strings leaves much to be desired. Richard Strauss’s ‘Cäcilie’, with its rapturous outbursts of melody, which she recorded in 1921, suits her well. ‘Morgen’, is a song of which she gave more intense performances in later years, though in one of these versions does she display the sense of wonder we hear with Elisabeth Schumann, or the delightful word painting of Dietrich Fischer-Dieskau or Elisabeth Schwarzkopf. This song figured prominently on the farewell programs of the latter singer, as it did with Lotte, and she made it her last encore at her very last public concert in California in 1951. Most of the acoustic Lieder recordings Lotte made for Odeon were by Richard Strauss. Although passed for issue none was published owing to technical defects in the masters which prevented satisfactory processing according to the recording books. The loss of Strauss’s ‘Wiegenlied’ and Leo Blech’s delightful ‘Heimkehr vom Feste’ are particularly to be regretted, thought the latter was sung as an encore in the Wolf recital she gave in the New York Town Hall in 1938. [For “Magic Key” Lehmann recorded the “Wiegenlied” with orchestra and we have recordings of that.] The Schumann cycle, Frauenliebe und –leben, mentioned above, which she recorded in 1928 is unsatisfactory. She was not inspired by the trivialized ‘tea-shop’ orchestral accompaniment – Salon-Schande, as it amused her to call it at the time though she was less amused about it later in her book, Eighteen Song Cycles (p. 10). The beginning of ‘Süsser Freund’ is promising but she fails to sustain the emotional tone to the end of the song. The last song, ‘Nun has du mir den ersten Schmerz getan’, has good moments but the last line is ruined by an ‘accident’ in the violins after the word fällt. The session of June 1929 went rather better despite the still questionable orchestral arrangements, especially of the Schumann Lieder – there is still the odd tasteless counterpoint played by the horn. But Lotte’s performance of Schumann’s ‘Die Lotosblume’ made in April 1932, is beautifully phrased and a gem among her recordings. These recordings show that she was not inexperienced in Lieder singing during her earlier years, but assurance in that field came only in the early thirties when she worked with Bruno Walter. It was thanks to his presence that they began to give Lieder recitals at the Salzburg Festivals, which resumed the custom of having Lieder recitals as a regular part of the festival program, and to her making so many Lieder recordings during her career in America. As regards her work in the opera house, extending the list in Wessling’s book to include Hänsel und Gretel (Humperdinck), Heimchen am Herd (Goldmark), I Gioielli della Madonna (Wolf-Ferrari), and Oberon (Weber), and not counting boys, pages, messengers and the like which she played during her earliest years in Hamburg, gives her a repertoire of some sixty major roles by 1934 – an impressive total even by today’s standards. Though many of her important operatic parts are unrecorded, thirty-four roles have been preserved, most of them it is true in tantalizingly short snatches. But two or three of her major roles, chiefly those which she sang until late in her career, were recorded [mostly non-commercially] at length and it is from these that we get the best idea of her capabilities as an operatic singer. It is fitting that her first recordings for Pathé should have been, ‘Einsam in trüben Tagen’ and ‘Euch Lüften, die mein Klagen’, the two big arias from Lohengrin, her first success in Hamburg, both of which she re-recorded electrically sixteen years later. From Act 2 there is an additional excerpts, ‘Du Ärmste kannst wohl nie ermessen’. These extracts are too short to give more than a superficial idea of her conception of Elsa, but sufficient for us to discern that it differs markedly from that of Eva von der Osten who, in her 1910 recordings, emphasizes the more fragile side of the character. The great role of her early years, however, was undoubtedly the Composer in Vorspiel to Richard Strauss’s Ariadne auf Naxos. This was her stepping stone to world fame, and while she probably looked less like a boy than, say, Irmgard Seefried or Sena Jurinac, both famous modern interpreters of the role, there was no doubt as to the quality of her acting and singing, a glimpse of which can be obtained from her recording of Ariadne’s great scena which she made in 1928. Another remarkable creation, one that touched the composer Puccini deeply, was her Angelica in Suor Angelica. The two excerpts extant on Polydor, though short, are worthy memorial in sound of the description given by the composer. The role also demonstrates the extent of Lotte’s range, for it take the singer from A below the stave to top C, a compass of over two octaves. Along with the usual excerpts from Tannhäuser, Margarethe (Faust), Mignon, Madama Butterfly, La Boheme and even Eugen Onegin – too short an excerpt from a long scene which usually plays for some fifteen minutes – there is her Micaëla from Carmen, her performance of which made Gregor engage her for Vienna. It is a pity that she and Richard Tauber did not record the first act duet together. The single excerpt from Act 2 of Manon Lescaut is a reminder of how the opera was heard by the Viennese public. The first performance was given in Vienna in 1908, but it never caught on, in spite of Lotte Lehmann and Alfred Piccaver, in 1923. Puccini, who was present, reported that he found Lotte deficient in coquetry in Act 2, but magnificent in Act 4. His criticism does not apply to the beautiful and famous aria, “In quelle trine morbide’, one of the more tranquil moments in the opera. Of greater importance is the long excerpt of the scene from Act 2 of Die Meistersinger with Michael Bohnen. Unfortunately, Lotte is further away from the recording horn than her Sachs, but even so this, together with the excerpt recorded in October 1925, gives us some idea of her Eva. In My Many Lives she expatiates on the role of Eva, and the recordings confirm her conception of the character as more forceful and confident than is usual – when played, for example, by famous post-war singers such as Hilde Gueden and Elisabeth Grümmer. In ‘Sachs, mein Freund’ from Act 3, which calls for exultant singing, she really comes into her own. Lotte’s Leonora from Fidelio (together with the Marschallin and Sieglinde her most famous roles) fares badly on record. The only commercial recording she made, shortly after the Beethoven centenary celebrations, of ‘Komm’ Hoffnung’ from Act 1 seems to have caught her on an off day (some record labels, incidentally, state erroneously that she begins with the recitative, ‘Abscheulicher, wo eilst du hin?’). The livelier part towards the end of the aria finds her in technical difficulties, emphasized by extra and frequent audible breathing. [This is just his opinion]. Some time later, after she had sung the role under Tocanini at Salzburg in 1935, a complete commercial recording of Fidelio with the Vienna State opera was announced (there is a reference in The Gramophone Shop Encyclopedia of Recorded Music, 1936, at the bottom of page 39, first column), to be made by HMV/Victor but nothing has come to light about the project. It is known that a set of test pressings of a complete Fidelio went with the singer to Santa Barbara in 1939 but these may have been recorded from a broadcast. The private recording of Act 1 on UORC 218 was made via short-wave radio transmission and the sound quality is heart-breakingly poor. In Lotte’s recording from Mozart’s Le Nozze di Figaro her countess always sounds more convincing than her Susanna, due perhaps to that lack of coquetry which Puccini observed in her Manon in Act 2 of his Manon Lescaut. Korngold’s Das Wunder der Heliane was never successful and in spite of all Lotte’s efforts did not find its way into the repertory in Vienna. The part of Heliane appealed strongly to her and a performance she gave in Hamburg in 1928 was so mangificent that one critic went so far as to declare that performances such as this were among the finest then to be seen on the German stage, and its like had not been experienced since the days of Edyth Walker. Certainly her performance of Heliane’s aria from Act 2, ‘Ich ging zu ihm’ makes one of her most exciting records. Desdemona from Verdi’s Otello is another of her roles which is insufficiently documented on commercial recordings. Her ‘Willow Song’ in the acoustic version is far preferable to the electric recording of eight years later. In the latter she is far too impassioned for so gentle an aria. [One man’s opinion.] Such an interpretation may be appropriate in the long scenes in Act 3, but Act 4 requires the approach she brought to Angelica. Moreover, in 1920 she could still command a morendo on high A – or at least take the note piano, so far as one can judge from the primitive recording. On a record one cannot turn round and visually suggest a soft top note. It is precisely this feature, somewhat untypical of our diva, that makes her Angelica fragment so precious. She did not easily command the lighter voice of, say, a Hina Spani, who also sang Elsa in Lohengrin. The prayer from Puccini’s Tosca is notable for the almost uncontrollable sobbing at the end. But as the singer herself remarked of Tosca the role was far too theatrical for her and she never really enjoyed performing it. Her later recordings from the opera are decidedly less distinguished than the earlier, though the Odeon company took considerable trouble over the remakes of ‘Vissi d’arte’ in 1929 – four recordings in all. The same amount of care was take over her recordings of Mimi’s aria from La Boheme, and with the two acoustic versions that precede it. The Wagner session of February 1930 yielded some satisfying remakes of the best-known excerpts from Lohengrin and Tannhäuser, corner-stones of her Wagner repertoire, which she had first recorded as long ago as 1914 and 1916. The closing scene from Tristan und Isolde, the Liebestod is, however, only a glimpse of something extraordinary that might have been – if perhaps only once. She had studied the part of Isolde under Bruno Walter. [This is a figment of J.’s imagination.] The later live recoding under Pierre Monteux shows that she had not worked on the score recently, and this suggests that she did not often sing this Wagnerian fragment. [She often sang the fragment as can be seen in the Chronology. Her age was the reason for the poor Monteux broadcast.] Massenet’s operas, Manon and Werther, were extremely popular in Vienna and the extracts and the earlier acoustic versions, though sung in German, are uniformly excellent. It might be objected that the weeping in Manon is overdone, especially as French singers rarely produce such an intense expression of grief, but it must not be forgotten that Massenet himself wrote ‘Tres troublé’ into the score. The last sessions for Odeon are very fine. These include excerpts, far too short, from Strauss’s then new opera, Arabella. Comparison with Viorica Ursuleac, who sang the role at the world premiere (the first world premiere of an opera to be broadcast live) is perhaps unavoidable, but the difference is all too clear. It is said that Ursuleac ‘did not record well’, as if the recording machine could not cope with the vibrations in her voice. It is more likely, however, that she was one of those singers who cut a believable figure on the operatic stage but whose voice does not really stand up to the merciless scrutiny of the microphone. There have been, and still are, many such singers. Details about the HMV recording of scenes from Der Rosenkavalier have been give in the texts of this book. [Jeffersons’ bio] Outstanding as the performance is, the recording is far from perfect technically, and though Heger conducts competently it can only be regretted that neither Strauss himself nor Bruno Walter was in charge of the orchestra. The fragment from Act 1 is more clearly recorded by Odeon and the singing is not affected by the bad patch that Lotte was experiencing in December 1927. What is more, the side contains music not recorded in the HMV set. The other operatic venture undertaken by HMV in the mid-1930s, the complete recordings of Acts 1 and 2 of Wagner’s Die Walküre, is so good that it can justifiably be called one of the glories of the gramophone. Act 1 still deserves to benefit from a remastering and fresh dubbing on to microgroove to do it full justice, the treatment accorded to the Der Rosenkavalier excerpts for reissue on the World Record Club label in 1972, [Of course CD reissues have been superior and Pristine has improved the sound.] It is extraordinary how little one actually notices the transition from the Vienna Philharmonic Orchestra under Bruno Walter to the Berlin Philharmonic Orchestra under Bruno Seidler-Winkler, recorded three years later in Berlin. Musically, the listener could have noticed how much more fire Bruno Walter brought to the introduction to Act 2. In Nazi Germany this act was sold incomplete, with all the parts sung by Lotte Lehmann and conducted by Bruno Walter removed. [!] These two Wagner acts are a true memorial to the greatness of Lotte Lehmann, who described Sieglinde as the role she most treasured, the one, so she thought, that best matched her own temperament and dispositions… In the autumn of 1935 Lotte Lehmann entered on the last part of her recording career. All the records were made in America, and all were recordings of songs. They were issued for the most part, in albums, in sets of three or more 78 rpm pressings… The first two albums from 1935 and 1937 find the singer still in good voice. They contain her finest recordings in the field of German Lieder and include some rare titles by composers such as Pfitzner, Marx and Franz. Except for ‘Die Krähe’, her abridged recording of Schubert’s song cycle, Winterreise, made in 1940, is less satisfactory. Age is beginning to take its toll on the voice and a certain uniformity of approach in her interpretations is becoming apparent. [Again, one man’s opinion.] When she completed the recording of this cycle for American Columbia a year later, her mannerisms had become even more noticeable, and there is often a want of softer coloring, of mezza voce, the lack of which the close recording does not help to disguise. One song in particular by Schubert, ‘Der Doppelgänger’ which she made at this time, should never have been issued. The sound she produces is not pleasant and the song really needs a much larger voice. For once she had overstepped her limitations. Hans Hotter, and after him Dietrich Fischer-Dieskau, have both recorded striking performances. Lotte’s rival in singing Lieder written for the male voice, Elena Gerhardt, probably never attempted the song. [This recording of Lehmann has often been sited for lapse of judgment. You can listen and judge for yourself.] Her recordings of Lieder by Brahms are so much better that it can only be concluded that she had a better rapport with this composer than with Schubert. One of her finest interpretations…is ‘Auf dem Kirchhofe’. The scene is painted in so remarkable a way as to leave her greatest rivals, Elena Gerhardt and Dietrich Fischer-Dieskau, far behind. One is in the graveyard with the chilly gust of wind and rain, which are underlined by the accompaniment though in the score all one sees is a string of rising arpeggios. In More than Singing, she wrote: ‘The prelude gives the impression of a storm with it torrents of rain. Take up the storming with your whole being’. This is what she does on the record. Another set of songs to which she was well suited is Brahms’ Zigeunerlieder. The custom of female singers performing songs, and in particular song cycles, (such as Schubert’s Winterreise and Die schöne Müllerin, and Schumann’s Dichterliebe), the poems for which are intended to be sung by a man, has come in for some criticism, even though Elena Gerhardt sang the Winterreise cycle and songs like ‘Der Atlas’ and ‘Der Zwerg’. In the introduction to her last book, Eighteen Song Cycles, Lotte Lehmann repudiates such criticism: ‘Why should a singer be denied a vast number of wonderful songs, if she has the power to create an illusion, which she makes her audience believe in?’ And this she most certainly did – perhaps most successfully in Dichterliebe, aided not least by the inspired playing of Bruno Walter. When this set was made only one serious rival had a complete recording in the catalogue: Gerhard Hüsch. Lotte always begged her friend, Elisabeth Schumann, an unrivalled exponent of Mozart, not to come to her recitals before the interval, that is, after she had sung her Mozart group. And on record, at least, she does not display a true feeling for the classical pulse of the songs. In ‘Abendempfindung’ her rhythmic treatment is so free that the flowing accompaniment loses its impetus as the pianist strives to maintain the ensemble. Mozart singing requires greater rhythmic energy and a more instrumental approach than she gives it. Towards the end of her career Lotte began to include some French melodies in her repertoire, songs by Duparc and especially by Reynaldo Hahn. It cannot be said that she sounds convincing in this music as her pronunciation of the French language leaves much to be desired. In fact, it is practically unintelligible, something most unusual for her. [First, Lehmann had introduced French songs early in her career, and second, many people enjoy and savor every syllable of her French.]… [Re: live recordings]…[I]t is interesting to compare certain songs with performances of the same music recorded in the studio, for example, Mendelssohn’s ‘Venetianisches Gondellied’ and Schubert’s ‘Die Männer sind méchant’. In the live performance she tends to use more emphasis to intensify the meaning of the text, and this also make her sound warmer. The way her audiences react is also revealing. The 1938 Wolf recital, though the sound is no more than adequate, [the Music & Arts CDs have improved this tremendously.] clearly shows how Lotte played on, and with, her audience. She inserts encores after a group of songs, and even repeats two songs during the course of the recital. Finally, for her penultimate encore, she announces Leo Blech’s ‘Heimkehr vom Feste’ in which she is infectiously merry as the character in the song who is returning home from a party, have had too much to drink…. Outstanding among her public performances is the live recording of Schumann’s song cycle, Frauenliebe und –leben with Paul Ulanowsky, which is vastly superior to the studio version she made with Bruno Walter. The original masters from which the microgroove record was made were partly damaged, [this has been corrected on the Music & Arts CD], but the listener should not let that deter him from the extraordinary experience of hearing a performance of this well-known work such as one enjoys perhaps only once in a lifetime. A frequent mannerism in these late recitals, and not noticeable on her acoustic recordings, is a quite audible intake of breath. It was becoming conspicuous in the recordings sessions of December 1927 and, by about 1940, had turned into shortness of breath. A Viennese throat specialist is said to have diagnosed nodules on Lotte’s vocal cords but she did not have an operation as she thought they enhanced the particular quality of her voice. She mentions this in 1945 in her book More than Singing (p. 17): ‘With justice I am reproached for breathing too often and so breaking the phrases. This is one of my unconquerable nervous inadequacies’. In fact, it is often difficult to tell if her frequent breathing is being used as a means of enhancing expression, or a matter of sheer necessity. A special feature displayed by Lotte Lehman on most of her records, certainly up to the end of the 1930s, is that of morbidezza, an Italian word used to describe, in singing, a particular vibrant quality of tone, which serves to transmit emotion and attract immediate attention. Horst Wahl, who often heard the artist in the Odeon recording studios, refers to this in a letter to the writer in 1988: ‘The impression she made on us all with her heavenly voice is indescribably. Even now, after so many years, I can still feel, almost with pain, the wonderful beauty and warmth of her voice. To be standing near her when she was producing that steady stream of golden tone was an experience barely to be endured, and her great personal warmth always ensure that her singing went straight to the heart’.
1646	dbpedia	2	2	https://www.facebook.com/photo.php%3Ffbid%3D3241570582638162%26id%3D531270340334880%26set%3Da.817561008372477%26locale%3Dde_DE	en	Facebook	https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico	https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico	[ "https://facebook.com/security/hsts-pixel.gif" ]	[]	[]	[ "" ]	null	[]	null	Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.	de	https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico		https://www.facebook.com/login/
1646	dbpedia	3	13	https://open.spotify.com/artist/3xPkiC46HjHfbe6axfTp42	en	Elena Gerhardt	https://i.scdn.co/image/8a38a730862093ff45312e83cfdde3605c209d63	https://i.scdn.co/image/8a38a730862093ff45312e83cfdde3605c209d63	[]	[]	[]	[ "" ]	null	[]	null	Listen to Elena Gerhardt on Spotify. Artist · 29 monthly listeners.	en	https://open.spotifycdn.…n32.b64ecc03.png	Spotify	https://open.spotify.com/artist/3xPkiC46HjHfbe6axfTp42
1646	dbpedia	3	29	https://www.taminoautographs.com/products/gerhardt-elena-3	en	GERHARDT, Elena	http://www.taminoautographs.com/cdn/shop/products/ElenaGerhardtGG1443_WM.jpg?v=1643656592	http://www.taminoautographs.com/cdn/shop/products/ElenaGerhardtGG1443_WM.jpg?v=1643656592	[ "https://www.taminoautographs.com/cdn/shop/products/ElenaGerhardtGG1443_WM.jpg?v=1643656592", "https://www.taminoautographs.com/cdn/shop/products/ElenaGerhardtGG1443_WM.jpg?v=1643656592", "https://www.taminoautographs.com/cdn/shop/t/80/assets/logo-BBB.png?v=184454359062133282931714102938", "https://www.tamino...	[]	[]	[ "" ]	null	[]	null	German mezzo-soprano (1883-1961), signed postcard photograph, shown as herself, inscribed and dated in 1935. Size is 3.25 x 4.75 inches, mounting traces on verso, otherwise in excellent condition.	en	//www.taminoautographs.com/cdn/shop/files/Tamino_Autographs_-_Authentic_Autographs_-_Autograph_Dealer_32x32.png?v=1615824740	Tamino	https://www.taminoautographs.com/products/gerhardt-elena-3	ALL ITEMS SHOWING PRICE ARE IN STOCK. Items no longer available will show as "Sold out". 100% GUARANTEED AUTHENTIC AUTOGRAPHS. Certificate of Authenticity (CoA) on invoice. ALL ORIGINAL AUTOGRAPHS - Hand signed. We do not sell copies or reproductions. THE "TAMINO AUTOGRAPHS" semi-transparent legend over the pictures shown here does not exist in the actual item. ALL PRICES ARE FINAL & NOT NEGOTIABLE. Lower offers will not be accepted. No fake discounts, we sell authentic autographs at authentic prices, fair market or below. Unsatisfactory items may be returned within 14 days of receipt for your choice of a store credit or a full refund. In order to qualify for a refund, items must first be returned in the exact same condition they were shipped. By default we ship via USPS, and provide the option to ship via FedEx or UPS. Shipping and handling costs are not refundable for any items that were already shipped, either returned or not. At our discretion, a restocking and relisting fee of up to USD 40 could be applied for some returned items, although this is very rarely applied.
1646	dbpedia	0	0	https://adp.library.ucsb.edu/names/104525	en	Elena Gerhardt	https://upload.wikimedia…ena_Gerhardt.jpg		[ "https://adp.library.ucsb.edu/themes/h5bp/static/adp-logo.png", "https://upload.wikimedia.org/wikipedia/commons/c/cc/Elena_Gerhardt.jpg", "https://adp.library.ucsb.edu/themes/h5bp/static/audio-available.png", "https://adp.library.ucsb.edu/themes/h5bp/static/pressedonly.png", "https://adp.library.ucsb.edu/th...	[]	[]	[ "" ]	null	[]	null			/themes/h5bp/favicon.ico	Discography of American Historical Recordings	null	Elena Gerhardt (11 November 1883 – 11 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934.
1646	dbpedia	3	91	https://www.theguardian.com/music/2012/may/27/derek-hammond-stroud	en	Derek Hammond-Stroud obituary	https://i.guim.co.uk/img…117cf32347325152	https://i.guim.co.uk/img…117cf32347325152	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Opera%2CClassical+music%2CRichard+Wagner%2CMusic%2CGilbert+and+Sullivan%2CCulture", "https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2012/5/27/1338130628911/Derek-Hammond-Stroud-008.jpg?width=465&dpr=1&s=none", ...	[]	[]	[ "" ]	null	[ "Barry Millington", "www.theguardian.com", "barry-millington" ]	2012-05-27T00:00:00	Popular baritone and lieder singer with remarkable diction	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/music/2012/may/27/derek-hammond-stroud	Derek Hammond-Stroud, who has died at the age of 86, was a popular and highly regarded baritone who enlivened the British lyric stage for several decades in a variety of roles. His remarkable diction enabled him to shine in patter roles of Gilbert and Sullivan operettas and he featured prominently in that repertoire throughout his career. But he also brought that asset to the landmark Sadler's Wells productions of Wagner under Reginald Goodall, delivering colourful, accomplished performances of the roles of the querulous town clerk Beckmesser in The Mastersingers of Nuremberg and of the scheming dwarf, Alberich, in The Ring of the Nibelung. Born in London, he attended Salvatorian college, Harrow, and went on to study at the Trinity College of Music and abroad with Elena Gerhardt and Gerhard Hüsch. He made his debut in 1955 in Haydn's Orfeo ed Euridice, a concert performance at the St Pancras Festival that marked the British premiere of the work. At the same festival he made his stage debut two years later as Publius in Mozart's La Clemenza di Tito. He then joined the Sadler's Wells company (subsequently English National Opera) in 1961, distinguishing himself in such roles as Dr Bartolo in Rossini's Il Barbiere di Siviglia, Melitone in Verdi's La Forza del Destino, Rigoletto, Papageno in The Magic Flute and a succession of character parts in Offenbach and Gilbert and Sullivan operettas. To all these roles he brought an animated delineation enhanced by his trademark diction. His acting skills were also brought into play here: the hangdog expression and furrowed brow of his Ko-Ko, the Lord High Executioner in The Mikado – to take just one example – contributed to an amusing portrayal. Gilbert and Sullivan roles formed the backbone of his frequent appearances at the BBC Proms. Between 1968 and 1988 he featured in 31 performances of Gilbert and Sullivan operettas there, with appearances also in Berlioz's Béatrice et Bénédict, Britten's Gloriana, Walton's Façade, Stravinsky's Renard, Verdi's Macbeth and La Forza del Destino, and Johann Strauss's Der Zigeunerbaron. His exemplary diction was a distinguishing feature too of his Beckmesser and Alberich for Sadler's Wells. During the rigorous coaching sessions for the former with Goodall, Hammond-Stroud gradually became aware, as he once told an interviewer, that the conductor identified himself with the frustration and anguish of the town clerk, treated with much derision by the populace. The singer's task was thus to project a tragic rather than a comic character. Hammond-Stroud's Alberich was also richly drawn, deploying incisive enunciation that could nevertheless be varied to dramatic effect. When Alberich cursed the gods for robbing him of the ring, for example, Hammond-Stroud was able to combine vocal colour and verbal distortion to convey the scorn and twisted hatred of the character. After making his Covent Garden debut in 1971 as Faninal in Der Rosenkavalier – a role in which he succeeded in combining oleaginous deference and self-satisfaction to devastating effect – he sang frequently with the company throughout the following two decades. Glyndebourne audiences enjoyed his appearances in this period and his debut at the Metropolitan, New York, once again as Faninal, launched a career in the US too, leading to appearances in San Diego and Houston, as well as such prominent houses as the Teatro Colón, Buenos Aires, and the National Theatre, Munich. The classic Met production of Der Rosenkavalier, in which he starred alongside Tatiana Troyanos, Kiri te Kanawa and Kurt Moll (with Luciano Pavarotti in the cameo role of the Italian Singer), was filmed for American television in 1982. Hammond-Stroud was also an accomplished lieder singer, appearing regularly on the concert platforms of London, Vienna and Amsterdam. A performance of Schubert's Winterreise at the Wigmore Hall in 1979, memorable for its sentient projection of the text, was finally released on CD in 2002. In 1987 he was appointed OBE.
1646	dbpedia	2	32	https://www.nicholsschool.org/alumni/in-memoriam	en	Nichols School	https://www.wiscassetnew…pg?itok=CjoOPzKH		[ "https://bbk12e1-cdn.myschoolcdn.com/ftpimages/1425/logo/master-logo-white.png", "https://bbk12e1-cdn.myschoolcdn.com/1425/photo/orig_photo1012988_6796807.png", "https://www.nicholsschool.org/ftpimages/1425/link/large_link1584476_159978.jpg", "https://www.nicholsschool.org/ftpimages/1425/link/large_link158430...	[]	[]	[ "" ]	null	[ "John Hickey", "Buffalo News" ]	null	Nichols School lists names of community members who pass on this page and in the alumni magazine Toaxnoes.	en	//bbk12e1-cdn.myschoolcdn.com/ftpimages/1425/site/1501/favicon/Black-Baud-Favicon.ico		https://www.nicholsschool.org/alumni/in-memoriam
1646	dbpedia	1	71	https://reader.exacteditions.com/issues/61688/page/60	en	February 2018	https://d1zfca9r0ctlm4.c…ILCKZYUYWFSF3MFA	https://d1zfca9r0ctlm4.c…ILCKZYUYWFSF3MFA	[ "https://reader.exacteditions.com/assets/search-9a4a726af5f20e8f30837478f2a874604c35fcd36ccb0808712cb729dfebff59.svg", "https://d1zfca9r0ctlm4.cloudfront.net/345/365/61688/20180126/images/3/page-000001.jpg?Policy=eyJTdGF0ZW1lbnQiOlt7IlJlc291cmNlIjoiaHR0cHM6Ly9kMXpmY2E5cjBjdGxtNC5jbG91ZGZyb250Lm5ldC8zNDUvMzY1LzYxN...	[]	[]	[ "digital magazines", "digital reading platform", "digital magazine archives" ]	null	[]	null	Read fully-searchable digital publications on the Exact Editions platform.	en	/apple-touch-icon-57x57.png		null	No titles available You have no current subscriptions in your account. Would you like to explore the titles in our collection? No collections available You have no collections in your account. Would you like to view your available titles?
1646	dbpedia	3	87	https://conradlosborne.com/2020/09/11/the-racial-moment-and-opera/16/	en				[]	[]	[]	[ "" ]	null	[]	2020-09-11T00:00:00					null
1646	dbpedia	3	68	https://artmusiclounge.wordpress.com/2021/08/23/the-great-lula-mysz-gmeiner/	en	The Great Lula Mysz-Gmeiner	https://artmusiclounge.w…sz-gmeiner-3.jpg	https://artmusiclounge.w…sz-gmeiner-3.jpg	[ "https://mobstertiger.files.wordpress.com/2017/03/cropped-images-3.jpg?w=48", "https://0.gravatar.com/avatar/658e4ad30f820596725b7c329fbed96f26fe0e4f513f6967b82556304c13b097?s=48&d=identicon&r=G", "https://0.gravatar.com/avatar/3706c6013ae07e93e76c8ec749d602a898eb74cf4fd5717a3639a35e3857af17?s=48&d=identicon&r=...	[]	[]	[ "" ]	null	[ "The Art Music Lounge" ]	2021-08-23T00:00:00	SCHUBERT: Der Tod und das Mädchen. Die Forelle. Der Einsame. Frülingsglaube. Erlkönig. Litanei. Der Fischer. Der Zwerg. Nacht und Träume. Die junge nonne. Das Echo. Seligkeit. MOZART: Das Veilchen. MENDELSSOHN: Auf flügeln des Gesangen. SCHUMANN: Waldegespräch. Der Nuβbaum. LOWE: Herr Oluf. BRAHMS: Immer leiser wird mein schlummer. Schwesterlein. TCHAIKOVSKY: At the Ball. WOLF: Heimweh. MAHLER:…	en	https://s1.wp.com/i/favicon.ico	THE ART MUSIC LOUNGE	https://artmusiclounge.wordpress.com/2021/08/23/the-great-lula-mysz-gmeiner/	SCHUBERT: Der Tod und das Mädchen. Die Forelle. Der Einsame. Frülingsglaube. Erlkönig. Litanei. Der Fischer. Der Zwerg. Nacht und Träume. Die junge nonne. Das Echo. Seligkeit. MOZART: Das Veilchen. MENDELSSOHN: Auf flügeln des Gesangen. SCHUMANN: Waldegespräch. Der Nuβbaum. LOWE: Herr Oluf. BRAHMS: Immer leiser wird mein schlummer. Schwesterlein. TCHAIKOVSKY: At the Ball. WOLF: Heimweh. MAHLER: Wer hat dies liedlein erdacht / Lula Mysz-Gmeiner, mezzo-soprano; Waldemar Lischowsky, Julius Dahlke, pianists / available for free streaming at Internet Archive The austere-looking woman pictured above may not be on your musical radar; she wasn’t on mine until two days ago, when my friend Joe Pearce mentioned her in passing and I looked her up on YouTube. In fact, unless you are German or Austrian, you may never even have heard of her, let alone heard her. I certainly hadn’t. But there are reasons why I hadn’t heard her. Although she is listed in the Kutsch-Riemens A Concise Biographical Dictionary of Singers (Chilton, 1969), a book I’ve owned since 1970, their assessment of her is not nearly as enthusiastic as it was for her contemporaries Elena Gerhardt, Julia Culp or Lotte Lehmann. All Kutsch and Riemens have to say of her is that she was one of the most famous concert singers of her epoch, not that she was a great lied interpreter. Thus I had no real motivation to look her up. After all, she wasn’t mentioned even once on George Jellinek’s famous WQXR radio program devoted to historic singers, The Vocal Scene, nor was she featured on any of those many Everest-Scala cheapie LPs on which historic singers were reissued—the ones with the candy-cane-colored generic covers, which sold for $2 at Sam Goody’s ($1 when they were on sale). And because she recorded exclusively for Polydor, and didn’t make all that many records (roughly two dozen, both acoustic and electric, during the 1920s), there weren’t any other LP reissues by her except for one on Discophilia M3, a weird pirate label I never saw, and one on Preiser’s “Lebendige Vergangenheit” series, and those were fairly pricy LPs back in the day. (As it turns out, she also wasn’t featured on either Vols. 1 or 2 of Michael Scott’s massive The Record of Singing boxed sets in the 1980s; she did appear on Vol. 3, but those sets cost an arm and a leg and I didn’t have the money to buy Vol. 3.) So she flew under my radar, as I’m sure she has flown under most of yours. But she was truly one of the greatest lieder singers who ever recorded. The following biographical information is culled from K-R, Wikipedia (which is similar to K-R), and a few tidbits that Joe Pearce told me. Born in Kronstadt, then part of Transylvania, on August 16, 1876, Julie Sophie Gmeiner grew up in a highly musical family. Her sister Ellen and brother Rudolf also had successful career as concert singers, though they never recorded; another sister, Luise, was a pianist in Berlin. She first studied with Ludwig Lassel, then with Gustav Walter (1834-1910), one of the leading tenors of his day and the second-oldest singer known to have made commercial recordings (baritone Antonio Cotogni, born in 1831, made one issued recording in 1908). After 1896 she also studied with Emilie Herzog, Etelka Gerster and Lilli Lehmann. She made her concert debut in 1899 and garnered high praise for her singing, but in 1911-12 she underwent further vocal training with Raimund von zur Mühlen, another unrecorded singer. Somewhere along the line she changed her first name to Lula, and in 1900 married the Transylvanian engineer Ernst Mysz in Kronstadt. They had three daughters, two of whom died young. The third, Suzanne, later fell in love with tenor Peter Anders when he studied with Lula in the 1930s. Lula’s other notable pupils were sopranos Maria Müller and Elisabeth Schwarzkopf. Lula made extensive concert tours of both Europe and the United States, was highly prized by such knowledgeable colleagues as conductor Artur Nikisch and composer Max Reger, who was crazy about her voice and wrote several songs dedicated to her including his Vier Gesänge, Op. 88, published in 1905. From 1920 onward she was a voice teacher at the Staatlich akademische Hochschule für Musik zu Berlin, and it was during the 1920s that she made all her records for Polydor, both acoustically and electrically, with a few songs recorded in both formats, but there doesn’t seem to be a lot of them, perhaps 26 or 28 titles in all. A few (see labels) were somehow reissued by British Decca in the 1930s, but for the most part they remained on Polydor 78s. Although nothing is known of her two accompanists, Waldemar Liachowsky during the acoustic period and Julius Dahlke on the electricals, they were both clearly above the usual norm of pianists on old lieder recordings. Dahlke, in fact, was identified on the labels as playing a Bechstein grand piano, clearly a luxury for a lieder singer on discs in those days. Listening to Mysz-Gmeiner takes you back to not only an era of lost vocal art, when singers were expected to not only have firm, well-produced voices, not the squally, tremulous horrors that often pass for professional singers nowadays, but ones who were expected to throw themselves emotionally into the words of the songs, acting them out both dramatically and poetically. Mysz-Gmeiner often makes her effects through her complete absorption in the words she is singing, and this alternates between a dramatic reading, as one might expect from a great actor like Chaliapin, and a poetic reading of the text. Moreover, Mysz-Gmeiner often makes her points by means of coloring her tones, and in this respect she was truly a master painter. She could even change the color of a tone while holding a single note, something that is impossible for nearly any modern-day singer, no matter how vocally gifted, to bring off, and all of this comes from a woman who was near or over age 50 at the time of recording. The other thing you will notice is something that is completely verboten today, and that is the use of rubato and rallentando effects in her songs. Very often this is subtle, but occasionally the effects are a bit broad. Most musicians nowadays will probably cringe at this, but there was a point in time when, if you did not introduce some rubato into classical music, you were considered an unfinished artist. Yes, there are some similar effects in Gerhardt’s recordings, but those moments are generally subtler than Mysz-Gmeiner’s. A good example is Schubert’s Der Einsame; no lieder singer on earth would even think of introducing such broad decelerando into this song as she does, but she gets away with it because it enhances the words and the mood. In short, she may have had her mannerisms, but she knew what she was doing. She is never, ever vulgar or cheap in her effects; nothing she does is to show off the voice. And oh, yes, she also occasionally used a somewhat broad portamento—listen to Schubert’s Frühlingsglaube, for instance—and this, too was a musical tradition going back to the late 18th century. But our musical academics, in their rush to force Straight Tone down everyone’s throat, have thrown out portamento and rallentando in performance practice, ignoring the fact that this is quite probably what Schubert’s, Schumann’s and Brahms’ songs sounded like during those composers’ lifetimes. Of course I agree that these traits in her musical style could occasionally be excessive, but as I said, for the most part she is extremely tasteful. And what an interpreter she was! Her recording of Erlkönig is far and away the greatest I’ve ever heard in my life. She accurately portrays the father, son and Erl-king with exactly the right vocal tone and accents; you are never once in doubt as to which character is singing, and the terror she infuses into the young boy’s lines is almost horrific. You get so caught up that, at first listen, you may not even catch some of the slow-downs she tosses in here and there. My impression of Mysz-Gmeiner’s voice is that it was of a good size but not really huge: more like Brigitte Fassbaender than Lilli Lehmann. Of course, this is good enough for a lieder singer, particularly one with such extraordinary skills as hers. Small wonder than listeners, even professional musicians, were bowled over by her singing. Mysz-Gmeiner poured the same kind of emotion into Der Zwerg, one of Schubert’s strangest and darkest songs, yet she could also sing lightly and with great joy in Die Forelle, though she imparted more of a connection to the words in this song as well as in Mendelssohn’s generally flighty Auf flügeln des gesanges and even Mozart’s Das Veilchen, a song usually just tossed away by most lieder singers. As one might expect, Carl Loewe’s crazy dramatic ballad Herr Oluf is right up her alley with its almost over-the-top histrionics. One of her more interesting performances is that of Tchaikovsky’s At the Ball. She doesn’t entirely reflect the mood that Pushkin intended, that of someone who is so numbed with grief that she can’t even show emotion; on the contrary, Mysz-Gmeiner’s grief comes out of her as if she is even beyond tears, it is so deeply felt. Thus I would place this in the category of an interesting outlier among recordings of this song. My guess is that, in non-German countries, she was already forgotten by the time she died in August 1948, one week shy of her 72nd birthday. But an art as sincere, dramatic, and occasionally poetically subtle as hers should never be neglected or forgotten. —© 2021 Lynn René Bayley Follow me on Twitter (@Artmusiclounge) or Facebook (as Monique Musique) Return to homepage OR
1646	dbpedia	2	24	https://www.alamy.com/stock-photo/german-singer-soprano.html	en	res stock photography and images	https://s.alamy.com/logo…avicon-16x16.png	https://s.alamy.com/logo…avicon-16x16.png	[ "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/logos/1.68.0/alamy-black.svg", "https://s.alamy.com/logos/1.68.0/alamy-black.svg", "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/assets/latest/footer/mastercard.svg", "https://s.alamy.com/assets/latest/footer/visa.svg"...	[]	[]	[ "" ]	null	[ "Alamy Limited" ]	null	Find the perfect german singer soprano stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.	en	https://s.alamy.com/logo…avicon-16x16.png	Alamy	https://www.alamy.com/stock-photo/german-singer-soprano.html	Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 26/08/2024 Alamy Ltd. All rights reserved.
1646	dbpedia	2	53	https://archives.nypl.org/scm/20639	en	Arthur Alfonso Schomburg papers			[]	[]	[]	[ "" ]	null	[]	null		en	/assets/favicon-76261cdf5100cf81ab30579f0da7bf0ff11969948a72f8d62cb0af6b46ee1e4e.ico		null	The Arthur Alfonso Schomburg Papers (1724-1938) reflect Schomburg's activities as researcher and writer, collector and curator. The collection consists of correspondence, published and unpublished writings, articles about Schomburg and his collection, subject and reference files, and material relating to his many speaking engagements and activities in the community. The bulk of the papers date from 1932 to his death in 1938. The material dating from the eighteenth and nineteenth centuries consists of transcriptions and translations of historical documents, made during the 1930s. The Correspondence is separated into three subseries: Letters to Schomburg, 1904-1938, Letters by Schomburg, 1914-1938, and Miscellaneous Correspondence, 1909-1938. The first two subseries are arranged alphabetically by the correspondent's name or affiliation. The third subseries is subdivided by type, such as Invitations, Greeting Cards, and Miscellaneous Letters. Schomburg's correspondents included a number of prominent people in the fields of arts and letters, politics and civil rights, such as John E. Bruce, Henrietta Buckmaster, W.E.B. Du Bois, W.C. Handy, Langston Hughes, Claude McKay, J.A. Rogers, The Honorable Sténio Vincent (President of Haiti), Walter White, Carter G. Woodson, Charles S. Johnson, Nancy Cunard, Albert Smith, and fellow collectors and bibliophiles William C. Bolivar, Henry Slaughter and Arthur Spingarn. The letters relate to Schomburg's position as curator at the 135th St. library, as well as to his intellectual interests and personal life. The Professional and Literary Activities series illustrates the broad scope of Schomburg's interests. Included in this series are typescripts and published articles written by Schomburg, although authorship of the manuscripts is not always clear as they are frequently unsigned. There are also articles about Schomburg's activities and the Schomburg Collection, as well as invitations, announcements and programs of events Schomburg participated in. Included in this section are minutes and reports for the Citizens Committee of the 135th Street Branch Library and the New York Urban League, the two organizations that consistently worked with Schomburg and Ernestine Rose, the branch librarian, to benefit the branch in general, and the Schomburg Collection in particular. The Subject and Reference File consists of a variety of material, including reference notes, transcriptions of articles from newspapers, transcriptions and translations of speeches, letters, and essays about historical figures and events, biographical essays, and manuscripts by other authors. The Arthur Alfonso Schomburg papers are arranged in three series:
1646	dbpedia	1	5	https://letsquiz.com/quiz/elena-gerhardt/which-famous-composers-are-associated-with-the-city-of-leipzig	en	Which famous composers are associated with the city of Leipzig?	https://upload.wikimedia…ena_Gerhardt.jpg	https://upload.wikimedia…ena_Gerhardt.jpg	[ "https://letsquiz.com/_next/image?url=%2Flogo_23.png&w=256&q=75 1x, /_next/image?url=%2Flogo_23.png&w=384&q=75 2x", "https://letsquiz.com/_next/image?url=%2Ffeedback_button.png&w=48&q=75 1x, /_next/image?url=%2Ffeedback_button.png&w=96&q=75 2x", "https://letsquiz.com/cdn-cgi/image/width=64,format=webp/http://up...	[]	[]	[ "" ]	null	[]	null	Leipzig, the birthplace of Elena Gerhardt, is associated with famous composers Johann Sebastian Bach and Richard Wagner. Both composers lived and worked in the city, contributing to its rich musical h	en	/apple-touch-icon.png		https://letsquiz.com/quiz/elena-gerhardt/which-famous-composers-are-associated-with-the-city-of-leipzig	The Enchanting Voice: How Well Do You Know Elena Gerhardt's Life and Career? Created using data under the Creative Commons Attribution-ShareAlike Licence & the media files are available under their respective licenses; additional terms may apply. For more information, please review our About us page. // By using this site, you agree to the Terms of Use & Privacy Policy.
1646	dbpedia	2	45	https://csoarchives.wordpress.com/tag/carlo-maria-giulini/	en	Carlo Maria Giulini	https://secure.gravatar.com/blavatar/6ba487f94c28ec767f3127ca6ebb06ba390d1f2413377c9972080ef6f987c4af?s=200&ts=1724470309	https://secure.gravatar.com/blavatar/6ba487f94c28ec767f3127ca6ebb06ba390d1f2413377c9972080ef6f987c4af?s=200&ts=1724470309	[ "https://csoarchives.wordpress.com/wp-content/uploads/2010/04/cropped-upstage-left-view-1953-66.jpg", "https://csoarchives.wordpress.com/wp-content/uploads/2018/03/byron-janis.jpg?w=490", "https://csoarchives.wordpress.com/wp-content/uploads/2023/03/liszt-totentanz-rachmaninov-piano-concerto-no.-1-reiner-janis....	[]	[]	[ "" ]	null	[]	null		en	https://secure.gravatar.com/blavatar/6ba487f94c28ec767f3127ca6ebb06ba390d1f2413377c9972080ef6f987c4af?s=32	from the archives	https://csoarchives.wordpress.com/tag/carlo-maria-giulini/	The Chicago Symphony Orchestra family mourns the loss of legendary American pianist Byron Janis. He died in Manhattan on March 14, 2024, at the age of ninety-five. Janis made his professional debut at the age of fifteen in 1943, performing Rachmaninov’s Second Piano Concerto with the NBC Symphony Orchestra, under the baton of Frank Black. The following year, he was chosen by Vladimir Horowitz as his first student, and at eighteen, he became the youngest artist signed to a contract by RCA Victor Records. On October 29, 1948, Janis made his Carnegie Hall debut, and Olin Downes in the New York Times wrote, “Not for a long time had this writer heard such a talent allied with the musicianship, the feeling, the intelligence and artistic balance shown by the twenty-year-old pianist, Byron Janis. . . . Whatever he touched he made significant and fascinating by the most legitimate and expressive means.” On March 4, 1954, Janis made his debut with the Chicago Symphony in Orchestra Hall. “Mr. Janis played a performance of the Tchaikovsky concerto uncommonly beautiful for what it was, and uncommonly exciting for what it can be. . . . If you have it, you have it, and Mr. Janis does,” wrote Claudia Cassidy in the Chicago Tribune. “He has temperament and fire and he wants, perhaps more than anything in the world, to play the piano. You can always tell that by the sound. It comes out in the explosions of the double octaves, in the instinctive sensing of the crest of a phrase . . . his Tchaikovsky was big, beautiful and dynamic, yet with all its tensions it sensed the relaxed sweep of the grand style. . . . Reiner and the Orchestra gave superb collaboration, part Russian song, part Russian bear.” For more than twenty years, Byron Janis was a regular visitor, as soloist with the Chicago Symphony Orchestra and as a recitalist in Orchestra Hall. A complete list of his appearances is below. July 10, 1952, Ravinia Festival BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Dimitri Mitropoulos, conductor March 4 and 5, 1954, Orchestra Hall TCHAIKOVSKY Piano Concerto in B-flat Minor, Op. 23 Fritz Reiner, conductor July 27, 1956, Ravinia Festival BERNSTEIN Symphony No. 2 (The Age of Anxiety) Leonard Bernstein, conductor December 6 and 7, 1956, Civic Opera House RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1 STRAUSS Burlesque for Piano and Orchestra in D Minor Fritz Reiner, conductor August 2, 1957, Ravinia Festival RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30 William Steinberg, conductor August 3, 1957, Ravinia Festival TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 William Steinberg, conductor January 20, 1958, Pabst Theatre, Milwaukee BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Carlo Maria Giulini, conductor July 17, 1958, Ravinia Festival RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1 Walter Hendl, conductor July 22, 1958, Ravinia Festival BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Igor Markevitch, conductor February 19 and 20, 1959, Orchestra Hall SCHUMANN Piano Concerto in A Minor, Op. 54 Fritz Reiner, conductor February 24, 1959, Orchestra Hall LISZT Totentanz for Piano and Orchestra Fritz Reiner, conductor March 23, 1959, Pabst Theatre, Milwaukee SCHUMANN Piano Concerto in A Minor, Op. 54 Fritz Reiner, conductor July 9, 1959, Ravinia Festival TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 Walter Hendl, conductor July 11, 1959, Ravinia Festival RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30 Walter Hendl, conductor February 4 and 5, 1960, Orchestra Hall LISZT Piano Concerto No. 1 in E-flat Major Fritz Reiner, conductor February 9, 1960, Orchestra Hall LISZT Concerto for Piano No. 2 in A Major Fritz Reiner, conductor July 5, 1960, Ravinia Festival RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18 Walter Hendl, conductor July 7, 1960, Ravinia Festival SCHUMANN Piano Concerto in A Minor, Op. 54 Walter Hendl, conductor July 20, 1961, Ravinia Festival RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1 Joseph Rosenstock, conductor July 22, 1961, Ravinia Festival LISZT Piano Concerto No. 1 in E-flat Major Joseph Rosenstock, conductor January 4 and 5, 1962, Orchestra Hall TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 Leopold Stokowski, conductor August 4, 1962, Ravinia Festival LISZT Concerto for Piano No. 2 in A Major RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43 André Cluytens, conductor November 1, 2, and 3, 1962, Orchestra Hall November 4, 1962, Edgewater Beach Hotel (WGN Great Music from Chicago television broadcast) November 5, 1962, Pabst Theatre, Milwaukee PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26 Hans Rosbaud, conductor July 11, 1963, Ravinia Festival RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30 Walter Hendl, conductor July 16, 1963, Ravinia Festival GRIEG Piano Concerto in A Minor, Op. 16 Seiji Ozawa, conductor November 21 and 22, 1963, Orchestra Hall RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18 Jean Martinon, conductor December 31, 1964, January 1 and 2, 1965, Orchestra Hall January 4, 1965, Pabst Theatre, Milwaukee MOZART Piano Concerto No. 23 in A Major, K. 488 Willem van Otterloo, conductor July 26, 1966, Ravinia Festival RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1 RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18 Seiji Ozawa, conductor July 28, 1966, Ravinia Festival RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30 RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43 Seiji Ozawa, conductor April 20 and 21, 1967, Orchestra Hall PROKOFIEV Piano Concerto No. 1 in D-flat Major, Op. 10 STRAUSS Burlesque for Piano and Orchestra in D Minor Irwin Hoffman, conductor June 27, 1967, Ravinia Festival PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26 Seiji Ozawa, conductor June 29, 1967, Ravinia Festival GERSHWIN Concerto in F for Piano and Orchestra Seiji Ozawa, conductor June 29, 1968, Ravinia Festival BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Seiji Ozawa, conductor July 6, 1971, Ravinia Festival STRAUSS Burlesque for Piano and Orchestra in D Minor LISZT Piano Concerto No. 1 in E-flat Major Lawrence Foster, conductor June 29, 1973, Ravinia Festival PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26 James Levine, conductor August 15, 1974, Ravinia Festival SAINT-SAËNS Piano Concerto No. 5 in F Major, Op. 103 (Egyptian) David Zinman, conductor Janis also made several recordings with the Chicago Symphony Orchestra, as follows: LISZT Totentanz for Piano and Orchestra Fritz Reiner, conductor Recorded in Orchestra Hall on February 23, 1959, for RCA RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1 Fritz Reiner, conductor Recorded in Orchestra Hall on March 2, 1957, for RCA SCHUMANN Piano Concerto in A Minor, Op. 54 Fritz Reiner, conductor Recorded in Orchestra Hall on February 21, 1959, for RCA STRAUSS Burlesque for Piano and Orchestra in D Minor Fritz Reiner, conductor Recorded in Orchestra Hall on March 4, 1957, for RCA Under the auspices of Allied Arts, Janis has appeared as piano recitalist on several occasions, as follows: March 25, 1956 March 15, 1958 April 9, 1961 April 29, 1962 January 16, 1966 January 29, 1967 December 1, 1968 May 5, 1974 December 16, 1975 February 8, 1976 Numerous tributes have been posted online, including the New York Times, AP News, and the Hollywood Reporter, among several others. This article also appears here. The Chicago Symphony Orchestra family joins the music world in grieving the loss of legendary American pianist André Watts, who died on July 12, 2023. He was seventy-seven. Watts was born on June 20, 1946, in Nuremberg, Germany, to a Hungarian mother and an African American U.S. Army soldier. His mother was his first piano teacher, and by the age of nine, he had won a competition to perform on a children’s concert with the Philadelphia Orchestra. Watts became a part of the American musical fabric when, at the age of sixteen, he appeared on a nationally televised Young People’s Concert with the New York Philharmonic on January 15, 1963, performing Liszt’s First Piano Concerto under the baton of Leonard Bernstein. Two weeks later, an ailing Glenn Gould canceled with the Philharmonic, and Bernstein invited Watts to perform the same Liszt concerto on subscription concerts on short notice. Columbia Masterworks soon recorded Watts’s interpretation, and the release The Exciting Debut of André Watts won the 1963 Grammy Award for Most Promising New Classical Recording Artist. Watts became a student of Leon Fleisher at the Peabody Conservatory, combining his studies with a packed concert schedule that quickly included as many as 150 concerts a year. He soon made his debut with the Chicago Symphony Orchestra at the Ravinia Festival in June 1965, one day before his nineteenth birthday. Performing at the inauguration of U.S. President Richard Nixon in 1969, Watts had become a symbol for the civil rights movement, a quiet fighter “who lets his good example as a famous artist have the effect of a thousand protesters,” according to Norman Darden, writing in the Saturday Review in July 1969. In 1976, Watts gave a recital televised on PBS’s Live from Lincoln Center series, making him the first pianist to have a full-length recital broadcast on television in the United States. Watts was the youngest person ever to receive an honorary doctorate from Yale University, and he received the Avery Fisher Prize in 1988 and the National Medal of Arts in 2011. He was inducted into the Hollywood Bowl of Fame in 2006, the American Classical Music Hall of Fame in 2014, and the American Academy of Arts and Sciences in 2017. Watts was appointed to the faculty of the Jacobs School of Music at Indiana University in 2004, and in 2017 he was named a distinguished professor, the highest academic rank the university bestows upon its faculty. Watts was a frequent guest, appearing with the Chicago Symphony Orchestra on many occasions, as follows: June 19, 1965, Ravinia Festival MACDOWELL Piano Concerto No. 2 in D Minor, Op. 23 Seiji Ozawa, conductor May 7, 8, and 9, 1970, Orchestra Hall BRAHMS Piano Concerto No. 2 in B-flat Major Irwin Hoffman, conductor July 14, 1970, Ravinia Festival BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58 István Kertész, conductor May 20, 21, and 22, 1971, Orchestra Hall TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 Henry Mazer, conductor December 2 and 3, 1971, Orchestra Hall MOZART Piano Concerto No. 24 in C Minor, K. 491 Carlo Maria Giulini, conductor July 18, 1972, Ravinia Festival TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 Seiji Ozawa, conductor July 3, 1974, Ravinia Festival BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor) James Levine, conductor August 3, 1975, Ravinia Festival TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 Lawrence Foster, conductor July 15, 1976, Ravinia Festival MACDOWELL Piano Concerto No. 2 in D Minor, Op. 23 James Levine, conductor July 7, 1977, Ravinia Festival FRANCK Symphonic Variations LISZT Totentanz James Levine, conductor May 31 and June 1, 1979, Orchestra Hall BRAHMS Concerto for Piano No. 2 in B-flat Major, Op. 83 Sir Georg Solti, conductor July 7, 1979, Ravinia Festival RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18 James Levine, conductor July 11, 1980, Ravinia Festival FRANCK Symphonic Variations SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22 James Levine, conductor June 28, 1981, Ravinia Festival BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor) James Levine, conductor August 7, 1982, Ravinia Festival TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 Maxim Shostakovich, conductor July 13, 1984, Ravinia Festival BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58 James Levine, conductor July 12, 1985, Ravinia Festival RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18 James Levine, conductor January 23, 24, and 26, 1986, Orchestra Hall LISZT Piano Concerto No. 1 in E-flat Major LISZT Totentanz Sir Georg Solti, conductor July 11, 1986, Ravinia Festival SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22 James Levine, conductor August 15, 1987, Ravinia Festival BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83 George Cleve, conductor July 2, 1989, Ravinia Festival SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22 James Levine, conductor July 20, 1991, Ravinia Festival BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor) Gennady Rozhdestvensky, conductor July 17, 1992, Ravinia Festival LISZT Piano Concerto No. 2 in A Major James Conlon, conductor February 25, 26, 27, and 28, 1993, Orchestra Hall MENDELSSOHN Piano Concerto No. 1 in G Minor, Op. 25 David Loebel, conductor July 23, 1993, Ravinia Festival BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83 John Nelson, conductor November 1, 1993, Orchestra Hall RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18 Gerhardt Zimmermann, conductor August 6, 1994, Ravinia Festival TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 Riccardo Chailly, conductor June 30, 1995, Ravinia Festival BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor) Christoph Eschenbach, conductor January 24 and 25, 1996, Orchestra Hall LISZT Piano Concerto No. 2 in A Major LISZT Totentanz Daniel Barenboim, conductor January 26, 1996, Orchestra Hall LISZT Piano Concerto No. 1 in E-flat Major LISZT Totentanz Daniel Barenboim, conductor January 27, 1996, Orchestra Hall LISZT Piano Concerto No. 1 in E-flat Major Daniel Barenboim, conductor July 2, 1996, Ravinia Festival BRAHMS Piano Concerto No. 1 in D Minor, Op. 15 MACDOWELL Piano Concerto No. 2 in D Minor, Op. 23 LUTOSŁAWSKI Variations on a Theme by Paganini Hermann Michael, conductor August 1, 1997, Ravinia Festival RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18 Christoph Eschenbach, conductor May 14, 15, 16, and 19, 1998, Orchestra Hall BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83 Franz Welser-Möst, conductor August 14, 1998, Ravinia Festival FRANCK Symphonic Variations SAINT-SAËNS Piano Concerto No. 2 in G Minor, Op. 22 Christoph Eschenbach, conductor July 16, 1999, Ravinia Festival BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58 Claus Peter Flor, conductor November 2, 1999, Orchestra Hall TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 William Eddins, conductor January 11, 2000, Orchestra Hall BRAHMS Piano Concerto No. 1 in D Minor, Op. 15 BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83 Daniel Barenboim, conductor August 4, 2000, Ravinia Festival LISZT Piano Concerto No. 1 in E-flat Major Roberto Abbado, conductor April 19, 20, and 21, 2001, Orchestra Hall LISZT Piano Concerto No. 2 in A Major Daniel Barenboim, conductor July 1, 2001, Ravinia Festival SCHUBERT/Stein Fantasy in F Minor, D. 940 LISZT Totentanz Christoph Eschenbach, conductor July 29, 2005, Ravinia Festival BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Leonard Slatkin, conductor August 5, 2007, Ravinia Festival BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58 James Conlon, conductor July 8, 2011, Ravinia Festival LISZT Piano Concerto No. 2 in A Major Christoph Eschenbach, conductor Numerous tributes have been posted online, including articles at Indiana University and Indiana Public Media, among others. This article also appears here. The Chicago Symphony Orchestra family wishes the legendary American pianist Byron Janis a very happy ninety-fifth birthday! Janis made his professional debut at the age of fifteen in 1943, performing Rachmaninov’s Second Piano Concerto with the NBC Symphony Orchestra, under the baton of Frank Black. The following year, he was chosen by Vladimir Horowitz as his first student, and at eighteen, he became the youngest artist signed to a contract by RCA Victor Records. On October 29, 1948, Janis made his Carnegie Hall debut, and Olin Downes in the New York Times wrote, “Not for a long time had this writer heard such a talent allied with the musicianship, the feeling, the intelligence and artistic balance shown by the twenty-year-old pianist, Byron Janis. . . . Whatever he touched he made significant and fascinating by the most legitimate and expressive means.” On March 4, 1954, Janis made his debut with the Chicago Symphony in Orchestra Hall. “Mr. Janis played a performance of the Tchaikovsky concerto uncommonly beautiful for what it was, and uncommonly exciting for what it can be. . . . If you have it, you have it, and Mr. Janis does,” wrote Claudia Cassidy in the Chicago Tribune. “He has temperament and fire and he wants, perhaps more than anything in the world, to play the piano. You can always tell that by the sound. It comes out in the explosions of the double octaves, in the instinctive sensing of the crest of a phrase . . . his Tchaikovsky was big, beautiful and dynamic, yet with all its tensions it sensed the relaxed sweep of the grand style. . . . Reiner and the Orchestra gave superb collaboration, part Russian song, part Russian bear.” For more than twenty years, Byron Janis was a regular visitor, as soloist with the Chicago Symphony Orchestra and as a recitalist in Orchestra Hall. A complete list of his appearances is below. July 10, 1952, Ravinia Festival BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Dimitri Mitropoulos, conductor March 4 and 5, 1954, Orchestra Hall TCHAIKOVSKY Piano Concerto in B-flat Minor, Op. 23 Fritz Reiner, conductor July 27, 1956, Ravinia Festival BERNSTEIN Symphony No. 2 (The Age of Anxiety) Leonard Bernstein, conductor December 6 and 7, 1956, Civic Opera House RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1 STRAUSS Burlesque for Piano and Orchestra in D Minor Fritz Reiner, conductor August 2, 1957, Ravinia Festival RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30 William Steinberg, conductor August 3, 1957, Ravinia Festival TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 William Steinberg, conductor January 20, 1958, Pabst Theatre, Milwaukee BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Carlo Maria Giulini, conductor July 17, 1958, Ravinia Festival RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1 Walter Hendl, conductor July 22, 1958, Ravinia Festival BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Igor Markevitch, conductor February 19 and 20, 1959, Orchestra Hall SCHUMANN Piano Concerto in A Minor, Op. 54 Fritz Reiner, conductor February 24, 1959, Orchestra Hall LISZT Totentanz for Piano and Orchestra Fritz Reiner, conductor March 23, 1959, Pabst Theatre, Milwaukee SCHUMANN Piano Concerto in A Minor, Op. 54 Fritz Reiner, conductor July 9, 1959, Ravinia Festival TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 Walter Hendl, conductor July 11, 1959, Ravinia Festival RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30 Walter Hendl, conductor February 4 and 5, 1960, Orchestra Hall LISZT Piano Concerto No. 1 in E-flat Major Fritz Reiner, conductor February 9, 1960, Orchestra Hall LISZT Concerto for Piano No. 2 in A Major Fritz Reiner, conductor July 5, 1960, Ravinia Festival RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18 Walter Hendl, conductor July 7, 1960, Ravinia Festival SCHUMANN Piano Concerto in A Minor, Op. 54 Walter Hendl, conductor July 20, 1961, Ravinia Festival RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1 Joseph Rosenstock, conductor July 22, 1961, Ravinia Festival LISZT Piano Concerto No. 1 in E-flat Major Joseph Rosenstock, conductor January 4 and 5, 1962, Orchestra Hall TCHAIKOVSKY Piano Concerto No. 1 in B-flat Minor, Op. 23 Leopold Stokowski, conductor August 4, 1962, Ravinia Festival LISZT Concerto for Piano No. 2 in A Major RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43 André Cluytens, conductor November 1, 2, and 3, 1962, Orchestra Hall November 4, 1962, Edgewater Beach Hotel (WGN Great Music from Chicago television broadcast) November 5, 1962, Pabst Theatre, Milwaukee PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26 Hans Rosbaud, conductor July 11, 1963, Ravinia Festival RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30 Walter Hendl, conductor July 16, 1963, Ravinia Festival GRIEG Piano Concerto in A Minor, Op. 16 Seiji Ozawa, conductor November 21 and 22, 1963, Orchestra Hall RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18 Jean Martinon, conductor December 31, 1964, January 1 and 2, 1965, Orchestra Hall January 4, 1965, Pabst Theatre, Milwaukee MOZART Piano Concerto No. 23 in A Major, K. 488 Willem van Otterloo, conductor July 26, 1966, Ravinia Festival RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1 RACHMANINOV Piano Concerto No. 2 in C Minor, Op. 18 Seiji Ozawa, conductor July 28, 1966, Ravinia Festival RACHMANINOV Piano Concerto No. 3 in D Minor, Op. 30 RACHMANINOV Rhapsody on a Theme of Paganini, Op. 43 Seiji Ozawa, conductor April 20 and 21, 1967, Orchestra Hall PROKOFIEV Piano Concerto No. 1 in D-flat Major, Op. 10 STRAUSS Burlesque for Piano and Orchestra in D Minor Irwin Hoffman, conductor June 27, 1967, Ravinia Festival PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26 Seiji Ozawa, conductor June 29, 1967, Ravinia Festival GERSHWIN Concerto in F for Piano and Orchestra Seiji Ozawa, conductor June 29, 1968, Ravinia Festival BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Seiji Ozawa, conductor July 6, 1971, Ravinia Festival STRAUSS Burlesque for Piano and Orchestra in D Minor LISZT Piano Concerto No. 1 in E-flat Major Lawrence Foster, conductor June 29, 1973, Ravinia Festival PROKOFIEV Piano Concerto No. 3 in C Major, Op. 26 James Levine, conductor August 15, 1974, Ravinia Festival SAINT-SAËNS Piano Concerto No. 5 in F Major, Op. 103 (Egyptian) David Zinman, conductor Janis also made several recordings with the Chicago Symphony Orchestra, as follows: LISZT Totentanz for Piano and Orchestra Fritz Reiner, conductor Recorded in Orchestra Hall on February 23, 1959, for RCA RACHMANINOV Piano Concerto No. 1 in F-sharp Minor, Op. 1 Fritz Reiner, conductor Recorded in Orchestra Hall on March 2, 1957, for RCA SCHUMANN Piano Concerto in A Minor, Op. 54 Fritz Reiner, conductor Recorded in Orchestra Hall on February 21, 1959, for RCA STRAUSS Burlesque for Piano and Orchestra in D Minor Fritz Reiner, conductor Recorded in Orchestra Hall on March 4, 1957, for RCA Under the auspices of Allied Arts, Janis has appeared as piano recitalist on several occasions, as follows: March 25, 1956 March 15, 1958 April 9, 1961 April 29, 1962 January 16, 1966 January 29, 1967 December 1, 1968 May 5, 1974 December 16, 1975 February 8, 1976 Happy, happy birthday! This article also appears here. The Chicago Symphony Orchestra family remembers one of its iconic musicians, Milton Preves (1909–2000), in honor of the anniversary of his birth on June 18. Born in Cleveland, Preves moved to Chicago as a teenager and attended Senn High School. He was a student of Leon Sametini at Chicago Musical College, Richard Czerwonky at the Bush Conservatory of Music, and Albert Noelte and Ramon Girvin at the Institute of Music and Allied Arts before attending the University of Chicago. Preves joined the Little Symphony of Chicago in 1930, regularly worked in radio orchestras, and was invited by Mischa Mischakoff (then CSO concertmaster) to join the Mischakoff String Quartet in 1932. Two years later, second music director Frederick Stock appointed Preves to the Chicago Symphony Orchestra’s viola section, promoting him to assistant principal in 1936 and principal in 1939. He would remain in that post for the next forty-seven years, serving under a total of seven music directors, including Désiré Defauw, Artur Rodzinski, Rafael Kubelík, Fritz Reiner, Jean Martinon, and Sir Georg Solti. Preves performed as a soloist with the Orchestra on dozens of occasions, including the world premieres of David Van Vactor’s Viola Concerto and Ernest Bloch’s Suite hébraïque for Viola and Orchestra, both dedicated to him. Under Reiner, he recorded Richard Strauss’s Don Quixote—along with cellist Antonio Janigro and concertmaster John Weicher—with the Chicago Symphony Orchestra for RCA in 1959. A lifelong educator, Preves served on the faculties of Roosevelt, Northwestern, and DePaul universities, and he also always taught privately out of his home. An avid conductor, he held titled posts with the North Side Symphony Orchestra of Chicago, Oak Park–River Forest Symphony, Wheaton Summer Symphony, Gary Symphony, and the Gold Coast Chamber Orchestra. As a chamber musician, he performed with the Budapest, Fine Arts, Gordon, and Chicago Symphony string quartets, as well as the Chicago Symphony Chamber Players. As reported in his obituary in the Chicago Tribune, “It was while directing the Oak Park–River Forest group that he gained an unusual measure of national attention. He briefly became an icon of the fledgling civil rights movement in 1963, when he resigned from the community orchestra because it would not allow a Black violinist he had invited to perform with the group.” (More information can be found here.) Preves died at the age of ninety on June 11, 2000, following a long illness. Shortly thereafter, his family began donating materials to the Rosenthal Archives, establishing his collection of correspondence, contracts, photographs, scrapbooks, programs, and recordings. Most recently, his children donated additional photographs, mostly portraits of music directors and guest conductors, all autographed and dedicated to Preves. A sample of that collection is below. In October 1984, on the occasion of Milton Preves’s fiftieth anniversary with the Chicago Symphony Orchestra, fellow viola Isadore Zverow (1909–1999) composed this poem to honor his colleague: It’s no mean feat, without retreat To hold the forte so long, To stroke and pluck in cold and heat— All to produce a song. Toward music bent, with single intent, Unyielding dedication, You of yourself so gladly lent Your valued perspiration. You sat and played and marked and bowed And sometimes e’en reproached And sometimes we squirmed (just a bit) We didn’t wanna be coached. And yet whene’er the chips were down Throughout these fifty anna, Your steadfast presence was a crown Aiming at Nirvana. This article also appears here. The Chicago Symphony Orchestra family joins the music world in mourning the loss of the remarkable Romanian pianist Radu Lupu. He died in Lausanne, Switzerland, on April 17, 2022, following a long illness. He was seventy-six. A frequent performer with the Chicago Symphony Orchestra for nearly fifty years, Lupu appeared with the ensemble in Orchestra Hall, at the Ravinia Festival, in Carnegie Hall, and on tour to Bucharest, Romania and Berlin, Germany. “I was deeply affected when I heard about the passing of Radu Lupu, one of the greatest pianists of our time,” Riccardo Muti wrote from his home in Ravenna. “I had great respect for him as an artist, and we always looked forward to making music together. It was with Lupu that I led memorable performances of Beethoven’s five piano concertos with the Philharmonia Orchestra in London, and I will always treasure that experience. I am so grateful for his most recent visit with the Chicago Symphony Orchestra in 2017 for even more Beethoven. He was a wonderful and sensitive person and I considered him a dear friend.” Lupu made his debut with the Chicago Symphony Orchestra in October 1972, under the baton of Carlo Maria Giulini. “Six years ago, a young Romanian pianist named Radu Lupu won the quadrennial Van Cliburn International Competition and then returned quietly to his studies. Last night, twenty-seven now and bearded, he made a historic local debut in Beethoven’s Third Concerto,” wrote Roger Dettmer in the Chicago Tribune. “Reports of his achievement should include a mention of phenomenal technical command, a range of tonal color and dynamics evidently unlimited, and a control of nuances as well as the big moments that awed. . . . As no other pianist in memory, not even Rachmaninov, he became a spirit trumpet through whom we heard the composer speak.” A complete list of his performances is below: October 5 and 6, 1972, Orchestra Hall BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Carlo Maria Giulini, conductor August 1, 1973, Ravinia Festival BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor) Lawrence Foster, conductor August 3, 1973, Ravinia Festival BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15 Lawrence Foster, conductor April 18 and 19, 1974, Orchestra Hall MOZART Piano Concerto No. 23 in A Major, K. 488 Sir Georg Solti, conductor August 6, 1977, Ravinia Festival BRAHMS Piano Concerto No. 1 in D Minor, Op. 15 Edo de Waart, conductor August 7, 1977, Ravinia Festival MOZART Piano Concerto No. 21 in C Major, K. 467 Franz Allers, conductor January 12, 13, and 14, 1978, Orchestra Hall BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19 Erich Leinsdorf, conductor March 26, 27, and 28, 1981, Orchestra Hall BEETHOVEN Fantasy in C Minor for Piano, Chorus, and Orchestra, Op. 80 (Choral Fantasy) Chicago Symphony Chorus Margaret Hillis, director BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58 Daniel Barenboim, conductor March 8, 9, and 10, 1984, Orchestra Hall BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor) Leonard Slatkin, conductor January 31, February 1, 2, and 5, 1991, Orchestra Hall MOZART Piano Concerto No. 24 in C Minor, K. 491 Neeme Järvi, conductor February 10, 11, 12, and 15, 1994, Orchestra Hall BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58 Daniel Barenboim, conductor January 31, 1996, Orchestra Hall MOZART Sonata for Two Pianos in D Major, K. 448 Daniel Barenboim, piano MOZART Concerto for Three Pianos in F Major, K. 242 Elena Bashkirova, piano Daniel Barenboim, conductor and piano MOZART Concerto for Two Pianos in E-flat Major, K. 365 Daniel Barenboim, conductor and piano January 30, 31, February 1, and 4, 1997, Orchestra Hall SCHUMANN Piano Concerto in A Minor, Op. 54 Daniel Barenboim, conductor September 19, 1998, Sala Mare a Palatului, Bucharest, Romania SCHUMANN Piano Concerto in A Minor, Op. 54 Daniel Barenboim, conductor January 12, 14, 15, and 16, 1999, Orchestra Hall MOZART Piano Concerto No. 23 in A Major, K. 488 Daniel Barenboim, conductor February 10, 11, 12, and 15, 2000, Orchestra Hall BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19 David Zinman, conductor April 22, 2000, Philharmonie, Berlin, Germany BRAHMS Piano Concerto No. 1 in D Minor, Op. 15 Daniel Barenboim, conductor February 21, 22, and 23, 2002, Orchestra Hall MOZART Piano Concerto No. 27 in B-flat Major, K. 595 Franz Welser-Möst, conductor October 3, 2002, Carnegie Hall, New York BRAHMS Piano Concerto No. 1 in D Minor, Op. 15 Daniel Barenboim, conductor February 13, 14, and 16, 2003, Orchestra Hall BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor) Daniel Barenboim, conductor February 16, 17, and 18, 2006, Orchestra Hall MOZART Piano Concerto No. 20 in D Minor, K. 466 MOZART Concerto for Two Pianos in E-flat Major, K. 365 Daniel Barenboim, conductor and piano February 25, 26, 27, and March 2, 2010, Orchestra Hall BEETHOVEN Piano Concerto No. 3 in C Minor, Op. 37 Gianandrea Noseda, conductor January 10, 11, 12, and 15, 2013, Orchestra Hall BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15 Edo de Waart, conductor April 27, 28, and 29, 2017, Orchestra Hall BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor) Riccardo Muti, conductor Following the April 27, 2017, performance of Beethoven’s Emperor Concerto, Hedy Weiss in the Chicago Sun-Times wrote, “Lupu’s often quiet but brilliantly expressive articulation compels listening by means of understatement, and yet there is an undeniable grandeur about it. And in tandem with the orchestra, he brought a dreamy tranquility to the slow passages of this familiar work that was metabolism-altering. The pianist’s emotional connection and eye contact with both Muti and the CSO musicians was both visible and audible at every moment.” Lupu also gave a number of recitals in Orchestra Hall, as follows: February 10, 1988 (with Murray Perahia) January 21, 1990 February 13, 1994 (with Daniel Barenboim) January 31, 1996 (with Daniel Barenboim) February 11, 1996 (with Daniel Barenboim) February 9, 1997 (with Daniel Barenboim) January 21, 1998 November 24, 2000 (with Daniel Barenboim) January 27, 2002 January 15, 2004 (with the Staatskapelle Berlin and Daniel Barenboim) February 19, 2006 (with Daniel Barenboim) February 10, 2008 January 31, 2010 This article also appears here. The Chicago Symphony Orchestra family mourns the loss of Dale Clevenger, who served as principal horn from 1966 until 2013. He died yesterday, January 5, 2022, in Italy, at the age of eighty-one. Dale Clevenger was born in Chattanooga, Tennessee on July 2, 1940. A legend in the world of french horn for his sound, technique, finesse, and fearless music making, he joined the CSO at the invitation of seventh music director Jean Martinon. Throughout his forty-seven-year tenure, he performed under subsequent music directors Sir Georg Solti, Daniel Barenboim, and Riccardo Muti, along with titled conductors Pierre Boulez, Bernard Haitink, Carlo Maria Giulini, and Claudio Abbado, among countless guest conductors. “The loss of Dale Clevenger, one of the best and most famous horn players of our time and one of the glories of the Chicago Symphony Orchestra, leaves a very deep void in the music world,” Maestro Muti said in a statement. “Fortunately, we have many audiovisual recordings of him with the Chicago Symphony to show his extraordinary technique and nobility of musical phrasing. I am certain that all his colleagues, former and current, all horn students, and myself, as we were personal friends, will mourn this huge loss.” A versatile musician in many areas, including chamber music, jazz, commercial recordings, and as soloist, Clevenger frequently credited his mentors Arnold Jacobs (CSO principal tuba, 1944–88) and Adolph “Bud” Herseth (CSO principal trumpet, 1948–2001 and principal trumpet emeritus, 2001–04). Clevenger was a featured soloist on several CSO recordings, including works by Martin, Schumann, Britten, and Mozart. He also played on the Grammy Award–winning recording The Antiphonal Music of Gabrieli with the brass ensembles of the Chicago, Philadelphia, and Cleveland orchestras. He recorded horn concertos by Joseph and Michael Haydn with the Franz Liszt Chamber Orchestra of Budapest, as well as Mozart’s horn concertos on two separate releases, each of which was nominated for Grammy awards. Clevenger also performed with Barenboim and colleagues from the CSO and the Berlin Philharmonic on the Grammy-winning CD of quintets for piano and winds by Mozart and Beethoven. With Barenboim and Itzhak Perlman, he recorded Brahms’s Horn Trio for Sony Classical. He performed on the Tribute to Ellington release with Barenboim and other members of the Orchestra, and his recording of Strauss’s First Horn Concerto with Barenboim and the CSO also won a Grammy Award. John Williams wrote a horn concerto for him, which he premiered with the CSO under the baton of the composer, in 2003. Also a conductor, Clevenger served as music director of the Elmhurst Symphony Orchestra for fourteen years. His conducting career included guest appearances with the New Japan Philharmonic, Shanghai Symphony Orchestra, Civic Orchestra of Chicago, Roosevelt University Symphony Orchestra, Toronto Conservatory Orchestra, Northwestern University Summer Symphony, Western Australia Symphony Orchestra, Osaka Philharmonic, National Philharmonic of Slovakia in Bratislava, Sinfonia Crakovia and the Opole Philharmonic in Poland, and the Bartlesville (Oklahoma) Symphony Orchestra. In 2011, he conducted the Valladolid (Spain) Symphony Orchestra with Daniel Barenboim as soloist. Teaching was an integral part of Clevenger’s life, and horn players who studied and coached with him won positions in some of the world’s most prestigious ensembles. Over the years, he taught at Northwestern University, Roosevelt University, and the Jacobs School of Music at Indiana University. Clevenger also gave recitals and master classes throughout the world: in Italy, Spain, Germany, Belgium, Austria, Switzerland, Finland, Norway, Sweden, Japan, China, Australia, Mexico, Canada, and Israel. In 1985, he received an honorary doctorate from Elmhurst College. Before joining the Chicago Symphony Orchestra, Clevenger was a member of Leopold Stokowski’s American Symphony Orchestra and the Symphony of the Air directed by Alfred Wallenstein; he also was principal horn of the Kansas City Philharmonic. He appeared as soloist with orchestras worldwide, including the Berlin Philharmonic. Clevenger participated in numerous music festivals, including the Santa Fe Chamber Music Festival; Florida Music Festival in Sarasota; Marrowstone Music Festival in Bellingham, Washington; Affinis Music Festival in Japan; and the Jerusalem International Chamber Music Festival. Additionally, he worked with the European Community Youth Orchestra under Claudio Abbado and participated in countless International Horn Society workshops. In February 2013, when he announced plans to retire, Clevenger wrote to his colleagues in the Chicago Symphony Orchestra: “You are truly some of the finest musicians on the planet. To have had the pleasure and privilege of making music and sharing the stage with you in thousands of concerts is a sweet memory I shall cherish. . . . I encourage you to do everything possible in your power to keep my Chicago Symphony Orchestra ‘the best of the best!’” In Orchestra Hall on June 10, 2013, members of the Chicago Symphony Orchestra — under the batons of Clevenger and Riccardo Muti — performed an appreciation concert for their longtime colleague. As part of the program, several musicians put together a tribute, and that video is below. Clevenger married Nancy Sutherland in 1966; they divorced in 1987. Alice Render, also a horn player, became his wife later that year; she died in 2011. He married Giovanna Grassi in 2012, and she survives him, along with a son and a daughter, Michael and Ami, from his first marriage; two sons Mac and Jesse, from his second marriage; a sister, Alice Clevenger Cooper; and two granddaughters, Cameron and Leia. Details for services—to be held at Christ Church in Winnetka, Illinois in the late spring—are pending. Numerous tributes have been posted online, including the Chicago Sun-Times, Chicago on the Aisle, Chicago Classical Review, New York Times, and Gramophone, among others. This article also appears here. On August 26, 1971, the Chicago Symphony Orchestra—plus family members, administrative staff, trustees, governing members, and several members of the press—departed Chicago for Vienna, embarking on the ensemble’s first overseas tour to Europe. Georg Solti, beginning his third season as eighth music director, and Carlo Maria Giulini, the first principal guest conductor, would join the Orchestra on the road for nearly six weeks for a tour that included twenty-five concerts in fifteen venues in nine countries: Austria, Belgium, England, Finland, France, Germany, Italy, Scotland, and Sweden. The repertoire varied from symphonies by Beethoven, Brahms, Mahler, Haydn, Mozart, and Tchaikovsky; to piano concertos by Mozart and Prokofiev, featuring Vladimir Ashkenazy and Rafael Orozco; and orchestral works by Bartók, Berlioz, Carter, Ravel, and Stravinsky. No other international tour since has included more concerts or a wider variety of programming. The detailed tour schedule is available here: The first concert of the tour was given in Edinburgh’s Usher Hall on September 4, with Solti leading Mendelssohn’s Overture to A Midsummer Night’s Dream, Carter’s Variations for Orchestra, and Brahms’s First Symphony (a video of most of that performance is available from ICA Classics). The final concert was given on October 5 in London’s Royal Festival Hall, with the Orchestra performing Mozart’s Symphony no. 39, Ravel’s Rapsodie espagnole, and Beethoven’s Seventh Symphony under Giulini’s baton. Consistently welcomed and cheered by capacity audiences, the Orchestra received overwhelmingly favorable critical response. Upon their return to Chicago, the musicians were welcomed as heroes with a tickertape parade down State and LaSalle streets on October 14, 1971. Before the Orchestra performed a single concert, there were four recording sessions for Mahler’s Eighth Symphony at the Sofiensaal in Vienna beginning on August 30. The cast included sopranos Heather Harper, Lucia Popp, and Arleen Augér; mezzo-soprano Yvonne Minton; contralto Helen Watts; tenor René Kollo; baritone John Shirley-Quirk; bass Martti Talvela; and three choruses: the Chorus of the Vienna State Opera, the Singverein Chorus, and the Vienna Boys Choir. London Records released the recording in October 1972. In Gramophone, Edward Greenfield wrote, “Now at last Mahler’s Symphony of a Thousand can be heard on record at something approaching its full, expansive stature. Here is a version from Solti which far more clearly than any previous one conveys the feeling of a great occasion. Just as a great performance, live in the concert hall, takes off and soars from the very start, so the impact of the great opening on ‘Veni, creator spiritus’ tingles here with electricity . . . [with] playing from the Chicago orchestra that shows up all rivals in precision of ensemble, Solti’s performance sets standards beyond anything we have known before. . . . This is as near a live performance as the dynamic Solti can make it. At times, the sheer physical impact makes one gasp for breath, and I found myself at the thunderous end of the first movement shouting out in joyous sympathy, so overwhelming is the build-up of tension. . . . No doubt one day the achievement of this first really great recording of Mahler’s Eighth will be surpassed, but in the meantime I can only urge all Mahlerians—and others too—to share the great experience which Solti and his collaborators offer.” The recording would win three 1972 Grammy awards for Album of the Year–Classical, Best Choral Performance–Classical (other than opera), and Best Engineered Recording–Classical. This article also appears here. Portions of this article previously appeared here, here, and here. During his tenure as principal trumpet, Adolph “Bud” Herseth and the Chicago Symphony Orchestra recorded an astonishing number of works, under five music directors and numerous guest conductors for Angel, Deutsche Grammophon, EMI, London, Mercury, and RCA. A sample of some of those iconic records is below. BEETHOVEN Leonore Overture No. 3, Op. 72b Sir Georg Solti conductor Recorded in Krannert Center, University of Illinois in May 1972 London BRUCKNER Symphony No. 4 in E-flat Major (Romantic) Daniel Barenboim conductor Recorded in Medinah Temple in November 1972 Deutsche Grammophon DEBUSSY Nocturnes Sir Georg Solti conductor Women of the Chicago Symphony Chorus Margaret Hillis director Recorded in Orchestra Hall in January 1990 London HANDEL The trumpet shall sound from Messiah Sir Georg Solti conductor Gwynne Howell bass-baritone Recorded in Orchestra Hall in October 1984 London JANÁČEK Sinfonietta Seiji Ozawa conductor Recorded in Medinah Temple in Jun 1970 Angel MAHLER Symphony No. 1 in D Major Carlo Maria Giulini conductor Recorded in Medinah Temple March 1971 Angel MAHLER Symphony No. 3 in D Minor Sir Georg Solti conductor Helga Dernesch mezzo-soprano Women of the Chicago Symphony Chorus James Winfield director Glen Ellyn Children’s Chorus Doreen Rao director Recorded in Orchestra Hall in November 1982 London MAHLER Symphony No. 5 Georg Solti conductor Recorded in Medinah Temple in March 1970 London MAHLER Symphony No. 7 Claudio Abbado conductor Recorded in Orchestra Hall in January and February 1984 Deutsche Grammophon NIELSEN Symphony No. 2, Op. 16 (The Four Temperaments) Morton Gould conductor Recorded in Orchestra Hall in June 1966 RCA PROKOFIEV Lieutenant Kijé Suite, Op. 60 Fritz Reiner conductor Recorded in Orchestra Hall in March 1957 RCA RESPIGHI Pines of Rome Fritz Reiner conductor Recorded in Orchestra Hall in October 1959 RCA ROSSINI Overture to William Tell Fritz Reiner conductor Recorded in Orchestra Hall in November 1958 RCA SCRIABIN The Poem of Ecstasy, Op. 54 Pierre Boulez conductor Recorded in Medinah Temple in November 1995 Deutsche Grammophon SHOSTAKOVICH Symphony No. 5 in D Minor, Op. 47 André Previn conductor Recorded in Medinah Temple in January 1977 EMI SHOSTAKOVICH Symphony No. 7 in C Major, Op. 60 (Leningrad) Leonard Bernstein conductor Recorded in Orchestra Hall in June 1988 Deutsche Grammophon STRAUSS Ein Heldenleben, Op. 40 Fritz Reiner conductor Recorded in Orchestra Hall in March 1954 RCA STRAVINSKY Song of the Nightingale Fritz Reiner conductor Recorded in Orchestra Hall in November 1956 RCA TCHAIKOVSKY Symphony No. 4 in F Minor, Op. 36 Rafael Kubelík conductor Recorded in Orchestra Hall in November 1951 Mercury VARÈSE Arcana Jean Martinon conductor Recorded in Orchestra Hall in March 1966 RCA This article also appears here. On July 25, 2021, we celebrate the centennial of Adolph “Bud” Herseth, who served the Chicago Symphony Orchestra for fifty-six years as principal trumpet (1948–2001) and principal trumpet emeritus (2001–2004). Born on July 25, 1921, in Lake Park, Minnesota, Herseth attended Luther College in Decorah, Iowa. He originally planned to become a teacher but gravitated to performance as a career while in the armed forces. During World War II, Herseth served as a bandsman at the pre-flight school in Iowa and at the U.S. Navy School of Music. He ended his military service with the Commander of the Philippine Sea Frontier in the South Pacific. In early 1948 while studying for his master’s degree from the New England Conservatory of Music in Boston, Herseth was appointed by Music Director Artur Rodzinski to the post of principal trumpet of the Chicago Symphony Orchestra. He never performed with Rodzinski (whose music directorship ended in April 1948) but would go on to serve under five CSO music directors: Rafael Kubelík, Fritz Reiner, Jean Martinon, Sir Georg Solti, and Daniel Barenboim. Herseth made countless solo appearances and recorded extensively with the Orchestra, including seven recordings of Ravel’s orchestration of Mussorgsky’s Pictures at an Exhibition (under Kubelík, Reiner, Seiji Ozawa, Carlo Maria Giulini, Solti (twice), and Neeme Järvi). Constantly devoted to the development of the next generation of symphony orchestra musicians, Herseth regularly gave seminars, coaching sessions and master classes in Chicago and throughout Europe and worked with the European Community Youth Orchestra, the West-Eastern Divan Workshop for Young Musicians and the Civic Orchestra of Chicago. Herseth held honorary doctor of music degrees from DePaul University, Luther College, the New England Conservatory of Music, Rosary College, and Valparaiso University. He received the Living Art of Music Symphonic Musician Award in 1994, was named Instrumentalist of the Year by Musical America in 1995 and was an honorary member of the Royal Danish Guild of Trumpeters. In June 2001, Herseth received the American Symphony Orchestra League’s Gold Baton Award, marking the first time in the League’s history that the award was bestowed on an orchestral player, and he also was awarded an honorary membership from London’s Royal Academy of Music at its commencement exercises. He was accorded a singular honor in 1988, when the principal trumpet chair of the Chicago Symphony Orchestra, which he continued to occupy until 2001, was named after him. On June 7, 1998, Herseth’s friends—including Doc Severinsen, Daniel Barenboim, Arnold Jacobs, Frank Crisafulli, Arturo Sandoval, and numerous brass players from around the world—appeared in a tribute performance at Orchestra Hall to celebrate his fiftieth anniversary with the CSO. On January 27, 2000, the CSOA’s Women’s Association recognized Herseth for his “one season plus five decades” as the CSO’s principal trumpet. After the Ravinia Festival season in the summer of 2001, Herseth relinquished the principal trumpet chair and became principal trumpet emeritus. On February 21, 2004, he retired from the Chicago Symphony Orchestra after fifty-six years and received the Theodore Thomas Medallion for Distinguished Service. Following retirement, Herseth was a longtime member of the Chicago Symphony Orchestra Alumni Association. Herseth was interviewed by John von Rhein in the Chicago Tribune in April 2001, shortly after the announcement that he would cede the principal trumpet chair. He said, “for years I’ve been telling people I am lucky to get here, fortunate to still be here and to have had all these marvelous experiences.” And when asked how he would like posterity to remember him, Herseth replied, “as a fairly decent guy who gave it his best every time he had the chance.” Adolph Herseth died at home in Oak Park, Illinois, on April 13, 2013, at the age of ninety-one. He was surrounded by his family, including Avis, his beloved wife of nearly seventy years. This article also appears here.
1646	dbpedia	1	10	https://www.popsike.com/1928-ELENA-GERHARDT-Schubert-CENTENNIAL-FISCHERWEISE-FISCHERMAEDCHEN78/111068082101.html	en	1928 ELENA GERHARDT Schubert CENTENNIAL FISCHERWEISE/ FISCHERMAEDCHEN78	https://www.popsike.ch/p…111068082101.jpg	https://www.popsike.ch/p…111068082101.jpg	[ "https://www.popsike.ch/pix/20130506/111068082101.jpg", "https://www.popsike.com/images/site/app_store_badge.svg", "https://www.popsike.com/images/site/google-play-badge.svg", "https://www.popsike.com/images/anniversary_popsikecom.webp" ]	[]	[]	[ "vinyl", "records", "results", "auction", "ebay", "price", "value" ]	null	[]	null	check the value of your vinyl records by searching our archive	en	../assets/ico/apple-touch-icon-144-precomposed.png		null	WEEK 2 of two weeks of great auctions ending May 11. I will send you a bill after close of auctions May 11. Due to the high volume of records, pls allow 2 - 3 days for packing and invoicing IF you are a non-US buyer or if buy multiple records, pls do not use EBAY check out. Send me an invoice request (click on MORE ACTIONS to the right of the item), I can probably get you better shipping rate. **** I am currently selling a series of great Richard Wagner and classic European 78 rpm orchestral recordings on all the great European labels: Elena Gerhardt, considered a singers singer, and the pioneer of intelligent Lieder interpretation in the line of Schwarzkopf and Fischer-Dieskau is considered by critics to be the singer with greatest subtlety and variety of impression. Her concert evenings with Artur Nikisch at the piano in the Pre WW I Berlin were the toast of town Here from her unfortunately incomplete recording of Schubert's Winterreise: Like Tauber in 1927 and Hans Duhan in 1928, Gerhardt took a crack at the complete Winterreise, unfortunately, only 8 sides from the 1928 session were recorded. Issued originally as 1928 HMV Black Label Schubert Centenary Album - seven 12" and one 10" record (eight items from Winterreise, and ten other songs). From the Schubert Centenary Album: FISCHERWEISE/ FISCHERMAEDCHEN - GEHEIMES w Coenraad van de Bost Piano early electric 12" 78rpm Condition: EXCELLENT minus rubbed, light scratches on Weise, Plays quiet w lightest crackle Elena Gerhardt (11 November 1883, Connewitz (nr. Leipzig) – 11 January 1961, London) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. Training, and first recitals with NikischElena Gerhardt, daughter of a Leipzig restaurateur, studied at the Leipzig Conservatory from 1899 to 1903, first with Professor Carl Rebling and then with Marie Hedmondt (d. 1941), who remained her friend and vocal adviser for many years. After a year of only technical study, she began work on operatic roles, such as Cherubino, Dorabella, the Mignon of Ambroise Thomas and Hermann Goetz's Katharina, interspersed with Lieder. She won the Carl Reinecke Scholarship. Leipzig provided many opportunities to hear international artists and to hear the early masters. In 1902 Arthur Nikisch became director of the Leipzig Conservatory, and approved her to sing publicly in Leipzig, which she first did in November 1902: he also gave her a solo in Liszt's Entfesselte Prometheus. On graduating in 1903, and with many engagements, she mentioned her wish to give a lieder recital, and Nikisch offered to be her accompanist, their first (victorious) performance being at the Kaufhaus in Leipzig on her twentieth birthday. Concert engagements poured in, and she sang lieder in almost every university town as supporting artist to names such as Ysaye, Teresa Carreño or Max Reger. By 1905 she made her first appearances (with Nikisch) in Hamburg and Berlin (the Bechsteinhall), and in Berlin made the friendship of Richard Strauss. From summer 1905 she spent holidays with the Nikisch family near Ostend. [edit] London, Europe, Russia and USA before 1914Gerhardt first appeared at the Leipzig Opera as Mignon, in June 1905, and also performed Charlotte in Massenet's Werther there, under Nikisch, being coached by his student Albert Coates as Korrepetitor. Nikisch arranged and accompanied her 1906 London debut, first in a Mischa Elman concert, and then in a Lieder recital (songs of Schubert, Schumann, Brahms, Hugo Wolf, etc.) at the Bechstein Hall. In April 1907 she first sang at the Royal Albert Hall, with an orchestra under Nikisch. Thereafter she returned to England annually until 1914 for autumn seasons, including regular tours of the provinces with Hamilton Harty or her loyal accompanist Paula Hegner. The partnership with Nikisch was preserved in two series of records made in 1907 and 1911, made in Berlin. A particular triumph was their appearance in the 1908 season of the Philharmonic Society in London. She sang by invitation to entertain royal guests to the Coronation of George V and Queen Mary in 1911. Nikisch introduced her into the highest circles, including the Villa Wahnfried. She sang in many European capitals - Vienna, Budapest, Prague, Copenhagen, Christiania (Oslo) - and with old musical Societies at Cologne and Frankfort, annually in Paris and London, and under Mengelberg at The Hague. Nikisch usually accompanied the first Lieder concert at each centre, after which other accompanists took over. Alexander Siloti arranged her first visit to Russia (to Moscow) in 1909, and until the War she sang there and in St Petersburg. Gerhardt made her American debut at the Carnegie Hall in January 1912, with Paula Hegner, and was then in Cincinnati and Philadelphia with Leopold Stokowski (singing the Wesendonck Lieder), and with the Boston Symphony Orchestra under Max Fiedler, before finally combining there with Nikisch and the London Symphony Orchestra tour. In London in 1912 she performed the angel in Elgar's The Dream of Gerontius, a role more associated with her 'rival' and friend Julia Culp. Her second American tour was in early 1913, opening with the Boston Symphony under Karl Muck, and with Karl Wolff as accompanist, who died during the tour. They visited Boston, New York, Baltimore, Washington and Baton Rouge, Louisiana. Next season she sang in Paris, Moscow, Scandinavia, Hungary, Austria, Holland, Italy, Scotland and England, culminating in London in July 1914 at the Queen's Hall under Richard Strauss - her last appearance there for eight years. [edit] The First World WarReturning from Ostend to Leipzig in August 1914, her English tours were impossible to fulfil, but she sang from Hamburg to Vienna and Budapest and returned triumphantly to America in 1915, and that winter sang in Denmark and Norway. In August 1916 she sang to German troops on the Western Front at Laon, through efforts of her brother the singer Reinhold Gerhardt, a pupil of Karl Scheidemantel. Meanwhile in late 1916 she returned to the USA to give the east coast tour with Karl Muck, and in April 1917 was singing in Los Angeles and San Francisco. As America entered the war she was shipped back to Germany with many other artists. She visited the Front again in summer 1918 with Wilhelm Backhaus (in uniform) as accompanist and concert partner. She continued to tour, from Norway to Hungary, through the chaos following the armistice, and was in Munich when Kurt Eisner was assassinated. [edit] Between the warsIn early 1920 she made a prolonged tour of Spain with Paula Hegner, and later that year to the USA again, where her collaboration with the model accompanist Coenraad van Bos began. This partnership was renewed in the winter season of 1921-22 in New York. In March 1922 (soon after the death of Nikisch) she braved the return to London (Queen's Hall) with Paula Hegner, where her German art was received with an ovation. That was the start of an unbroken tie with England, which later became her home. The following years saw annual winter tours in USA (and the Pacific coast from San Francisco to Vancouver in 1925), with extensive tours in UK, Europe and Germany. There were further Spanish tours, including one in winter 1928 with van Bos. She was then singing Schubert's Winterreise which, as a female singer, she made particularly her own. At the start of 1929 she became head teacher of singing at the Leipzig Conservatory, and after October 1930 she discontinued her American tours, though still touring intensively in Britain and Europe. In 1928 she met and fell in love with Dr Fritz Kohl, Director of Administration of the Mitteldeutsche Rundfunk in Leipzig, and they married in November 1932. In London she reappeared before the Royal Philharmonic Society in January 1931, under John Barbirolli, to perform Wolf songs with orchestral accompaniment, and the Kindertotenlieder of Mahler. Her Hugo Wolf Song Society recordings were made in 1932. Following Hitler's rise to power Kohl was arrested and imprisoned, and not until June 1935 was he released, the only one of the German Broadcasting Directors to be acquitted by the Reichsgericht in Leipzig. With the help of Landon Ronald at the Guildhall School of Music, Elena meanwhile got a foothold in London in 1934, and after a last visit to Bayreuth to see Strauss conduct Parsifal ('It was no longer Richard Wagner's Bayreuth, but Hitler's'[1]), London became the settled home of the couple. Over the following years, as the storm gathered, Elena gave recitals in Holland, France and Britain, often with Gerald Moore accompanying, and developed a circle of singing pupils. [edit] Wartime recitals in EnglandWith the outbreak of war, Gerhardt expected that her singing career was at an end as there should be no taste for German music in Britain, especially as she would only sing in German, and the broadcast of the German language was forbidden on the BBC home programmes. However, Myra Hess insisted upon involving her in the National Gallery mid-day concerts, where she first appeared in December 1939, and afterwards in twenty-two concerts with Myra Hess or Gerald Moore, being very greatly appreciated. With Myra Hess and Lionel Tertis she sang the Brahms viola songs and other Lieder recitals in many parts of England and Scotland, including a complete Winterreise in Reading, and in 1942 gave BBC Lieder broadcasts to Argentina. Her teaching picked up again after 1941. With Myra Hess she sang at Haslemere for Tobias Matthay and his pupils. She gave a sixtieth birthday concert in the Wigmore Hall in 1943, and further National Gallery and Wigmore Hall concerts in 1944. News of the destruction of Leipzig and Dresden, of course, filled her with deep sadness. [edit] Late careerIn 1946, when the BBC Third Programme (i.e., Radio 3, the classical music station) was inaugurated, she gave three broadcasts, including Lieder recitals and talks about her career and the interpretation of Winterreise. She also recorded the Frauenliebe und -leben in that year. She made a broadcast on Brahms's songs in May 1947. That was soon after her formal retirement from the platform in March 1947. Her husband Dr Kohl died in May 1947, and the remainder of her professional life was devoted to teaching in London. She managed to arrange the escape of her brother Reinhold and his family from Eastern Germany, and he joined the staff of the Guildhall School of Music. Gerhardt was one of the very great interpreters of German Lieder, a singer who made her career almost entirely in this genre. She published her autobiography in 1953 and died in 1961. [edit] Recordings(See discography by Desmond Shawe-Taylor, with titles and number listings. Dates may be of recording or of issue.)[2] Acoustic recordings: 1907 G&T recordings with Arthur Nikisch (Wolf, Bungert, Brahms, Strauss, Rubinstein) - six 10" and one 12" record/seven songs. 1911 Red Label German HMV recordings with Arthur Nikisch (Wolf, Brahms, Bungert, Strauss, Schumann, Schubert, Wagner) - ten 10" and seven 12" records/seventeen songs. 1913-1914 as above, with Bruno Seidler-Winkler (pno) - eleven 10" records/songs. (Strauss, Brahms, Schubert, Wolf). 1913-1914 as above, with orchestra cond. Seidler-Winkler - five 12" records/songs. (Strauss, Wagner, Gluck, Wolf). 1915 American Columbia, about 7 titles with orchestral accompaniment. (J. Strauss, Schulz, Grüber, and folk-songs) 1923 Aeolian Vocalion with Ivor Newton (pno) - six 12" records/songs. (Schubert, Grieg, Schumann, Strauss, Brahms) 1924 as above, with Harold Craxton (pno) - six 12" records/songs. (Schubert, Strauss and Brahms) 1924-1925 HMV red label, with ?Harold Craxton (pno) - seven titles (three 10" 2-sided records and one side unissued). (Schubert, Schumann, Wolf and Brahms) Electric recordings: 1926 HMV red label, with Paula Hegner - eight songs, three 10" and two 12" records. (Brahms, Schubert) 1927 HMV red label, with Coenraad van Bos - three songs, two 12" records. (Brahms, Reger) 1928 HMV Black Label Schubert Centenary Album - seven 12" and one 10" record (eight items from Winterreise, and ten other songs). 1929 HMV black label, with Harold Craxton - one 12" record, three songs (Brahms). 1929 HMV black label, with Coenraad van Bos - two 12" records, six songs (Brahms). 1929 HMV red label, with van Bos - one 10" record, three songs (Schubert and Wolf). 1929 HMV red label, with van Bos - one 12" record, two songs (Schumann): another two sides of Schumann were recorded at this time (Wer machte dich so krank, and Alte Laute), but were not issued. 1932 HMV red label Hugo Wolf Society Volume I, with Coenraad van Bos - six 12" records, nineteen songs. 1939 HMV White Label, privately published, with Gerald Moore - six 10" records, GR16-GR21. (Brahms, Complete Zigeunerlieder (eight songs), three other songs; Schubert (four), Wolf (two)). 1947-1948 HMV White Label, privately published, with Gerald Moore - (Schumann, Frauenliebe und -leben Complete, three 12" records). Also Schumann's Meine Rose was recorded, on one 12"" side, but was not issued. * * *<?xml:namespace prefix = o /> Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Fair, I don't give Mint) refers to the WEAR of the record. Any other defects, like cracks, chips and scratches, are stated separately When I listen to a record, I may also make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise. "SUPERQUIET" is basically noiseless, like a vinyl pressing. "VERY QUIET" is an exceptionally quiet record for a given pressing. "Quiet" is a record that is a great example without undue noise for a given pressing. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Pls check my other auctions for more great records and phonograph items: http://stores.ebay.com/carstensf http://stores.ebay.com/carstensf ==== Multiple item shipping: I am happy to combine items for shipment in one parcel. If you win multiple items, pls send me an INVOICE REQUEST to calculate the correct postage. Ebay check out will not give you the multiple item discount! Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless another service is requested. Shipping is at your risk. If you are in the San Francisco area, I encourage pick-up in person. US Domestic Shipping: Here is a guideline for US Media Mail Shipping: Prices below are for regular 78 rpm records. Up to about 5 records, I will ship Edison Discs for the same rates. Albums from Album Sets count as 1 record. Above that and for international shipments, it will be actual weight plus a small packing charge (1-3$ depending on size of shipment) 1 record: 4.50$ 2 records: 5.50$ 5 records: 7.50$ 10 records: 9.50$ MANY MORE RECORDS: Don't worry. I safely ship 40 - 50 pounds of records double boxed in moving boxes, and even then Media Mail will probably not exceed 30$. Please send me a message if you would like to lower your shipping rates! International Buyers: All'attenzione degli acquirenti italiani: ATTENTION TO ITALIAN BUYERS: Due to rare problems with delivery in ITALY, I will NOT GUARANTEE delivery of parcels sent by US Postal Service First Class and Priority Mail. If you prefer secure delivery, I will be happy to quote you either Registered Mail or shipment by FEDEX I am very happy to ship records worldwide. The US POSTAL SERVICE has increased international shipping rates in 2013. A single record ships for around 25$ worldwide, depending on the weight. There are some great options available for shipping multiple records at excellent rates. Pls contact me if you plan to buy multiple records, and I will be happy to give you an estimate for best rates on USPS or Fedex. Pls let me know your country, home town and postal code for an estimate ===== As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and good luck bidding !!!
1646	dbpedia	1	47	https://www.barrycassidyrarebooks.com/products/type/Book/~/product_quantity_asc%3Fpage%3D200	en	404			[ "https://www.barrycassidyrarebooks.com/assets/images/block/bcheader.jpg", "https://www.barrycassidyrarebooks.com/assets/images/media/logoChris.png", "https://www.barrycassidyrarebooks.com/setcookie/d0VnvpQK0tbNbrAiYDX1tVCAzT0yv9Y9iIoK8dlJ", "https://stats.secure-chrislands.com/piwik.php?idsite=358&token_auth=...	[]	[]	[ "404", "error" ]	null	[]	null	Page Not Found	en	/themes/panel/img/favicons/defaultfavicon.ico	Barry Cassidy Rare Books	null
1646	dbpedia	3	25	https://www.memorabilia-uk.co.uk/p/elena-gerhardt	en	Elena Gerhardt	https://www.memorabilia-uk.co.uk/favicon.ico	https://www.memorabilia-uk.co.uk/favicon.ico	[ "https://www.memorabilia-uk.co.uk/images/logo.png", "https://www.memorabilia-uk.co.uk/images/subject_images/imageFile_imageFile__0170161045e58e3b322625a86883_7ub2.jpeg", "https://www.memorabilia-uk.co.uk/images/item_image_images/imageFile_imageFile__aa814bcaad8ccc7c011e30d28a22_Dih5.jpeg", "https://www.memora...	[]	[]	[ "" ]	null	[]	null	ELENA GERHARDT d1961. German mezzo-soprano singer associated with the singing of German classical lieder of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. She died in London aged 77 on January 11th 1961.	en	/favicon.ico	Memorabilia UK	https://www.memorabilia-uk.co.uk/p/elena-gerhardt	ELENA GERHARDT d1961. German mezzo-soprano singer associated with the singing of German classical lieder of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. She died in London aged 77 on January 11th 1961.
1646	dbpedia	3	72	https://commons.wikimedi…hardt,_Elena.jpg	en	File:Gerhardt, Elena.jpg	https://upload.wikimedia…rdt%2C_Elena.jpg	https://upload.wikimedia…rdt%2C_Elena.jpg	[ "https://upload.wikimedia.org/wikipedia/commons/1/19/Gerhardt%2C_Elena.jpg?20151006121516", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/e9/Seal_of_the_United_States_Library_of_Congress.svg/64px-Seal_of_the_United_States_Library_of_Congress.svg.png", "https://upload.wikimedia.org/wikipedia/commons/th...	[]	[]	[ "" ]	null	[]	1913-08-11T00:00:00		en	/static/apple-touch/commons.png		https://commons.wikimedi…hardt,_Elena.jpg	This image is available from the United States Library of Congress's Prints and Photographs division under the digital ID ggbain.13250. This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing. This work is from the George Grantham Bain collection at the Library of Congress. According to the library, there are no known copyright restrictions on the use of this work.
1646	dbpedia	3	7	https://www.loc.gov/item/2014693224/	en	Elena Gerhardt	http://tile.loc.gov/storage-services/service/pnp/ggbain/13200/13250v.jpg	http://tile.loc.gov/storage-services/service/pnp/ggbain/13200/13250v.jpg	[ "https://www.loc.gov/static/images/logo-loc-new-branding.svg", "https://www.loc.gov/static/images/social-media/facebook.svg", "https://www.loc.gov/static/images/social-media/twitter.svg", "https://www.loc.gov/static/images/share/link.svg", "https://tile.loc.gov/storage-services/service/pnp/ggbain/13200/1325...	[]	[]	[ "" ]	null	[]	null	1 negative : glass ; 5 x 7 in. or smaller. \| Photo shows German mezzo-soprano singer Elena Gerhardt (1883-1961). (Source: Flickr Commons project, 2009)	en		The Library of Congress	https://www.loc.gov/item/2014693224/	The Library of Congress does not own rights to material in its collections. Therefore, it does not license or charge permission fees for use of such material and cannot grant or deny permission to publish or otherwise distribute the material. Ultimately, it is the researcher's obligation to assess copyright or other use restrictions and obtain permission from third parties when necessary before publishing or otherwise distributing materials found in the Library's collections. For information about reproducing, publishing, and citing material from this collection, as well as access to the original items, see: George Grantham Bain Collection - Rights and Restrictions Information Rights Advisory: No known restrictions on publication. 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1646	dbpedia	0	31	https://www.classicalmusicdaily.com/articles/k/u/united-kingdom.htm	en	Classical Music Daily			[ "https://www.classicalmusicdaily.com/media/mobilemenumusicwhite.gif", "https://www.classicalmusicdaily.com/media/classical-music-daily-2024.gif", "https://www.classicalmusicdaily.com/2021/03/a-hundred-cd-covers-200.jpg", "https://www.classicalmusicdaily.com/2021/03/202103-newsletter-screenshot-homepage.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			null	United Kingdom Classical music in the United Kingdom of Great Britain and Northern Ireland can be traced back to the thirteenth century. Essentially it is similar to music which developed in continental Europe, but with unique styles for each of its major nations - England, Northern Ireland, Scotland and Wales. There was a period of rebirth of classical music from the second half of the nineteenth century into the early years of the twentieth century, when it became more important in society, and significant national identities began to emerge. A selection of articles about United Kingdom
1646	dbpedia	2	28	https://charm.rhul.ac.uk/studies/chapters/captions.html	en	The Changing Sound of Music: Approaches to Studying Recorded Musical Performances			[]	[]	[]	[ "" ]	null	[]	null			Assets/g/i/favicon.ico		null	Sound File 1: Ignacy Paderewski: Chopin, Mazurka Op. 59 no. 2, bb.101-11. Matrix A64336 (rec. 23 December 1930), issued on HMV DA 1245, 2â22â-2â41â. Transfer Â© Kingâs College London 2007. Sound File 2: Harry Plunkett-Green: Schubert, âThe Hurdy-Gurdy Manâ (âDer Leiermannâ). Matrix CA 14259-1 (rec. 10 January 1934), issued on Columbia DB 1377. Transfer Â© Kingâs College London 2007. Sound File 3: A plain MIDI encoding of Chopinâs Prelude Op. 28 no. 15 Sound File 4: Frieda Hempel, accompanied by an unidentified ensemble: Schubert, âAve Mariaâ (Ellens Gesang III). Matrix 341 av (rec. 1921), issued on Deutsche Grammophon 043370. Transfer Â© Karsten Lehl and Kingâs College London 2007. Sound File 5: Albert Piccaluga, acc. Mr. Pickaert (Mustel harmonium): Schubert âAve Mariaâ (Ellens Gesang III). Matrix xP 1317 (rec. April 1905), issued on Odeon 36034. Transfer Â© Karsten Lehl 2007. Sound File 5a: As Sound File 5, but with digital noise reduction by Andrew Hallifax. Transfer Â© Karsten Lehl and Kingâs College London 2008. Sound File 6: Germaine Martinelli, acc. orchestra, conducted by EugÃ¨ne Bigot: Schubert, âLa jeune religieuseâ (âDie junge Nonneâ). Columbia matrix CLX 1872-1 (rec. 21 June 1935), issued on LFX 250. Transfer Â© Karsten Lehl and Kingâs College London 2007. Sound File 6a: As Sound File 6, but with digital noise reduction by Andrew Hallifax. Transfer Â© Karsten Lehl and Kingâs College London 2008. Sound File 7: Alfred Cortot, London Philharmonic Orchestra, cond. Landon Ronald: Schumann, Piano Concerto, 1st movement, side breaks. HMV DB 7648, matrix 2B6821-2 (end); DB 7649, mat. 2B6822-1A (start & end); DB 7650, mat. 2B6823-1 (start & end); DB 7651, mat. 2B6824-2 (start). Transfer Â© Kingâs College London 2007. Sound File 8: Edvard Grieg playing his own âNorwegian Bridal Processionâ, Op. 19 no. 2, 0â0â-1â38â. Transferred by Denis Hall (November 2007) from Welte roll 1276 (1906). Transfer Â© Denis Hall 2007. Sound File 9: Edvard Grieg playing his own âNorwegian Bridal Processionâ, (extract). Transferred from G&T 35517 (1903). Transfer Â© currently unknown. Sound File 10: Raoul Pugno: Liszt, âHungarian Rhapsodyâ no. 11. Transferred by Denis Hall (November 2007) from Welte 543 (1905). Transfer Â© Denis Hall 2007. Sound File 11: Raoul Pugno: Liszt, âHungarian Rhapsodyâ no. 11. Transferred by G&T 35504/5 (1903). Transfer Â© currently unknown Sound File 12: Carl Reinecke: Mozart Piano Concerto K. 537, 2nd movement (extract). Transferred by Denis Hall (November 2007) from Welte 237 (1905). Transfer Â© Denis Hall 2007. Sound File 13: Elena Gerhardt, acc. Arthur Nikisch: Schubert, âAn die Musikâ (D 547). Matrix ac5112f (rec. 30 June 1911), issued on HMV 043202. Transferred at 78.2rpm from a vinyl pressing of the HMV metal stamper. Transfer Â© Roger Beardsley 2007. Sound File 14: Sir George Henschel, self-accompanied: Schubert, âDas Wandernâ (Die schÃ¶ne MÃ¼llerin). Matrix (W)A6893-1 (rec. 2 March 1928), issued on Columbia D 1657. Transfer Â© Kingâs College London 2007. Sound File 15: Sir George Henschel, self-accompanied: Schubert, âDer Leiermannâ (Winterreise). Matrix (W)A6892-3 (rec. 2 March 1928), issued on Columbia D 1657. Transfer Â© Kingâs College London 2007. Sound File 16: Lotte Lehmann (speaker) Heinrich Heine, âIch grolle nichtâ. âLotte Lehmann reading German lyric poetryâ, Caedmon TC 1072, side 1, band 3, 3â17â-4â11â (issued 1957), Â© Caedmon Publishers 1957. Sound File 17: Lotte Lehmann, with anonymous instrumental accompaniment: Schumann âIch grolle nichtâ. Matrix (W) (Â£) Be 9044 (rec. 19 June 1930), issued on Parlophone RO 20185. Transferred at 80rpm. Transfer Â© Kingâs College London 2007. Sound File 18: Dietrich Fischer-Dieskau, acc. Gerald Moore: Schubert, âAm Feierabendâ. Matrix 2EA15959-1C (rec. 3 October 1951), issued on HMV DB 21389. Transfer Â© Kingâs College London. Sound File 19: Fritz Kreisler, acc. George Falkenstein (1912) and Carl Lamson (1926): Kreisler, âLiebesliedâ (extract). âFritz Kreisler - The complete RCA recordingsâ, RCA 09026 61649 2, disc 2, tr 2, 0â44â-0â47â; disc 7, tr 19, 0â45â-0â48â. Â© RCA 1995. Sound File 20: Fanny Davies: Schumann, DavidsbundlertÃ¤nze, Op. 6, book 2 no. 5. Matrix (W)AX 5364 (rec. 10 December 1930), issued on US Columbia 67799-D. Transfer Â© Roger Beardsley 2007. Sound File 21: Fanny Davies: Schumann, DavidsbundlertÃ¤nze, Op. 6, book 2 no. 9. Matrix (W)AX 5363 (rec. 10 December 1930), issued on US Columbia 67799-D. Transfer Â© Roger Beardsley 2007. Sound File 22: Benno Moiseiwitsch: Chopin, Nocturne, Op. 9 no. 2. Matrix 2EA 8892-1 9 (rec. 31 October 1940), issued on HMV C 3197. Transfer Â© Kingâs College London 2007. Sound File 23: Alfred Cortot: Chopin, Prelude in D-flat, Op. 28 no. 15, bb. 70-6. Matrix Cc8169-2 (rec. 23 March 1926), issued on HMV DB 959, 3â20â-3â44â. Transfer Â© Kingâs College London 2007. Sound File 24: Alfred Cortot: Chopin, Prelude in G minor, Op. 28 no. 22. Matrix Cc8161-3 (rec. 23 March 1926), issued on HMV DB 960, 0â00â-0â42â. Transfer Â© Kingâs College London 2007. Sound File 25: Alfred Cortot: Chopin, Prelude in E minor, Op. 28 no. 4. Matrix CR2046-2 (rec. 4 June 1928), issued on at least one copy of HMV DB 957 in place of the 1926 matrix Cc8157-3, 0â1.5â-1â50â. Transfer Â© Kingâs College London 2007. Sound File 26: Essie Ackland, acc. unidentified ensemble: Schubert, âGreat is Jehovahâ (âDie Allmachtâ). Matrix 2B3427-2 (rec. 20 June 1932), HMV C 2535. Transfer Â© Kingâs College London 2007. Sound File 27: Sound File 26, 1â30â-1â37â, slowed down 400% in Sonic Visualiser 1.0. Sound File 28: Marcella Sembrich, acc. Frank La Forge: Schubert, âWohin?â (Die schÃ¶ne MÃ¼llerin), bb. 35-45. EMI RLS 724 (issued 1977), side 1, band 8 (from unpublished matrix C 5046, rec. Camden, USA, 30 September 1908), 0â48â-1â0.9â. Â© EMI Records Limited 1977. Sound File 29: Nigel Rogers, acc. Richard Burnett: Schubert, âWohin?â (Die schÃ¶ne MÃ¼llerin), bb. 35-45. Telefunken 6.35 266-1 (issued 1975), side 1, band 2, 0â51â-1â2.75â. Â© Teldec âTelefunken-Deccaâ Schallplatten GmbH 1975. Sound File 30: Peter Schreier, acc. AndrÃ¡s Schiff: Schubert, âWohin?â (Die schÃ¶ne MÃ¼llerin), bb. 35-45. Decca 430 414-2 (rec. 1989, issued 1991), track 2, 0â59â-1â13â. Â© The Decca Record Company Limited, London 1991. Sound File 31: Elena Gerhardt, acc. Harold Craxton: Schubert, âAn die Musikâ. Matrix 03545X (rec. 29 May 1924), issued on Vocalion C 0220, pitch/speed reduced from 78rpm by 74 cents. Transfer Â© Kingâs College London 2007. Sound File 32: Benno Moiseiwitsch: Chopin, Prelude in C minor, Op. 28 no. 20. Matrix 2EA13523-1 (rec. 30 December 1948), issued on HMV C 3908, 1â15â-2â38â. Transfer Â© Kingâs College London 2007. Sound File 33: Extract from Sound File 13 with more noise reduction. Sound File 34: MIDI encoding of Chopin, Mazurka in A minor, Op. 17 no. 4, with timings extracted by Craig Sapp from a 1994 performance by Murray Perahia on Sony SK 45931. See http:www.mazurka.org.uk/info/revcond/#17-4. Â© Royal Holloway, University of London 2007. Sound File 35: Jascha Heifetz, acc. Isidor Achron: Schubert, âAve Mariaâ (Ellens Gesang III) (arr. violin and piano). Matrix A21072 (rec. 1927), issued on HMV DB 1047, 1â04â-1â24â. Transfer Â© Kingâs College London 2007. Sound File 36: John McCormack, acc. The Victor Salon Group, cond. Nathaniel Shilkret: Schubert, âAve Mariaâ (Ellens Gesang III) (sung in English). Matrix A4909-1A (rec. 27 November 1928), issued on HMV DB 1297, 1â07â-1â28â. Transfer Â© Kingâs College London 2007. Sound File 37: Albert Sandler, acc. Sydney Ffolkes: Schubert, âStÃ¤ndchenâ (arr. violin and piano). Matrix WA10984-2 (rec. 16 December 1930), issued on Columbia DB 563. Transfer Â© Kingâs College London 2007. Sound File 38: Max Meili: âGloria in cieloâ. Matrix AS 2 (rec. 1935), LâOiseau Lyre âL'Anthologie Sonoreâ, this transfer from the US issue catalogue number AS 8 (also issued in Europe as AS 2), side b. Transfer Â© Kingâs College London 2007. Sound File 39: Lotte Lehmann, cc. Paul Ulanowsky: Schubert, âDie junge Nonneâ. Matrix SCO 30013-1 (rec. 4 March 1941), issued on Columbia 71509-D and LOX 654, 0â49â-1â10â. Transfer Â© Karsten Lehl and Kingâs College London 2007. Sound File 40: Kathleen Battle, acc. James Levine: Schubert, âDie MÃ¤nner sind mÃ©chantâ (extract). DG 419 237-2 (rec. 1985 & 87), track 13, 0â09â-0â17â. Â© Polydor International GmbH, Hamburg 1988. Sound File 41: Kathleen Battle, acc. James Levine: Schubert, âRastlÃ¶se Liebeâ (extract). DG 419 237-2 (rec. 1985 & 87), track 14, 0â13â-0â19â. Â© Polydor International GmbH, Hamburg 1988. Sound File 42: Kathleen Battle, acc. James Levine: Schubert, âLachen und weinenâ (extract). DG 419 237-2 (rec. 1985 & 87), track 11, 0â28â-0â38â. Â© Polydor International GmbH, Hamburg 1988. Sound File 43: Meta Seinemeyer, acc. unidentified ensemble, cond. Frieder WeiÃmann. Matrix 2-20717-2 (rec. 24 April 1928), issued as Decca 52832, Odeon O 7652, Parlophon P 9662, and Parlophon P 9871. Transfer Â© Roger Beardsley 2007. Sound File 44: Kathleen Battle, acc. James Levine: Schubert, âDie junge Nonneâ (extract). DG 419 237-2 (rec. 1985 & 87), track 15, 0â35â-0â38â. Â© Polydor International GmbH, Hamburg 1988. Sound File 45: Kathleen Battle, acc. James Levine: Schubert, âDie junge Nonneâ (extract). DG 419 237-2 (rec. 1985 & 87), track 15, 0â52â-1â10â. Â© Polydor International GmbH, Hamburg 1988. Sound File 46: Susan Metcalfe-Casals, acc. Gerald Moore: Schubert, âDie junge Nonneâ. Matrix CTPX 3884-1 (rec. 7 July 1937), issued on HMV JG 20. Transfer Â© Karsten Lehl and Kingâs College London 2007. Sound File 47: Lula Mysz-Gmeiner, acc. Julius Dahlke: Schubert, âDie junge Nonneâ. Matrices 289 br and 290 br (rec. June 1928), issued on B 44148/9, Polydor 21455 (sides joined). Transfer Â© Karsten Lehl and Kingâs College London 2007. Sound File 48: Dietrich Fischer-Dieskau, acc. Gerald Moore: Schubert, âDas FischermÃ¤dchenâ (Schwanengesang). Matrix OEA 15947-2 (rec. 6 October 1951), issued on HMV DA 2045. Transfer Â© Kingâs College London 2007. Sound File 49: Jascha Heifetz, acc. Isidor Achron: Schubert, âAve Mariaâ (Ellens Gesang III) (arr. violin and piano). Matrix A21072 (rec. 1927), issued on HMV DB 1047. Transfer Â© Kingâs College London 2007. Sound File 50: Artur Schnabel: Schumann, âTrÃ¤umereiâ (Kinderscenen). Matrix 2EA12085-2 (rec. June 1947), 0â55â-3â40â, issued on HMV DB 5602. Transfer Â© Kingâs College London 2007. Sound File 51: Alfred Cortot: Schumann, âTrÃ¤umereiâ (Kinderscenen). Matrix 2EA 2140-1 (rec. 4 July 1935), 0â48â-3â23â, issued on HMV DB 2581. Transfer Â© Kingâs College London 2007. Sound File 52: Heinrich Schlusnus, acc. Franz Rupp: Schubert, âAn die Musikâ. Matrix 1604Â½ book 1 (rec. c. June 1928), issued on Brunswick 85004, DGG 62848, & Polydor 62644. Transfer Â© Karsten Lehl and Kingâs College London 2008. Figure 1: Pitch with turntable speed Figure 2: Timings in Battle/Levine, NÃ¤he des Geliebte, bb.4-6 Figure 3: Portamento slide lengths in Beethoven, Violin Concerto, 3rd movement, bb. 126-34 Figure 4: Portamento slide lengths in Brahms, Violin Concerto, 2nd movement, bb. 90-103 Figure 5: Vibrato speed in Beethoven and Brahms violin concerto recordings Figure 6: Vibrato depth in Beethoven and Brahms violin concerto recordings Figure 7: Number of portamenti in Beethoven and Brahms extracts, by birth date of player Figure 8: Length of portamenti (in milliseconds) in Beethoven and Brahms extracts, by birth date of player Figure 9: Loudness of portamento slides (dB) in Brahms, Violin Concerto, 2nd movement, bb. 99-100 Figure 10: Teacher/Pupil descent from Beethoven to Curzon and Rosen Figure 11: Fanny Davies, Schumann: DavidsbundlertÃ¤nze, book II, no. 9 Figure 12: Rubato in Brahmsâs Intermezzo in E minor, Op. 119 no. 2: EibenschÃ¼tz (1952) and W. Kempff (c. 1964) Figure 13: Alfred Cortot, Chopin, Prelude in E minor, Op. 28 no. 4, 1928 recording: durations and intensities Figure 14: Artur Rubinstein, Chopin, Mazurka Op. 63 no. 3, in 1938 (dark blue) and 1966 (pink) compared to four younger pianists Figure 15: Rubato in Chopin's Nocturne in E-flat, Op. 9 no. 2, bb. 1-16 from Hofmann (1911) to Pires (1996) Figure 16: Some determinants of performance style Figure 17: Marcella Sembrich, Nigel Rogers and Peter Schreier, Schubert, âWohin?â, bb. 35-45 Figure 18: Wilhelm FurtwÃ¤ngler and Arturo Toscanini, Beethoven, 3rd Symphony, 1st movement, recapitulation: tempi Figure 19: Benno Moiseiwitsch, Chopin, Prelude in C minor, Op. 28 no. 20, bb. 1-12, beat lengths Figure 20: Alfred Cortot, Schumann, 'Der Dichter spricht' (Kinderscenen), with spoken commentary (1953)
1646	dbpedia	1	92	https://artmusiclounge.wordpress.com/2021/08/23/the-great-lula-mysz-gmeiner/	en	The Great Lula Mysz-Gmeiner	https://artmusiclounge.w…sz-gmeiner-3.jpg	https://artmusiclounge.w…sz-gmeiner-3.jpg	[ "https://mobstertiger.files.wordpress.com/2017/03/cropped-images-3.jpg?w=48", "https://0.gravatar.com/avatar/658e4ad30f820596725b7c329fbed96f26fe0e4f513f6967b82556304c13b097?s=48&d=identicon&r=G", "https://0.gravatar.com/avatar/3706c6013ae07e93e76c8ec749d602a898eb74cf4fd5717a3639a35e3857af17?s=48&d=identicon&r=...	[]	[]	[ "" ]	null	[ "The Art Music Lounge" ]	2021-08-23T00:00:00	SCHUBERT: Der Tod und das Mädchen. Die Forelle. Der Einsame. Frülingsglaube. Erlkönig. Litanei. Der Fischer. Der Zwerg. Nacht und Träume. Die junge nonne. Das Echo. Seligkeit. MOZART: Das Veilchen. MENDELSSOHN: Auf flügeln des Gesangen. SCHUMANN: Waldegespräch. Der Nuβbaum. LOWE: Herr Oluf. BRAHMS: Immer leiser wird mein schlummer. Schwesterlein. TCHAIKOVSKY: At the Ball. WOLF: Heimweh. MAHLER:…	en	https://s1.wp.com/i/favicon.ico	THE ART MUSIC LOUNGE	https://artmusiclounge.wordpress.com/2021/08/23/the-great-lula-mysz-gmeiner/	SCHUBERT: Der Tod und das Mädchen. Die Forelle. Der Einsame. Frülingsglaube. Erlkönig. Litanei. Der Fischer. Der Zwerg. Nacht und Träume. Die junge nonne. Das Echo. Seligkeit. MOZART: Das Veilchen. MENDELSSOHN: Auf flügeln des Gesangen. SCHUMANN: Waldegespräch. Der Nuβbaum. LOWE: Herr Oluf. BRAHMS: Immer leiser wird mein schlummer. Schwesterlein. TCHAIKOVSKY: At the Ball. WOLF: Heimweh. MAHLER: Wer hat dies liedlein erdacht / Lula Mysz-Gmeiner, mezzo-soprano; Waldemar Lischowsky, Julius Dahlke, pianists / available for free streaming at Internet Archive The austere-looking woman pictured above may not be on your musical radar; she wasn’t on mine until two days ago, when my friend Joe Pearce mentioned her in passing and I looked her up on YouTube. In fact, unless you are German or Austrian, you may never even have heard of her, let alone heard her. I certainly hadn’t. But there are reasons why I hadn’t heard her. Although she is listed in the Kutsch-Riemens A Concise Biographical Dictionary of Singers (Chilton, 1969), a book I’ve owned since 1970, their assessment of her is not nearly as enthusiastic as it was for her contemporaries Elena Gerhardt, Julia Culp or Lotte Lehmann. All Kutsch and Riemens have to say of her is that she was one of the most famous concert singers of her epoch, not that she was a great lied interpreter. Thus I had no real motivation to look her up. After all, she wasn’t mentioned even once on George Jellinek’s famous WQXR radio program devoted to historic singers, The Vocal Scene, nor was she featured on any of those many Everest-Scala cheapie LPs on which historic singers were reissued—the ones with the candy-cane-colored generic covers, which sold for $2 at Sam Goody’s ($1 when they were on sale). And because she recorded exclusively for Polydor, and didn’t make all that many records (roughly two dozen, both acoustic and electric, during the 1920s), there weren’t any other LP reissues by her except for one on Discophilia M3, a weird pirate label I never saw, and one on Preiser’s “Lebendige Vergangenheit” series, and those were fairly pricy LPs back in the day. (As it turns out, she also wasn’t featured on either Vols. 1 or 2 of Michael Scott’s massive The Record of Singing boxed sets in the 1980s; she did appear on Vol. 3, but those sets cost an arm and a leg and I didn’t have the money to buy Vol. 3.) So she flew under my radar, as I’m sure she has flown under most of yours. But she was truly one of the greatest lieder singers who ever recorded. The following biographical information is culled from K-R, Wikipedia (which is similar to K-R), and a few tidbits that Joe Pearce told me. Born in Kronstadt, then part of Transylvania, on August 16, 1876, Julie Sophie Gmeiner grew up in a highly musical family. Her sister Ellen and brother Rudolf also had successful career as concert singers, though they never recorded; another sister, Luise, was a pianist in Berlin. She first studied with Ludwig Lassel, then with Gustav Walter (1834-1910), one of the leading tenors of his day and the second-oldest singer known to have made commercial recordings (baritone Antonio Cotogni, born in 1831, made one issued recording in 1908). After 1896 she also studied with Emilie Herzog, Etelka Gerster and Lilli Lehmann. She made her concert debut in 1899 and garnered high praise for her singing, but in 1911-12 she underwent further vocal training with Raimund von zur Mühlen, another unrecorded singer. Somewhere along the line she changed her first name to Lula, and in 1900 married the Transylvanian engineer Ernst Mysz in Kronstadt. They had three daughters, two of whom died young. The third, Suzanne, later fell in love with tenor Peter Anders when he studied with Lula in the 1930s. Lula’s other notable pupils were sopranos Maria Müller and Elisabeth Schwarzkopf. Lula made extensive concert tours of both Europe and the United States, was highly prized by such knowledgeable colleagues as conductor Artur Nikisch and composer Max Reger, who was crazy about her voice and wrote several songs dedicated to her including his Vier Gesänge, Op. 88, published in 1905. From 1920 onward she was a voice teacher at the Staatlich akademische Hochschule für Musik zu Berlin, and it was during the 1920s that she made all her records for Polydor, both acoustically and electrically, with a few songs recorded in both formats, but there doesn’t seem to be a lot of them, perhaps 26 or 28 titles in all. A few (see labels) were somehow reissued by British Decca in the 1930s, but for the most part they remained on Polydor 78s. Although nothing is known of her two accompanists, Waldemar Liachowsky during the acoustic period and Julius Dahlke on the electricals, they were both clearly above the usual norm of pianists on old lieder recordings. Dahlke, in fact, was identified on the labels as playing a Bechstein grand piano, clearly a luxury for a lieder singer on discs in those days. Listening to Mysz-Gmeiner takes you back to not only an era of lost vocal art, when singers were expected to not only have firm, well-produced voices, not the squally, tremulous horrors that often pass for professional singers nowadays, but ones who were expected to throw themselves emotionally into the words of the songs, acting them out both dramatically and poetically. Mysz-Gmeiner often makes her effects through her complete absorption in the words she is singing, and this alternates between a dramatic reading, as one might expect from a great actor like Chaliapin, and a poetic reading of the text. Moreover, Mysz-Gmeiner often makes her points by means of coloring her tones, and in this respect she was truly a master painter. She could even change the color of a tone while holding a single note, something that is impossible for nearly any modern-day singer, no matter how vocally gifted, to bring off, and all of this comes from a woman who was near or over age 50 at the time of recording. The other thing you will notice is something that is completely verboten today, and that is the use of rubato and rallentando effects in her songs. Very often this is subtle, but occasionally the effects are a bit broad. Most musicians nowadays will probably cringe at this, but there was a point in time when, if you did not introduce some rubato into classical music, you were considered an unfinished artist. Yes, there are some similar effects in Gerhardt’s recordings, but those moments are generally subtler than Mysz-Gmeiner’s. A good example is Schubert’s Der Einsame; no lieder singer on earth would even think of introducing such broad decelerando into this song as she does, but she gets away with it because it enhances the words and the mood. In short, she may have had her mannerisms, but she knew what she was doing. She is never, ever vulgar or cheap in her effects; nothing she does is to show off the voice. And oh, yes, she also occasionally used a somewhat broad portamento—listen to Schubert’s Frühlingsglaube, for instance—and this, too was a musical tradition going back to the late 18th century. But our musical academics, in their rush to force Straight Tone down everyone’s throat, have thrown out portamento and rallentando in performance practice, ignoring the fact that this is quite probably what Schubert’s, Schumann’s and Brahms’ songs sounded like during those composers’ lifetimes. Of course I agree that these traits in her musical style could occasionally be excessive, but as I said, for the most part she is extremely tasteful. And what an interpreter she was! Her recording of Erlkönig is far and away the greatest I’ve ever heard in my life. She accurately portrays the father, son and Erl-king with exactly the right vocal tone and accents; you are never once in doubt as to which character is singing, and the terror she infuses into the young boy’s lines is almost horrific. You get so caught up that, at first listen, you may not even catch some of the slow-downs she tosses in here and there. My impression of Mysz-Gmeiner’s voice is that it was of a good size but not really huge: more like Brigitte Fassbaender than Lilli Lehmann. Of course, this is good enough for a lieder singer, particularly one with such extraordinary skills as hers. Small wonder than listeners, even professional musicians, were bowled over by her singing. Mysz-Gmeiner poured the same kind of emotion into Der Zwerg, one of Schubert’s strangest and darkest songs, yet she could also sing lightly and with great joy in Die Forelle, though she imparted more of a connection to the words in this song as well as in Mendelssohn’s generally flighty Auf flügeln des gesanges and even Mozart’s Das Veilchen, a song usually just tossed away by most lieder singers. As one might expect, Carl Loewe’s crazy dramatic ballad Herr Oluf is right up her alley with its almost over-the-top histrionics. One of her more interesting performances is that of Tchaikovsky’s At the Ball. She doesn’t entirely reflect the mood that Pushkin intended, that of someone who is so numbed with grief that she can’t even show emotion; on the contrary, Mysz-Gmeiner’s grief comes out of her as if she is even beyond tears, it is so deeply felt. Thus I would place this in the category of an interesting outlier among recordings of this song. My guess is that, in non-German countries, she was already forgotten by the time she died in August 1948, one week shy of her 72nd birthday. But an art as sincere, dramatic, and occasionally poetically subtle as hers should never be neglected or forgotten. —© 2021 Lynn René Bayley Follow me on Twitter (@Artmusiclounge) or Facebook (as Monique Musique) Return to homepage OR
1646	dbpedia	3	38	https://search.proquest.com/openview/4c15e54e5ea48574/1%3Fpq-origsite%3Dgscholar%26cbl%3D2567	en	Gramophone Notes	https://search.proquest.…roQuest_logo.gif	https://search.proquest.…roQuest_logo.gif	[ "https://search.proquest.com/assets/ctx/51be0a5b/images/icons/blank.gif", "https://search.proquest.com/assets/ctx/51be0a5b/images/icons/blank.gif" ]	[]	[]	[ "" ]	null	[]	null	Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.	en	/apple-icon-57x57.png		null	This is a short preview of the document. Your library or institution may give you access to the complete full text for this document in ProQuest.
1646	dbpedia	1	76	https://greatsingersofthepast.wordpress.com/2017/06/23/peter-pears-tenor/	en	PETER PEARS, Tenor * 22 June 1910, Farnham, United Kingdom + 3 April 1986, Aldeburgh, United Kingdom;	https://s-media-cache-ak…d910d25194ce.jpg	https://s-media-cache-ak…d910d25194ce.jpg	[ "https://s-media-cache-ak0.pinimg.com/736x/5c/e3/42/5ce342bf776b008b86bed910d25194ce.jpg", "https://i0.wp.com/www.exploringsurreyspast.org.uk/wp-content/uploads/2014/04/c1954_-_With_Pears_at_Crag_House_Aldeburgh.jpg", "https://i0.wp.com/www.exploringsurreyspast.org.uk/wp-content/uploads/2014/04/1940_-_With_Pear...	[]	[]	[ "" ]	null	[]	2017-06-23T00:00:00	Sir Peter Pears, in full Sir Peter Neville Luard Pears (born June 22, 1910, Farnham, Surrey, England—died April 3, 1986, Aldeburgh, Suffolk), British tenor, a singer of outstanding skill and subtlety who was closely associated with the works of Sir Benjamin Britten. He received a knighthood in 1977. Pears studied at the University of Oxford,…	en	https://s1.wp.com/i/favicon.ico	GREAT SINGERS OF THE PAST	https://greatsingersofthepast.wordpress.com/2017/06/23/peter-pears-tenor/	Sir Peter Pears, in full Sir Peter Neville Luard Pears (born June 22, 1910, Farnham, Surrey, England—died April 3, 1986, Aldeburgh, Suffolk), British tenor, a singer of outstanding skill and subtlety who was closely associated with the works of Sir Benjamin Britten. He received a knighthood in 1977. Pears studied at the University of Oxford, at the Royal College of Music, and then with Elena Gerhardt and Dawson Freer. In 1936 he met Britten, and in 1938 he gave the first of many song recitals with Britten as accompanist. The two men became lifelong companions. In 1942 Pears made his opera debut in London in Jacques Offenbach’s Tales of Hoffmann. He then joined the Sadler’s Wells Opera, where he created the title role in Britten’s Peter Grimes (1945). In 1946 Pears helped Britten found the English Opera Group, and in 1947 they were instrumental in founding the Aldeburgh Festival. Pears sang in the first performances of all of Britten’s operas, including Albert Herring, Billy Budd, Owen Wingrave, and Death in Venice. He also performed notably in Wolfgang Amadeus Mozart’s The Magic Flute, Bedřich Smetana’s The Bartered Bride, and much of the Italian operatic repertory as well as in the song cycles of Robert Schumann and Franz Schubert and the Passions of J.S. Bach. Peter Pears and Benjamin Britten in 1954, at Crag House, Aldeburgh. Britten and Pears preparing the BBC film of Peter Grimes Benjamin Britten and Peter Pears
1646	dbpedia	2	35	http://thetownhall.org/history	en	History — The Town Hall	http://static1.squarespace.com/static/55695205e4b0b0ed5ed23665/t/5d3b1f872e4fb900015d2599/1564155787139/Screen+Shot+2019-07-26+at+11.42.44+AM.png?format=1500w	http://static1.squarespace.com/static/55695205e4b0b0ed5ed23665/t/5d3b1f872e4fb900015d2599/1564155787139/Screen+Shot+2019-07-26+at+11.42.44+AM.png?format=1500w	[ "http://images.squarespace-cdn.com/content/v1/55695205e4b0b0ed5ed23665/593a4bc3-4347-4339-be29-1f8737cfbd71/townhall_logo_webc.png?format=400w", "https://images.squarespace-cdn.com/content/v1/55695205e4b0b0ed5ed23665/1559705400641-G7SWNODWEUNRCSN0GVT8/TownHall1933Ext.jpg", "https://images.squarespace-cdn.com/co...	[]	[]	[ "" ]	null	[]	null		en	https://images.squarespace-cdn.com/content/v1/55695205e4b0b0ed5ed23665/73b5958a-4525-4753-89ec-51e0ec5233a6/favicon.ico?format=100w	The Town Hall	http://thetownhall.org/history	The Opening of Town Hall Founded by a group of suffragists (The League for Political Education) seeking to build a space where the people could be educated, The Town Hall was built in 1921, designed by renowned architects McKim, Mead & White to reflect the democratic principles of the League. Box seats were eliminated and no seats had an obstructed view giving birth to the term "Not a bad seat in the house." Richard Strauss Three Intimate Recitals 15 December with Elizabeth Schumann, soprano 24 December with Elena Gerhardt, soprano 31 December with George Meader, tenor Richard Strauss (1864-1949) for a remarkably long time—60 years—was one of the dominant figures on the European musical scene. He was a prolific German composer. Among his numerous works were 15 operas, several ballets, symphonies, concertos, chamber music, choral works and song. Paul Robeson & Lawrence Brown: A Program of Negro Music Paul Robeson (1898-1976) was the son of a former slave who made his name on stage in The Emperor Jones, All God's Children, Showboat, Black Boy, Porgy & Bess, The Hairy Ape and Othello. His first concert appearance was singing black spirituals in New York City. He toured the U.S. and Europe. His films include: The Emperor Jones, Sanders of the River, Show Boat and the Proud Valley. Ruth St. Denis in Ted Denishawn & Denishawn Dancers with Martha Graham, Pearl Wheeler, Betty May, Leonore Schefler, Julia Bennett, Mary Lynn, Louise Brooks, Charles Weidman and Robert Gorham. American dancer and teacher, Ruth St. Denis (1879-1968) started her career as a vaudeville, musical comedy dancer and actor. St. Denis influenced almost every phase of American dance with the introduction of philosophical themes and Asian dance styles and costumes. She founded the Society of Spiritual Arts in 1931 and "promoted the dance as a sacred art." Sacco & Vanzetti Memorial Unable to get a hall in Boston the Sacco -Vanzetti Memorial Committee and the ACLU booked The Town Hall. The memorial was held on the second anniversary of the political radicals arrested in 1920 on the charge of murdering a shoe factory guard in South Braintree, MA during a robbery. Though convicted in 1921, their appeal generated doubt about their guilt and led to widespread support and worldwide protests. After their execution in 1927 after a special committee found the trial to be unfair in their execution. An Evening with Richard Tauber Austrian tenor Richard Tauber’s (1891-1948) sweet and superbly managed voice, full of musicianship, was especially well suited for the Mozartian tenor roles. Fame came almost instantly for him, and he also gained critical acclaim as both a composer and conductor. He was known to have completed an orchestral suite, two operettas and dozens of art songs. Fydor Chaliapan— First Event in the Town Hall Endowment Series 1932-33 Assisting artist: John Corigliano, violinist Widely considered the greatest singing actor of his day Fydor Chaliapan (1873-1938) was largely self-taught and his talents included painting and sculpture as well. As far as his own make-up, costuming and musical and dramatic preparation were concerned, he was a perfectionist and untiring in his attention to the staging of the operas in which he took part. Emma Goldman After 14 years of exile, Emma Goldman made her first stateside public appearance at Town Hall. Arrested by request of J. Edgar Hoover, naturalized citizen Goldman was among the 249 "aliens" deported in 1919 under the Anarchist Exclusion Act. Excited to experience Bolshevist Russia first-hand, Goldman would soon come to question and critique the abuses of power she witnessed, settling in Germany for years and publishing two books on her disillusionment with the revolution. Back in the U.S. on a 90 day visa that prohibited any political lecturing, Goldman's used her time at Town Hall to eulogize her mentor Peter Kropotkin, condemn Hitler and publicly reiterate her commitment to anarchy. First Broadcast of America's Town Meeting of the Air When America's Town Meeting of the Air originally started broadcasts, it was on an experimental basis, but the show quickly became enormously popular. Experts - including a fair share of celebrities - would discuss topical questions, but what really set the show apart was the large amount of audience participation. Antonia Brico performs with an all-female orchestra Born in Rotterdam, Netherlands and raised in California, conductor Antonio Brico made her conducting debut with the Berlin Philharmonic Orchestra. She was soon touring the world largely as a guest conductor, making her New York debut at the Metropolitan Opera House. In 1934, Brico founded the Women’s Symphony and with the support of Eleanor Roosevelt and Mayor Fiorello LaGuardia, Brico and the all-female orchestra made their debut at Town Hall. Brico went on to be the first woman to conduct the New York Philharmonic. Watch Antonia: A Portrait Of The Woman, the Oscar- nominated documentary about the pioneering conductor, co-directed by one of her piano students, Judy Collins. Marian Anderson Kosti Vehanen at the piano After being denied an operatic career because of discrimination against African-Americans, Marian Anderson (1897-1993) made her New York debut at The Town Hall. World famous contralto, Ms. Anderson went on to perform on the steps of the Lincoln Memorial in 1939 (after being denied access to Washington's Constitution Hall), and become the first African-American to perform at New York's Metropolitan Opera. Her numerous awards include: The Congressional Gold Medal and the American Freedom Medal. Town Meeting: Young America Looks Forward First Lady Eleanor Roosevelt appeared as Chairman on "America’s Town Meeting of the Air." The topic was “Young America Looks Forward,” with outreach to a wide-variety of high schools and colleges bringing to bring them into the discussion, and solidifying Town Hall’s connection with, and concern for, education of the city’s youth. Isaac Stern Has His New York Debut at Age 17 Town Hall has long been a place where musicians make their New York debut. Famed violinist Isaac Stern made his New York debut here in 1937, and returned for another concert in 1939. Stern could perform a concert from memory lasting sixteen hours, as his repertoire included fourteen concertos, fifteen sonatas, and a hundred smaller pieces. Alice Tully Sings at Town Hall Alice Tully, U.S. singer, music promoter, and philanthropist, for whom the famous Alice Tully Hall at Lincoln Center is named, performed here at Town Hall. A lifelong patron of the arts, she donated millions of dollars throughout her life, often anonymously. Tully was awarded both the Handel Medallion and The National Medal of the Arts for her contributions to the cultural and artistic climate of New York City. The von Trapp Family Choir makes its New York debut In 1934, encouraged by a visitor to their Austrain home, Lotte Lehman, the von Trapp family entered a folk singing competition where they garnered a prize and the attention of radio broadcasters. The family toured Austria for the next three years before venturing into other European nations. The family dropped the von and headed to the U.S., where they would make their New York debut at Town Hall. With two dates in 1938, the Trapp Family Choir made Town Hall their New York concert home, performing 15 Christmas concerts before their 1955 farewell. Town Meeting: Let's Face the Race Question Langston Hughes discussed how “the Race Question” should be handled in America. Although discussing “a question that [was] considered by some timid souls to be dangerous,” the speakers were able to stir up a thoughtful debate which could inspire people around the country to engage in this important inquiry. Eddie Condon Town Hall Blue Network Broadcast Series 9, 16, 23 & 30 September 1944—Live Recording Comprising programs 17, 18, 19 & 20 From 1944 to 1945 Eddie Condon (1905-1973) lead a series of recordings at Town Hall that were broadcast weekly on the radio. Condon opened his own club in 1945, and recorded for Columbia in the 1950s. He was one of the gang of young white Chicago jazz musicians in the 1920s. After organizing some record sessions, Condon switched to guitar, and moved to New York in 1929 he lead some sessions for the Commodore label and he became a star. Town Meeting: What Can We As Individuals Do To Help Prevent World Famine? In an unusual debate in which all four speakers were in agreement, Former Mayor of New York Fiorello LaGuardia visited The Town Hall to participate in a discussion of how the people of America could help solve the world food crisis. This Town Meeting received the more mail and questions than any had before, showing the deep concerns that people had throughout the country. Dizzy Gillespie and Charlie Parker Diz and Bird were joined by Max Roach in this 1945 concert, the record of which was not initially released, either due to the controversial nature of bebop at the time, or simply because the record was misplaced. Either way, we’re very happy that this legendary concert is now available for us to listen to! (More info here and here.) St. Louis Blues premieres at Bessie Smith memorial Ten years after her sudden death, Town Hall hosted a memorial for Bessie Smith in 1947, which included the premiere of a 16 minute, two-reel film that was thought to be lost forever. Produced by the "father of the blues" W.C. Handy and directed by experimental filmmaker Dudley Murphy, St. Louis Blues (1929) is based on the story of the title song, with Bessie playing a woman left by her philandering lover. In 2006 the film was selected for preservation by the National Film Registry of the Library of Congress as being "culturally, historically, or aesthetically significant". St. Louis Blues is Bessie Smith's only film appearance. Town Meeting: What Can We Do to Improve Race and Religious Relationships in America? Clare Boothe Luce joins Charles P. Taft and Walter White. Interrogators: Max Lerner and Moderator: George V. Denny, Jr. American playwright, congresswoman and ambassador, Clare Boothe Luce (1903-1978) was the managing editor of Vanity Fair, war correspondent for Life magazine, and a member of the US House of Representatives. She was the second woman to serve as US Ambassador. The recipient of the Presidential Medal of Freedom, her plays include: The Women, Kiss The Boys Goodbye and Margin for Error. Kurt Weill Concert featuring Lotte Lenya Program: The Three Penny Opera in concert version as well as excerpts from One Touch of Venus, Knickerbocker Holiday, and Mahagonny Austrian singer and actor Lotte Lenya (1898-1981) gained fame as Jenny in the Berlin production and film version of Brecht and Weill's Die Dreigroschenoper. She also created the roles of Anna in Die Sieben Todsurden, Miriam in the Eternal Road, The Duchess in The Firebrand of Florence, and appeared in the films From Russia with Love and Cabaret. Billy Taylor Trio at Town Hall Billy Taylor performed many well-known standards at this show accompanied by bassist Earl May and drummer Percy Brice, but he also premiered a (very) new song, written the afternoon of the show, “Theodora," written for his wife. (More info here and here.) Betty Allen's New York Debut Internationally known opera singer Betty Allen made her New York recital debut at Town Hall. Allen was part of the first wave of African American opera singers to appear on the world's most prominent stages, aiding the breaking down of racial barriers in the operatic community. American Opera Society presents The Coronation of Poppea with Leontyne Price Acclaimed as one of the greatest sopranos of her time, Leontyne Price (1927-) has been called the "girl with the golden voice," and "the Stradivarius of singers." She caught Virgil Thomson's attention when he heard her sing in a student production at Julliard, and he invited her to sing in the Broadway revival of his opera Four Saints in Three Acts. Her debut was at The Town Hall in 1954 Ravi Shankar debut Pandit Ravi Shankar made his New York solo concert hall debut at Town Hall in 1957. An acolyte of Ustad Allauddin Khan, Shankar worked for All India Radio and scored films, including the Apu Trilogy by Satyajit Ray. During a trip to New York, Shankar recorded in the same studio as The Byrds, who introduced him to their friend George Harrison. Shankar's association with The Beatles catapulted him to international stardom. He was one of the few acts to perform at both Monterey Pop and Woodstock. Shankar trained his daughter, Grammy- nominated sitarist Anoushka Shankar, who has performed to rave reviews and sold-out audiences at Town Hall several times over the last decade. Sammy Davis Jr’s first live album "To me, Sammy Davis Jr. is probably the greatest entertainer in the whole world". These words from Jack Benny are the first sounds on Davis' live recording from Town Hall, his first live album, recorded on May 4th 1958, but released in 1959, a landmark year in Davis' career. The child star and tap phenomenon, filmed both Porgy and Bess and Ocean's 11 in 1959, the latter catapulting a group of performers to shared fame as The Rat Pack. Lady Day’s Final Major Concert Billie Holiday made her solo concert debut at Town Hall to a sold out crowd. Reportedly, hundreds of seats were added onstage and over a thousand people were turned away. Solo concerts by jazz singers were very rare, but inspired by Lotte Lenya’s Town Hall concerts, Holiday and her team put together a nineteen song, lieder-style recital that would serve as the basis of her performances for the rest of her career. Holiday’s last major public appearance in the United States was September 13, 1958 at Town Hall. Holiday died on July 17, 1959. Nichols and May May 1, 1959. After working clubs and opening for acts such as Eartha Kitt and Mort Sahl, legendary comedy duo Elaine May and Mike Nichols made their headlining theater debut at Town Hall. Nichols and May performed their witty skits and improvisational dialogues to rave reviews and two sold-out audiences. Within a few years, they were television regulars with best-selling comedy albums and a hit show at the John Golden Theatre on Broadway. In a conversation with May decades later, Nichols noted: "The best show we did was in Town Hall. Coretta Scott King Freedom Concert - meets Dorothy Height The Southern Christian Leadership Conference (SCLC) presented soprano Coretta Scott King in a program of hymns and freedom songs interspersed with text. During her college years, she had seen Paul Robeson perform political commentary between songs and structured her performance around this template. The New England Conservatory-trained King had not sung publicly in over two years, but with her Town Hall performance embarked on a tour to raise funds for the SNLC. Critically acclaimed, King’s performance at Town Hall is also where she met and began a life-long friendship with the Godmother of the Civil Rights Movement, Dorothy Height. Africa Freedom Day In 1960, the American Committee on Africa declared April 13th Africa Freedom Day. Celebrating the recent independence of eight nations, the Committee’s program at Town Hall was also a protest of the regime in South Africa. Thurgood Marshall joined Kenneth Kaunda, President of Northern Rhodesia, and other African leaders in calling for a boycott of South Africa and raising money for the South Africa Emergency Campaign, which provided support to the survivors of the Sharpeville massacre and legal aid for imprisoned activists. The honorary chairs of the event were Eleanor Roosevelt, Harry Belafonte, A. Philip Randolph, Jackie Robinson, Walter Reuther and Dr. Martin Luther King, Jr. Baldwin and Birmingham The Committee of Artists and Writers for Justice sponsored a memorial service for Addie Mae Collins (14), Cynthia Wesley (14), Carole Robertson (14), and Carol Denise McNair (11), the four African American girls killed in the bombing of the 16th Street Baptist Church in Birmingham, AL. Carol Denise's parents Maxine and Christopher McNair attended were in attendance. James Baldwin, Odetta, Louis Lomax, Carol Brice, Ruby Dee and Don Shirley were among the participants. Lomax, among others questioned MLK's non-violent strategy and many in attendance condemned President Kennedy and the federal government for their lack of passion in response to the attack. Baldwin called for a Christmas boycott "until this nation earns the right to celebrate the birth of Christ." Bob Dylan's Town Hall Debut On April 12, 1963 at Town Hall, Bob Dylan played his first major concert. Over a thousand people attended and Dylan played mostly original and unknown songs from his forthcoming album, songs like Blowin in the Wind and Don't Think Twice, It's Alright. The New York Times reviewed the concert, and Robert Shelton wrote "Mr. Dylan is 21 years old, hails from Hibbing, Minnesota, wears blue jeans, presumably has little to do with barbers, and resembles a Holden Caulfield who got lost in the Dust Bowl." He concluded by thanking legendary promoter Harold Leventhal "for straying from the sure box-office attractions to present a young giant." Leonard Cohen's first large public performance Judy Collins invited her friend and fellow songwriter Leonard Cohen to perform at a benefit for the National Committee for a Sane Nuclear Policy. Collins had recorded Cohen’s “Suzanne” and planned to have them perform it as a duet. Cohen, an unsure performer, made it through half of the song before walking off of the stage. Collins followed him and brought him back out to complete the performance. They received rapturous applause and Cohen continued to write and perform until his death, five decades later. Considering one of the greatest songs ever, Cohen’s “Hallelujah” (1984) is one of the most covered songs in popular music history and is the subject of several books and documentaries. The Judy Collins Concert (Live) Twenty-four-year-old folksinger Judy Collins’ performance at Town Hall in New York City on March 21, 1964, was billed as her first concert, which is to say, her first appearance in a theater, as opposed to the folk clubs she was accustomed to playing. It was a big step up for a performer who was just releasing her third album and was gradually moving from a traditional repertoire to one consisting largely of songs written by her contemporaries, many of them having a political bent. Fannie Lou Hamer At an event sponsored by The Student Nonviolent Coordinating Committee and the Mississippi Project Parents Committee, Fannie Lou Hamer, sharecropper and vice-chairman of the Mississippi Freedom Party, filled the hall with her story of the brutal beatings she endured by the police trying to register black voters. The very next day, Fannie Lou Hamer gave the same testimony before the Credentials Committee at the Democratic National Convention. Her speech is considered one of the landmark moments of the civil rights movement. Her words at Town Hall: “I only have one question. Is this America, where we can go along and be beat up without any Federal intervention in the State of Mississippi?” Pete Seeger Children's Concert at Town Hall Grammy-winning folksinger, national treasure, and untiring environmentalist, Pete Seeger (1919-) has been at the forefront of the labor movement, the struggle for Civil Rights, the peace and anti-war movements, and the fight for a clean world. Pete Seeger has been a beacon for hope for millions of people all over the world and was inducted into the Rock and Roll Hall of Fame. João Gilberto NY Debut João Gilberto made his New York solo concert debut at Town Hall on October 25, 1964, performing his own songs and those of other innovators in Bossa Nova Gilberto’s debut album, Chega de Saudade (1959), revolutionized Brazilian music and is often cited as the first Bossa Nova recording. The Bahia- born Brazilian singer, songwriter and guitarist began an artistic relationship with American saxophonist Stan Getz that would produced Getz/Gilberto (1963), the first jazz album to win the Grammy Award for Album of the Year. Recorded by Astrid Gilberto, then his wife, The Girl from Ipanema won Record of the Year and is the second most recorded song in the history of pop music. Thich Nhất Hạnh After a few weeks of meetings and lectures across the States, Thich Nhất Hạnh held a farewell event at Town Hall. Rabbi Abraham Heschel, playwright Arthur Miller, and poets Ishmael Reed, and Father Dan Berrigan participated in the event sponsored by the International Committee of Conscience on Vietnam of the Fellowship of Reconciliation. Earlier during his stay, Nhất Hạnh met with Martin Luther King, Jr and encouraged him to publicly denounce the Vietnam War. A year later King did so and nominated Nhất Hạnh for the Nobel Peace Prize. Mabel Mercer & Bobby Short This album features the pairing of two generations of sophisticated cabaret singers -- Mabel Mercer and Bobby Short -- in a concert at Manhattan's Town Hall on May 19, 1968. The inspired idea of having these two work together belonged to promoter George Wein. The first LP belonged to Short, who, backed by his usual cohorts, bassist Beverly Peer and drummer Dick Sheridan, turned in an appealing set that began with a quartet of Cole Porter songs and went on to a couple of Cy Coleman songs, and then some jazzier and bluesier material. Mercer's set, heard on the second disc, includes her precise rendering of a set of light, romantic lyrics and winning melodies, also dipping into the Porter and Coleman songbooks, kept the audience transfixed. The two returned together for the encore to duet playfully on "The 59th Street Bridge Song" and Coleman's "Here's to Us." The Black Revolution and the White Backlash The Association of Artists for Freedom, founded in response to the Birmingham bombing, sponsored a forum on the tensions between black activists and white liberals in the civil right movement. The black writers expressed frustrations with the pace of the civil rights movement--most notably, Lorraine Hansberry. The three white writers were outraged by the militancy expressed and the press generally agreed with them. This program at Town Hall was Lorraine Hansberry’s last public appearance before succumbing to pancreatic cancer in January 1965. Her words from the evening: “We have to find some way to persuade the white liberal to stop being a liberal and become an American radical.” New Ark Fund Authors James Baldwin and Amiri Baraka came together to raise money for the New-Ark Fund in support of Ken Gibson’s Newark mayoral campaign. Baldwin and Baraka read their work and gave speeches with Baraka summing up the sentiment of the audience: “We are constantly harassed by a city government that’s already been indicted, by criminals who are trying to make us convicts.” Ken Gibson went on to be the first black mayor of Newark, a majority-black city, and the first black president of the U.S. Conference of Mayors. Amiri Baraka’s son, Ras Baraka, is currently the mayor of Newark. Town Bloody Hall Shortly after the publication of “The Prisoner of Sex,” Norman Mailer took the stage at Town Hall for a debate against Jacqueline Ceballos, Germaine Greer, Jill Johnston and Diana Trilling. Celaballos was interrupted by a screaming Gregory Corso, Greer was accused of elitism by protesters in and outside of the hall, and Johnson kissed and rolled around with two women onstage. Betty Friedan and Susan Sontag spoke from the crowd, as Arthur Schlesinger, Cynthia Ozick, Anatole Broyard and other famous New Yorkers watched. In 1979, Chris Hegedus and D A Pennebaker released a documentary about the evening entitled 'Town Bloody Hall." Meredith Monk makes Town Hall debut Meredith Monk made her Town Hall debut with her work "Our Lady of Late", composed in 1972 to a dance by performance artist William Dunas. Performing with Collin Walcott, Monk sat on stage, straddling a stool with a microphone directed towards her and another for the glass of water that sat on the stool. In this piece, Monk's exploration of a vocal sounds would prove instrumental in the practice of extended vocal technique, a major development in the history of 20th century art music. "Our Lady of Late" would go on to be recorded and performed in various iterations over the next four decades. Allende’s Widow Barred from Speaking at Town Hall Rally On September 11, 1973 Salvador Allende committed suicide during a military coup by led by General Augusto Pinochet. Hortensia Bussi de Allende, the President's widow, was slated to speak at the Town Hall rally while in town for a United Nations deposition, but the State Department barred her from participating. Actor Ossie Davis chaired the rally, where organizers accused the CIA of supporting the junta and demanding the release of political prisoners. Under Pinochet's 17 dictatorship, thousands of Chileans died or disappeared, while over 200,000 became refugees. The declassification of CIA documents proved what many thought: that the United States had actively aided Pinochet's regime. Legendary Ladies series launches with Bette Davis Bette Davis appears in the first of the "Legendary Ladies" series dreamed up by veteran film publicist John Springer, the idea - to present great scenes from her greatest movies and then to meet the lady herself. Others that appeared in the series are Joan Crawford, Sylvia Sydney, Myrna Loy, and later, Rosalind Russell and Lana Turner. Philip Glass makes his concert hall debut with “Music in 12 Parts” Written over the course of four years, Music in Twelve Parts is arguably the most ambitious composition written by Philip Glass. Performed by the Philip Glass Ensemble over the course of six hours, the avant-garde piece took inspiration from Indian ragas, utilizing repetition and mantra-like vocals in parts that could be performed in any sequence. Glass sites Music in Twelve Parts as a breakthrough work for him; a work with ideas that he would continue to explore for years. Just as in the 1974 debut, the Philip Glass Ensemble performed the piece in 2018 with one 90 minute dinner break and two 15 minute intermissions. Cab Calloway Leads Duke Ellington’s Band Less than a year after Duke Ellington's passing, his old friend banded with his son to recreate the sound and feel of the Cotton Club at its height. Mercer Ellington led the Duke Ellington Orchestra, an outfit of young musicians, none of whom had performed with the elder Ellington. Cab Calloway, singer, dancer and bandleader performed in his signature tails and a yellow zoot suit, bringing the audience to its feet for the Hi De Hos of his hit "Minnie the Moocher". Mama Lu Parks' Lindy Hoppers rounded out the program with their virtuosity and acrobatics, taking Town Hall back to the social dances of Harlem in the 20s. Andy Kaufman After guest appearances on The Tonight Show with Johnny Carson, SNL alum Andy Kaufman made his New York concert hall debut at Town Hall. The show opened with Tony Clifton, the vegas lounge singer alter-ego before Kaufman performed as himself singing and dancing to "Oklahoma" and performing his famous bits like Mighty Mouse, Foreign Man (later to become Taxi’s Latka) and Elvis. Kaufman ended it with his cover of Fabian's hit single "This Friendly World." Kaufman's cover became iconic and was played at his own funeral in 1984. Thankful for this friendly, friendly world. Philip Glass Ensemble Performs 3 concerts: 12 & 15 Feb: Einstein on the Beach, 1st Complete Concert Version 13 Feb: Music with Chaing Parts, Music with Similar Motion 14 Feb: Music in 12 Parts American composer and musician, Philip Glass (1937-) discovered an interest in Indian music when working with Ravi Shankar in Paris. Indian rhythms influenced a series of ensemble pieces, which, though they vary considerably in density, all share the technique of extending and contracting rhythmic figures in a stable diatonic framework. Famous for his opera Einstein on the Beach Black Broadway From Elisabeth Welch who made her Broadway debut 50 years earlier in Cole Porter's The New Yorkers to the recently-Tony nominated Gregory Hines, Black Broadway brought together several generations of the nation's greatest stage performers. The performers included tap royalty like Cookie Cook, John W. Bubbles and Bubba Gaines, one of the "Aristocrats of Tap". Town Hall-regular Bobby Short led a bare-bones, cabaret style production where Adelaide Hall, Edith Wilson, Nell Carter and the aforementioned Elisabeth Welch sang the songs that brought them fame, whilst also performing tributes to their deceased predecessors Florence Mills and Ethel Waters. Grover Washington, Sonny Rollins Saxophonist Grover Washington Jr. had achieved pop success with multiple gold and platinum records under his belt when tenor sax legend Sonny Rollins invited him to perform with him at Town Hall. Rollins, widely lauded as one of jazz's greatest improvisers admired the oft-maligned Washington, citing “Mister Magic” as one of the top ten tenor sax recordings of all time. Still Washington came on stage with his soprano sax, not his tenor, and followed Rollins lead throughout the program. A year later, high off of the success of his top ten hit with Bill Withers "Just the Two of Us", Washington took off for a joint tour with Rollins. Harolyn Blackwell, soprano, appears as part of Town Hall's Select Debut series Harolyn Blackwell’s career began on Broadway in a revival of Leonard Bernstein’s West Side Story in 1980, but she soon discovered her true passion for opera and was selected as a finalist for the Metropolitan Opera National Council Auditions in 1983. Soon after, she appeared in several productions at the MET. Blackwell’s radiant soprano and expressive performance style is renowned in opera and concert halls around the world. Throughout her 30-year career she has toured nationally and internationally with well-known opera companies and performed as part of many opera festivals, concert series and recitals, earning numerous awards and credentials as one of the brightest stars on the stage. Terry Riley and Kronos Quartet Town Hall Debut His first New York appearance in almost a decade, Terry Riley made his Town Hall debut with a program of solo improvisational performance and the premiere of three compositions written for Riley and the Kronos Quartet. "Sunrise for the Planetary Dream Collector", "G Song" and "Remember This O Mind", all written for voice, synthesizer and string quartet, were the first pieces that Riley had composed since his 1964 landmark work "In C" ushered in the minimalist movement. The decades-long collaboration between Terry Riley and the Kronos Quartet has resulted in 27 new works, critically acclaimed albums and a commission by NASA. Phylicia Rashad’s First One Woman Show Phylicia Rashad (then Phylicia Ayers-Allen) made her solo stage debut in a concert entitled ''For Someone Special". A student of Swami Muktananda, Rashad's show mixed a jazz-style band with sitar and tablas and a tribute to guru Gurumayi Chidvilasananda. The year before, after a succession of small parts in musicals and on soap operas, Rashad landed the role of Claire Huxtable on The Cosby Show. The show was the most successful show of the decade and one of the highest rated television programs in history. Rashad later returned to the stage and in 2004 became the first African American woman to win the Tony Award for Best Actress in a Play. Sharon Isbin Sharon Isbin has been acclaimed for expanding the guitar repertoire with some of the finest new works of the century. She has commissioned and premiered more concerti than any other guitarist, as well as numerous solo and chamber works. Among the many other composers who have written for her are Joan Tower, David Diamond, Ned Rorem, Aaron Jay Kernis and Leo Brouwer. In 2003, Sharon Isbin premiered the Joan Baez Suite written for her by John Duarte. The Town Hall Not Just Jazz series featuring Meredith Monk with Nurit Tilles Composer, singer, filmmaker, choreographer and director Meredith Monk (1942-) is a pioneer in what is now called "extended vocal technique" and "interdisciplinary performance." During a career that spans more than 30 years, she has created over 100 works and been acclaimed by audiences and critics as a major creative force in the performing arts. Archy & Mehitable, a back alley musical, with Taylor Dane The Town Hall's Century of Change series presented the back alley musical, archy & mehitable, starring Taylor Dane and Lee Wilkof. Taylor Dayne, American pop and freestyle music singer-songwriter and actress, made her Town Hall debut in archy & mehitabel, a revival of the musical with a book by Joe Darion and Mel Brooks, lyrics by Darion, and music by George Kleinsinger. Based onarchy and mehitabel, a series of New York Tribune columns by Don Marquis, it focuses on poetic cockroach archy (who wasn't strong enough to depress the typewriter's shift-key), alley cat mehitabel, and her relationships with theatrical cat tyrone t. tattersal and tomcat big bill, under the watchful eye of the newspaperman, the voice-over narrator and only human being in the show David Byrne presents “Music of the Spirits” David Byrne made his Town Hall debut presenting a double bill of La Troupe Makandal and Eya Aranla, bands in the tradition of Haitian Vodou and Puerto Rican Santeria, respectively. Frisner Augustin, founder and leader of La Troupe Makandal, was a Haitian Vodou drumming virtuoso and is the only Haitian citizen to be awarded the National Heritage Fellowship, the United States's highest honor for folk artists. Milton Cardona, known for this work with salseros Willie Colon and Hector Lavoe, was the first practitioner in history to record a bembé, a Santeria ceremony. That night, Town Hall audiences experienced two priests perform sacred music. Gene Harris and the Philip Morris Superband Live at Town Hall This CD documents one of the first concerts by Gene Harris' star-studded big band, an orchestra heard at the beginning of an 80-day world tour. The straightforward arrangements (by John Clayton, Frank Wess, Torrie Zito, Bob Pronk and Lex Jasper) balance swingers with ballads. Among the more memorable tracks are Harry "Sweets" Edison's feature (both muted and open) on "Sleepy Time Down South," a pair of fine vocals apiece by Ernie Andrews and Ernestine Anderson, the roaring "Old Man River" and Harris' interpretation of Erroll Garner's ballad "Creme de Menthe." Toss in short solos from the likes of Ralph Moore, James Morrison (on trombone), Frank Wess, Michael Mossman and baritonist Gary Smulyan. Celine Dion makes her U.S. solo debut Quebecois singer Celine Dion was already a star in Canada, but upon the release of her third English album The Colour of My Love, she was primed to become a pop phenomenon in the U.S. and all over the world. In 1994, having already won a Grammy and Oscar for the duet "Beauty and the Beast" with Peabo Bryson, the 26 year old just had achieved her first number one single with "The Power of Love" and began her decade long dominance of the adult contemporary charts. Her U.S. solo debut was here at Town Hall, where she performed a mostly English set with multiple encores. Dion went on to sell over 200 million records over the course of her career. JVC Jazz Festival presents a night of Chesky Jazz Live The music on this CD comes from the June 24, 1992, concert at Town Hall in New York City, with a host of artists featured. Trumpeter Tom Harrell leads off with two fine originals, the turbulent "Journey to the Center" and the mellow but swinging "Weaver." His supporting cast includes ex-boss Phil Woods on alto sax, tenor saxophonist Joe Lovano, and pianist Jim McNeely, as well as bassist Peter Washington and drummer Bill Goodwin. Pianist Fred Hersch is next, beginning with a dazzling trio arrangement of Brazilian composer Egberto Gismonti's "Nostalgia," with some superb arco cello by Erik Friedlander and powerful percussion from Tom Rainey. A captivating medley of two Hersch originals, "Child's Song" and "Forward Motion," and the humorous "Nostalgia," adding saxophonist Rich Perry, round out his set. Brazilian guitarist and singer Ana Caram, one of Chesky's most-recorded artists during the 1990s, shows why she had such strong appeal to a bossa nova crowd with her set. Woods returns to the stage to join Paquito D'Rivera and his band for a sensational two-clarinet version of "Birk's Works," and more. A Tribute to Oscar Peterson Oscar Peterson suffered a stroke in 1993 and made a partial comeback. Although his left hand was weakened, the pianist's right hand was powerful as ever, and he was able to mostly cover up his deficiencies. The evenings all-star line-up included: Oscar Peterson (piano); Shirley Horn, The Manhattan Transfer (vocals); Clark Terry (vocals, trumpet); Stanley Turrentine (tenor saxophone); Roy Hargrove (flugelhorn); Milt Jackson (vibraphone); Benny Green (piano); Herb Ellis (guitar); Ray Brown, Neils-Henning Orsted Pedersen (bass); Lewis Nash (drums). Natalie Merchant Lead singer, and primary lyricist for the 10,000 maniacs, performed music from her first solo album Tigerlilly. The album that launched her solo career. Tigerlily was a critical and commercial success, spawning her first top-ten hit in the single "Carnival", and achieving top-40 success with subsequent singles "Wonder" and "Jealousy". The album would go on to sell over 5 million copies, and continues to be Merchant’s most successful album to date. August Wilson/Robert Brustein Debate The debate between Pulitzer Prize winning playwright August Wilson ("Fences", "The Piano Lesson") and Robert Brustein, founder of the Yale Repertory Theater and the American Repertory Theater contended with questions of race and cultural equity in American theater. Wilson, irate at the lack of black-run theaters, railed against color-blind casting as diverting resources and talent from the development of African American theater. Brustein objected and questioned Wilson's separatism as self-limiting, accusing Wilson as being "the best mind of the 17th century." The evening was moderated by actress and playwright Anna Deveare Smith, and is considered a historic night of American theater. 70s Jazz Pioneers Live at the Town Hall The '70s were a very creative and banner decade for jazz. On March 20, 1998, trumpeter Mark Morganelli celebrated the richness of '70s jazz by organizing a special concert that was held at New York's Town Hall. Morganelli's idea was to feature improvisers who made an impact during the '70s, and those improvisers included trumpeter Randy Brecker, soprano and tenor saxman Dave Liebman, guitarist Pat Martino, pianist Joanne Brackeen, bassist Buster Williams, and drummer Al Foster. That concert resulted in this excellent post-bop CD, which finds the '70s jazz pioneers offering acoustic-oriented versions of '70s classics like Freddie Hubbard's "Red Clay," Stanley Turrentine's "Sugar," and Chick Corea's "500 Miles High" Joan Armatrading Three-time Grammy Award-nominee Armatrading made her first NY appearence in three years. Ann Powers of The New York Times reviewed the concert, "Some singers can make each performance seem like a whispered disclosure, offered in love and trust. Such intimacy comes not from technical perfection but from the careful exploitation of individual quirks, the deployment of range and tone to express personality. Joan Armatrading, the veteran English singer-songwriter who appeared at Town Hall on Wednesday night, is a masterly creator of such artistic confidences." Eddie Izzard begins 3 Night Stint After a sold-out tour of the UK, British comedian Eddie Izzard brough his hilarious one-man show Circle to Town Hall for three nights from June 22-26, 2000. The show was taped and is available on video. Laurie Anderson One of the first concerts in New York City after 9/11, Laurie Anderson opened her show with a statement on peace and followed with a performance of "Statue of Liberty". A longtime representative of New York's downtown avant-garde, the Tribeca resident performed songs from her new album Life on A String, her first in seven years. Performing with just three musicians Anderson shared anecdotes and solo comedy, and sang songs new and old to a largely silent and breathless audience. Anderson ended the show with this chant from her song “Coolsville”: This train, This city, This train, This city, This train. Town Hall's Brave New World, a Sept. 11 Theatrical Remembrance Designed to commemorate the one-year anniversary of Sept. 11, a Brave New World was a theater marathon featuring fifty new plays and songs created by America's premiere playwrights, composers, and lyricists, and presented by some of our nation's most talented performers and directors, in a coordinated stroke of creativity and fellowship. Participants included Stockard Channing, Billy Crudup, Christopher Durang, John Guare, Beth Henley, Tina Howe, David Henry Hwang, Anne Jackson, Arthur Kopit, Frank Langella, Camryn Manheim, Alan Menken, Gregory Mosher, Bebe Neuwirth, Mary Louise Parker, Estelle Parsons, David Rabe, John Rando, Ann Reinking, Lloyd Richards, Chita Rivera, John Patrick Shanley, Anna Deveare Smith, Stephen Sondheim, Marisa Tomei, Alfred Uhry, Eli Wallach, Sam Waterston, Sigourney Weaver, Vanessa Williams, Lanford Wilson, and Jerry Zaks. Elvis Costello begins three nights at Town Hall Elvis Costello appeared at Town Hall for three nights to promote his new album, ''North'' (Deutsche Grammophon), accompanied only by Steve Nieve on piano, Mr. Costello retrofitted his old songs with his latest approach while he unveiled new ones. Marianne Faithful Ms. Faithfull appeared to promote her new album, "Before the Poison" (Anti-/Epitaph), which featured collaborations with the cult figures P. J. Harvey and Nick Cave. Stephen Holden from The New York Times wrote in his review of her performance, "To hear Marianne Faithfull spit out John Lennon's Working Class Hero in her ravaged, all-knowing sneer is to discover how a great song can accrue sharper meanings over time. ... Ms. Faithfull, who recorded Working Class Hero on her classic 1979 album "Broken English," has long since settled comfortably into her persona of the debauched fallen aristocrat, a faux Victorian princess exiled from polite society, flaunting her scarlet letter as she ravenously prowls the land, an arrogant pariah. It is only pop mythology, of course, but Ms. Faithfull still plays the role for all it's worth, infusing it with considerable humor." Gilberto Gil and David Byrne Gilberto Gil, one of the stars of the tropicalia movement, which revolutionized Brazilian pop, performed at Town Hall on a double bill with American Pop star and visionary David Byrne. In the 1960's, Gilberto's iconoclasm and cosmopolitan ambition marked him as a troublemaker; Mr. Gil was imprisoned and exiled by Brazil's military government. He outlasted his opponents, and was appointed Brazil's minister of culture in 2002. Bright Eyes begins 7 night run at Town Hall During a 7-night stint at The Town Hall in New York City from May 25 to June 1, Bright Eyes welcomed the following guests on stage for special performances: Lou Reed (May 25); Ben Kweller (May 26); Jenny Lewis and Johnathan Rice (May 28); Norah Jones, Little Willie and Derrick E (May 29); Nick Zinner, Maria Taylor and Ben Gibbard (May 30); Steve Earle (May 31); and Ron Sexsmith and Britt Daniel (June 1). Oprah and Whitney Houston The 24th season of the Oprah Winfrey Show premiered with a two night interview with a then-reclusive Whitney Houston. In her first major interview since her infamous Diane Sawyer appearance, Whitney Houston opened up about her struggles with fame, addiction and the end of her marriage to R&B singer Bobby Brown. Houston chose Town Hall for the interview as a tribute to her first performances here with her mother, the legendary gospel vocalist Cissy Houston. Houston's recently released I Look to You dominated the charts and along with her Oprah interview, signaled a new era in the pop star's career. The most awarded act in pop music history, Whitney Houston died in 2013 at 48 years old.
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[]	[]	[ "" ]	null	[ "The Art Music Lounge" ]	2021-08-20T00:00:00	SCHUMANN: Myrthen: Der Nuβbaum / Fritz Schrödter, ten; anon pno; Charles Panzéra, bar; Magdeleine Panzéra-Baillot, pno; Victoria de los Angeles, sop; Gerald Moore, pno / Dichterliebe: Ich grolle nicht / Félia Litvinne, sop; anon pno / Dichterliebe: Ich hab’ im Traum geweinet / Nicolai Figner, ten; anon pno / Frauenliebe und Leben: Er, der Herrlichste…	en	https://s1.wp.com/i/favicon.ico	THE ART MUSIC LOUNGE	https://artmusiclounge.wordpress.com/2021/08/20/historic-schumann-lieder/	SCHUMANN: Myrthen: Der Nuβbaum / Fritz Schrödter, ten; anon pno; Charles Panzéra, bar; Magdeleine Panzéra-Baillot, pno; Victoria de los Angeles, sop; Gerald Moore, pno / Dichterliebe: Ich grolle nicht / Félia Litvinne, sop; anon pno / Dichterliebe: Ich hab’ im Traum geweinet / Nicolai Figner, ten; anon pno / Frauenliebe und Leben: Er, der Herrlichste von allen / Marie Knüpfer-Egli, sop; anon pno / Liederkreis: Dein Bildnis wunderselig / Lilli Lehmann, sop; anon pno / Wanderlied: Wohlauf! noch getrunken den funkelnden Wein / Willi Birrenkoven, ten; anon pno / Die beiden Grenadiere / Vittorio Arimondi, bs; anon pno; Feodor Chaliapin, bs; anon orch.; Sir George Henschel, bar/pno; Herbert Janssen, bar; Michael Raucheisen, pno / Volksliedchen: Wenn ich früh in der Garten geh. Wenn alle Wälder schliefen.* Der Soldat: No. 3, Er geht bei gedämpfter Trammel Klang* / Therese Behr-Schnabel, mezzo; Artur Schnabel, pno / Myrthen: No. 7, Die Lotosblume; No. 24, Du bist wie eine Blume / Giuseppe Borgatti, ten; anon pno / Myrthen: No. 7, Die Lotosblume / Leo Slezak, ten; anon pno / Frühlingsnacht: Über’m Garten durch die Lüfte. Dichterliebe: Die rose, die lilie / Lydia Lipkowska, sop; anon pno / Dichterliebe: Ich grolle nicht / Erik Schmedes, ten; anon pno / Frauenliebe und Leben / Julia Culp, mezzo; Otto Bake, pno / Myrthen: Widmung / Frieda Hempel, sop; Coenraad V. Bos, pno / Wanderlied: No. 3, Wohlauf! noch getrunken den funkelnden Wein. Myrthen: Du bist wie eine blume.* Liederkreis+ / Friedrich Schorr, bar; Robert Jäger, +Fritz Kitzinger, pno / An den Sonnenschein: O Sonnenschein, O Sonnenschein! Volksliedchen: Wenn ich früh in den Garten geh / Ursula van Diemen, sop; Arpad Sandor, pno / Unterm Fenster: Wer ist vor meiner Kammertür? / Lucrezia Bori, sop; John McCormack, ten; anon orch. / So wahr die Sonne scheinet / Jo Vincent, sop; Louis van Tulder, ten; Betsy Rijkens-Culp, pno / Lied eines Schmedes / Sir George Henschel, bar/pno / Liederkreis: In der Fremde / Alice Raveau, alto; G. Andolfi, pno; Charles Panzéra, bar; Magdeleine Panzéra-Baillot, pno / Myrthen: Aus den östlichen / Richard Tauber, ten; Percy Kahn, pno / Dichterliebe: Ich will meine Seele tauchen; Im Rhein, im heiligen Strome / Thom Denijs, bar; Enni Denijs-Kroyt, pno / Myrthen: Zum Schluβ. Liederkreis: Frühlingsnacht. Wer machte dich so krank? Alte Laute / Elena Gerhardt, mezzo; Coenraad V. Bos, pno / An den Sonnenschein: O Sonnenschein, O Sonnenschein! Marienwürmchen. Frauenliebe und Leben+ / Lotte Lehmann, sop; Odeon Orch., cond. Manfred Gurlitt; +anon orch., Frieder Weissmann, cond / Mondnacht. Frühling laβtsein blaues Band.+ O ihr Herren. Röselein, Röselein.+ Loreley: Es flüstern und rauschen die Wogen.+ Ständchen+ / Elisabeth Schumann, sop; Karl Alwin, +George Reeves, pno / Wer machte dich so krank? Hörst du den Vogel singen? Mondnacht. Was sol lich sagen? / Karl Erb, ten; Bruno Seidler-Winkler, pno / Schöne Fremde. Aus der Heimat unter den Blitzen.* Was weht um meine Schläfe.* An den Sonnenschein: O Sonnenschein, O Sonnenschein!+ / Ria Ginster, sop; *Gerald Moore, +Paul Baumgartner, pno / Frühlingsnacht: No. 12, Über’m Garten durch die Lüfte / Willi Domgraf-Fassbaender, bar; G. Haberland, pno / Myrthen: Die Lotosblume. Schneeglöckchen. Zum Schluβ. Herzelied. Dir zu eröffnen mein Herz / Susan Metcalfe-Casals, mezzo; Gerald Moore, pno / Dichterliebe. Dein Angesicht, so lieb und schön / Aksel Schiøtz, ten; Moore, pno; Gerhard Hüsch, bar; Hanns Udo Müller, pno / Du bist wie eine Blume. Flutenreicher Ebro, blühendes Ufer / Aksel Schiøtz, bar; Moore, pno / Meine Rose. Widmung / Frida Leider, sop; Michael Raucheisen, pno / Frühlingsfahrt / Hans Hermann Nissen, bar; Bruno Seidler-Winlker, pno / Erstes Grün. Requiem / Flora Nielsen, sop; Moore, pno / Mondnacht / Hans Hotter, bar; Michael Raucheisen, pno / Meine Rose. Widmung / Karl Schmitt-Walter, bar; Victor Graef, pno / Die Kartenlegerin / Elisabeth Höngen, alto; Hans Zipper, pno / Dein Angesicht, so lieb und schön / Pierre Bernac, bar; Gerald Moore, pno / Aufräge / Elisabeth Schwarzkopf, sop; Moore, pno / Die Lotosblume. Die Beiden Grenadiere / Dietrich Fischer-Dieskau, bar; Moore, pno / Profil PH21025 Although the header to this review suggests that this is a massive set of records, it actually fits on four CDs. It is part of Profil/Hännsler Classic’s series dedicated to historic lieder recordings, and the first devoted to Schumann. As one can see from the above list, we have singers great and not-great, famous and obscure, legendary interpretations—some, like the 1928 Lotte Lehmann Frauenliebe und Leben, in an earlier, far less common version—and some who just sing the notes. Interestingly, the net has been cast far and wide, including such singers one would never suspect of having recorded Schumann such as Nicolai Figner, Giuseppe Borgatti and Erik Schmedes, as well as such obscure names as Fritz Schrödter, Marie Knüpfer-Egli, Willi Birrenkoven, Ursula van Diemen, Louis van Tulder, Alice Raveau, Thom Denijs and Flora Nielsen. Thus it’s quite the grab-bag! I like the suggestion in the liner notes that this is Profil’s answer to the massive EMI LP sets of the 1980s, titled The Record of Singing, only devoted exclusively to lieder, but was less thrilled about the fact that they didn’t include even rudimentary information on who the singers were. Between Joe Pearce of the Vocal Record Collectors’ Society and some information which I was able to find online, including photos of the artists, I was able to identify the singers I didn’t know. Two things strike you regarding many of the acoustic recordings, particularly the early ones from 1901-1909. First, nearly all of the artists are singing too loudly, which somewhat spoils the effect of the texts of these songs, probably in order to compensate for the fact that the early recording horn wasn’t very sensitive to singers with nuance (as tenors Karl Jörn and Karl Burrian learned to their embarrassment). And second, almost none of the accompanying pianists were any good. I don’t mean just somewhat straightforward and insensitive: most of them could barely play their instruments. Apparently in the old days, the accompanist didn’t matter to ANYONE at the record companies as long as the Famous Singers could be heard, so the singers belted and the pianists klunked along. We start our excursion with tenor Fritz Schrödter (1855-1924), an interesting case. He was primarily a singer of operetta and light tenor roles, the heaviest (for the most part) being Assad in Goldmark’s Queen of Sheba and the title role of Offenbach’s Contes d’Hoffmann, yet he also belted out Canio, Turiddu and Enzo Grimaldi in La Gioconda. He must have been very close to the horn for his recording of Der Nuβbaum because he almost sounds as if he’s shouting the song. But he had a good voice. a fine legato, and didn’t distort the music. Next up is Félia Litvinne, the famous Russian soprano who migrated to France and was associated with dramatic roles, particularly Wagnerian. Just to think of a Wagnerian soprano singing Schumann lieder sounds horrible, but although Litvinne’s voice really had a bright “cut” to it, she also had a good legato and actually sings the song with some feeling. Even better, however, is the famous early Russian tenor Nicolai Figner. Nearly all of his opera recordings sound not so good, but in “Ich hab’ im Traum gewinet” from Dichterliebe (in Russian) you can really tell that he was an artist—and for once, his pianist is at least competent. Marie Knüpfer-Egli (1872-1924) was an Austrian soprano. According to Pearce, she “made a good number of recordings for G&T and Gramophone, from 1902 up to about 1920. She recorded with Margarethe Knupfer, a mezzo who must have been her sister-in-law, as she (Marie) was married to the very famous bass Paul Knupfer, who died around 1920 and was a prolific recorder.” Her excerpt from Frauenkliebe und Leben is cleanly sung but has zero feeling in it. Lilli Lehmann needs no introduction to vocal collectors; she was one of the legendary sopranos of her time, and her version of the “Intermezzo” from Liederkreis is very finely sung. Willi Birrenkoven (1865-1955) was a dramatic tenor with an excellent voice. He debuted in 1888 at the Opera House of Dusseldorf. From 1890 to 1893 he appeared at Köln, from 1893 to 1912 at the Municipal Theatre of Hamburg. Here he sang among other things in the premieres of Busoni’s Die Bratwald (1902) and Siegfried Wagner’s Sternengebot (1908). He became known in particular as an famous interpreter of Richard Wagner’s operas, even at Bayreuth. His rendition of Wanderlied is strongly and robustly sung, yet with some soft singing in the middle section to show that he could modulate the voice. Vittorio Arimondi was a famous Italian bass of the period, and revels in the famous Beiden Grenadiere. Mezzo-soprano Therese Behr-Schnabel is, of course, more famous for having been Artur Schnabel’s wife than for her career which she gave up shortly after her marriage except for a few lieder recitals with hubby accompanying. I had only heard her electrical recordings, of which two are featured here, on which she sounds as if the voice was shot—and indeed it was, because her 1904 recording of Volksliedchen, with an indifferent pianist, is really outstanding both vocally and interpretively. In the later recordings, it’s only interpretation you listen for, and yes, she still had it. Otherwise, the voice has turned sour in tone and the low range is unsteady. To say I was surprised to see Giuseppe Borgatti singing Schumann would be an understatement; he was clearly one of the premier dramatic Italian tenors of his time, and lieder certainly didn’t seem to be his thing, yet he turns in a surprisingly fine rendition of Due bist wie eine Blume, and the 1905 Fonotipia sound quality is quite good for its time. Of Slezak there is little to say that hasn’t already been said of him; next to Caruso, he was clearly the greatest tenor of his time, and he does not disappoint here, though he uses more rubato than is fashionable nowadays. Lydia Lipkowska was a famed Russian soprano who didn’t sing at the Met but did sing at the Boston and Chicago Opera companies as well as New York’s San Carlo Opera. I never thought a lot of her voice—it wasn’t bad, but it didn’t grab me, either—and here she is OK without being really impressive either vocally or interpretively. Next up is Erik Schmedes, a dramatic tenor almost as highly prized in Vienna (but not quite) as Slezak, but who always sounded just loud and dreadful on records. He does so here. He should have been dragged out in back of the recording studio and horsewhipped for giving a performance of “Ich grolle nicht” from Dichterliebe as awful as this. Ditto his pianist. Julia Culp was a mezzo-soprano whose lieder performances were absolutely drooled over by critics in her day. She didn’t possess the most beautiful of voices, and she uses far too much portamento for our tastes today, but you can tell that she was a really fine artist, although in “Er, der Herrlichste von allen” she takes a lot of unnecessary breaths. Piano Otto Bake, actually one of the few identified by name on these early records, wasn’t great by any means but he sounds like Geoffrey Parsons compared to most of the others. Chaliapin was Chaliapin: a bit over the top, but always involved with the feelings of the character he was singing. Frieda Hempel, who had for me one of the most beautiful voices of all German soubrettes, does a typically excellent job with Widmung, and she had a very fine pianist in Coenraad v. Bos. The great German-Jewish baritone Friedrich Schorr sounds absolutely fantastic in Wanderied, his rich, beautiful voice ringing out with ease. But Schorr is even more sensitive in Du bist wie eine blumen, a formerly unpublished recording. Robert Jäger is the fine pianist in both. Ursula van Diemen (1897-1988) had a Dutch father and a German mother, and acted in movies in addition to singing. She had a high, bright voice, sang expressively, and was lucky to have a fine accompanist in Arpad Sandor, who later worked with Jascha Heifetz. I could have lived without the duet, sung in English by Lucrezia Bori and John McCormack (quite bad English in Bori’s case). Two very pretty voices, but only McCormack really sings as if he understands the words. Much better is the duet between famed Dutch soprano Jo Vincent and the little-known (outside of Holland) tenor Louis van Tulder. Born in 1892, van Tulder first worked in an office but left the security of a fixed job to become a singer. From 1916 on, van Tulder was first lyric tenor at the Netherlands Opera, singing in Faust, Martha, and La Boheme. After 1930, he was exclusively a concert- and oratorio-singer. Few truly great singers of the pre-World War I era were so highly prized, yet so quickly forgotten after his death, as Sir George Henschel, who also happened to be an excellent conductor (his recording of Beethoven’s First Symphony was part of Columbia Records’ 1927 centennial tribute to the composer). He had a fine, pointed voice, never used much portamento, sang with an almost 3-D reading of the texts, and also accompanied himself at the piano (no mean feat, even today). Interestingly, I had never heard his Beiden Grenadieren before, and although it is not as theatrical as Chaliapin’s it is just as deeply felt. Alice Raveau (1884-1945) made her debut in 1908 at the Opéra-Comique in Paris in Gluck’s Orphée, and this part remained her real star role. In 1911 she appeared as Orpheus at the Arena d’Orange and in 1910 she sang at the Opéra-Comique in the premieres of the Samuel-Rousseau’s opera Léone. She was a very intense singer who felt the music from the inside, although on this recording, at least, the voice sounds a bit nasal. Richard Tauber is Richard Tauber. Thom Denijs (1877-1935) was a Dutch baritone, who made two complete recordings of Dichterliebe, one for the acoustic horn in 1923 and the second for the microphone in 1928. It is from the latter we hear two excerpts here. Although he devoted a large part of his career to lieder and oratorio, he did have an opera career earlier on, singing such roles as Papageno in Die Zauberflöte. Elena Gerhardt was, of course, the German mezzo noted for her lieder interpretations; when she made her electrical recordings for HMV, critics practically had an orgasm praising them. But like Theresa Behr-Schnabel, there was some tonal deterioration; her acoustic recordings with Artur Nikisch at the piano are superb whereas in these you’re really just listening for the artistry. These four recordings by her had never been issued previously. French baritone Charles Panzerá had both fine artistry and an excellent voice, though I had never heard him sing Schumann before. In der Fremde is a little slow, but his Der Nuβbaum is sheer perfection. Lotte Lehmann was a singer I enjoyed thoroughly on her early electrical recordings, but never much liked after 1935. Happily, we have here two early examples of her from 1932, and she sings with a much fresher, more attractive tone than in her later outings, though to my ears she always took too many breaths. Herbert Janssen was a fine artist who, to my ears, really didn’t have the best German baritone voice. But by the electrical era, record producers finally started ensuring that the accompanists were at least pretty good and, at time, superb, thus from this point on we have few problems with the accompanists. Elisabeth Schumann remains a controversial artist. Many listeners complain about her rubato effects, which sounded quite out-of-date by the 1930s, while others, like me, are mesmerized by the purity of her voice and her ability to color her tones. With that being said, she was too close to the microphone for Mondnacht, which rather ruins the effect she was clearly trying to make. If she had stepped back two paces, I think it would have come out fine. Tenor Karl Erb (1877-1958) was another of those singers who, like George Henschel, were lionized during their lifetimes only to be marginalized and then forgotten in later years. In his case, however, it was because the voice itself, though pleasant, wasn’t much to listen to; it was his artistry you went back to, over and over again, and he does not disappoint here in the four songs chosen for inclusion. Indeed, I would put him on the same high pedestal as Dietrich Fischer-Dieskau, and that’s going some. A true interpretive and musical genius. Ria Ginster, a German concert soprano who specialized in lieder, was sort of the female Karl Erb, except that her voice had a somewhat abrasive and metallic sound whereas Erb’s voice was quite pleasant, just small. But she too was a first-rate interpreter, as these songs show. (In fact, these specific pressings are the best I’ve ever heard of Ginster; not even her EMI LP or CD reissues ever sounded this good.) Willi Domgraf-Fassbaender’s one contribution to this set is beautifully sung and interpreted with passion, but perhaps a bit too much so—he sounds as if he’s delivering an Italian opera aria rather than a Schumann lied. I knew the name of Susan Metcalfe-Casals, the American mezzo who married Pau (Pablo) Casals, but had never heard her before. It was a somewhat small, dry voice, not unpleasant or defective in any way but not really a first-rate instrument. She was, however, a good interpreter, and perhaps we should cut her some slack since she was 59 years old when she made these discs, the only ones she ever made. Interestingly, these were not fully commercial recordings, but were made for HMV’s yellow label, for private distribution only. CD 3 starts with a very famous recording, Aksel Schiøtz’ 1946 Dichterliebe with Gerald Moore, one of his very last recordings as a tenor. He suffered a stroke shortly thereafter, had to stop singing for nearly three years, and could only come back as a baritone. The Dichterliebe is a very good one, but it’s been available on Danacord for more than a decade. The three songs recorded in 1949 as a baritone are also quite good, and in fact on these the voice sounds very tenor-ish; it would be a few years before he completely lost the brightness on top. By 1949, he merely lost his highest notes, B and C, but still had the tenor timbre. Frida Leider was, of course, one of the two greatest Wagnerian sopranos of her time, the other being Florence Austral. Both were eclipsed in 1935 by the arrival of Kirsten Flagstad on the international scene, but by 1939 Leider’s voice was on the decline and she soon gave up the Wagnerian roles. These 1943 lieder recordings are among her very last; the voice is bit more fluttery than in the past, but she was still a fine artist if rather too loud an interpreter for this delicate music. (Her accompanist, Michael Raichausen, is also too slow.) Baritone Hans Hermann Nissen was also a Wagnerian who sang Hans Sachs in Toscanini’s famous 1937 performance of Die Meistersinger. He, too, is a fairly straightforward, exuberant singer, but at least he chose a song that fit that style of interpretation. Flora Nielsen (1900-1976), another little-known singer nowadays, was a Canadian soprano whose real name was Sybil Crawley. She started out her career as a soprano, and was still one when she made these recordings, but later switches to mezzo-soprano. The voice sounds very “British,” if you know what I mean: tight, laser-like tonal focus, very little vibrato, almost an edgy quality, but still a decent quality timbre. She also sounds like a mezzo, even here. As an interpreter she’s so-so. These are more curiosities than anything else. And of course everyone who listens to Wagner knows who Hans Hotter was. Apparently he suffered throughout his life from asthma, and this is what caused the frequent wobble in his voice, but when at his best he was incomparable as an interpreter. Curiously, he chose to record Mondnacht, but surprisingly he pulls it off, in part because the voice is steady as a rock here, even if you never in a million years would think of Mondnacht as a song for a bass-baritone. Karl Schmitt-Walter (1900-1985) is the next little-known singer. Joe Pearce claims that he was one of the most popular baritones in Germany, even better liked in the 1930s than Willi Domgraf-Fassbaender, that he made films and recorded a lot of crossover material on 78s and LPs well into the 1960s, but truth to tell, I’ve never heard or heard of him before. It was a nice, light voice, and he was clearly a fine interpreter; both of his songs here are very well sung. He rode the voice on the breath with perfect ease, and though the voice obviously lacked size it was of a fine quality. Mezzo Elisabeth Höngen is another famous name, but I doubt if many have heard her from as far back as 1946, when this recording of Schlief die Mutter endlich ein was made. The voice was much lighter and brighter than in the 1950s and ‘60s, and she sings with wonderful energy and engagement. Her accompanist, Hans Zipper, is also quite zippy! We next hear four very famous singers. French baritone Pierre Bernac also qualifies as a Karl Erb-type singer: a pleasant if not really beautiful voice, but outstanding interpretation. One will search far and wide to hear lighter, more engaging singing from Elisabeth Schwarzkopf in 1951, and of course Fischer-Dieskau was a great singer regardless of era. Victoria de los Angeles was never much of an interpreter of anything, except perhaps Madama Butterfly, but she had a gorgeous voice. The last CD, titled “Legendary Lied Cycle Recordings,” starts with Gerhard Hüsch’s 1936 recording of Dichterliebe which I felt only has his outstanding vocal quality to recommend it. As for me, I not only prefer Schiøtz’ version to his but also the 1935 recording by Charles Panzéra and Alfred Cortot…but it’s typical of Germans to assume that only a German baritone could deliver a “great” performance. A Dane and a Frenchman doing a better job on German lied than a German? Impossible! But so it was although, on re-listening to it, there are some interesting interpretive touches here that somehow escaped me the first time I heard it. So maybe it’s not really legendary, but it is pretty good overall, though “Aus alten Marchen” is taken too slowly and has some extra decelerandos in it to boot. Happily, Profil chose to include Lotte Lehmann’s earlier 1928 recording of Frauenliebe und Leben rather than her later recording. Although this has an orchestral arrangement, it is somewhat tasteful for its time despite the drippy string portamento (probably arranged by the conductor, Frieder Weissmann), and in 1928 Lehmann still had the youthful bloom on her voice that was gone by the mid-1930s. Indeed, the only fault in her singing here—which only became worse with age—is that she took too many breaths in the middle of phrases, even those that were fairly easy to sing. Nonetheless, this is clearly a great performance in every respect, truly worthy of preservation. Listen particularly to “Du ring an meinem Finger,” where she not only interprets the words like the great actress she was but also binds the phrases together perfectly. Seven years on, she couldn’t sing half this well. We end with Friedrich Schorr’s 1937-38 recording of Liederkreis with Fritz Kitzinger at the piano. The famous baritone’s voice was not in as good estate here as it was in the late 1920s-early ‘30s, but although there is some obvious wear on the voice (he gave up singing by 1940 and turned to teaching) the tonal deterioration was not as pronounced as Lehmann’s by this time. As mentioned earlier, Schorr was alternately pretty good and great in his interpretations, and he is so here. Not every song is interpreted fabulously, but most are quite good and some are truly great. More interestingly, in some songs (a good example is “Die Stille”), one can actually “hear” the face behind the voice, and he lightens his voice even more than Hotter did for “Mondnacht.” Thus we come to the end of our Schumann survey, and I would be remiss if I didn’t give the absolute highest praise to restoration engineer Holger Siedler for this set. Although he often left in a bit more of the original surface noise than I like, each and every track on this set is engineered perfectly—so much so that, even in the early acoustic recordings, you can actually hear some of the natural studio resonance, which is almost miraculous. I would place his restoration of these discs even higher than not only my own but also of Ward Marston and Seth Winner, both of whom have done some very high-quality remastering of older records. I’m sure that he didn’t have mint copies of every record in this set to work from, but it sounds like it, and for that I’d give him a “What a Performance!” award just for the remastering. —© 2021 Lynn René Bayley Follow me on Twitter (@Artmusiclounge) or Facebook (as Monique Musique) Return to homepage OR
1646	dbpedia	2	62	https://www.library.kent.edu/ione-k-wiechel-bookplate-collection	en	Ione K. Wiechel bookplate collection	https://s3.amazonaws.com…ntal_2G-CMYK.png	https://s3.amazonaws.com…ntal_2G-CMYK.png	[ "https://www.library.kent.edu/sites/all/themes/ksu_library_zurb/images/kent_state_university%20Horizontal_124-White-cpm.png", "https://www.library.kent.edu/sites/all/themes/ksu_library_zurb/images/icon_hours.png", "https://www.library.kent.edu/sites/all/themes/ksu_library_zurb/images/icon_ask_us.png", "https:...	[]	[]	[ "" ]	null	[]	null	Ione K. Wiechel bookplate collection Finding Aid Prepared by Dyani Scheuerman, August 2003; Revised June 2013; Last Updated: October 2020 Inclusive Dates: 1820-1980 Bulk Dates: bulk 1940-1960 Extent: 6 cubic feet Physical Location: 11th Floor Abstract: This collection is the creation of Ione K. Wiechel, a bookplate collector, and includes over 2000 bookplates from various book	en	https://d10zm727sx51r.cl…es/favicon_0.png		https://www.library.kent.edu/ione-k-wiechel-bookplate-collection	Finding Aid Prepared by Dyani Scheuerman, August 2003; Revised June 2013; Last Updated: October 2020 Inclusive Dates: 1820-1980 Bulk Dates: bulk 1940-1960 Extent: 6 cubic feet Physical Location: 11th Floor Abstract: This collection is the creation of Ione K. Wiechel, a bookplate collector, and includes over 2000 bookplates from various book owners. Biography of Ione K. Wiechel: Ione K. Wiechel, of Van Wert, Ohio, was an avid bookplate collector for over fifty years. From 1930 to 1980, Wiechel built up her collection of bookplates to its present size of over 2000 examples, with her most active years of collecting between the 1940s to 1960s. Wiechel kept most of these bookplates in spiral notebooks and adhered them to paper, often including her own personal notes of each piece's provenance. Wiechel died in 1982. Scope and Content: This collection contains six cubic feet of bookplates collected by Ione K. Wiechel, along with a few pieces of correspondence relating to these bookplates. Statement of Arrangement: The bookplates are arranged alphabetically by owner's last name. Notes in brackets are basic descriptions made by Ione K. Wiechel as to the provenance of each item. The plates were mounted and displayed by the creator in roughly alphabetical order. Preferred Citation: Ione K. Wiechel bookplate collection. Department of Special Collections and Archives. Kent State University Libraries. Acquisition Information: Ione K. Wiechel's bookplate collection was donated to Kent State University Special Collections by her daughter, Ellen Amstutz, in 1985. Box 1 Folder -- Contents A A.K. Smiley Public Library. Redlands, California. L.A.A. "Deo juvante." [Modern Portuguese] T.A. Abbas, Bonanventura. "Libris monasterii montis angelo rum inseruit." Abbott, Elizabeth. Miss Abbott's School Alumnae Association. [Design by Sidney L. Smith] Abbott, William Lindley. "Haurit aquam cribis qui vult sine descere libris." [Etching by Dorothy Payne, San Francisco] Abendroth, Inge. [Prof. Ziehe, Leipzig] Academy of St. Scholastica. "The Benedictine Sisters." Ackerman, Etta. [Hempstead, LI, NY. Assigned by her husband.] Acton, John Emerich Dalberg. Adams, Helen G. Adams, Arthur. [Image of crest and tree]; "Veritas liberabit." [Engraved by A.N. McDonald]; [Engraved by Fritz Botel] Addington, Mary Adler, Whistleriana and Elmer. [Claude Bragdon] Adler, Hermine and Ija. "The Epicurean Library" Adomeit, Ruth. "To have and to hold." Adr. Theatre. Aemilii, Baronis. "Perrier massiliensis." [Artist, E. de Robert] Aero-Medical Library. [Wright Field. Dayton, OH.] Agar, Eunice. [Design by Norman Kent] Ahrend, J. "Nil desperandum." Akkermans, Jot. [Ipse fecit, 1941] Alabama State Department of Archives and History. "Founded 1901 by Thomas M. Owen." Albert, George Frederick Ernest. "Prince of Wales." Albert, H. Greenway. "Virtus nil timet. Casa de Suenos, Tombstone, Arizona." Alcott, John Sewall Pratt. [Louisa M. Alcott's nephew] Alderman, Muriel. "Her book." [Design by Margaret Ely Webb, engraved by James Webb.] Alexander, Charles. "Per mare per terras." [Engraved by E.D. French] Alexander, Francis Levis. [Design by Mrs. John Malone] Alexandria Library. "Established 1794." Allen, Caroline Belknap. Allen, Charles Dexter. Hartford, Conn. "Spaientiam non suam simulationem quaero." [Author of American Bookplates] Allen, Edward W. "From the collection of ... " [Designed by Hewitt R. Jackson] Allen, Elizabeth Powell. Allen, Paul. "His book." Allen, Susan Janney. [Etched by W.F. Hopson] Almquist, John Arthur. Alpha Eta Beta Theta Pi. [Design by David Sarvis] Alsop, James Willcox. "Imparo ancora." [Engraved by A.J. Downey] Altonion Society. American Academy of Arts and Letters. "Opportunity, inspiration, achievement." [Engraved on wood by Timothy Cole] American Association of University Women. "Presented by the Junior Section of San Diego." American Chemical Society. American Commission to Negotiate Peace. Paris, 1918-1919. [Design by Donald B. Gilchrist.] American Legion Auxiliary. "Commodore Denig. Unit No. 83. Sandusky, Ohio." American Merchant Marine Library Association. " ... the owner of this book, is supported entirely by ... " American Philosophical Society Held at Philadelphia. "Nullo discrimine. Founded 1743." Amherst College. "Sold."; ""Athenae Library." Amman, Emma. [Color woodcut by Alfred Peter, Switzerland] Ammann, Marguerite. "Marguerite Ammann's Buch." [Anton Blocklinger, Switzerland] Amory, Harcourt. "Life, what is it but a dream. Lewis Carroll." Amstutz, James Carl. "Civil War books." Amuru, S.G. Andersen, Kaj. [Denmark] Anderson. Anderson, D. "Her book. O for a Booke and a shadie Nooke ... " Anderson, Helen and Carl. "Helen's Nancy." Andores, Karl-Martin. [Engraving by Gerhardt-Tag, Leipzig.] Andres, K. [Modern Australian] Andrews, E. Wyllys IV. [Engraved by J.W. Jameson] Andrews, Irene D. "Bookfelloviensis."; "Love well the hour and let it go." [Original Bewick wood block] Andrews, Irene and Edmund. "From among the books of ... " [J.W. Jameson. Image of trailer.] [Image of Andrews home in Los Angeles. Woodcut by F. Geritz.] [Engraved by J.W. Jameson. Image of crest.] "Na neirau vola." [J.W. Jameson] "No maua iho tele puta. Maru, A horoa oe ia maua mai vave." [J.W. Jameson] "Thou fool! to seek companions ... " "Vahine and Tane." "From among the books of ... " [By Wm. A. Turner of Chester, England. Image of two men.] Andrews, Irene Greene Owen. [By Ralph Fletcher Seymour. Image of village.]; [Design by Jack Yeats of London, brother of William Butler Yeats. For Mrs. Andrews' collection of Yeats. Image of two men.] Andrus, Olive E. "Tongues in trees, books in the running brooks." Anercino. Angas, Fay. [Linocut by G.D. Perrottet.] Angas, Sara Georgine Fife. Angeline, Catherine. [Normand Press. Chicago, IL. Normand Forque, owner.] Angie Williams Cox Library. Pardeeville, Wisconsin. "Do the truth you know, and you shall learn the truth you need to know. Macdonald." Antal, Fery. Anthoensen, F. [Designed by Clares K. Capon from Bewick] Anthony, Cornelia Eames. [Image of the location of the Lincoln/Douglas debate]; [Image of spinning wheel]; "Love rukles the court the camp the grove and men below and saints above." [For Anthony's collection of great love stories.] Anthony, Cornelia Eames and Frank Dell. "Grove Place." [Engraved on wood by John W. Evans.] Antioch College. "In memory of Noel Morris ... " "In memory of Edward Cameron Kirk ... " "In memory of Miss Rebecca S. Rice ... " "Yellow Springs, Ohio." [Design by Louis Grandgent] "A Carnegie Corporation gift." [Design by Isobel Sarvis] Antonio, Jose. "Ex libris infantiles." Antunes, Josefina Helena and Castilho. "Studio meo ascendam invante Deo." April, Margaret. [Design by Wm. Fleming.] Archer, John. [Design by Joseph Low] Arese, Margherita de Renzis. [Italy] Ariel. "Casa D'Arte." Arms, John Taylor. [1920] Arnold Arboretum Library. "The gift of Sarah C. Sears."; "Presented by Charles Sprague Sargent ... " [Designed by George Wharton Edwards]; " ... of Harvard University" [Designed by George Wharton Edwards]; "Purchased from the income of the Mary Robeson Sargent Fund."; "From the fund bequeathed by Charles Sprague Sargent ... " Art Institute of Chicago. Ryerson Library. "In memory of Helen Hyde." Art Study Club, Santa Barbara. [By Margaret Ely Webb] Asselbergs, Annemieke. "Boek van ... " Asselbergs, C.J. "Ex bibliotheca." "Ex libris" [Suzanne Heyneman] "Uit de boekerij." [Typo, W.J. Rosendaal] [Monograms] [Wood engraving, John Buckland Wright. Image of woman.] [Wood engraving, A. Schellart. Image of vehicle.] Asselbergs, Joost. "Geboren ... Breda, 3 April 1941." Asselbergs, L. En. K. "Nieuw jaar 1948." [Wood engraving by Bramanti, Italy] Asselbergus, Henri. "Eyes are on beauties until thou settest." [H.I.J. Schelling] Association of the Bar of the City of New York. "The library of Charles H. Woodbury ... "; "Gift of:" Astor, Karl M. and Frau. "Ochsenfurt am Main. Wuenschen herzlick Glueck fuer 1949." Athenian. "Presented by H.B. Woods." Atkinson, Buddle. [England] Atkinson, T.B. Darlington. Atlantic City Free Public Library. Atlas Ladies Library. "A fine will be imposed for keeping this book longer than four weeks." Auburncrest Library. "Candles they are that on a wayside bare regather what the human heart forgets. Lloyd Emerson Siberell." Aulsbrook, Knight G. "Probitas veritas honos." Authors Club. [Engraved by E.D. French. Designed by George Wharton Edwards.] Averitt, Beverly Jean. "Although this book is lent to a friend by .... this does not imply that she no longer owns it." Averitt, Douglas. "Collector of sports memorabilia and rare autographs." [Image of man]; [Image of bird] Avon Free Library. [Design by James Havens] B C.B., di. "S'io non androp sempre fuggendo." [Wood engraving, Bruno da Osima] E.B. H.B. [H. Woyty-Wimmer] I.H.B. N.B. [Etching by Fritz Botel] N.R.B. "His book." [Woodcut by Paul McPharlin] M.B. [Marjorie Batchelder. By Paul McPharlin. Hand marbled paper. Cockerell, Letchworth, England. 1946] Babb, J. Babler, Otto F. Babnik, Karel. "Gospod mazili in posveti te roke potem maziljenju in nasem blagoslovu." Backhuys, Lizetta. [Holland, 1933] Bacon, H.B. Bader, Robert Augustus. Baer, Carlyle S. [Border by Carle Junge. Image of "Major Delmar, from the painting by Alexander Pope, 1903."] [Etched by Berthe Gorst. A.R.E. Image of man with pack.] "His liber pertinet ad meam Bibliothecam Dauteanum." [G.D. Perrottet, Australia. Image of dog.] [Woodcut by Adrian Feint. Image of book.] [Image of man on horse] [Image of horse with baby] Bagge, B. "Aus Buechersaminlung der ... " Baggerman, J.F.H. "Verzen." Bailey, Francis W. [Design by A. Spence] Bailey, Jouis J. [Image of cottage]; [Etching by Fritz Botel. Image of book stack.]; [Image of ship] Bailey, Lula Barber. Bailey, Merton G.L. "Conrad, Twain, Hawthorn, Poe, Kipling, Fiske, Lowell, Isaac Walton." Baima, John. [Design by Dan Burne Jones. Image of man and stars.]; "Praestat opes sapienta." [Design by Dan Burne Jones] Baker, Gertrude J. "Her book." Baker, G.E. Baker, Hettie Gray. [Image of Baker's home in Westport, CT. Design by Drusilla Albert of Seattle, WA.]; "... Presents this book." [Etching by Stanley Harrod of Toronto]; " ... Owns this book." [Color sketch by Verna Faber] Baker, Laura. Baker, Newton D. Jr. "Johns Hopkins University, Baltimore, 1876." Baker Street Journal. "Volume 1. New York, 1946." [Designed by Paul McPharlin] Baker, Ray Stannard. "David Grayson at the kind of country work that suited him best." [Grayson is a pseudonym for Baker] Balbi, Giorgio. "Amore, scienza, arte." "Per collezione 'I romanzi della palma.'" "Herz mein herz." "Serene memorie del passato." [Etching by Luigi Angelini, 1944] "Dai libri de ... Salve commenda di croxae." "Evadere Dalla citta. S. Febraio, 1943." "Szep magyardaszag." [By I Zetti] "Mooi Nederland." [Wood engravings by I Zetti] "Vivere gaudiose" [By I. Zetti] "Viag gareecontinva giovinezza exlibris." [By I. Zetti] Ball, Katharine F. "K.B." [Woodcut by Margarel Ely Webb]; "From the library of Frank H. Ball." Baltimore Museum of Art. "Gift of Mrs. Robert Coleman Taylor ... " Banar, Jan. [Image of man holding globe]; [Image of man riding broom] Bangor Public Library. "Given to ... by:" "Stodder Fund" [Engraved by Elisha Brown Bird] "From the Col. Luther H. Peirce Fund" [Engraved by Sidney L. Smith] "From the Edward Ellison Fund" [Engraved by Elisha Brown Bird] "From the John F. Patten Fund" [Engraved by Sidney L. Smith] "Frederick W. Hill and Marianne Hill Fund" [Engraved by Sidney L. Smith] "From the Mechanic Association Fund" [Engraved by Sidney L. Smith] "From the State Fund" [Engraved by Sidney L. Smith] "From the Hersey Fund" [Engraved by Sidney L. Smith] Bar, Mathilde. [Etching by Fritz Botel] Barnes, William. Barnett, Percy Neville. "Spes mea in deo."; "Ex libris"; "The book of" Barnett, Philip Neville. Barnhart, Helen Rawson Bryce. [Design by Sara B. Hill, engraved by Spencley]; [Image of bird] Baron, Robert Russell Needham. "Fortuna juvat audaces." Baronet, Sr. John Percivale. Burton, Cork, Ireland. Bartlett, Bertha. [Woodcut by J.J. Lankes] Barton, S.M. Barrows, Marjorie. [Designed by Carl S. Junge] Barta Press. "From the library of ... " [Designed by Charles Capon] Bartram-Jensen, H. [Spain] Batchelder, Marjorie Hope. Bates, Albert C. and Alice C. [Engraved by W.F. Hopson] Battistella, Marianna. Bauer, E. Bay City Public Library. "Established 1869." von Bayros. Beale, Charles Currier. Beckwith, Kenneth Daggett. Becaka, Lubomira. Becaka, Jana R. [Image of person with candle]; [Image of flowers] Becker, Lanier Morris. Bedford Square Book Bang 1971. Beeman, Allen Everett. "Certamine summo." Beger, Margarete. [Typographic, Leipzig] Belane, Vajda. [F. Buday] Belknap, Harry. [J.H. Elwell - artist] Bell, Charles H. "Quaerere honorem nec spernere." Bell, Portia and Sam Hume. "Imago erasmi roteroda mi ab alberto dvrero ad vivam effigiem deliniata." [After a wood engraving by Albrecht Durer, of Erasmus] Bart, Sir William Bellingham. "Amicus amico." Bebringer, George F. "Truth!" New York, 1866. Benhow, Ellen Mary. Benuenuta. [I. Zetti - Milan, Italy] Bennet, R.H. Alexan. [Bartolazzi] Berasategui, I. Rodriguez. Berckelman, Colin B. [Woodcut by Philip Litchfield] de Bere, Prof. Is. Dr. R. Soo. "Ex libris geobotanicis." Berg, Harald. [Norway] Berg, Lars. "Mi bok." Berggren, E.W. Bergmann, Arthur. "Aus der buecherei." [Leipzig] Bergman, Hanna och Emanuel. Berks County Teachers Professional Library. Reading, Pennsylvania. "Rules and regulations: ... " Bernheim, A.C. [Engraved by E.D. French, 1895] Bertarelli, A.C.M. "Mediolanensis." Bertie, Charles B. Bethmann, Geins. Bevis, Leura Dorothy. [Designed by Ward Ritchie] Berkeley Press. "We repeat ... " Bewick, Thomas. "His mark." Bewick School. [Printed by Mrs. Diamond] John S.J.C. E.W.D. C.S.B. Emma D. Sally S.E.B. W.E. Daignault Flora Neil Davidson Libby L. Margo Bianca. [Wood - W.J. Rozendaal]; [Design by Eugene Strens, 1947.] Bibliotheek Unicum. Bibliophile Society. "Eximium opus eimie ornetur. This edition is limited to 500 copies. Printed for members only. Year 3rd book." Bigelow, Abbie A. Bilderbeek, G.J. Bienholz, Familie. "Frohe Weihnacht und ein gluecklickes Jahr wuenscht." [Colored etching by V. Fleissig] Billington, Raya. "From the books of ... " Biltmore. "Library of ... " Birmingham Public Library. [Image of building]; "The gift of ... " Bishop, Rev. Cha. "Bis qui cito." Bishop, Raymond Holmes. Bispham, E.J. Bitner, Helen Creeley. "Owneth this book." Blackburn, Oscar Taylor. [Engraved by Blackburn] Blackwell, Henry. Blackwood, Mary Wilson. [Woodcut by Adrien Feint] Blake, Sara Eugenia. [From original woodblock by Thomas Bewick]; "Ex libris aquarius."; "Her book" [Engraved on copper by Sara Blake's brother]; [Image of woman reading book]; [Image of hand] Blake, Sally. Blake, S.S. Bliss, Daniel. Bloemen, Van Mir. J.F. J.M. [Woods by Karl Hasselbach] Blomfield, Charles James. Blumenthal, Elaine and Oscar Bessie. "Their book." Bobby. "Bobby's book." Bock, Karl. "Ex libris."; "Aus den Buechern des ... "; [Image of woman and owl]; "Aus den Buechern der Kriegsjahre" [Richard Teschner]; "Buecherei" [Linocut. Ipse fecit, 1938] Bock, Karl and Marein. "Ex musicis. Was entsanden ist das muss vergehen. Was vergangen auferstehen. G.M."; "Fenden die herzlichsten Glueckwuensche."; "Wir sind uebersiedest ... "; "Bucher und noten" [Vienna, 1930] Bock, Marein. "Fleucht'ge Gedanken, Samen im Winde cleich, machen im Buche rehend, den Leser reich." [Karl Bock, Vienna, 1936. "Fleeting thoughts, like seeds in the wind, coming to rest in books, make the reader rich."] Bock, Mitzi. "Mein buch." [Franz Lehrer, 1933] Boekhandel, N.V. Standaard. "Salichen geluckich niue jaer, 1938." Bohne, Pall W. [Image of bells]; [Image of castle] Bolaffio, L.F. [Etching by V. Fleissig. Image of woman with bow and arrow.]; [Etching by V. Fleissig. Image of woman.]; "In memoriam Michel Fingesten, 1883-1943." [Etching by V. Fleissig for Fingesten, who died in a concentration camp.] Boleyn, Jane. [Australia - wood by Allan Jordan] Bologna, Archiginnasio. "Biblioteca comunale dell ... " Bonda, Cyril. [Czechoslovakia] Bonney, Jack. [Name of second owner written in] The Book Shop. "Books, antiques." Books. [Image of Christmas tree]; "Are we not driven to the conclusion ... " The Booklovers Library. "Library of current literature ... " Boonacker-Loman, E.M. [Wood engraving Miavan Regteren Altena] Boreham, E.G. [Woodcut by Adrian Feint, Australia] Borre, Henri van den. Borrell, Ana. Borrell, Ramon. Bos, Bart. "You, O Books, are the golden vessels of the temple ... " Bosanko, Paul. "From the books of ... " Bostedo, Gardner E. Boston Public Library. "Bought with the income of the Scholfield bequests." "Presented ... by George M. Mason ... " "This book belongs to School No. 3 ... " "Thomas Prince Library ... " "Purchased from the Josiah Dwight Witney, Senior Memorial Fund ... " "Purchased from the fund established by James Lyman Whitney, bibliographer and sometime librarian." "The gift of the Boston Authors Club" "The Bowditch Collection" "Given by Bigelow Fund" "Given by the Boston Browning Society ... " "Presented ... by George Ticknor, Esq." "The William P. Trent Collection ... " " ... Josiah Henry Benton ... " "Longfellow Memorial Collection ... " "John Boyle O'Reilly ... " "The Virginia and Richard Ehrlich Autograph Collection" "From the Bowditch Fund" "From the Memorial Fund of the 20th Regiment, Massachusetts Volunteer Infantry ... " "Barton Library ... " "The Walter Updike Lewisson Collection ... " "From the Ticknor Fund" "Bought with the Green Fund" "The Allen A. Brown Dramatic Collection" Boston Athenaeum. "From the income of the bequest of Albert Matthews ... " [Anthoensen Press] " ... John Bromfield ... " [Anthoensen Press] " ... George Francis Parkman ... " [Anthoensen Press] " ... Lee Max Friedman ... " [Designed by Rudolph Ruzicka] " ... Stanley and Margaret King Fund ... " [Designed by Rudolph Ruzicka] " ... Mary Lowell Stone ... " [Designed by Rudolph Ruzicka] "T.S. Eliot collection ... " " ... Henry Harris ... " [Designed by Rudolph Ruzicka] " ... Samuel Appleton ... " [Design by Rudolph Ruzicka] "Gift of Donald McKay Frost ... " " ... Charles Amos Cummings ... " Botel, Anne Marie. Botta, Gionanni. Botta, Perito G. "Costruire." Botta, Elda. [Wood engraving by Ilalo Zetti] Bottega Di Poesia. "Alquid amplius invenies in silvis quam in libris. G.D. Annunzio." Bourbon, Louis de. Bourcy, Joannis. "Ex biblioteca"; "Sint tibi mille oculi sit tibi nulla manus."; [Color image of crest] v. Bourcy u. Paulusch. "In Wien"; "Aus der Handbuecherei des antiquariates ... " [Engraved by H. Woyty Wimmer] Boussery, Georges. [Belgium] Bouvenne, Aglaus. Boven, Jef van. "Semper idem." [Belgium] Bovig, Eigil. [Typographic, Denmark] Bowdoin College Library. "Thomas Hubbard Fund."; "The Anthoensen Collection ... "; "Anthoensen-Christian Typographical Collection ... " Bowdoin, W. G. Bowles, Edgar. Boylan, Malcolm Stuard. "It is even more important that this book ... " Bragdon, Claude. "Theosophical Library." [Designed by Claude Bragdon] Bragdon, May. [Designed by Claude Bragdon] Brandenburg, Edgar T. "Private library ... Handle with care and return" Brandsness, Margaret. "Cum principibus." [Hale Arms. Design by David Sarvis.] Brandeis University Library. "Alfred Whital Stern Collection ... " Brannan, Robert H. [Philip Reed] Branner, Ethel Cecilia. Brauer, Arthur. Bressensdorf, Maria von. [Leipzig] van Brill. "Uit de boekenkast." [Wood J.C. Maas.] Brown, Ann Elih. "Given to ... as a reward for attention and diligence ... " Bruenner, Ernestinegrafin Coudenhove. Brewer, Augusta La. M. [18th century wood engraving. Lettering by Ward Ritchie.] Brewer, Samuel. Brewster, Samuel. "Varite sovez ma garde." Brewster, William. [Design by Mrs. J.H. Bartholemew] Bright, Marian. Brinkman, A.L. "Marble Hall." British Dental Association. Broccitus, Louis. [Wood. L. Jaegher.] Broekhoven, J.A. van. Broekstra, Th. [Woodcut. Nico Bulder, 1945.] Broese v. Groenou, Cock. Bronson, Christine Fredrika. Brooklyn Public Library. "Presented by ... "; "Gift of the friends of ... " [Process plate from copper etching by Ernest Roth, as well as plate.]; "Raymond Vail Ingersoll Fund ... " [Design by Bruce Rogers]; "The Ingersoll Room ... " [Design by Bruce Rogers]; "Presented by Teja S. Mittell, Sybilla Mittell Weber ... " Brothers of the Book. "Gouverneur New York"; [Image of men] Brown, Lloyd Arnold. Brown, Frederick Lane. Bruining, Nicolette A. [Designed by Mia Van Regteren Altena] Boudens, Jef. [Image of ship. Belgium.]; [Monogram. Belgium.] Bruce, Charles Viscount. Ampthill. "Son & Heir Apparent of Thomas Earl of Ailesbury & Baron Bruce of Whorleton." [Endpaer, Great Britain, 1776.] Brumback Library. [Van Wert, Ohio] Brunner, O.R.E. [Linocut by Goodchild] Bryan High School Library. Yellow Springs, Ohio. Bryant, J. Harvey. [Woodcut by Adrian Feint] Bryn Mawr College Library. Buckey Cookery and Practical Housekeeping. "Is not sold by bookstores, but only by agents! ... " Buffalo Society Library. "Natural Sciences." Buffalo Library. "The Library Fund ... " [Designed by Claude Bragdon] Bufsey, Benjamin. Buhler, Yves Henry and Katherine. 1931. Burnham, William Henry and Katharine French. "The love of learning, the sequestered nooks, and all the sweet serenity of books. Ne tentes aut perfice. 1900." Burns, Fitzhugh. [Designed by Cleora Clark Wheeler] Burt, E. "Circulating library ... " Burg, Corter. Burton, Edward. Bushwell, Edward. "Vita sine litteris morest." Bullwinkle, Benjamin. [Owner of private press, the Twombly Press. Portland, Oregon.] Burch, A.C. Burley, Elizabeth. Burnham, William Henry and Katharine French. "Ne tentes aut perfice. The love of learning, the equestered nooks, and all the swwet serenity of books." Burler, Ellis Parker. [American humorist] Burnett, S.M. New Market, Tenn. Busi, Lilliana. "Negil occhi e in cuore un po d'azzurro, l'ombra d'un uolo." Butler, Pierce. [James Hayes] Byrne, Paul Ryan. [Reprint from original Bewick block. Image of two men.]; [Image of man by water] C J.M.C. "Chescun son devoir." T.L.C. Cabassi, Floriani. "Carpen, 1766." [Spanish?] Calamda, F. "In labore gaudium." Calamida, U. Caldecott Medal. "For the most distinguished American picture book for children ... " California Bookplate Society. [Designed and etched by Sheldon Cheney] Calvitti, Marii. "Il poco lume. Nel cran cerchio d'ombra." Cambden Federal Society. "In the county of Lincoln - instituted in 1796." Cambon, Bettina. "But if, oh Lord, it pleaseth thee to lead me in temptation's way, let my temptation be a book." [Engraved by J.W. Jameson] Cambon, Charles Clement. [From a wood engraving by Alexander Anderson] Cambon, Sandra. "Her book." [Engraved by J.W. Jameson. Design by Elizabeth Diamond.] Cambon, Sara Jane. [Modern print from original woodblock by Bewick] Campagne, Annetje van Lookeren. Campbell, Bruce Patrick. "Aesop's fable, The Cat and the Mice, teaches ... " [Designed and printed by Philip Reed] Campbell, Gail Leora. "Aesop's fable, The Mice in Council, teaches ... " [Designed and printed by Philip Reed] Cantatore, Paschal. [Peter Fingesten, artist] Capkova, Vera. Carlander, Sm. Carle, Lena Mitchell. "Her book." Carman, Frances. Carmin, Robert. "His book." [G.H. Petty] Carnegie Free Library. Ogden, Utah. "Class: ... Book: ... "; "This book purchased from funds generously donated by Souther Pacific and Union Pacific Raliroad Companies ... " Carpenter, Frederic Ives. "The world's sweet inn from pain and wearisome turmoil. Spenser." Carrington, Sidney. "His book." Carstens, Frank. Case, Cyrus A. "Presented by ... in memory of his wife, Helen Bashinsky Case, 1893-1920." Case Library of Cleveland. "A gift to ... in honor of Charles W. Bingham ... "; "Successor to Cleveland Library Association ... "; "Gift of Mrs. J.B. Savage." Catholica Universitas Americae. "Gift of Monsignor Fulton J. Sheen."; "Gift of ... "; [Blank] Cauley, Tom and Eunice. [Woodcut by Paul McPharlin] Caulfield, Richard. "Fellow Soc. Antiq., London." [A. Colthurst, 1820] Cavalry Club. Centennial Commision, Women's Department. 1796-1896. Cerny, Jar. [Image of woman with basket of apples] [Image of woman eating apple] [Image of fish] [Image of woman. Copper engraving Wim Zwiers.] [Image of man. Copper engraving, Wim Zwiers.] [Image of fisherman] [Image of fish and hook] [Photograph] [Image of man reading book] [Wood engraving. Image of man and birds.] [Image of tree] [Image of men working] Ch., J.R. [Spain] The Chalet. Chambre, Ronlad. Champaign Public Library. "This book was purchased by Robert Davison Burnham Endowment Fund."; "... Julia F. Burnham Memorial Fund." Chandler, Charles F., Ph. D. Chandler, E. deF. Chapdu, Robert. [Rubber bookplate stamp] Chapin, Carrie L. Chase, Ernest Dudley. Chase, Lewis. "We live by admiration, hope, and love. Wordsworth." Chaves, Dr. Jose Rodriguez. [Image of man reading book]; [Ipse fecit, 1945. Spain. Image of man and spiderweb.]; [Image of boy playing flute]; "Emitte lucem tuam et veritatem tuam." [Ipse fecit, 1943. Spain.]; [Spain. Image of doctor.] Cheever, Dorothy Irene. [Etching by Will Simmons] Cheever, L.O. ["Mutiny on the Bounty." Design by G.D. Perrottet.]; ["Moby Dick." Etching by J.W. Jameson.]; [By Dale Nichols. Image of man at desk.] Chemists Club, N.Y. [Norbert Lange, a member] Chestnut Hill Garden Club. "James D. Colt Memorial Library." [Etched by T.W. Nason] Chew, Beverly. [Engraved by E.D. French] Children's Book Shop. [Norman Kent, 1930.] Chittenden, Hiram Martin. [Brigadier General, U.S. Army Corps of Engineers.] Christian Science Publishing Society. Chronica Botanica. Christie, John Livermore. Chrystie, E.J. "Malo mori quam foedari." Church, Elise J. [G.M. McCall, Paris. 1912.] Church of the Good Shepard. Waban. "In memory of Paul Seiberling Mosser." Churchill, Anna Quincy. "Books in the running brooks." [Engraved by A.A. Rogers.] Churchill, Warren N. Cincinnati Public Library. "Junicta juvant." Cinner, Miroslav. [Image of bridge]; [Monogram]; [Image of book]; [Wood engraving, A. Dolezal. Czecholslovakia. Image of flowers.] Cinnera, Knina. [Lithograph. Czechoslovakia. I. Vodraska, 1945.] Cinnera, M. "Z knih." [Wood engraving, A. Dolezal. Czechoslovakia.] Cinnerova, Marticka. [Monogram]; [Image of flowers] City Library of Sacramento. Box 2 Folder -- Contents Clann-Fhearghuis su Drach. "The Chief of Clann-Fhearghuis of Stra-chur and Clann-Ailpein, C.M. etc." [Engraved by Charles J. Lumb] Clark, Charles. Clark, Sir Ernest. "Swear by a star." Clark, Melville. "Victor mortalis est." Clark University. Worcester, Massachusetts. "Fiat lux. Florebit, denique, veritas." [Designed by Mabel Gage. Engraved by E.D. French.]; "Anna cond sig." Claus, Erich. "Mein Wunsch an dieses Jahres wende, dass alle notnun findein Ende."; "Ein bustun Wuensche ... "; "Wous 1948 ging trueb zu Ende, sich 1948 zum besten wende! Alles gute wuenscht." [Leipzig] Clay, Richard. Clay, Robert. Clement, Clara Erskine. "Hope Clement." [Etched by Sidney L. Smith.] Cleveland Clinic Foundation. Cleveland Garden Center. "The gift of ... "; "The Eleanor Squire Library" Cleveland Medical Library Association. Cleveland Public Library. "For the use of the children of Cleveland."; "William F. McDermott Memorial Theatre Collection."; "Frederick W. and Henryett Slocum Judd Book Collection ... "; "Frederick and Henryett Slocum Judd Book Administered Collection ... "; "The library sets the stage ... "; "This presented ... by Clyde Johnston Hardwick." [Design by David Sarvis] Clough, Jennie Dearborn. Clovery, R. Glynn. "Celer fidelis atque sagax." [Armorial. Chippendale style. Probably late 18th century.] Clune, Anthony Patrick. [Design by Pixie O'Harris, eminent Australian water colorist.]; [Proof printed by E.W. Diamond.] Clune, Francis. [Sydney, Australia. Woodcut by Adrian Feint, 1928. Image of music.]; [Image of ship] Clune, Thelma Cecily. [Etching by Adrian Feint. Harbor of Sydney, Australia] Cobb, F.E.M. & C. Cochran, George. "Entered into rest at Los Angeles California while dean of the University of Southern California ... " Coebergh, H.J.A.M. [Copper engraving, E. Reitsma Valenca. 1944] Cohen, Richard D. "Sir Robert de Bures, 1302. Acton, Suffolk."; [Armillary sphere, Johannes de Sacrobosco. TExtus de Sphaera, 1538.]; [Image of unicorn] Colby College Library. "The Capon Collection ... " [The Anthoensen Press. Portland, ME.] Coleman, F.A. "Dare if I die." Coles, Elizabeth. Colin-Gury, Dr. P. [Engraved by P. Colin-Guy. Paris, 1948. Image of piano keys.]; [Paris, 1948. Image of streetlamp] Colin-Gury, Dr. et Mme. "Bons voeux."; "Bons voeux. 1950." Collett, Marcie. [By G.D. Perrottet, Australia] Collie, J.D. [Wood. Allan Jordan, Australia.] Collinwood High School. Colonial Coverlet Guild of America. [Engraving used to decorate their first yearbook, affialiated with the Chicago Historial Society.] Colonial Williamsburg, Incorporated. Williamsburg, Virginia. "That the future may learn from the past." Colquhoun, A. Coltman, Jos. Columbia University. "Instituto de las Espanas en Los Estados Unidos." "The Dorothy Hutchinson Memorial Collection ... " "School of Architecture Ware Memorial Library." "Kings Crown." [Designed by Hugo Elliott, 1900. New curator of Metropolitan Museum of Art.] "Henry Livingston Thomas ... " "The Poetry Society of America" "Dean Lung Chinese Collection" "In the city of New York" "Loubat Prize" "Butler Library of Philosophy ... " "Maison Francaise" "Brander Matthews Dramatic Museum" "Weights and Measures Library ... " "Avery Architectural Library ... " Coma, J. Lorens. "Pax." [Spanish, 1945.] Commons, John Rogers. [Professor of Economics, University of Wisconsin] Comtesse, Alfred. "Dr. es sciences a monthey." [Engraved by Paul Schwertner of Munich.] Confederate Memorial Literary Society. "This book is the property of the Confederate Museum, Richmond, Virginia ... " Connecticut College Library. "The gift of ... " [Design by Rudolph Ruzicka, 1970]; "From the library of Loraine Wyman Painter ... " [Design by Rudolph Ruzicka, 1970]; "Given by the Columbiad Club ... " Connecticut Historical Society. "Presented by Subscribers for the Patterson Library, 1893"; "Presented by ... "; "Deposited ... by the Wadsworth Anthenaeum." Connecticut State College. "Gift of ... Alumni. 1935." [Printed by Hawthorne House] Connor, George Skeffington. "Nemo fidelior." Constance, Barbara. [Color woodcut] Coolen, Antoon. Coolidge, Prescott and Eugenia. "This book belongs to ... " Cooper, Charles Chester. [Image of man overlooking field]; [Image of gate] Coopman, W. Copeland, Grace. "Dickens, Shakespeare, Scott" Cornder, Blaine. Corey, George Henry. "William Sydney Porter." [Designed by Dan Burne Jones for Corey's collection of O. Henry-William Sydney Porter." [Modern armorial. Engraved by J.W. Jameson.] [Dorothy Sturgis Harding, artist. Image of globe and scales.] [Design by Sacha Kronbourg of Vienna. Image of centaur.] Cork Institute of America. Corkran, Hilda. "C'est le bonheur d'aboir son soleil en soi meme." Cornell, Amelia Hamilton. Cornell University. "Charles Edward Van Cleef Memorial Library ... " "New York State College of Agriculture" "The gift of Murray Edward Poole ... " "A gift in Memory of William H. Sage ... " "Ithaca, New York" Corning Museum of Glass. Corning, John Herbert. "Litterae." Corosson, Lee and Bill. [Lynd Ward, 1940] Cortland Free Library. "A public library is the people's university. Education, recreation, information." Cotton, Dorothy. "Her book." Cotton, Willm. Hy. Cowie, Rev. Geo. Cowles, Helen Patricia. "The word of God to give me speech." [Designed by Mrs. J.W. Bartholemew] Cowper, J. [Restrike, English 18th Century. Brother of William Cowper, the poet.] Crammond, Henry R. "His book." [Woodcut by Roy K. Davies, Australia.] Creed, Margaret J. Crennan, James P. Crispin. [Design by Mrs. Crispin for Dr. Crispin.] Cristo, Calle del. [Design by Jan van Krimpen. San Juan, Puerto Rico. Croll, R.H. "My book."; [Image of tree]; [Design] Croll, R.D. Crooker, Adelia Higgins. Crooker, L.B. Mendota, Ill. 1875. Crowley, Daniel L. [From woodcut by Walter T. Murch for The Mysterious Universe, by Sir James Jeans.] Croxton, George. "Devant si je puis." Cummins, Harold. Currier, Richard D. "His book." [Typographic bookplate designed by Lew F. White of New York.] Curtis Institute of Music. Philadelphia. [Engraved by A.N. Macdonald] Curwen, E.C. "Si ie nestoy." Cushing, Frank Myrle. [Gift of Dan Margo.] Cushman, Jerome. "Children's literature collection." Cutler. D D., Eugene. "Cuisine Francaise." M.J.D. "My book." DaBoll, Ray. "From the library of ... " [Ipse fecit]; "Though I speak with the tongues of men ... " Daignault, W.E. [Image of boy in meadow] "Presented to:" [Image of skull with books] "Un livve estun ami qui ne trompe jamais." [Image of puppies] [Image of cats] [Image of queen] [Image of king] [Image of cats surrounded by smaller drawings] [Image of revelry in the forest] [Two mythological scenes] "Collecting of exlibris books" [Image of tower and musical notes] D'alessio, Carlo.[Image of seahorse]; [Image of violin] Dalmav, Antonio. "Inter folia fructus."; [Spain, 1921. Image of boy with instrument.] Daniel, Harry Macmillan. [Hawthorne House] Daniels, Olive. [Designed by Harry Lucas, Colorado] Danielsen, D. Alfred. "His book." Danielsen, Anna M. D'anna, Anthony. "Libro di ... " D'annunzio, Gabriele. [Artist G.A. Sartoris] Dartmouth College Library. "The gift of Mellen Chamberlain ... " [Engraved by J.W. Spenceley]; "Vox clamantis in deserto." [Engraved by J.W. Spenceley, 1907]; "Social Friends' Library." Dauch, J.J. [Designed by L.W. Shirley] Daughters of the American Colonists. "Past, present, future." Daughters of the American Revolution. Mississippi.; Cayuga chapter; "Sibley House, Mendota, Minnesota - Built 1835." [Designed by Cleora Wheeler, 1964] Davidoff, Henry. "Pour tous." Davidson, Flora Neil. "Blest be he who gives me books. Douglas Malloch." Davies, Roy. [Image of horses]; "His n."; [Image of house] Davies, Valentine. [Etched by J.W. Jameson] Day, Mary Bostwick. "U. of C. 1908. Librarian." Day, Steven. "January 11, 1642." [Facsimile of plate which may have been printed on the first press by the first printer.] Dayton Art Institute. "Presented by Louis J.P. Lott."; "Walter G. Schaeffer, in memorium 1887-1947."; "Gift of Julia Shaw Carnell." Dean, R.C. "Library book." Deats, Hiram E. "Instavratio saeculi felicis." [Allen. Likeness of Mrs. Deats for coin collecting.]; [Image of ceremony] Degouy, Nelly. "O.L. vrouw met de zonnebloem." [Holland. Madonna of the sunflowers.] Dekeyser, Herman. "Een boek van ... " [Wood. L. de Jaegher, Antwerp.] Dekeyser, Maria and Herman. "Zalig paschen." Deland, Margaret. [American author] Delargy, Marian Spach. Demattia, F. [Italo Zetti, 1945] Denver Public Library. [Modern typographic plate] Department of the Navy. "Bureau of Equipment. Crew's Library. U.S.S. New York." Department of State. "The Library. 1789." Derbyshire, Edith Cushing. "Cum libris horae pennatae sunt." Derleth, August. Sauk City, Wisconsin. [Woodcut used as bookplate by Derleth, Wisconsin artist and writer.] DeRonde, Ethel. [Claude Bragdon] Des Moines Garden Club. De Silver. "Verax et fidelis." Detroit Public Library. "Henry Glover Stevens Collection." "Press" "A device to be used on the publications of the ... " "Burton Historical Collection" [Name only; "Presented by." Designed by Charles Jaquish] "Presented by Mrs. James McEvoy" DeVinne, Theo L. "Aere perennius." [Engraved by Edwin Davis French, 1895, after design by George Flethcher Babb. Motto: "More enduring than bronze."] Devrient, Alfred. Dewez, Dr. Hubert M. [Engraved by Madame P. Colin-Gury, Paris. Image of doctor.]; [Image of knight and deer]; [Image of swans]; [Wood engraving by Valentin Le Campion. Image of woman.] Diamond. [Woodcut by Victor LeCampion. Image of eagle.] [Engraved on wood by Adrian S. Feint. Image of mountain and water.] "The house of ... " Diamond, Elizabeth Watson. [Woodcut by Kubyini. Image of queen.] "Collecting of exlibris books." [Wood engraving by Valentin LeCampion, France.] [Woodcut by Adrian Feint. Image of tree and pages.] [Wood engraving by Thomas Bewick. Image of children at table.] [From original block by Thomas Bewick. Image of shepherd.] [Wood engraving by Thiss Mauve. Image of flower.] [Wood by Max Kizlinger. Linz, Australia. Image of woman and animals.] [Etching by Sidney L. Smith. Portrait of Cobden Sanderson of the famous Doves Press, England.] [Etching by Van Bayros, Vienna. Image of woman at piano.] "One moment of the well of life to taste." [Design by Willy Pogany, etched by J.W. Jameson.] "And then and then came spring." [Design by Willy Pogany, etching by J.W. Jameson] "Betsie Diamond." [Engraved by J.W. Jameson] [Copy. Etching by L.V. Smith. Image of men and books.] "First edition." [Process from etching by L.V. Smith.] [V. Fleissig, Prague. Image of man and woman on earth, angel in sky.] [Image of hat and house.] [Initial book plate for Hyacinth Press books.] "Beckydee." [After the Tenniel illustrations for Alice in Wonderland.] [Design by Sacha Kronberg of Vienna. Image of girl with candle.] "Sauce for the gander." [Design by Fridolf Johnson] "Betsie D. Cookbook collection." [Design by J. Wuyts for books of satire. Image of angel reading book.] "My book." "Jo." "Needlework Books." [Design by Sascha Kronburg. Image of angel and flower.] [By Vadasz of Budapest. Images of angel with hearts on gown, girl holding book with "D."] "The Hyacinth Press, Cleveland." [Artist Ralph Hodges] Cleveland Heights, Ohio. [Image of flying horse.] Diamond, Jacob Eduard. [Woodcut by Victor LeCampion. Image of woman.] "Jack Diamond." [Woodcut by Kalman Kubyini. Image of king.] [Victor LeCampion, 1947. Image of city.] [Wood engraving by Dale Nichols. Image of boat.] [Wood, Dale Nichols. Image of pinetree.] [Woodcut by Kalman Kubyini. Image of tree trunk.] [Process from etching by L.V. Smith. Image of woman by stream.] [Etching by Kalman Kubyini. Image of man, book, and instrument.] "Lincolniana." "The Daipure Press, Cleveland." [Artist Ralph Hodges] [Image of three women.] [Image of trees and flowers.] Diamond, Warren Hastings. "Miseris succurrere disco." Dick, Christian R. "In principio erat verum." [Etching by James Webb]; "From the books of ... " Dickens, [Charles]. "A page from Dickens." [Etching by J.W. Jameson] Dickinson, Theodore. "Esse quam videri." [Engraved by J.W. Jameson] Dijk, Siet van. Dijkhuis. "Boek van ... " [Linocut] Dijkhuizen, B.J.H. [Wood. Nico Bulder, Holland. Image of waves.]; [F. Heinekamp, 1941. Image of books.] Dijkstra, Fokke. [Wood engraving. van Regteren Altena, 1943.] Dikreiter, Heinrich George. [Wood engraving by E. Huber. Image of elephant.]; [Wood engraving by E. Huber. Image of hippopotamuses.]; "Zuegen"; [Monogram]; "Aus der Buecherei des Stadtrates." Dillon, Isaac. Diplomatic Affairs Foundatin. "Ex omnium consilio legibusque maior gentium ordo." Dirr, Dr. Med. Bruno. "Ora et labora." [Etching by Fritz Botel] Dirr, Dr. Med. Maria Hildegard. [Etching by Fritz Botel] Doane, Gilbert H. [From original block by Thomas Bewick. Image of beavers.]; "The Vermont collection ... " Dobson, Alban. [English essayist] Dobson, Austin. "His book." [Reproduction] Dodge, Stanley D. [Hawthorn House] Doheny, Estelle. Los Angeles. Dohrman, Austin F. Jr. [Design by Norman Kent] D'Olier. "La bonte de dieu." Domingo Hospital. Dona. [Rick Cusik, 1971] Donin, Dr. Richard K. "Froehliche Ostern!"; "Geregnete Ostern 1946 wuenscht hofrat." [Wood. Ernst Schramm, Vienna, 1946.] Donley, Elizabeth. "Her book. If thou art borrowed by a friend ... " Dorchester Athenem. "Presented ... by Am. Unitarian Assoc." Dorkey, Margaret E. [Design by Harry Weyl, Rochester, NY.] Dorschfeldt, Erich. [Etching by Franz Botel] Douglas, Johannis. "Episcoi Larisburiensis. Honi soit qui mal y pense." Douglas, Marion. [Woodcut by J.J. Lankes] Dowling, Frank. "Le consnam de duaidim." Downey, Mary Elizabeth. Downs, Frank B. [Frincken] Downs, Jere Arthur. Dowse, Richard. Doyle, Irene. [Monograms]; [Etching by Sara E. Blake. Image of girls.]; [Image of Mary and Jesus]; [Etching by Leslie Victor Smith. Image of house.] Dressler, Otterbein. "Osteopathic doctorus ... " Dressler, Roldon Philip. Drewson, Pierre. [Design by owner, color chemist] Dreyfus, J.G. [Wood engraving by Joan Hassel, an English artist] Driel, G.B. van. [Wood engraving. van Regteren Altena, 1946.] Dudesek, Karel. [Etched by V. Fleissig] Duffield, Ricardi. "Coll. Sti. Joannis Evang. Socu. Esto semper fidelis." Duggar, Ben. "Longa vita brevis." [Dan Burne Jones] Duncan, George A.P.H. "Disce pati. Secundis dubiisque rectus." Dunston, Ambrose Ellis Aspinwall. "Fortis et vigilan. The King's Own Royal Regiment, Burltons." Dunwoodie Seminary. "Bequeathed ... by Patrick P. McAleer ... " Durantis, Gabrielis. Durfer, Ella. "Xmas Greetings." Dye. Dky, Constant van. E Earle, Colin P. [Woodcut. Roy Davies, Australia] Earle, Jean M. [A corner of Jean's room, drawn for her by her father.] Earlham College Library. "Grant from Carnegie Corporation."; "Lilly Library. Gift of David W. Dennis."; "Carnegie Corporation for the Advancement ... " Eastman Memorial Foundation. Laurel, Mississippi. Edwards, Marjorie F. "Hope thou not much and fear thou not at all." [Quotation from Swinburne] Eeckhout, P[aul]. "Litterarum." [Wood. Belgium, 1945.]; [Ipse fecit. Image of city.] Eeg, Anna-Lise. [Typo. Denmark] Eeg, Erik. Eggenburg. Egmond, Jaap. [Handcolored linocut. Image of flowers.]; "Uit de ex librisverzameling van ... " Egmond, Lien. [Woodcut. Dutch.] Ehrler, Donald Robert. "Although this book is lent to a friend by ... this does not imply that he no longer owns it." Eigner, August. Eikenberry, E.C. [Design by David Sarvis] Eisenberg, B.M. [Mrs. Eisenberg was a librarian at Cleveland Medical Library] Ekelen, W. van. [Etching. H. Levigne, Holland.] Ekins, Rev. Fred. "Fortiter gerit crucem." Elaine. Elema. [Wood engraving. van Regteren Altena] Elinor Blount Memorial. [From a design "Scandinavian Dance" by Blount] Eliock, Lord. "Famam extendimus factis." Elliott, J.P. Ellis, Edward Adams. "Non haec sine numine." Ellis, Elizabeth and Ethan. "A book of ... " [Etching by J.W. Jameson] Ellis, Lewis Ethan. Ellwell, J.H. "Boston Tea Party" Ellsworth, Edward Bryant. Elsasser, Oscar. "Oscar Elsasser's Buch" Eltiner, Antonia. Elwood, George May. Emerson, George Waldo. "Truth swerve not, neither to the right nor left, fixed and eternal as the polar star. Hutch your wagon to a star." Emilia, Creima et Eucarestia di. [Woodcut by G. Mantero] Emmens, Jan. "No curo de sus ficciones." Engel, A.M. "Mein Buch. Hofbuchbinder." Engelbert, Eelco. "Geboren ... Zoon van Hans Hesse en Josje Hesse-Oostendorp ... " Engels, Edwin. "Know then thyself, presume not God to scan the proper study of mankind is man. (Pope)." Englebeck, H. & M. Enoch Pratt Free Library. "Given by ... "; "Edgar Allan Poe Room ... "; "Garden book shelf ... " Episcopal Church of Saint Mary the Virgin. San Francisco. Ercolini, Alice Hitchcock. "Society of Mayflower Descendents." [Engraved by Frederick Britze of Copenhagen] Ercolini, Bruno L. [Wood. Bruno Bramanti, Italy. 1951.] Ercolini, Mary Alice. "E"; [Image of cat] [Image of cat on book] [Image of cats] "Bookplate books" [Engraved by Frederick Britze of Copenhagen] [Image of cat's face] [Desings by Muggi Nielsen of Denmark, 1959. Image of cat and hands] [Desings by Muggi Nielsen of Denmark, 1959. Image of cat in box.] [Harry F. French, California. Monogram.] "He that hath the steerage of my course direct my soul." [Etching by Dorothy Payne, New Hampshire] [Image of woman] [Image of village] [Image of girl and cats] "Ars donum dei." 1952. [Juan Estiarte, Barcelona] [Design by G. Ballarate, Como, Italy. Image of fan.] "Eppur si muoue." [G. Ballarte, Como, Italy. Image of window.] [Inspired during 1968 Ex Librix Congress in Como. By Mark Sererin of Belgium. Image of cat by gate.] [By Barande. Image of cats and flowers.] [By Osiander, Barcelona, 1969. Image of cat in city.] [Design by P. Quetglas of Mallorca, Spain. Image of man.] [By Frank Alpresa of Spain, for cookbooks. Image of food.] [Images from Alice in Wonderland after Tenniel.] Ernst Hertzberg and Songs. "Here's your place! ... " Eschauzier, Nini. "Dit boek is van ... " Eschauzier, Ir. W. A. [Wood engraving. van Regteren Altena, 1943.] Eschauzier, W.H. [Wood engraving. van Regteren Altena, 1943. Image of deer.]; [Wood engraving. van Regteren Altena, 1943. Image of books.] Esse quam videri." Essex Institute. "Frederick Townsend Ward Memorial Fund." [Salem, MA. Etching by Sidney L. Smith.] Etterman, M.M. [Wood. Thijs Mauve.] Ettinger, P. Eugenia, Maria. Evans, Clara Therese. [Wood. Meuller. Image of crown.]; [Etching by W.F. Hopson. Image of book.] Evans, David and T.S. "Canon et Profess Graec Litt in Univ Dunelm. 1889." Evans, John W. Evanston Public Library. "Medical Science Section ... " Evansville Public Library. "A gift in memory of Casselberry Dunkerson ... " [Printed by C.P. Rollins, Yale University Press.] Evends, John. [Ipse fecit. Author and artist formerly of Sandusky.] Everett, Edward. "Patria veritas fides." Everett, Meldon. [Design by Rudolphe LaRiviere.] Ewers, William and Amy. [Designed by Claude Bragdon] F F.A.C.E.L. A.F. P.F. F. Fabregas, Luis. Fairley, Eileen. [Wood engraving by Allen Jordan, Australia] Falladova, Olga. [Czech, 1927] Falor, William. "His book." [Design by Ernest Morgan] Faragher, Paul Vance. [Design by Valenti Angelo] Faragher, Marth Jean. [Design by Valenti Angelo] "Fare fac." Faris, Colin. "His book." [Woodcut by Australian artist, Will F. Mahony] Farmer, S., Esq. "Nonsuch Park." Farquhar, Peter. "His book." Farr, Clifford. [Woodcut. Roy Davies, Australia] Favour, Paul. [Design by Charles Leroy of Rochester, NY] Feather Vender Press. [W.A.D. Wiggens.] The Fellowcraft Club. "Cleveland, Ohio." Felsenstein, Grete. "Aus den buechern ... " [Typographic, Weissenborn] "Femina spada." [Copper engraving. French, 1882.]` Feniger, Ben. "Ex privata biobliotecha of ... " "I would rather be right than be President. - Henry Clay." Fenton, Helen M, Harry, and Joseph. Fenton, Helen Mooney. [Etching by James Webb] Fenton, Joseph Henry, Jr. Fenton, Wm. D. [Image of map of Oregon, June 6, 1838, "with report of Senator Linn."] Ferrara, Obici. Ferreol, Francis. Ferris, Warren W. [Designed by Egdon H. Margo, 1965] Fetzer, John Earl. [Fetzer Broadcasting Co., Kalamazoo, MI] Feydt, Georg P. Filby, William and Vera Ruth. Savage, Maryland. [Designed by Jim McDonald, San Francisco] Filene, Edward Albert. "When work is for the commonweal - then work is worship - work is prayer." Filiorumque, Caroli ac Mariae Lacaitae. Selham, Sussex. Fincahm, H.W. Fincken, J.H. Findeisen, Isolde. [By Gerhard Tag, Liepzig] Finegan, E.H. Fink, C.W. [Linocut by Betty Arnold] First Presbyterian Church of Laurel, Mississippi. Fisher, Frederick Bohn. Fitton, Elaine Jones. "Grenelle." Flacks, Aaron. Fleishmann, Charles Baron. "The theatre is the mask of life - the mask of our mask of life. - Rollo Peters." [Design by Paul McPharlin] Fleissig, V. [Photograph, Prague] "Ex libris." "P.F. 1949" [Woodcut. Otto Feil, 1933. Image of building.] "P.F. 1948" [Copper. Kulhanek, 1918. Image of person's mouth being covered.] [Image of ink bottles] [Image of skull] Flich, Luc. "En Nel van Gelderen." Flinn, Robert Stanley. Flint Public Library Flora Stone Mather College Library. "From the library of Howell M. Haydn Harkness ... " "Augusta Mittleberger ... " "Harriet Sheldon Hurlbut Fund ... " "The Charles Franklin Thwing Fund ... " "William Henry Hulme ... " "The George Warren Billings Memorial Gift ... " Flowers. Floyd, Emily Carutine. "Drink! For you know not whence you come nor why. Drink! for you know not why you go nor where." Fluss, Franz. Fokina, Vera. Ford, Emma Van Allen. "Here I maie reade all at my ease ... " Ford, Horace and Angie. "There is no past so long as books shall live. - Bulwer-Lytton." Forehand, Frederic. [Grandson of Ethan Allen] Forest Products Laboratory Library. Madison, Wisconsin. Forgue, Norman W. [Ipse fecit. Norman Press, Chicago.] Forgue, Stepheny Eveline. [By Norman Forgue, Chicago, 1949. For his daughter.] Forman, Miroslac. [Four-colored engraving. Czechoslovokia, 1925.] Forrest City Public Library. "A treasure house open to all comers. Take the little book which is open in the hand of the angel." Foster, May F. "Crime & mystery, detective stories, tales of horror." [Illustration from the first edition in paperback oif R.L. Stevenson's Body Snatchers. Set up and printed by T.H. Foster at the Idle Hour Press, 1930.] Foster, June Eleanor. Foster, T. Henry. "It's a gift." "Si fractus fortis." [Modern armorial. Engraved by J.W. Jameson.] [Image of Indian in boat] [Etching by J.W. Spenceley. Image of house by water.] [Etching by Von Bayros. Image of man and woman.] "Stowiana" [Engraved by J.W. Jameson] Foster, William. [Early armorial] Foulkes, Thomas and Althea. "From the library of ... " [Design by Harry Weyl, Rochester.] Fowler, Harry Alfred. Catalog of publications.; "Anno 1920"; "The enclosures are submitted for your consideration ... " Fowler, Wilma. [Engraved on wood by Carl S. Junge] Fowler, Harry ALfred. "Eragny Press." Fox, James. Sheffield. F. "Notare a St. Quentin." Frances. Francken, Maria J. "Ex libris studiosis aptis ... Additus." [Designed by Mia Van Regteren Altena] Frank, Elmer J. Franklin Institute. [Image of Benjamin Franklin] "Purchased with income of the Howard N. Potts Fund." "The James T. Morris Memorial Fund" "The Howard Potts Library Fund" "The Lewis Edward Levy Library Fund, 1919" "Presented by ... " "The Isaac B. Thorn Memorial Library ... " "The Walton Clark Memorial Library" "The Marion Reilly Memorial Library" "The Henry Leffmann Memorial Library" "Purchased with the bequest of Mathew Carey Lea" "The Lewis S. Ware reference collection on sugar" "Memorial Library of the International Electrical Exhibition, 1884" "Collection of the National Puzzlers' League, Incorporated" "Ogden N. Rood Memorial Library" Frapprie, Frank Roy. [By A.N. Macdonald. Reengraved from vignette in "The Pilgrims of the Rhine" by Bulwer Lytton.]; "1935" [Etching by A.W. Heintzelman. Image of knight.]; [Engraved by A.N. Macdonald. Image of knight with armor on.] Frateur, Jan. "Geheel aan allen." "Dank God met my voor de groote genade van myn Priesterschap. 24 Jun., 1943." Frederick Strecker Press. "Given in exchange by ... 1930." Freiberg, Bertha Louise. Freiberg, Siegfried. [Haas, Vienna] Frempel, Hans Unisforh. [Prof. A. Kolb, Liepzig] Frese, Walter. "His book." [Typographic bookplate designed by Lew F. White of New York." "Frohe ahrt ins neue Jahr." Frohnsdorff, Doris. [Had a bookshop in Gaithersburg, MD specializing in childrens' books. Designed by Donald Hendricks.] Frost House. "J.N. and E.B. A book from ... " [Etched by J.W. Jameson] Frost, Kendal. [By Worth Ryder, 1912. Art Department, University of California. Image of monkey with mask.]; [By Arthur Miller. Art critic, Los Angeles Times. Image of men on steps.] Frost, Dorothy and Kendal. Frost-Hansen, Poul. Fucik, Jan. Furman, Dorothy. "O for a booke and a shadie nooke ... " Fry, Charles. "Fidelitas." Fulton, Hilda Jane. Fumagalli, Dott Stanislao. "Fronde virere nova." Box 3 Folder -- Contents G F.G. [H. Woyty-Wimmer] M.G. [Etching by Disere Acket] Gallop, Herbert R. Gambini. Garcia, Gaye. [Rick Cusick, 1971] The Garden Club of Ithaca. Garden, Joy. [Woodcut by Adrien Feint, 1944. Australia.] Gardner, Edna. "Edna Gardner's book." Gardner, Isabelle. "Her book." Garfield-Perry Stamp Club. Cleveland, Ohio. Garrett, Alexander A. Gartner, John. [Woodcut by Adrian Feint, Australia] Gary Y.W.C.A. "In memory of Frieda Elias Cottingham from Capter O Peo." [Design by David Sarvis] Gasden, Alabama Public Library. Gastel,l Walter van. [Belgium. Image of man with bird.]; [Belgium. Image of flowers.] Gear, Harry Barnes. "Non sans cause." [Modern armorial engraved by J.W. Jameson] Geest, Th. De. "Spiritum nolite extinguere." Geib, Frauty[?]. [Cleveland doctor] The Genealogical Society of Pennsylvania. "Veritas." General Baptist Academy. General Baptist Education Fund. "Founded in 1794. By order of the General Baptist Committee ... " Geneseo Normal Library. Genesee Hospital School of Nursing. George Burgess Magrath Library of Legal Medicine. "Founded in his honor, 1933." George, Caroline. George Washington Masonic National Memorial Association. "In memory of Rae John Lemert ... " Georgia State Library. "Not to be taken from the Capitol Building." [Modern Georgian] Gerard, Kathryn Daly and Sara M. Daly. "Would there were thirty legions of them." [Designed and etched by Dorothy Payne] Gerhard-Tag. [Name only]; "Edel seider Mensch, hilfreich und gut. Goethe." [Leipzig, 1948]. "Quousque tandem 1949." [Leipzig] "Glueck und Gezundheit alle Zeit." "Hoppla! Auch der Tag ... " "Herzlichst gratuliere ich zum Geburtstag und wuensche alles Gute ... " "Glueckauf und gesundes Naujahr." Gerritsen, M. "Litera scripta manet." Gibson, John. Gildemyn, I. "Je mettrais Paris dans mon gand." Gilfillan, Louise W. and S. Columb. "Hunc librum juste habent, carum habent et longitus havere uelint. Armis et animis." Gillespie, Lillian Stokes. "First edition." Gilpin, Henry D. "Dictus factique simplex." [Designed by C.G. Childs, 1820." Gilpin Library Chicago Historical Society. Ginsberg, Louis. Giarud, Paul. "Esprit et elan." [Wood by Ernst Huber, Strasbourg] Giulini, L.T. [Wood, Thojs Mauve] Glencoe Public Library. "Improve your hours for they never return. Per mare per terras." Gminder, Thomas H. Goble, Leroy T. The Gobles. [Design by Carl S. Junge] Goebel, Harry C. [Image of owls]; "Ex libris"; "From the library of"; Goldsmith, Abraham. [E.D. French] Golightly, Frances M. Gonzalez de la Riva, Elena. [Spain] Goodall, Josiah Montague. Gooding, Ino. "Nitor in adversum." Goodwin, George. [Attribute to Doolittle, publisher of "The Courant." Hartford, CT.] Gordon, G. Maitland. "Dread God." Gorton, Gay. "Her book." Gosi, Lena. "Vis poests." Gossler, Philip G. Govaerts, Constant. [Wood engraving by Disere Acket] Graf, Heinrich. "Freiden Arbeit und Gesundheit wuenscht fuer 1938."; "Ex libris." [E. Huber, France] Graham, William Creigh. "In pleasent books that crowd my shelf, I read whatever bands have sung of lands beyond the sea. Longfellow." Granados, Enrioue. "Catalonian composer." [Artist Ishmael Smith] Grant, Gordon. Gray, Arthur Fairfield. Greble, Mary D. Greenleaf, Daniel. [Allen.] Greig, Kathleen Ann. "Great grand-daugther eight times removed from the ancestor who acquired it." [By Theodore Jung.] The House of Greis. "Crescit in adversis virtus." Grey, Elmer and Anabel Hubbard. Gribbel, Elizabeth Bancker. [Wood engraving by Timothy Cole] Griggs, E.M. Grimmell, Elizabeth Wilhelmina. "Her book." The Grolier Club. "Founded New York 1884." Groot, Captain Francis Edward de. "The sword is mightier than the scissors." Groves, Leslie Richard. [Head of Manhattan Project] Guener, Edwin E. Gruenewald, Ernst. "Bitte um tausch."; "Viel Glueck wuenst holzschneider." [Leipzig] Guggenheim, Solomon R. Gurovich, Mary. [Dan Burn Jones] Guthrie, Ella. "Her book." [Linocut] Guthrie, James Birney. "Sto pro veritate." Gwathmey, J. Temple. Gzowski. H H. [By Allan Lewis, owner Frank Haviland] Haber, Louis I. "My silent but faithful friends are they." [Allen - page 349] Hacker, Friedel. [Vadasz of Budapest] Haefeli, Albert. "Metz aux champagnes magifiques ... "; [Image of house and grassy hills]; ["Ipse fecit - Spain," image of cathedral] Hagley, S.V. [G.D. Perrottet] de Haan, H.E. [Wood engraving - W.J. Rosendall, Holland, 1934] Halaz sz. Klara. "B.U.E.K. 1940." Halberstam, Edith. [Typo, Weissenborn] Hallstrom, Percy. [Sweden] Hamill, Ernest A. Hamilton, Arthur R. Hamilton, John. "Men make history." Hamilton Club Library of Chicago. "Rathbone Memorial, June - nineteen twenty-nine." Hamilton College Library. "Presented by Calvin Leslie Lewis."; "Library of English Poetry. In memory of Clinton Scollard of the class of 1881, 1860-1932." [Includes "Rememberance" by Clinton Scollard.]; "The Brandt Department of Germanic Philology." Hammersla, Wilbert B. "His book." [Typographic book plate designed by Lew F. White of New York] Hammond, James. "Circulating library ... " Hammond, Sarah Sanford. "The world's sweet inn from pain and wearisome turmoil. - Spencer." Hand, David Edward. "His book." [Woodcut by J.J. Lankes] Hanlon, Robert. [Australia] Hannsheeren, Herford. "Ex libris et musicis." Hanrath, Dr. Joh. J. "Uil de Verkeersbibliotheek"; [Image of rose on cross]. Hanrath, Nelly. Hantke, Gary. ["I've friends who borrow books of mine ... " by Richard Armor] Hansen, Relma Su. Hansson, Lisbeth and Goesta. [Typographic, Denmark] Harrassowitz, Hans. "Carpe diem." [Prof. B. Heroux, Switzerland] Harriman, Oliver. "Deus ex libris nobis." [Modern armorial] Harris, Edward Bledsoe. "An arch wherethro' gleams that untravelled world whose margin fades forever and forever as I move." Harris, Robert and Adelaide. Harriston, Robert A. "Absque virtute nihil." Harrod, Stanley. "His book." [Designed by the artist for himself] Harris, William. [Map of Isle of Man] Hart, Marian and Henry. [Wood engraving by Lynd Ward] Harvard Club of Boston. "Deposited by the Harvard Travellers Club in the Library of ... " Harvard College Library. "The Spanish Armada collection, given to the Harvard College Library by Thomas W. Lamont, '92." "The trail that is always new. Kipling Collection, gift of Flora V. Livingston." [Designed by Elisha Brown Bird] "Bentinck-Smith Typographical Collection." "Purchased from the Fund for Printing & Graphic Arts. Given by Philip Hofer, Class of '21." "Given in memory of Soma Weiss, M.D. ... " "Given in memory of Sumner Mead Roberts ... " "From the library of Harcourt Amory, class of 1876. 1927." "Bequest of Erasmus Darwin Leavitt, 1916." "Given by John Humphreys Storer ... " "From the library of Murray Anthony Potter ... " "The Gift of Alfred Claghorn Potter, class of 1889." "From the library of Robert Wheeler Willson ... " "Bought with the income of the Keller fund ... " "The gift of George Arthur Plimpton." [December 1924] "Gift of Daniel B. Fearing ... " "From the Thackeray Collection ... " "From the library of Mr. and Mrs. Thomas W. Lamont ... " "The gift of William B. Osgood Field." "From the library of Jeannette Dwight Bliss ... " "This volume from the Harvard collection of books on the fine arts ... " "This volume is from the collection of early English books ... " "The Keats Collection." "From the fund established by George L. Lincoln, '95." "The gift of Francis Greenwood Peabody ... " "From the library of Frederick Lewis Gay ... " "The bequest of William Lambert Richardson ... " "From the Wright collection formed by Percival Merritt ... " "From the fund given in honor of Charles B. and Lily C. Amory." "Gordon McKay Library of Engineering." "In memory of Julian Palmer Welsh ... " "Caroline Miller Parker collection of works, Walter Crane." "Theodore Roosevelt Collection ... " "Theatre Collection" "From the collection of books printed by Thomas B. Mosher ... " [Charles Capon] Harvey, P.W. and K.H. "Their book. Pine tree. Pemaquid Harbor." [Designed by Rudolph Stanley Brown." Haselbock, Karl. "Ex libris meis." [Design by Franz Lehrer]; "Mein buch." Hassan. [Design by Mrs. Milton Hassan, Birmingham, AL, 1944. Images of Persian symbolism.] Hatch, Frank and Marian. [Etched by W.D. Hilton] Hatch, Marian H. [Engraved by Harry French]; "From the collection of cookery books"; [Engraved by A.J. Downey, image of materials for cooking] Hathaway-Brown School. "Cleveland, Ohio. Non scholfe sed vitae discimus." Hatton, Harrison. [A Kentucky road by Cleora Clark Wheeler] Hauff. Havemeyer, H.O. "This book was the property of my grandfather, Chas. F. DeLoosey." Havens, Mary C. "Grave scholars and mad lovers all admire and love and each alike, at his full tide. Those suave and puissant cats, the fireside's pride, who like the sedentary life and glows of fire. - Baudelaire." Havens, Munson and Hetty Ganson. "Their book." Hawaii. Hawaiian Government Law Library.; Library of Hawaii, "The gift of C. Montague Cooke, Jr. ... " [Printed by C.P Rollins, Yale University Press] Hawley, Gertrude Morgan. [Woodcut by J.J. Lankes] Hays, Wm Leete. "His book." Haymann, Dr. Erwin. Hayward, Emeline Place. [By Paul McPharlin] Haynes, Moses Harriman (Grand Army of the Republic), John Tennyson, and Leonard Wood. "Gift from the libraries of ... " [Gift of Dorothy Whitworth Crest] Head, Frederick Waldegrave, Archbishop of Mebourne. "Study quiet." Heaps, Sally and Kenneth. [From an 85-year-old sketch of Antioch College] Heathcote, Gilbert Redders. "Et dieu mon appuy." Heaton, Nellie, "Gather ye roses while ye may." [By Isabel Adams, second state] Hecksher, John Gerard. "De heer en meur egmond wensen u van harte geluk." Heinicke, Paul. Helceleta, O. Helkama, Hannele. Henry, Mellinger Edward and Florence Stokes. "Veritas per na turam libros at que res hominum." Hepburn, C. [Woodcut by P. Neville Barnett, authority on Australian bookplates] Herkommer, Ingeborg. Hernarck, Anders. Herr, Alice A. [Image of house and river]; [Image of woman at the piano] Herrmann, Carl and Ruth. [By Lois Gilbert, 1930] Heuberger, Johannes. Heuvel, W. v.d. Heverley, Lawrence H. "From the books of ... "; "Ex libris." Heverly, Ned. [Design by Anne Danielson] Hewitt, John P. "Be just and fear not." Hewett, V.S. [Image of griffin] [Image of press] [Wood - Australia. Image of flower vase and books] [By Wm. Hunter, Australia. Image of man and flower pots] [Australian woodcut by Eric Thake. Image of books] Hewins, Harry M. "To study hard, think quietly, talk gently, act frankly - M.E. Channing." Heysen, Hans. Higbee, Frederic Goodson. [Design by T.E. French, engraved by A.N. Macdonald, 1932] Hilderson, G. [Woodcut, Gerard Schelpe] Hildreth, Ellen. Hill, Gertrude and Bob. "Our book, our dogs, good friends." [Design by Ben Albert Benson] Higgin, Spencer Perceval. "Per se valens." Hill, Geo. V. "His book. Bellevue, Hyde Park." Hill, Margaret. Hill, Minnie Lee Dodd. "Books are a finer world within the world." Hill, Robert E. [Trial proof, Mermaid Press. Fridolf Johnson.] Hiller, Brigitta Freiin von Gaertringen. [From Stuttgart] Hiller, Eldredge. [Tufts College] Hillsboro Club. Pompano, Florida. "Herbert Lawrence and Helen Parsons Malcolm." [Designed and engraved by J.W. Jameson] Hinton, Howard. [Linocut by G.D. Perrottet, Australia] Hirsch, Hanns M. "Gluck und freude wunscht ... "; "Ex libris." [ Ruse Reinhold - Vienna] Hirschler, Ernesto. [Gerhardt Tag, Leipzig] Hirschy, Flora and Fred. "This book belongs in the house of ... " Hitchman, Robert. "The years teach much which the days never know."; "Blessed is he that readeth - Revelations, 1:3."; [Designed by Father Robert Palladino O.C.S.O., Our Lady of Guadalupe Abbey. Lafayette, Oregon.]; [Image of angel]; "From the Place Names Collection of ... " [Vignette - Thomas Bewick, Lettering - Hewitt R. Jackson] Hoadley, Charles J. and George E. "Veritas et patria. Gift of ... " Hobart College. "Disce vita lux hominum."; "The Milton Haight Turk Fund ... "; "The Mary Williamson Marston Music Library." [Designed by Norman Kent]; "Ben Twiss ... " [Designed by Norman Kent] Hoblyn, Richard A. "Impediant foris delectant domi non." Hofer, Philip. [Design by W.A. Dwiggens. Typographic by Carl P. Rollins. Image of goose.] Hofheinz, Rudolph H. Hofheinz, Rudolph and Katy. [Engraved by A.N. Macdonald, 1908] Hoffman, Ellen Agnes. [Image of book]; [Image of mountains] Hohenberg, Arnold and Marguerite. Hohenberg Memorial School. "Tallulah Brockman Library" [In memory of Mrs. Marie Bankhead Owen's mother.] Hoke, Helen Mae. "Mine." [Mrs. Charlie Hoke, Sandusky, Ohio] Holbrook, Charles Edward. [Engraved by J.W. Spencely] Holden, Edwin B. "Delectant libri properitate feliciter arridente; consolantur individue nubila fortuna terrente. - De Evry." [E.D. French, 1894] Holden, L.E. "Nec temere, nec timide." Holladay, James A. Hollins College. "Presented to Hollins College, Virginia, by S. Herbert McVitty ... " Hollond, Ellen Julia. Holman, Robert. [Designed by Dan Burne Jones] Holmes, Oliver Wendell. "Per ampliora ad altiora." [Showing the chambered nautilus, "from lower to higher things."] Holzer, Harald. The Holzer Hospital. [Yellow Springs, Ohio] Homer, Eleanor Maree. "Sigillum Universitatis Pennsylvaniensis Curatorum."; [Images of books and trees, design by James Webb] Hooley, Ernest Terah. "Risley Hall, Derbyshire. En dieu est ma foy." [Early armorial, restoration style] Hoover, Homer Leach. "From among the books of ... "; "Ex libris." Hooyschuur, P. Tarc. [Wood engraving - Nico Bulder] Hopkins, G. Dare. "Aut suavitate aut vi." Hopson, W.F. "Old books to read, old prints to scan, to carve old wood, old friends to greet. New Haven." Horrie. Horticultural Society of New York. Hoskyns, Blanche. "North Perrott Manor." [From Ladies Bookplates, etched by W. Monk] Hotham, Beaumont. "Lead on." Hotson, Katharine. Hough, Dorothy Whitehead. [Design by Ann McGraw] Housatonic Valley Regional High School. "A gift in memory of Herbert Scoville ... " [Printed by C.P. Rollins, Yale University Press.] Hove Public Library. "Floreta Hova" Howard, Sidney Damrosch. Howard, W., M.D. [Engraved by E. Mitchell] Howe Memorial Library. "Artemas Ward, New York. Presented to the Howe Memorial Library, Shrewsbury, Mass. 1924." Howes Library Farm. Howell, G.M. Howell, Joan. Huber, Jucie and Ernest. "Paix et prosperitie pour 1937 vous souhaitent."; "Fais comme le cadran, solaire ne compte, que les heures claires." Huber, Mabel L. [By Isobel Sarvis] The Hudson Library and Historical Society. "Founded in 1910, the Historical Society Collection."; [Image of boy looking at village] Hutala, Laina. [Linocut, Finland] Hughes, Rupert. "Whitewood." Hume, Edgar Erskine. "Remember, true to the end." Hungerford, Edw. "His book." Hunnewell, James Frothingham. Image featuring "North end of my library, Charleston." [Engraved by Sidney L. Smith, 1902] Hunt, John Standish. "Sapere aude." Hunt, Roy Arthur. Huntington, Jeannette Wadsworth. "Library of ... Rochester, New York." Huntting, Mary Newton. [Wilbur Macey Stone] Hurt, C.A. [Designed by James Hayes] Hus. "Koryve." Hyland, H.C. [Wood by Phillip Litchfield] I Ibanez, Vicente Blasco. Library of Illinois College. "Purchased with the income of the James Hewes Crispin Fund." "In alta tendo." Indiana Historical Society. "William Henry Smith Library." [Franklin Booth, 1933] Indiana State Library. Inevranlable. Insull, Mr. Samuel. "This book is the property of ... " [Of Chicago, IL, was associated with Edison] The Insurance Society of New York. "George C. Howe Fund." Ingraham, Edward D. "Magnanimus esto." [A man of great learning and eccentricity, lawyer, died in Philadelphia 1836] Innitzer, Ot. Tb. Institute of Paper Chemistry. Appleton, Wisconsin. Internationale Stiftung Mozarteum. Salzburg. "Zur freundlichen Beachtung ueberreicht!" Ione. [Typographical border from a French type specimen book about 1810. Lettering by Paul McPharlin. Hand press printing.] Ipswich Public Library. "Treadwell Donation, 1872." Irving, Major. "Sub sole sub umbra virens." Irvington Methodist Church. [Designed by G.H. Petty, typographer of Indianapolis. Image of bible with candle.]; [Designed by G.H. Petty of Indianapolis, not used. Image of bible and hands.] Ivaldi, S. [Ipse fecit - 1948] J J.L.E. J.P. [Wood - W.J. Rosendaal] Jacinto, A. Jr. [I. Britze, artist. 1946. Spain].; "Luz espiritual." Jakubkova, Zdenka. Jandikovi, Antonin and Anna. [Czechoslovakia] Jaer, Olaf. "Enhver er sin lykkes smed." [Ipse fecit, 1943] James Barrie Playground. "Oak Park. Those who bring sunshine into the lives of others cannot keep it from themselves. - J.M. Barrie." [Design by Carl S. Junge] Jameson, Harriet C. Jamieson, Jeannette. "My own book." Jameson, John William. "Heraldic library of ... " Jancakova, Marie. [Image of flowers]; [Etching by V. Fleissig, Prague. Image of house and trees.] Jansen, H.A. Japanese plates. Jean. Jeavons, W. Norman. [Engraved by J.W. Jameson, design by W. Normon Jeavons] Jeavons, Mildred. Jebb, John. "Bishop of Limerick, Ardfert and Aghadoe." Jenkins, Florence. [Design by Elsie Hassan] Jenks, Louise Davidson. Jenner, Edward David. Jensen, Gerda Povl. [Norway] Jephson, H. Jespersen, Juno. [Typographic, Denmark] Johanson, Inga. [Design by Herman Ryers, 1957] John Crerar Library of Chicago. "Great is the figt that bringeth knowledge." [Engraved by E.D. French] John o' London's Weekly. "With the compliments of the Editor of ... Travel, nature, romance, science, history, poetry, biography, detection." Johns Hopkins University. "The Library."; "Sidney Painter Collection" [designed by James Hayes]. Johnson, Mrs. A.S. "Library of ... New London, O." [About 1885] Johnson, Eleanor Lydia. "Romantic literature." [Etching by J.W. Jameson] Johnson, Fridolf. "Salome Collection." [California artist. Woodcut by Ben Albert of Benson of Chicago. Image of Jesus.] "Juveniles." "1941." [For Johnson's mermaid and marine books. Image of mermaid] "From the books of ... " [For Greek and Roman books.] [Vannuccini] "Military books." [Blue border] [Orange border] Johnson, Georffrey A. "Honor virtutis praemium." [Linocut by G.D. Perrottet, Australia]; "Ex libris" Johnson, Madeline. Jones, Dan Burne. "Americana." [Design by Dan Burne Jones]; "Doron philotechnias dunamis."; "Rockwellkentiana."; [Design for bookplate, "Baby Pine."] Jones, Jacquie and Dan Burne. [Designed by Rockwell Kent] Jones, Eliot. [Professor of transportation, Leland Stanford University] Jones, Isaac. "From the Isaac Jones Memorial Book Fund, established 1937." Jones, K.L. Jones, Louise Seymour. "Ex libris." [Designed by Ward Ritchie. Jones is an author.]; [Cartoon image of flower with a halo.]; "Elsewhere." Jones, Mary Caldwalader. [Label made by the Merrymount Press for a collection at the Huntington Library] Jones, Nevena Louisa. [Modern English by Sidney Hunt] Jones, Suzanne R. [Wood engraving by John Buckland Wright] Jovbezt, Des Robert. Journaux, Andre. Joyce, William Kelly. "Mors aut honorabilis vita." [Mrs. Mouch's brother-in-law, Detroit] Junge, Fannie and Carl. Juques, Bertha E. Jurgens, Jacqueline. [Mia Van Regteren Altena] K F.K. Karacsonytkivan, Boldog Magyar. "Rethy istvan." [Hungary] Kaakinen, Elsi. [Lino, Finland]] Kaempffert, Waldemar. Kahl, Hugo. "Memorial library of ... " Kane, Joseph Nathan. Karnosh, Louis J. "Vincit qui patitur." [Western Reserve University, Cleveland. His design.] Karp, Wlater and Lily Kiraly. Karsama, Antti. [Linocut, Finland] Kasper. [Image of man with flowers]; "Deutschland, Amerikan zone." Kaftalio, M.A. [Wood engraving. H. Woyty Wimmer, Vienna.] Katylansky, Chaim. Kautz, Elnora. Keable, Robert. "My sonne seeke wisedome from thy youth up." Kemper Bocock Memorial Library. "Onward and upward." Kellemes, Husveti Unnepet Kivan Buday Gyorgy. "1933." Keller, Raymond. Keller, Stanley. [Roland W. Sund] Kemble, John Haskell. [Authority on maritime and naval history, author.] Kent, Norman. [Mailing label] "Ex libris." [Ipse fecit] "1935" [Ipse fecit] "1941" [His design] Kennard. Keppel, Frederick & Co. "For reference only." Kerlan. "The Kerlan Collection, Univeristy of Minnesota." Keverstone Library, Leveson Scarth. "No book is worth anything that is not worth much. - Raskio." "Sibi et amicis." Kewanee Public Library. "Edward Poole Lay memorial." Keyser, Edward de. [Image of man reading book]; "Gandavensibus." [V. Stuyveart, 1943. Image of woman.] Kiefer, Marlis. "Aus den buechern ... " [Typo, Weissenborn] Kimble, Gertrude and Mary. [Printed by Philip Reed] King, George Gordon. Kings County Medical Society Library. "Bought from income of Dr. George MacNaughton Memorial Fund, established 1916." Kingsford Smith, Sir Charles. "Air Commodore." Kingston, H.B. "My book." Kingwood Center Library. [Mansfield, Ohio] Kinker, G.A. [Etching by Franz Botel] Kinnicutt, Leonard Parker. "Kenne Gott." Kirk, Walter Radcliffe. "Optimum quod primum." Kirkland Town Library. "In memory of Margaret Catlin Brandt." Kittredge, William A. [Design by Bruce Rogers] Kislinger, Max. Kivan, Boldog. "1939 Et. Bencsik Elly." Klaare, Bruno. Klement, Rudolph and Anastasia T. [Vienna, 1920] Klensch, Chip, Elisabeth Gabriel, and Chuck. Klingberg, J.E. [Drawn by C.R. Capon, printed by the Anthoensen Press] The Kirtland Collections. "From the library of Dr. Jared P. Kirtland, placed in the custody of Western Reserve University by his granddaughter, Mrs. Caroline P. Cutter, November, 1900." [Anne Morrow Lindbergh's grandmother] Klingler, Hans. [G. Weigel, Leipzig] Klleber, J. [Woodcut] Kleiner, Rheinhart. "Books to borrow or to buy, / Nowadays are ever nigh; / Borrowed, once, they're apt to roam - / Let's be sure they all come home. Chester, NJ." Kneebone, Carl and Lucy. Knox College. "Gertrude Chapin Thomson and Frank D. Thomson present the books of the Saunders Studio Press published by their daughters ... " Kobler, John. "Borrower beware. From the crime library of ... " Koch, Kathe. [Karl Bock, Vienna, 1936. Linocut.] Koch, Louis Alice. "Frankfurt of Main." Koeger, Armand. Kohn, Morton C. Konigsbrun, Ant. Bar de. "Bibliotheque." Konyve, Berenyi Laszlo. Konyve, Bozsi. [Modern Hungarian] Konyve, R. Judit. [Modern Hungarian] Konyve, Szekely Lilly. Konyve, Valeria. Koolwijk, Tom Van. [Woodcut. Pam Reater, 1946.] Konyve, Zsolt Njura. Konyveibol, Radvanyiek. Kopecky, Vaclac. Koretz, Mae and Leo. "One of our books." [Designed by Will Ransom] Kotku, Macek. Kotkova, Vera. Kozuka, Shoji. [Wood. Karl Bock, Vienna.] Kremlackove, Kniha Marie. Kotrba, Emil. Krilch, Frau. "Mit Loift wohnen jetzt im halstock im felben haufe." [Wood engraving by H. Woyty Wimmer.] Kroch, A. "For the bookseller is a man who carries a magic key in his pocket, and if you are able to gain his good will, he can and will unlock such wondrous treasure chests for you that you never need experience another dull moment as long as you live. - H.W. Van Loon." [Chicago book dealer] Ksiazek, Z. and T. Szpakowskiego. "Najwieksza ... " [Etching. Jakibowski, Poland.] Kubickovych, Ruzeny and Karla. "Z knih." Kuhn, William Jamison. [Engraved by J.W. Jameson] Kuehnert, Dr. Curt. Kulak, A. Okolo. [Warsaw, Poland, 1938] Kulp, George B. Kurzes, Karel. [Czechoslovakia, 1943] Kuyper, Jaap. [Birth announcement]; "Nieuewjaarsgroet van bep ... " Kurczowny, Idy. "Z biblioteczki." Kuylen, Wim Vander. [Disere Acket] Box 4 Folder -- Contents L E.L. [Italy] E.D.L. F.E.L. H.C.L. "Vita sine literis nihil est. 1838." Lacrtoix, Dsire. "Ubique et semper quaero ... " Ladiges-Taal, Annie H. "Boek van." Ladiges, Annie. [Etching by Aernd Hendriks, 1945] LaGrange, Comte F.de. "Biblioteque de Dangu." Lakeside Press. "R.R. Donnelley and Sons Company. Training Department." Laine, Kerttu. Laird, Eunice K. and William K. Lambke, Audelle M. Landacre. [American contemporary] Lane, F.C.V. [Japanese wood, 4 blocks. Image of birds.]; [Woodcut by G.D. Perrottet, Australia. Image of fish.]; [Image of boat] Lane, Garde le Roy. Lang, Helen. [Etching by A.N. Macdonald] Langdon, Elizabeth. [Wm. Edgar Fisher] Langford, Walter Gilbert. Lantos, Helen Laprimaudaye, Peter. Larsen, Olaf. Lassen County Free Library. Latha. [Design by Wilbur Macy Stone] Latimer, Ray. "Her book." [Mrs. Vincent Starrett] Latimore, Sarah Briggs. [Design by Loring Calkins] Laub, Beatrice E. Longmeadow, Massachusetts. [DEsigned by Bert Chambers] Lauck, Harold. Laurel School. "Abeunt studio in mores." LaViolette, Mrs. F.A. Law, Christopher Richard. Law, Henry Ingham. [Map of England]; [Image of ship] Law, S. Sweet. Lauterbah, Wener. "Aus der Beucherei ... " [Gerhard-Tag, Leipzig. 1948.]; "Geliehene Buecher zurueckzugeben, wird oft ... " Lawrence College. "Samuel Appleton Library." Lawrence, Edward Franklin. "In cruce salus." Lawry, Lillian. "Her book." [Linocut by G.D. Perrottet] Le Campion, Valentin. "Meilleurs voeux 1948."; [Image of girl in hands] Lee, Bunty. Lehane, J.A. Lehigh Faculty Dramatic Club. Lehrer, Franz. "Mein Buch." Leidig, Hildegard. [Gerhard-Tag, Leipzig] Leimkuhler, W.J. Leinfellner, Friedrich. "Ex libris." [Flehrer-Linz]; "Mein Buch." Leinfellner, Fritz. "Wien Finnl." [Wood, Max Kislinger.]; "Ex libris." Leippert, E.R. [Woodcut by Gardner Teall. Image of flowers.]; [Wood engraving by Timothy Cole, 1927. Image of deer and person in meadow.] Leiter-Nypels. "Eigendom van ... " [By Charles Nypels of Utrecht for his printing house] Leitner, Irmberta. [Linocut by P. Lukacs, Vienna. 1936. Blue and silver.]; [Red]; [Black]; [Linocut, Karl Bock. Vienna. 1936. Image of bird.] Lejeune, P. "Docteur." [Engraved by P. Colin Gury, Paris.] LeMaitre, Victor Armand. [Design by Paul McPharlin.] Lente, J.A. [Wood engraving, Mia van Regteren. Altena. 1946.] Leonard, Bessie W. "The love of learning, the sequestered nooks ... " [Engraved by Elisha Browd Bird.] Lesznera, Ladeusza. Leur, J.M. de. [Wood, van Regteren Altena. 1944.] Leverett, John. 1677. [Copy] Levine, Stanley Howard. Levy, Flora. Lewinson, Leah. Lewis, Harriet and Harold. [Design by Harry Weyl, Rochester.] Lewis, N. Lawson. "Neanmoins." Lerche, Juliane. Leys, M.N.H. Leytens, Frans. "Boek van ... " [Wood by Diere Acket] Libbey, Edward Drummond and Florence Scott. [Toledo.] Library of Congress. "Frederic & Bertha Goudy Collection." "U.S. Naval Observatory ... " "The gift of Lessing J. Rosenwald." [Designed by John Howard Congress] "Class ... " Library of International Relations. "This book is given by ... "; "In memory of ... who died in the service of his country ... "; "Samuel N. Harper Memorial Collection." Lichliter, James Marcellus. Lick, Rose Margarethe Zobelein. Lick, Rosemary. Liljencrantz, Wilhelm. [Sweden] Linda, Terri, Fileene, Nancy. [Design by Rick Cusick] Lindsay, John S. Liston, Edward. "Integritate." [Engraved by Dorothy Payne, California] Litchfield, Phillip M. "My book." [Australian artist. Ipse fecit. Image of men reading.]; [Image of woman and snake.] Little, Archie. [From Robert Hitchman, 1971.] Livingston, John R. [Allen.] Livraria da Torre de S. Sebastiao. "Por bem fazer." [Portugal] Lloyd, E.L. & H. [Shield, wreath - Adams style, about 1800.] Lloyd, T. & E. "Esto vigilans." Locker-Lampson, Godfrey. "Fear God and fear nought." [Designed by Kate Greenaway] Loder, Gerald Walter Erskine. "Murns aeneus conscientia sana." Loe, Tobias. "Min bok." [O. Olson, 1944. Oslo, Norway.] Logan, John A. "Hoc majorum virtus." Lombardo, Ivan Matteo. "Liberta va cercando ch'e si cara." "Das Leven gilt nichts wo die Freiheit fallt." "Evadere." "E pur non pave del mar cruccioso il ballo." [Image of skeleton] [Image of ship] "Suche Licht so findst do Licht." "Wuod wuod est non eest est non est." Italian city series by I. Zetti [I. Zetti. Image of arches.] "Inter peritura vivimus." [I. Zetti] "Beheading is the worst use men can be put to." Lombardo, Maria Vittoria and Ivan Matteo. London, Carmian. [Wife of Jack London. Image of woman riding horse.]; [Blue] London Times Literary Supplement. "This is a printing office ... " [Framed in offices] Long, Anne. Long, Robert. Loo, Hulin de. "Ex dono ... Bibl. gand." Lorain Army Air Forces Mothers Club. "He lived to bear his country's arms ... " Lorain Public Library. "In memory of ... " Lord, Edward. Cleveland. "Vincit qui se vincit." Lord, Sally. "I guard the books of ... " [Linoleum cut made by Sally for her books when she was eleven years old.] Loreto Youth Club. [Australian woodcut by Adrian Feint.] Lou, Mou. Louis T. Graves Memorial Library. [Kennebunkport, Maine.] Louisiana State University. "Medical Center ... " [Mary Ison. New Orleans, 1932.] Loveland, Catherine Pollock. "Deacon Samuel Chapin." Lovering, Charles Taylor. "The alphabet ... " Lowell, John Jr. "Occasionem cognosce." Loyo, Senor Jorge. Lubbers, G.J. [Etching. H. Levigne Holland.] Lucht, A. de. [Dutch punning plate.] Lucini, Arese. "Il conte ... " Ludgater, Henry. "Celer sed certus." [Heraldic plate, early 19th century.] Lukas, Frank J. "Ahoy! Don't sale away with this book." Lukas, Joseph Mason. Cleveland, Ohio. "For insertion in a colume of proletarian literature which the author has gratiously autographed: Mike Gold." "Science, art, literature, music, poetry, drama ... " "Steal not this book, my honest friend ... " "Steal not this book for fear of shame ... " Lumsden, H.T. "Gratia dei sum quod sum." Lund, Theodore, M.D. [Design by Ann Danielson] Lund, Ruth Marilynn. Luzern, Auguft am Rhyn. Lyman, John Grant. Lynch, Florence. [Wood engraving, Adrian Feint. Australia. Image of woman reading book.]; [Woodcut by Roy K. Davies, Australia. Image of house.] Lytle, Bob. Lytle, Charles A. M A.B.M. [Etching by J.W. Jameson. Remarque by Sidney L. Smith.] P.M. "Je Q'ai!" W.G.M. [Paul McPharlin] Maag. [Denmark] Maarsen, S. van. "Hier staan in kasten en in hoeken ... "; [Image of man reading] Maas, Jan. "... wenscht u een gelukkig en voorspoedig Jaar." [Wood engraving by Maas, Antwerp] Mabie, Hamilton Wright. [Artist, C.L. Hinton.] MacAllister, Hartley. [Woodcut by Roy Davies, Australia] MacDonald, Horace E. [Design by Van Bayros, Vienna. Engraved by F. Charles Blank.] Machetanz, Frederick. MacIver, Thomas Jr. "His book." Mackay, Clarence H. "Manu forgi." Mackenzie, Alice. [Portrait plate by Verna Faber] MacLaury, Robert Haines. "It is not the skill of the angler nor the attractiveness of the bait, but the appetite of the fish." Macleod, Wm. "Luceo non uro. Quocunque jeceris stabit." Macy, Silvanus Jr. [Design by Wm. Edgar Fisher] Madison Institute Library. "Presented by E.A. Aulkins." [Founded in 1853, became a public library in 1875] Magliola, Giovanni. "1948." Magliola, Giuseppe. [Image of man's head and books]; "Ordo numerus et mensura." [Artist, C. Vicenti. Milan, Italy.]; "Tessendo ilmio sogno." Magnus, Lilelotte. [Brazil] Mahony, Rev. Alexander. "Taram nomhum a bradh." Maier, Martin. "Ein neues Jahr in Frieden wuenscht." Maine Historial Society. "Given ... by P.G. Manning, 29 Jl. 1915." Malicek, Adolf. Mallorca, Estampas de. Maly, Adolf. [Wood engraving by Florian, 1947] Maly, D. "Na pamet vitezstui. 9 V. 1945." Maly, Dr. J. Mander, D'arcy. "Vive bene." [Harold Nelson] Mans, M. Mansfield, Beatrice. [By Jessice Wallace, Santa Barbara, CA.] Mantero, Gianni. "Medioevalis." [Zetti, Milan, Italy.] "Et sub marte artifex." [Zetti, Milan, Italy] [Wood, Baldinelli. Italy. Image of woman.] "A dio quasi nepote ... ingegnere." "Ing. dott." [Image of pyramid] [Image of horses and carriage] "Et sub marte artifex." [Wood engraving by I. Zetti] [Wood engraving by Pam Reuter. Image of Pan.] "Ex libris etnographicis." [Image of man at desk.] [Wood engraving by Italo Zetti. Image of man and woman.] "Cherubino cherubini." [Wood engraving by Italo Zetti] "Cheri." [Wood engraving by Italo Zetti] [Image of woman on building] [Image of building] "Moi et toi." [Image of woman with apple] "Essemplare per. Sub arbuio." [Wim Zwiers. Image of woman reclining.] Mantero, Jo. "De rebus mediolan." March, Dorothy and Benjamin. [Paul McPharlin] Marchi, John W. Mariana. Marmois, Camille. [Engraved by P. Colin Gury, Paris. 1948.] Marquardt, Ruth. Marshall, Frank Evans. [Imgae of man and book]; [Edwin Davis French, 1895. Image of man playing violin.] Martin, Lenala. Martin, William Barriss. Marvin, H.B. [Etching. Frederick Teubel.] Marvin, Walter Rumsey Jr. [Lighthouse on Bald Head Isaldn. Marvin was Executive Director of the Ohioana Library Association.] Maryland Historical Society. "Anno 1844." Masnik, Boris. Mason, Edward Glenn. Mason, Herbert Delavan. Massachusetts Horticultural Society. Boston. "June 12, 1829." Massachusetts Institute of Technology. "Presented by the Friends of the Library ... " Mather, Samuel. "Fortiter et celeriter." [Cleveland industrialist] Mattern, Anne. [Typo, Friedrich] Mauntz, Heinrich D. [Design by Otto Hupp, Munic. Plate made when artist was 90 years old.] Mauve, Thijs and Flora. "Maarten Peter werd geboren ... " [Wood engraving by Thijs Mauve] May, Iva. May, Kenneth F. Mayora, Julio. "Sobre toda ... " Maybank, Dr. Joseph. "Dieu me conduise." McAllister, Marion Isabel. "Der mare per tebras." McHale, Ruth and Robert. "And other boices speak, and other sights surround. Byron." McCart, Howrad. [Specialist in ear, nose, and throat. Toronto.] McChesney, Helen Ingram. "Hours fly, flowers die. New days, new ways pass by. Love stays." McClure, Allan. "His book." [Australian woodcut by Will F. Mahony] McClure, Margaretta D. McCook Field Library. "Airplane Engineering Department." [1918. Forerunner fo Wright Field, Dayton, OH] McCormick, George Boldr. "If thou art borrowed by a friend, right welcome shall he be to read, to study, not to lent, but to return to me." McCormick Theological Seminary of Chicago. "Virginia Library." [Design by James Hayes] McCoy, Marjorie Lee. [Hawthorne House] McCulloch, Charles E. McDonough, John Wright. "Veritas est pulchritudo." McGill University. "Presented to the Redpath Library ... "; "Royal Victoria College." McGowan, N.F.R. "Depechez." McIlwraith, Ethel. McIntyre, Arcd. "Per ardua. Troimh chruadal." McKenzie, Ruth. [G.D. Perrottet] McKinley Junior High School. McLane, Louis. [Of Delaware. Twice minister to England.] McMaster, Stewart. McNair, James Birtley. "His book."; [Armorial]; "Labor omnia vincit." McNair, Thomas S. "1824-1901." McPharlin, Paul. [Image of workroom] [Design] "E pluribus unum." [Typographical border from Frecnh type book about 1810.] "Hic liber theatralis meum est." [Image of stage] [Image of faces] [Wood engraving by Reynolds Stone. Name only.] McPherson, Jean. McWilliams, Howard. "It may be we shall touch the happy isles." Medill School of Journalism. [Design by Carl Junge] Meek, William G. [Words in Arabic]; "Designer." Melbourne High School Library. [Kenneth Jack.] Melbourne Savage Club. [David Low] Melcher, Frederic. New York. "From his library of books about books." [Merrymount Press.] Melchior, Monfort Vertegans. Melse, Johan. "Boek van ... " Merce, Ma. Merkelbag, G.M. Roelofs. Merriman, Roger Bigelow. [Engraved by E.D. French.] Merritt, T.R. "Praesto et persto." Mesdag, F.M. Stoll E. [Wood engraving, Nico Bulder. Holland.] Metcaffs, Helen G. "Fidei coticula crux." Metropolitan Club Library. Metzdorf, Robert F. [Etching by Fritz Botel. Armorial.] [Image of book] [Gift plate from a Czech artist, 1947. Image of Indian.] "Memorabilia Universitatis Rocestriensis." [Designed by Dr. Metzdorf, librarian at Rush Rhees Library, Rochester, NY.] Mewett, Alfred. Michel, Tesmar. Michell, Wilson Doe. Midlo, Charles. [By William B. Sewart, medical artist. 1933. Image of mermaid.] "Zu unfers Lebens oft getruebten Tagen ... " [Image of skull] [Italo Zetti, 1950. Image of three women.] Midlo, Natalie Strauss. [Wim Zweirs, Holland] Middlebrook, Frederic John. Middlebury College. "The library of Julian W. Abernathy ... " Mieville. Mildert, William Van. Miller, Carl. "Greetings." [Sandusky, OH] Miller, Freda & George. "London to Cornwall ... " Miller, Miriam Adeline. [Printed by Hawthorne House] Milleville, Robert. Milman, Lena. "Come and take choice of all my library and so beguile thy sorrow." Miner, Edward G. "His book." [Wm. Edgar Fisher] Miranda, Thomas. [State seal used by Francesco Miranda.] The Miscellany. Miss Porter's School. Farminton, Connecticut. "Given through the Alumnae Association ... " Missouri Historical Society Museum. "Presented by A.B. Barbee." Misture, Gene. "Strange how much you have to know, / Before you know how little you know ... " Mitchell Public Library. Hillsdale, Michigan. "From the bequest of Charles T. Mitchell." Moedebeck, Hermann W.L. "Aeronautik." [From book taken by U.S. Army in Germany, sent to library at Wright Field, Dayton, Ohio.] Moginie, A.H. [Ipse fecit] Moginie, Margaret Elizabeth Beumont. "Luceat lux vestra." Molina, Antonio J. Molina. Moller, Karin-Maria von. [Gerdart Tag, Leipzing. Woodcut.] Monquil, Kees. "Ora et labora." Molnar, Selley. "Sub utraque specie ... " Montana, E.K. [Image of book and scale]; [Image of book and quill] Montague, Anne Carrington. "Disponendo me non mutando me." Montclair Art Association. Montclair Art Museum. Montolieu, Lewis. "Deo et principi." Montgomery, Clare. Montserrat. Moore Drop Forging Company. "From the reference library ... " Moore, N.V. "Private library of ... " Morey, W.C. Morosini, G.P. New York. Morrison, Crosbie. [Editor of Wild Life, Australia] Morrison, John. Morrison, Muriel Mansfield. [Dorothy Payne, 1948] Morrisson-Reeves Library. Richmond, Indiana. "Books let us into the souls of men and lay open to us the secrets of our own." Morley, Sylvanus Griswold. Morris, William. Kelmscott House, Hammersmith. Moseley, Frederick Strong. "Maduesleigh." [Engraved by Sidney L. Smith] Moses, Leslie H. Mosher, Thomas Bird. [Image of griffins]; [Image of cat, bird, and book.] Mosher, Anna L. "Friendship endures and is in perpetual bloom." [Wife of the publisher Thomas B. Mosher] Motley, Edward Preble. "Fides leone fortior." Motley, Maude. "Veritas." Mott, Dorothy. [By David Sarvis] Moubis, Blerick W. [Wood, Dirk van Gelder] Mount Holyoke. Mountaine, Wm. Esq. F.R.S. "To Burnt-Yates School, Parh. of Ripley, W. Riding, Ebor." [Gift plate dated 1775] Mrazek, Jaroslav. [Woodcut, Czechoslovakia. Image of flower.]; "Mojekniha." [Woodcut, Czechoslovakia.]; [Image of book]; [Czechoslovakia. Image of boy with plant.] Muir, Henry Blake. [Image of bird.] [Woodcut by G.D. Perrottet, Australia. Image of building.] [Image of man.] [Image of ship] [designed by J.C. Goodshied, Australia. Image of magnifying glass.] [Image of winged horse] [Image of mask] [Image of window] [Wood, Eric Thake. Image of three people.] "Ex lib galsworthii." [Engraved by Leslie Victor Smith, Canada. Map.] "And still there moved the moon - so pale, a crescent ship without a sail." [Woodcut by G.D. Pettorret, Australia] Muller, Edward. Muller, Wilhelm. "Aus der Buecherei ... " Mumm, Dr. Martin. Much, Lise Lotte. [Wood by Gerhard Tag, Leipzig] Munchen, Heinrich Traf. "Bei meiner Arbeit stillern Muehen ... " Murdoch, Alexander. Murray, Grace. "O for a booke and a shadie nooke ... " [Designed and printed by Grace Murray] Musgrave, G.M. Mussolini, Benito. [Wood by Bruno da Osima, 1937.]; "Nitor in adversum. Ex libris Ducis Italici." [Woodcut by Bruno da Osima.] Muur, Meli u.d. N Nabors, Elsie W. Nahant Public Library. Nahant, Mass. Naninck, H. [Wood engraving by Pam Reuter] Naprstek, Doita. National Baseball Hall of Fame and Museum. Cooperstown, New york. National Cash Register Co. National Cathedral School Library Naval Research Library Navratila, Frantiska. [Image of book] Navratil, Frant. [Image of city] Needham, J. Manning. "Sopez ferme." Nellis, Geo. "Private library ... " Nelson, Harold. Neltnor, John C. "His book." Neltnor, Shelly Butler. "Thou shatl not covet this my book." Neufeld, D. Neuscheler, Elmer Wm. "Dat Deus incrementum." [Street of Trades, Fritz Botel. 1952.]; [Mock heraldic, Fritz Botel. 1952.]; [Design by Harry Weyl, Rochester, NY. 1932. Image of scout master crawling into a book.] Newark Public Library. Newark, NJ. "Nobody Wants to Read ... "; "Good in All Books ... " Newberry Library. Chicago. [Image of bust] "The John M. Wing Foundation." [Bruce Rogers] "The Horace Hawes Martin Collection ... " "Purchased from the Jane Oakley Fund." "Purchased from the Flora Mayer Witkowsky Memorial Fund." "James W. Beers Collection on Shorthand." [J. Middleton Murray] "To perpetuate the history and development ... " [Designed by Ralph Fletcher Seymour] Newell, William and Pearl. New Hampshire Historical Collection. "Joseph Augustus Stickney ... " New Hampshire Historical Society. Newington Library. Newsell's Library. Newton Anthenaeum. New York Botanical Garden. New York Evening Post. New York Public Library. "The Gordon Leister Ford Collection ... " "The American Alpine Club." "Bequest of Wilberforce Eames, 1937." "The Frank Harris Collection ... " "Presented by The Players, 1946." "From the legacy of Lewis Cass Ledyard ... " "The William Raimond Baird Library ... " [Engraved by A.N. Macdonald] "The Thomas Hastings Memorial Collection ... " "Presented by Miss Ada Rehan, April, 1915." "Purchased from a fund presented by the Beethoven Association." "Presented ... by Sam Franko." "To the memory of Lieut.-Col. John Shaw Billings ... " "Presented by John Stuart Kennedy ... " "The collection of Theodorus Bailey Myers ... " "A collection of works about Emperor William II ... " "Anna Palmer Draper Fund ... " New York State Library. Albany. "Excelsior."; "William C. Gotshall Collection." [Engraved by A.N. Macdonald] New York Stock Exchange. "Office of the Economist." New York University. "Presented by the Society for the Libraries."; "Library of the Graduate School of Business Administration ... "; "Germanic Library." Nickerson, William Emery. Niers, Celeste Gresham. "Fax incendium mentis gloriae." [Etching by Dorothy Payne] Nies. "Uit de Boeken ... " Nieulandt, W. Haesebrouck. Nieuwland, J.A. "Considerate lilia agri." Nifords, Steve T. [Owner of used bookshop in Cleveland] Nilsson, Edvin. [Lino, T. Billman] Nisonoff, Dr. Joseph. "The acquisition of any knowledge is always of use to the intellect ... " Nissl, Dr. Hans. [Image of hand holding book]; "Ich schuetze dich Weihnacht, 1915." Nitschke, Grete. "Mein Eigen." "Nobody was ever meant ... " Noheimer, Mathias. Noll, Arthur Howard. "From the collection of books related to Spanish American History and Archaeology belonging to ... " [Designed by Noll from center of Aztec calendar] Norris, John Bertram. North, James S. [Wood engraving by Haldane MacFall of England] Northeast Harbor Library. "In memory of Gerrish Hill Milliken." [Designed by Rudolph Ruzicka] Northwestern Lutheran Theological Seminary. Minneapolis, Minnesota. Northwestern Mutual Fire Association. "Mutuality, stability, conservation." [Seattle] Northwestern University. "From the library of Theodore B. Hinckley ... " [Designed by Theodore Koch] "The gift of the author."; "Franklin Bliss Snyder Fund ... " "Commerce Reading Room ... " [Designed by Philip Reed] "Charles Deering Library ... " Novak, Artur. "Nullius in verba." "Nunquam non paratus." Nuttal, Zelia. Nypels, Charles. [Image of heart-shape]; [Monograms by Nypels, printer of Utrecht, Holland.]; "Dit boek behoort aan ... " Nyst, P.M.E.Ph. [Image of man and skull]; [Etching by H. Levigne Holland. Image of man and woman.] Box 5 Folder -- Contents O Oakton School Library. "Your newspapers bought this book." Odette, Eiblin. "Virtus repulsae nescia sordidae ... " [Design by Jack Yeats] Oettinger, Martin. O'Fitzsimons, Padria. [Typographic. Janitor of the building, University of Southern California.] O'Gorman, Cherisey. Ohio School of Social Sciences. [Design by Joe Habier, Cleveland artist] Ohio State University. "Phi Beta Kappa Collection ... "; "Alice Mary Arps Memorial Library." Ohio Wesleyan University. "In lumine tuo videbimus lumen." [Engraved by A.N. Macdonald]; "Follow knowledge like a sinking star ... "; "Foundation for the Literature of Internationalism ... "; "From the private library of Albert W. Johnston, '93." [Printed by Hawthorne House] Ohioana Library. Columbus, Ohio. "The Martha Kinney Cooper Collection." O'Keefe, Aidan Arthur. [Image of buddha]; "Forti et fideli nihil difficile."; Okolo-Kulaka, Dr. Antoniego. [Collector of Warsaw, Poland. Image of angel.]; "S.S. et capit metrop ... " [Woodcut, Z. Fijal Korska. Warsaw, 1932.] Olhans, Lars. Olin, Harold C. [H.G. Petty] Oliver, Katharine Schermerhorn. [Designed by Rudolph Stanley-Brown] Olmstead, Paulina. Olney, Caroline. Oosten, Jan Hendrik van. [Hans de Gong, 1942] Ora. "Merce galide fisas ... " Orr, Robert L. "Venture afar in these pages friend and a safe return at journey's end." [Designed by James Allan of Seattle] Ortiz, Manuel A. [Armorial] "Ex collecta franciscana ... " [Image of ship with red] [Image of ship] [Image of town] Os, J.C. van Meerendonk van. [Design by E. Reistma Valenca, 1946.] Osburn, Bernice and Burl. Oscar Hillel Plotkin Library. "North Shore Congretaion Israel." [Design by James Hayes] Osima, Bruno da. "Non spento sono se fiamma di pensier ... " Otto, Kate. Ourek, Leo. [From Tiflis, Georgia] Ouwegan, Remmet Jacobus. "Uit de boekeri van ... " [Wood engraving, Pam Reuter. Image of flowers and lizard.] [Wood engraving, Pam Reuter. Image of fish.] [Wood engraving, Pam Reuter. Image of fish and house.] "Scrift is een spiegel der ziel." [Wood engraving, Dirk Van Gelder] [Image of fish in sky] Owen, Lillian Dudley and Philip Stanley. Oxon, Colleen Wahami in Acad. "Ex libris bibliothecae." Ozinga, F.K. P B.P. C.M.P. P., Gita. M.R.P. Pace, Irene Greene Owen. "Love well the hour and let it go." [Etching by Ralph Flether Seymour] "A book's a book, altho' there's nothing in't but the bookplate of ... " [Image of books] [Wood by Bruno Colori, Italy. Image of mermaid.] "One man in his time plays many parts." [Vicenti] "It is later than you think." [Design by G. Ballarte. Image of peacock.] "Piscatorial collection." [Woodcut Wim Zwiers] "The spider's touch, how exquisitely fine feels at each thread and lives along the line." [Etching by Fleisig of Prague] Pace, Irene and Ernest. "Un livre est un ami que ne change jamais." [From a Bewick woodblock.] "Merry Christmas and a happy New Year!" [Christmas 1958. Image of Mary and Jesus in manger.] "Gloria in excelsis deo. 1958." "Pax." "The home of this book." [Engraved by Harry Marvin French] Packard, Mrs. J.E. Page, Admiral & Mrs. "Nosce te ipsum." Palle, Pepita. [Design by G. Ballarati] Palmer, George Herbert. Palmer, W. Gordon. Pantucek, Svetoiar. "Ruskvuch knih." Pape, Adolf Parker, William Eugene, Jr. Parisette, Pauline M. [Image of man falling off horse]; [Design by Gregory Parshal. Image of girl riding horse.] Parkin, Thomas. "Honesta audax." Parmele, S.L. "Private library." Parsons, Clara Turner Brayton. [By Black Starr Frost] Parsons, Helen. "Her book." Passchier,
1646	dbpedia	3	14	https://www.gettyimages.co.uk/detail/news-photo/elena-gerhardt-1913-shows-german-mezzo-soprano-singer-elena-news-photo/2159103576	en	Getty Images			[ "https://www.gettyimages.co.uk/sign-in/assets/static/white-f114c2d21e50f9b239ac.svg", "https://www.gettyimages.co.uk/sign-in/assets/static/black-dd9588e3db810afab0eb.svg" ]	[]	[]	[ "" ]	null	[]	null	Getty Images UK. Find high resolution royalty-free images, editorial stock photos, vector art, video footage clips and stock music licensing at the richest image search photo library online.	en			null
1646	dbpedia	3	43	https://commons.wikimedi…ena_Gerhardt.jpg	en	File:Elena Gerhardt.jpg	https://upload.wikimedia…ena_Gerhardt.jpg	https://upload.wikimedia…ena_Gerhardt.jpg	[ "https://upload.wikimedia.org/wikipedia/commons/c/cc/Elena_Gerhardt.jpg?20071012100322", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/e9/Seal_of_the_United_States_Library_of_Congress.svg/64px-Seal_of_the_United_States_Library_of_Congress.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb...	[]	[]	[ "" ]	null	[]	null		en	/static/apple-touch/commons.png		https://commons.wikimedi…ena_Gerhardt.jpg	This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it. If the file has been modified from its original state, some details such as the timestamp may not fully reflect those of the original file. The timestamp is only as accurate as the clock in the camera, and it may be completely wrong. _error0
1646	dbpedia	3	34	https://www.joyinsinging.org/about	en	Joy In Singing	https://static.wixstatic…71aaf4%7Emv2.jpg	https://static.wixstatic…71aaf4%7Emv2.jpg	[ "https://static.wixstatic.com/media/2c4feb_933eaa4efc62418b8bf704cda81cd911~mv2.jpg/v1/fill/w_94,h_74,al_c,q_80,usm_1.20_1.00_0.01,enc_auto/FBSongSalon%20ICON.jpg", "https://static.wixstatic.com/media/2c4feb_89a0cabd2b634064a8b953a822e9f8a8.jpg/v1/fill/w_122,h_151,al_c,q_80,usm_1.20_1.00_0.01,enc_auto/2c4feb_89a0...	[]	[]	[ "" ]	null	[]	null	Founder Winifred Cecil's vision offered art song artists a place to hone their craft throughout their artistic career. Joy In Singing continues this mission today, and is developing a new model for this: The Art Song Institute.	en	https://static.wixstatic…71aaf4%7Emv2.jpg	joyinsinging	https://www.joyinsinging.org/about	"Singer after singer had a thrilling basic instrument, but that was all. Missing almost entirely was the artistry so vital to meaningful performance." These were the words of Winifred Cecil, the noted singer and teacher and founder of JOY IN SINGING, about the plight of many young singers. She was resolved to pass on to them the refinements of the art of song she learned from her mentors, Marcella Sembrich and Elena Gerhardt. The opportunity came in 1952 when, after one of her recitals, she was invited by Town Hall to preside over a series of master classes in which she would help gifted singers with interpretation, stage deportment and communication. For it is in these, she believed, that lies the "joy in singing." This was the embryo. Six years later, in 1958, JOY IN SINGING was born as an award program, and as a publicly supported organization. The winners of the annual awards received a prize recital, at first given in Town Hall. Then in 1969, Ms. Cecil was invited by the Library and Museum of the Performing Arts at Lincoln Center to move the master classes to that location, and the Award Recitals to Alice Tully Hall. Support for JOY IN SINGING was swift in coming; among the first to back the budding organization was Arturo Toscanini, who established a scholarship with his contribution. Upon Winifred Cecil's death in 1984, so many singers appealed to the organization to keep the unique idea of Joy In Singing alive that the Board of Directors decided to continue the program. In 1986, American tenor Paul Sperry was invited to become Music Director. "Working with the talented young singers who participate in the classes is one of the highlights of my year. Within the master class format, I try to focus on keeping alive the ideals of the three artists who most influenced my own musical development: Pierre Bernac, Jennie Tourel and Paul Ulanowsky.” During Mr. Sperry's tenure, Joy In Singing produced an annual Composers' Concert in partnership with the New York City Performing Arts Library, generously underwritten by the Edward T. Cone foundation. This concert was designed to feature the work of two American composers with significant contribution to the art song repertoire. The programming in this series showcased the large body of contemporary work residing in the Performing Arts Library collection devoted to the continuation of the art song form in American musical culture.
1646	dbpedia	2	97	https://www.gramophone.co.uk/features/article/gramophone-magazine-a-history-the-1930s	en	Gramophone magazine: a history – the 1930s	http://www.gramophone.co.uk/media/246552/gramophone-magazine-in-the-1930s.jpg?anchor=center&mode=crop&width=960&height=640&rnd=133492682750000000	http://www.gramophone.co.uk/media/246552/gramophone-magazine-in-the-1930s.jpg?anchor=center&mode=crop&width=960&height=640&rnd=133492682750000000	[ "https://www.facebook.com/tr?id=1212098742461537&ev=PageView&noscript=1", "https://www.gramophone.co.uk/media/233361/e64c2718796a53a23b65326a1c69e6d253b27705-photoroom-png-photoroom.png?height=69", "https://www.gramophone.co.uk/media/232137/953472d9ca7ea8fad442e86a32a1f0f8199b200d.png?height=25", "https://www...	[]	[]	[ "" ]	null	[]	null	The decade the record industry came of age, a period of great creativity and ambition	en	/media/127553/bge7m-5ffd4-0.png	Gramophone	https://www.gramophone.co.uk/features/article/gramophone-magazine-a-history-the-1930s
1646	dbpedia	1	95	https://rutube.ru/video/fa188031e4405ff6df9240803df2982b/	en	Elena Gerhardt; "Geheimes"; Franz Schubert	https://pic.rutubelist.r…8529de3bf21b.jpg	https://pic.rutubelist.r…8529de3bf21b.jpg	[ "https://pic.rutubelist.ru/links/f8/b7/f8b74ee02b3d12b1fe70c4bbee27a10a.jpg?width=48", "https://pic.rutubelist.ru/links/0d/51/0d513ac6d114896d6e4cbb31d688cae3.jpg?width=48", "https://pic.rutubelist.ru/links/63/b1/63b170295217ecd62401284571fbbd3f.png?width=48", "https://pic.rutubelist.ru/links/0c/88/0c88d500af...	[]	[]	[ "RUTUBE", "видео", "клипы", "сериалы", "кино", "трейлеры", "фильмы", "мультфильмы", "онлайн", "рутьюб", "рутуб" ]	null	[]	null	This channel is the re-establishment of previous channels that have been sadly terminated. =============== Elena Gerhardt--mezzo-soprano Conraad Vos--piano 1928 ================ "Elena Gerhardt (11 No... Смотрите видео онлайн «Elena Gerhardt; "Geheimes"; Franz Schubert» на канале «Любовные истории и романтические приключения» в хорошем качестве и бесплатно, опубликованное 16 мая 2024 года в 13:58, длительностью 00:02:03, на видеохостинге RUTUBE.	ru	https://static.rutube.ru/static/favicon.ico	RUTUBE	https://rutube.ru/video/fa188031e4405ff6df9240803df2982b/	This channel is the re-establishment of previous channels that have been sadly terminated. =============== Elena Gerhardt--mezzo-soprano Conraad Vos--piano 1928 ================ "Elena Gerhardt (11 November 1883 – 11 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. Elena Gerhardt was born at Connewitz near Leipzig, the daughter of a Leipzig restaurateur. She studied at the Leipzig Conservatory from 1899 to 1903, first with Professor Carl Rebling and then with Marie Hedmondt (d. 1941), who remained her friend and vocal adviser for many years. After a year of only technical study, she began work on operatic roles, such as Cherubino, Dorabella, the Mignon of Ambroise Thomas and Hermann Goetz's Katharina, interspersed with lieder. She won the Carl Reinecke Scholarship. Leipzig provided many opportunities to hear international artists and to hear the early masters. In 1902, Arthur Nikisch became director of the Leipzig Conservatory, and approved her to sing publicly in Leipzig, which she first did in November 1902: he also gave her a solo in Franz Liszt's "Choruses from Herder's Entfesselter Prometheus" (S. 69). On graduating in 1903 and with many engagements, she mentioned her wish to give a lieder recital, and Nikisch offered to be her accompanist, their first (victorious) performance being at the Kaufhaus in Leipzig on her twentieth birthday. Concert engagements poured in, and she sang lieder in almost every university town as supporting artist to names such as Eugène Ysaÿe, Teresa Carreño and Max Reger. By 1905 she made her first appearances (with Nikisch) in Hamburg and Berlin (the Bechsteinhall), and in Berlin made the friendship of Richard Strauss. From summer 1905 she spent holidays with the Nikisch family near Ostend. Gerhardt made her American debut at the Carnegie Hall in January 1912, with Paula Hegner, and was then in Cincinnati and Philadelphia with Leopold Stokowski (singing the Wesendonck Lieder), and with the Boston Symphony Orchestra under Max Fiedler, before finally combining there with Nikisch and the London Symphony Orchestra tour. T Between the wars In early 1920, she made a prolonged tour of Spain with Paula Hegner, and later that year to the USA again, where her collaboration with the model accompanist Coenraad V. Bos began. This partnership was renewed in the winter season of 1921-22 in New York. In March 1922 (soon after the death of Nikisch) she braved the return to London (Queen's Hall) with Paula Hegner, where her German art was received with an ovation. That was the start of an unbroken tie with England, which later became her home. The following years saw annual winter tours in USA (and the Pacific Coast from San Francisco to Vancouver in 1925), with extensive tours in UK, Europe and Germany. There were further Spanish tours, including one in winter 1928 with Bos. In 1928, she met and fell in love with Dr Fritz Kohl, Director of Administration of the Mitteldeutscher Rundfunk in Leipzig, and they married in November 1932. In London she reappeared before the Royal Philharmonic Society in January 1931, under John Barbirolli, to perform Wolf songs with orchestral accompaniment, and Mahler's Kindertotenlieder. Her Hugo Wolf Song Society recordings were made in 1932. Following Hitler's rise to power, Kohl was arrested and imprisoned, not being released until June 1935, the only one of the German Broadcasting Directors to be acquitted by the Reichsgericht in Leipzig. With the help of Landon Ronald at the Guildhall School of Music, Elena meanwhile got a foothold in London in 1934, and after a last visit to Bayreuth to see Strauss conduct Parsifal ('It was no longer Richard Wagner's Bayreuth, but Hitler's'[2]), London became the settled home of the couple. Over the following years, as the storm gathered, Elena gave recitals in the Netherlands, France and Britain, often with Gerald Moore accompanying, and developed a circle of singing pupils. Late career In 1946, when the BBC Third Programme (i.e., Radio 3, the classical music station) was inaugurated, she gave three broadcasts, including lieder recitals and talks about her career and the interpretation of Winterreise. She also recorded Schumann's Frauenliebe und -leben in that year. She made a broadcast of Brahms's songs in May 1947. That was soon after her formal retirement from the platform in March 1947. Her husband Dr Kohl died in May 1947 and the remainder of her professional life was devoted to teaching in London, where one of her earliest pupils was Marina de Gabaráin. Gerhardt was one of the very great interpreters of German lieder, a singer who made her career almost entirely in this genre. She published her autobiography in 1953. She died on 11 January 1961 aged 77, in London. Wikipedia (edited)
1646	dbpedia	3	63	https://greatsingersofthepast.wordpress.com/2017/06/	en	GREAT SINGERS OF THE PAST	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://i0.wp.com/www.cantabile-subito.de/Bass-Baritones/Cabanel__Paul/cabanel1.jpg", "https://i0.wp.com/www.cantabile-subito.de/Bass-Baritones/Cabanel__Paul/cabanelcambonbouvier.jpg", "https://i0.wp.com/www.ars-bxl.be/images/FONDSMUSICAL/CABANEL_PHAS_BARYTON_INT_92.jpg", "https://upload.wikimedia.org/wikipe...	[]	[]	[ "" ]	null	[]	null	10 posts published by gerhard25 during June 2017	en	https://s1.wp.com/i/favicon.ico	GREAT SINGERS OF THE PAST	null	Paul Cabanel was born in Oran. After studies of law he trained as a singer at the local conservatory and at the Conservatoire National de Paris. During military service he was severely wounded at the Verdun battle in 1916 and was not able to continue his studies until 1919. He made his debut as Hérode in Massenet’s Hérodiade at Kairo where he also appeared in Manon, Faust and Thaïs. Until 1932 he sang at various provincial opera houses also making some guest appearances in Belgium and Switzerland. He was engaged at the opera of Bordeaux during seven seasons as well as at the opera of Vichy. It was not until 1932 (!) that he made his debut at the Opéra-Comique as Scarpia where his singing was immediately warmly received. The following year he succeeded at the Grand Opéra as Méphistophélès in Berlioz’ La Damnation de Faust which became his most famous role. Cabanel became an admired member at both opera houses. His further repertory included Leporello, the High Priest in Samson et Dalila, Escamillo, Tonio, Figaro, Nikalantha, Basile, Colline, the four villains in Les Contes d’Hoffmann, Papageno, Frère Laurent and Arkel in Pelléas et Mélisande including a number of Wagnerian roles. He appeared as Mephistophélès in Gounod’s Faust more than 1000 times! The artist was engaged at the operas of Rio de Janeiro, the Teatro Colón, the Teatro Liceo Barcelona and at Amsterdam. He was particularly admired at the Théâtre de la Monnaie in Brussels where he sang Boris at the end of his career in 1954. From 1942 to 1958 he was a sought-after singing coach at the Conservatoire National de Paris. Charles Cambon, Paul Cabanel and Hélène Bouvier, rehearsing “Samson et Dalila” Tino Pattiera (27 June 1890 – 24 April 1966) was a Croatian-Dalmatian Italian tenor, born in Cavtat, near Dubrovnik. Prior to taking up the repertory for which he became famous, he was notable in operetta. Pattiera was a handsome man with an exceptional, dark heroic tenor voice, that was, some say, perfectly suited for roles such as Manrico in Il trovatore. It was in this role that he made his stage debut at the Dresden Opera in 1914 and it was in the Italian repertoire that he specialized. Among his closest friends and colleagues during the early days at Dresden were Richard Tauber and Elisabeth Rethberg. Pattiera was the most popular tenor in Dresden in the 1920s. It was during that time he partnered with the soprano Meta Seinemeyer and was responsible for a resurgence of interest in Giuseppe Verdi’s operas in Germany. Singing with Seinemeyer under Fritz Busch, they gave performances of La forza del destino and Don Carlos in notable productions. In addition to his work in Dresden in the Italian repertoire, Pattiera sang Tannhäuser and the role of Bacchus in Ariadne auf Naxos, was a guest artist in several European cities, and joined the Chicago Opera Company for the 1920/21 season. On 31 January 1925, the Dresden premiere of Umberto Giordano’s Andrea Chénier was given with Seinemeyer as Maddalena. It won praise from the composer himself, who was in the audience. Tino Pattiera, who became her most famous stage and recording partner, sang the title role. On occasion compared with Caruso during his partnership with Seinemeyer, Steane notes “that Dresdeners are said to have compared their performances together to the Melba-Caruso evenings at Covent Garden.[2] Pattiera gave his last performance in 1953 in Dresden and then retired, after which he taught in Vienna. He died in 1966 and is buried in his hometown of Cavtat. Michel Dens (22 June 1911 in Roubaix – 19 December 2000 in Paris) was a French baritone, particularly associated with the French repertory, both opera and operetta. Born Maurice Marcel, the son of a journalist, he studied at the Academy of Music in Roubaix. He made his debut at the Opéra de Lille, as Wagner in Gounod’s Faust, in 1934, and remained there as a member until 1936. Thereafter he sang at the Opera Houses of Bordeaux, Grenoble, Toulouse and Marseille. In 1943, he was heard at the Monte Carlo Opera as Escamillo, Valentin, and the Count in Le nozze di Figaro. After the Second World War, he began a very successful career at the Opéra-Comique and the Palais Garnier in Paris. His roles at the Opéra-Comique included; Figaro, Lescaut, Zurga, Frédéric, Ourrias, Dapertutto, Alfio, Marcello, Scarpia, et al., he took part there in the creation of Emmanuel Bondeville’s Madame Bovary, on 1 June 1951. His debut role at the Opéra in 1947 was in the title role of Rigoletto, he also sang there as Enrico in Lucia di Lammermoor, Hérode in Hérodiade, Athanaël in Thais, et al. He appeared with success at the Aix-en-Provence Festival and at most of the great Opera Houses of France. He also appeared in Belgium, Switzerland, Canada, and North Africa. He enjoyed a remarkably long and successful career, singing in opera as late as 1979, and also attaining magnificent success in French and Viennese operettas, notably in Lehár’s The Land of Smiles and The Merry Widow. He also sang in works by Louis Varney, Robert Planquette, Charles Lecocq, André Messager, and others. As late as 1992, he gave concerts in Paris and Marseille. He was made a Chevalier de la Légion d’honneur. Dens sang an estimated 10,000 performances during his long career. Sir Peter Pears, in full Sir Peter Neville Luard Pears (born June 22, 1910, Farnham, Surrey, England—died April 3, 1986, Aldeburgh, Suffolk), British tenor, a singer of outstanding skill and subtlety who was closely associated with the works of Sir Benjamin Britten. He received a knighthood in 1977. Pears studied at the University of Oxford, at the Royal College of Music, and then with Elena Gerhardt and Dawson Freer. In 1936 he met Britten, and in 1938 he gave the first of many song recitals with Britten as accompanist. The two men became lifelong companions. In 1942 Pears made his opera debut in London in Jacques Offenbach’s Tales of Hoffmann. He then joined the Sadler’s Wells Opera, where he created the title role in Britten’s Peter Grimes (1945). In 1946 Pears helped Britten found the English Opera Group, and in 1947 they were instrumental in founding the Aldeburgh Festival. Pears sang in the first performances of all of Britten’s operas, including Albert Herring, Billy Budd, Owen Wingrave, and Death in Venice. He also performed notably in Wolfgang Amadeus Mozart’s The Magic Flute, Bedřich Smetana’s The Bartered Bride, and much of the Italian operatic repertory as well as in the song cycles of Robert Schumann and Franz Schubert and the Passions of J.S. Bach. Peter Pears and Benjamin Britten in 1954, at Crag House, Aldeburgh. Britten and Pears preparing the BBC film of Peter Grimes Benjamin Britten and Peter Pears Aase Nordmo Løvberg (10 June 1923 – 25 January 2013) was a Norwegian opera soprano. She was one of the 20th century’s foremost Nordic singers.[citation needed] For many years she sang with Jussi Björling at the Royal Opera in Stockholm, and she also sang under renowned conductors such as Herbert von Karajan and Georg Solti. Løvberg was born in Målselv, Troms, and made her professional début in Oslo in 1948. In the period 1952 to 1970 she lived in Stockholm, interrupted by a stay at the Vienna State Opera and the Metropolitan Opera in New York City. Løvberg was a professor at the Norwegian Academy of Music and head of the Norwegian Opera. She was a Commander of the Order of St. Olav, and won a Gammleng prize in the veteran class in 2000. She was married to Børt-Erik Thoresen. Løvberg lived her last years in Lillehammer, Oppland, where she died aged 89. The Austrian bass, Alois Pernerstorfer, began his training in 1933 at the Vienna College of Music with Theo Lierhammer and with Josef Krips. Alois Pernerstorfer made his debut in 1936 at the State Theatre of Graz as Biterolf in Tannhäuser. After three-year activity in Graz he came in 1939 to the Vienna Volksoper. In 1945 he joined the Vienna State Opera, whose member he remained from then. In 1947-1948 was temporarily engaged at the City theatre (Opera House) of Zurich, and afterwards appeared there often as a guest. In Zurich he participated in 1947 in the premiere of the opera Der unsterbliche Kranke by Hans Haug. The artist sang at the Festivals of Edinburgh and Glyndebourne (1951 as Figaro in Le Nozze di Figaro and as Leporello in Don Giovanni) and almost annually at the Salzburg Festival. There he sang in 1948, 1953 as well as 1956-1958 the Antonio in Le Nozze di Figaro, 1957 Orest in Elektra by R. Strauss, 1958 in Vanessa by Samuel Barber, 1959 in Schweigsamen Frau by R. Strauss, 1962-1963 Arkas in Iphigenie in Aulis by Gluck, 1959-1960 in Zauberflöte, 1960 and 1963 in Rosenkavalier, 1964 in Verdi’s Macbeth and in August 1953 in the premiere of the opera Der Prozess by G. von Einem. In addition he appeared in many concerts in the Festival (for the first time already 1937). He appeared in Salzburg in the premiere of Mozart’s La finta semplice. Under the direction of Bernhard Paumgartner followed then appearances with this youth opera of Mozart in the European music centres (Paris, London, Brussels, Germany, Scandinavia). Appearances brought him also to the Milan’s La Scala (1950, Alberich in Der Ring des Nibelungen under Wilhelm Furtwängler), to the Teatro Liceo of Barcelona, to the Grand Opéra Paris and to the Opera (Théâtre de la Monnaie) of Brussels. In the period of 1951-1952 he was member of the Metropolitan Opera New York. Alois Pernerstorfer also appeared successfully as a concert singer. He was married with the soprano Henny Herze (1906-1993), who had a successful career at the Vienna Volksoper, particularly as operetta singer. Recordings: Nixa (Don Giovanni), MMS, Philips (La finta semplice by Mozart), Columbia, Bruno Walter Society (Alberich in complete Der Ring des Nibelungen from Milan’s La Scala, 1950). On the label Cetra appeared a complete recordings of Elektra from Salzburg Festival 1957 with him as an Orest, and of Wagner’s Tannhäuser.
1646	dbpedia	3	0	https://www.britannica.com/biography/Elena-Gerhardt	en	Elena Gerhardt \| Opera, Lieder & Mezzo-Soprano	https://cdn.britannica.c…ena-Gerhardt.jpg	https://cdn.britannica.c…ena-Gerhardt.jpg	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/24/134624-004-058BC8E1/Elena-Gerhardt.jpg", "https://cdn.britannica.com/65/129465-131-8F637272/USA-Annual-Academy-Awards-Closeup-entrance-stat...	[]	[]	[ "Elena Gerhardt", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "The Editors of Encyclopaedia Britannica" ]	1998-07-20T00:00:00+00:00	Elena Gerhardt was a mezzo-soprano, one of the most accomplished singers of German lieder of her time. Gerhardt studied at the Leipzig Conservatory and made her debut at Leipzig in 1903. Having early decided against an operatic career, she made an international reputation as an exponent of German	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Elena-Gerhardt	Elena Gerhardt (born Nov. 11, 1883, Leipzig—died Jan. 11, 1961, London) was a mezzo-soprano, one of the most accomplished singers of German lieder of her time. Gerhardt studied at the Leipzig Conservatory and made her debut at Leipzig in 1903. Having early decided against an operatic career, she made an international reputation as an exponent of German song. Her interpretation of the songs of Hugo Wolf was considered unsurpassed in her day. In 1933 she settled in London, where she developed her career as a teacher. She gave her last recital at Liverpool in 1947.
1646	dbpedia	1	83	https://performingartscollection.wordpress.com/2013/03/19/unsung-heroes-linda-parker/	en	Unsung Heroes – Linda Parker	https://performingartsco…0708-350x350.jpg	https://performingartsco…0708-350x350.jpg	[ "https://performingartscollection.wordpress.com/wp-content/uploads/2017/07/acm-apac-lockup.png?w=334", "https://performingartscollection.wordpress.com/wp-content/uploads/2013/03/mm_70708-350x350.jpg?w=740", "https://performingartscollection.wordpress.com/wp-content/uploads/2013/03/mm_74467-350x350.jpg?w=740", ...	[]	[]	[ "" ]	null	[ "Performing Arts Collection" ]	2013-03-19T00:00:00	Welcome to the first in an occasional series celebrating the career of Australia's many unsung heroes. Today we celebrate the life and times of Linda Parker. Born in 1912 in Kongwak, a small town in South Gippsland, Parker's rich and varied career as singer, musician and folklorist was buffetted by both the Depression and World…	en	https://secure.gravatar.com/blavatar/46280884c053afd6080fb5a8bbeab6f293e6a9b772b30ff55c064b97723aa142?s=32	Australian Performing Arts Collection	https://performingartscollection.wordpress.com/2013/03/19/unsung-heroes-linda-parker/	Welcome to the first in an occasional series celebrating the career of Australia’s many unsung heroes. Today we celebrate the life and times of Linda Parker. Born in 1912 in Kongwak, a small town in South Gippsland, Parker’s rich and varied career as singer, musician and folklorist was buffetted by both the Depression and World War II. As a young girl Parker showed promise as a pianist, won many competitions and scholarships including admittance to the Melba Conservatorium in Melbourne where she studied under director Fritz Hart. A true musician Parker showed great promise not only as a pianist but with many musical instruments, from the violin and viola to the organ at St Patricks Cathedral. Fritz Hart, who was also conductor of the Melbourne Symphony Orchestra, suggested she experience some orchestral sound and, much to her delight, asked her to play bass drum, triangle and tambourine in the orchestra. While at the Melba Conservatorium she attended classes with Nellie Melba who would give occasional interpretation classes. When in Melbourne Melba would also attend the student’s concerts and visit them backstage, and even invite them to her Australian home, Coombe Cottage, for the student’s annual picnic. As Parker recalls, Melba would don a chef’s hat and apron and proceed to help with the barbeque. Linda recounts how Melba took hold of her hands and commented on their strength. Linda refrained from mentioning that their strength was probably due to all the cows she milked as a child. By the late 1920s, it had become clear to her mentors that Parker should head overseas to further her music training. Funds were raised through concerts and at the age of around nineteen she sailed for London in July 1930. She took a scholarship in Paris with renowned pianist Ferdinand Motte-Lacroix and absolutely reveled in the cultural life Paris had on offer. Unfortunately, she had to return to London due to her Australian savings being drastically devalued when England left the Gold Standard. Here she attempted to make ends meet capitalising on the international interest in all things Russian by joining a psuedo-Russian folk group followed by time as the lead singer in a group of sixteen musicians called Don Rico and His Gypsy Girls who dressed in gypsy costumes and sang songs in broken English. After touring the United Kingdom for six months she managed to save enough money to go to Leipzig to study lieder with the famous lieder singer Elena Gerhardt. During her time in Leipzig she lived with a Jewish family during Hitler’s rise to power. Parker remembers being shocked by the anti-Semitic messages on park benches and buildings, and the incredible hysteria that followed Hitler and the Third Reich. By 1934 Parker was back in London where she found work wherever she could, including work in cabaret and radio before forming a close harmony trio, The Radio Graces. Parker’s big breakthrough came in 1939 when she sang in a concert at Wigmore Hall which produced brilliant reviews leading to widespread professional booking. Unfortunately these concerts were not to be. War was declared on the 3rd of September 1939. All contracts were automatically cancelled. Devastated Parker offered her services to the Women’s Land Army but was rejected as not ‘robust enough’ to work in the field. As fate would have it Parker was again rescued by music when the BBC invited The Radio Graces to be stationed at their new studios in a country mansion in Worcestershire. Despite this regular work including solo parts designed to entice her to stay, Parker was encouraged by Australian opera star Joan Hammond to pursue her ambitions to become an opera singer. With renewed confidence she sent her glowing press notices from her Wigmore Hall recital to Sadler’s Wells Opera Company. Following a successful audition she received a contract in 1942 to sing Mimi in La Boheme and Paminia in The Magic Flute. This was the breakthrough she had been working towards for so long. She received impressive reviews including this one by Edwin Evans from the Daily Mail who wrote: “The cast, a good one all-round includes one very successful newcomer in Linda Parker, an Australian girl who starts with the inestimable advantage of being able to look the character. There have been Mimis of all shapes and sizes, yet not many in whom one could believe in the theatrical sense – but here is one whose demure charm makes one ready to accept the story as it stands – and she sings the part admirably.” In 1945, the War in Europe over, Sadler’s Wells was sent to Germany to entertain the occupation forces. Touring under the Entertainments National Service Association (ENSA), they performed for survivors of a concentration camp and Parker recounts how she would never forget the sight of these people with a “not of this world” look in their eyes. Having survived the War in England with its bombs and doodle bugs, and having witnessed indescribable destruction on both sides, Linda Parker returned to Australia in 1947 having appeared in over 300 performances with Sadler’s Wells. Back in Australia, she featured in broadcast recitals with the ABC before returning to England for a short stint which included concerts and broadcasts in Germany during the Berlin Air Lift in 1948. Although she returned to Australia to marry, she became increasingly frustrated by the lack of professional opportunities in Australia and spent much of the 1950s performing and travelling throughout the world. A new chapter in her life began when she brought a Spanish guitar in Barcelona where she took lessons and set about collecting traditional folk songs. On her return to Australia in the early 1960s she appeared in her own television series with the ABC called Linda Parker and Her Guitar and in 1965 recorded ‘Folk Songs Round the World’. During this period she was also offered a position in charge of music at the National Institute of Dramatic Art (NIDA) where she relished the opportunity to pass on her expertise and to encourage students to learn singing as an extra string to their bow. Linda Parker-Warmsley passed away in 1994 having lived a full and adventurous life during a turbulent time in history. Through her tireless drive, bravery, and talent she became a star in her own right and although no longer a household name, this collection donated by Parker’s niece Maureen O’Halloran provides a tantalising glimpse into an extraordinary life.
1646	dbpedia	0	20	https://lottelehmannleague.org/reviews-of-lehmann/	en	Reviews of Lehmann	https://lottelehmannleag…-Lotte-32x32.png	https://lottelehmannleag…-Lotte-32x32.png	[ "https://lottelehmannleague.org/wp-content/uploads/2021/10/LL-HEADER-3.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://lottelehmannleag…-Lotte-32x32.png		https://lottelehmannleague.org/reviews-of-lehmann/	We have an expert appraisal with the music critic Marcia Davenport. Here’s what she wrote in her 1967 book Too Strong for Fantasy. “My fascination with Lotte Lehmann had been reaffirmed in many visits to the Staatsoper when I was in Vienna, and at the end of 1933 she finally came to New York. …The New Yorker [where Davenport worked] had commissioned a Profile of her. The profile took off from the basis that I rated her the finest singing actress before the public, and thirty years later I can add that I have never seen or heard her equal.…When she made her her debut at the Metropolitan as Sieglinde I took my mother [famous opera start Alma Gluck], who reacted exactly as I had done when I first heard Lotte in Vienna…I watched her trying to conceal her own open-mouthed enthrallment….” We begin with Lehmann’s first success as Elsa in Lohengrin (her debut in a leading role after only two years in the Hamburg Opera) in November 1912: …At last an Elsa who was only Elsa and could not just as well have been Ortrud [Elsa’s evil nemesis]. To many it may have seemed a risk to entrust this great role to the young, inexperienced Lotte Lehmann. And it was a risk; but not an experiment, for the basic prerequisites, which offered at least the possibility of success, were in this case present. The swan knights we have known here have seldom rushed to rescue a more enchanting, more tender Elsa, so touched with romantic magic, as she was outwardly portrayed by Frl. Lehmann. An Elsa without the excesses of the usual prima donna, an Elsa who was all innocence and guilelessness. Artistically too, Frl. Lehmann fulfills her task for the present in a way that is entirely her own. She forgets most of what she had planned and what others have prompted her to do; she gives herself up completely to the impressions of the moment and to the dramatic situation. That is very good, for in that way she keeps for her Elsa a perfect, almost touching unaffectedness; in that way she is not tempted to make what is already complicated appear to be even more so than it really is, and in that way she avoids any farfetched philosophical obscurities and any false theatricality. Perhaps this lovely unaffectedness springs from her ignorance of Elsa’s nature. In that case one would like to wish that she retain such ignorance for a good long time….(Hamburger Fremdenblatt) …That new Elsa was Fräulein Lotte Lehmann. Outwardly a picture that could assure sympathy and support for the role she was to portray, through the warmth of her feelings and through the profusion of youthfully fresh, beautiful tones at her disposal, at least as much as through her appearance. A slight nervousness that was noticeable at the very beginning—understandable in the heavy responsibility of a first appearance in a leading role—was soon suppressed. Thus the careful treatment of the text and that of the melodic line came into their own, no less the agreeable evenness of her vocal resources…. (Neue Hamburger Zeitung) …When one considers what it means for such a young singer to be suddenly at the center of interest, her performance was of astounding assurance. The voice of Frl. Lehmann has such a pure, heartfelt sound, her emission of tone is so steady and finely cultivated, that the songs of Elsa breathed all the sweetness of youthful innocence…. (Hamburger Neueste Nachrichten) …An Elsa … of touching grace in her appearance and in her singing…. An Elsa so human, so unpretentious, such as one does not often get to see and hear…. They will tell her that this or that must be done differently, they will try to instill in her all the experiences of all the Elsas who ever stood on a stage. If she relies entirely upon her own experiences, she will be the Elsa that Elsa should be and must be…. (Hamburgischer Correspondent) Gluck’s opera Iphigenia in Aulis opened the 1913–1914 season in Hamburg and here are three reviews of Lehmann’s part in the production, from her scrapbook without attributions: .…Only the Iphigenia of Fräulein Lehmann stayed entirely within the classical framework. The heartfelt warmth of her dew-fresh voice, the perfectly beautiful tone production, the utterly convincing naturalness in action and gesture together created an unusually enchanting totality. …Among the performers….Frl. Lehmann, deserved the palm. The talented artist, who still grows with each greater assignment, offered us an absolutely ideal Iphigenia, because here the touching simplicity of a powerful but unforced art again becomes nature…. …Fräulein Lehmann offered as Iphigenia a vocally and dramatically magnificent accomplishment…built upon the appealing line of simple, warm naturalness…. As the Countess in Mozart’s Marriage of Figaro, this is what Hamburg critics wrote of her: …Lotte Lehmann…sang the first aria with movingly beautiful vocal quality, with cultivated taste, with genuine warmth. And she also showed her mastery of the second aria, which is very specially tricky, with an assurance that made one forget that she was singing the role for the first time…. (Hamburg critic M. L.) …The technically difficult aria in the third act was excellently managed by the artist, as if it were a familiar possession of long standing…. (Hamburg critic M.) With a leap into the future, here is what a London critic had to say about that same aria in 1926: …Lotte Lehmann sang the aria…in the third act with such fullness of tone and such dignity of phrasing that it was impossible not to realize in what state of musical grace she was abiding… Back to Lehmann’s final year in Hamburg, this is the critical appraisal of her Pamina in Mozart’s The Magic Flute. …Frl. Lehmann portrayed Pamina with winning naturalness, sang the part with her own sort of refined musical conception and with an innerness of tone and expression that make it painfully regrettable that Dr. Loewenfeld was not capable of keeping at his institute for many years to come such an outstanding talent….[Lehmann had already been hired by Vienna.] (M.) …Fräulein Lehmann is the best Pamina one can imagine. The loveliness of her appearance, the purity of her vocal sound, the warmth of her feeling, and the instinctive accuracy of aim in her musical taste which always dictates the right degree of expression to that warmth of feeling—all that together plus an unblemished singing technique makes a Pamina as one seldom finds her…. (M. L.) Lehmann was to sing Eva in Wagner’s Meistersinger when she was first to perform in Vienna. While the role was still being prepared, she sang it in Hamburg to the following reviews: …If in yesterday’s performance this side [the deeper relationship between Eva and Sachs] of the profound Meistersinger—poetry came especially into its own, then the credit must go primarily to Fräulein Lotte Lehmann, who sang the part of Evchen for the first time and who already at this first attempt gave the figure the sharpness of outline that is essential for the goldsmith’s daughter. Eva Pogner is neither lyrical nor sentimental: she is a perfectly healthy daughter of Eve with a slight touch of thoroughly natural sensuality, and she sees things as they are. That of course does not prevent her from projecting individually very differentiated moods from her emotional spectrum, and her feelings towards Sachs are by no means limited to the affection that a niece, for instance, might feel for a friendly, fatherly uncle. She is nevertheless aware of the pain that she causes Sachs, and therefore Fräulein Lehmann is absolutely right when she imbues with all possible warmth that moving passage in the shoemaker’s workshop scene in which Evchen inwardly releases herself from Sachs’s heart with an almost passionate spiritual exultation…. (Heinrich Chevalley in Hamburger Fremdenblatt) …Frl. Lotte Lehmann appeared in the role of Pogner’s daughter, striking us right away with her grace and clearly establishing her right to undisputed possession of the part. She fulfilled her task with feeling and understanding, with warmly appealing wholeheartedness and sincerity, all qualities that are needed for Evchen. Even the conscious cunning and charming slyness—in worming out of Sachs what she wants to know—found in Frl. Lehmann favorable qualifications. The tone of irritation with Sachs (in the second act) sounded for once like the expression of an upright personality. The excessive impudence and aggressiveness recently noticed here in other interpreters of the role, as well as their tendency to self-dramatization, were this time absent. To the adornment of the part, besides the slenderness of the outward line, were added yesterday the attractive vocal qualities, the naturalness of delivery, and musical tact. Two aspects of the role were extraordinarily well-realized by the new Eva: the delicacy with which she revealed her suspicion of the sorrowful secret that Sachs was hiding in his soul….then the passionate wave of feeling for Stolzing just before the Night Watchman sounded his horn…. (W. Z.) Having already sung Sophie, Lehmann learned the role of Octavian in Der Rosenkavalier of Richard Strauss. This is what Hamburg reviewers wrote: …With the musical conscientiousness, with the strong artistic instinct and unerring taste which belong to her, Lotte Lehmann has now taken possession of the part of Octavian as well. Her way, which imitates no model and which no one else will find easy to imitate after her, is far from anything that smacks of routine or conventionality and yet just as far removed from any striving for effect, from any oddity. The simple result of a sure artistic instinct which lets nothing divert it and therefore always finds the right way. Lotte Lehmann has the rare ability, the rare courage, to stand still on the stage—perfectly still, without pose, without the meaningless movements with which “routine” tries to cover embarrassment, without grimaces, without the surrogates of true temperament. And in this simple repose, which is quite natural in life and only strange to the stage, she produces a more genuine, stronger effect, than any pause-filling routine was ever able to do. Quite aside from her vocally brilliant performance, which was only occasionally covered by a too eager orchestra, her Rosenkavalier was dramatically a thoroughly distinguished achievement—independent, full of temperament and high-spirited humor. Furthermore, all that is supported by a dazzlingly attractive outward appearance…. (M. L.) …In the difficult part of Octavian Frl. Lehmann quickly made herself at home with her brilliant dramatic and vocal talent. She was genuinely convincing in each of her impersonations [as Octavian or “Mariandl”]…. (R. Ph.) Not every word was flattering: …Poor Quin-Quin [Octavian’s nickname], you’ll have your hands full with your Sophie. You have at least twenty pounds too many around your hips…. (H. Chevalley) In 1914 Lehmann made her Vienna Opera debut as Eva to the following reviews: …Lotte Lehmann from the Hamburg Municipal Theatre appeared yesterday as Evchen…. A more charming portrayal would be hard to imagine. That was for once an Evchen such as Wagner must have pictured: of a pleasing cheerfulness, roguish, childlike and naïve, warm and full of feeling, completely natural. A lovely appearance and speaking eyes assist the artist in her finely detailed characterization, an artist whom one would like to hear in other roles as well…. (“rp,” Neues Wiener Tagblatt, 31 October 1914.) The Evchen was a charming Frl. Lehmann…gifted with a lovely, pleasant voice and musical sense. A singer new to the Vienna Opera; but with whom one will be glad to meet more often…. (E. B., Neues Wiener Journal, 31 October 1914) Back in Hamburg, Lehmann sang her first Elisabeth in Tannhäuser by Wagner. …The Elisabeth was embodied for the first time by Frl. Lehmann. What this Elisabeth has to give us, has been missing here for a long, long time. All the deep, spiritual empathy, the jubilation of a loving heart, the chaste excitement, the nobility of the young princess, the sudden pain of recognition, the fervor of the prayer, all of that vibrates and rings, rejoices and laments in this highly gifted voice, wins three-dimensional shape and touches us wondrously and enduringly…. The acting of the young artist was deeply moving, and revealed again the sure instinct of a talent that penetrates with total accuracy into the being of each of the womanly characters she portrays…. All in all this latest creation of Frl. Lehmann’s arouses again a deep regret that Vienna will take away from us this strong talent…. (M.) …Yesterday Frl. Lehmann added Elisabeth to her successful Wagnerian impersonations. With the new role she gave again a proof of her rich talent, so capable of development. Frl. Lehmann never offers us cheap theatricality; rather she knows how to surround each of her characters with a halo of true poetry, unfolded from within; and without affectation or anything forced she finds—as if of her own accord—the character and the form that express the inner being and the spirit of Wagner’s art…. (R. Ph.) …Elisabeth is the niece of a Thuringian Landgrave and not at all related to Brünnhilde, for example. Through tradition, which has accustomed us to Elisabeths of massive sound and massive gestures, that has been forgotten. Lotte Lehmann knows nothing of that tradition. She does not burden her slender voice with trials of strength or her natural feelings with exaggerated pathos and is in spite of that—or perhaps because of that—an Elisabeth as truly Wagnerian as only few others. She settles for simplicity, without simple-mindedness, summons her strength without false heroism for the urgent cry, “Haltet ein!” and builds the prayer through inner emotion to deeply moving fervor…. (M. L.) …Elisabeth’s declaration of love has never before been heard here with such poetic tenderness…. (M.) Lehmann’s official debut as a regular member of the Vienna Court Opera took place on the traditional opening night of the season, the Emperor’s birthday, 18 August 1916. The opera was Der Freischütz. …The first evening introduced a new member of the company: Fräulein Lotte Lehmann as Agathe. That was a case of “she came, she conquered,” a total victory! Fräulein Lehmann, of winning appearance, is poetry incarnate and her singing is poetry too, as is also the simplicity of her acting, free of any artificiality. The glorious soprano of the young artist must have been trained by a master. Seldom has one encountered such vocal culture, faultless in every way, which, transmitted through a voice saturated with beautiful sound, is permeated as well with an artistic sensibility of the noblest kind. And to crown the whole, Fräulein Lehmann is mistress of the most model enunciation of the text one can imagine. Many great singers will be placed in the shade by the young artist through that quality alone. Fräulein Lehmann was stormily and most heartily applauded after her first aria as well as repeatedly during the performance and at the end of the acts. It is now understandable that she was the darling of Hamburg and that they let her go with deep regrets. The Vienna Opera has made in her, that can well be said today, a major discovery…. (Sch–r., Deutsches Volksblatt, 19 August 1916.) …A singer with magnificent resources, an actress full of feeling and taste…. Her smooth voice, which carries in all registers and is richly colored, adapted itself with equal perfection to Weber’s sentimental cantilena and to the lively rhythms of his dramatic melody. She unfolded the big aria in the second act with heart—warm tones and built up the ending to a climax of warm-blooded, genuine joy. Especially lovely was the prayer. Through the velvety registers of her voice she conjured up all its dreaminess, its child-like naïveté. As an actress, she glided past all the weaknesses in Agathe’s overly delicate virginality with an adroitness that revealed the thinking artist…. (Neues Wiener Journal, 19 August 1916.) …Today, on the Opening Day of the Court Opera, we would like to be able to give praise, and fortunately a welcome occasion to do so has been offered, for an excellent new member, Fräulein Lehmann, sang the Agathe with the greatest success. Besides Frau Jeritza, the thrilling temperament of our opera stage, Frau [Lucie] Weidt,the heroine of noble interpretations, and Frau [Selma] Kurz,the grande dame of our Court Opera, dripping pearls of coloratura, Frl. Lehmann can quickly become a darling of our opera audience….(Die Zeit, 19 August 1916.) …Yesterday she took the public by storm. Lotte Lehmann has every prospect of becoming a Vienna favorite. Such she was, by the way, in Hamburg, where they were not glad to let her go. It is quite an accomplishment to literally electrify a sleepy audience with Agathe’s prayer…. [another Viennese paper, unidentified in the clipping from Lehmann’s scrapbook.] Lehmann sang the Composer in the revised version of Ariadne auf Naxos by Strauss. As Beaumont Glass wrote in his Lehmann biography: “The première took place on Wednesday, October 4, 1916, starting at 7 p.m. Maria Jeritza sang Ariadne, Selma Kurz was Zerbinetta. They were two of Vienna’s top favorites.” “At 7:40 all Vienna knew who Lotte Lehmann is.” So wrote leading critic Ludwig Karpath. Having claimed the Vienna opera-going public’s attention, Lehmann sang many recitals as well as opera roles. …When she sings, be it something familiar or something new, one feels that each aria, each song is radiating new colors, new flashes of light. Her ever-blossoming talent carries the magic of the most modest simplicity. To the stage or to the recital platform she brings the same utter naturalness and credibility, along with human warmth and emotions that spring from deepest musical understanding. One hears and sees in her an artistic talent gifted with six senses. The sixth: a most pure, inborn musicality, refined and easy in the execution, delicate and poetic with rare subtlety. She feels and lives her renditions with high culture and nobility. On the stage her role becomes a living being; and our hearts and our ears surrender to her songs. That bell-like, silvery voice sounds forth from a deep-feeling soul. That voice bears a piece of her heart. The pure, noble, soft poetry of that singing, the legato line, the delicate sentiment of that dreamy, warm voice, are very rare phenomena. Lotte Lehmann has beyond a doubt one of the most beautiful female voices we have ever heard…. The whole evening was one great jubilation over the beloved and celebrated artist…. (a. e., Wiener Fremdenblatt, 14 January 1918.) When she returned to sing in Hamburg they wrote: Once more the opportunity to listen to the nobly lovely art of our Lotte Lehmann…and as she lent to the little songs her captivatingly sweet, wonderful voice, a jubilation, a thundering ovation broke loose such as never yet has shaken these walls. Again and again we are forced to ask: was there really no way to keep this artist here? Must Vienna possess what rightly belongs to Hamburg? For us no golden cage could have been precious enough for this nightingale with the radiant voice…. (Neue Hamburger Zeitung, 6 August 1917.) After hearing her Manon Lescaut, Puccini wrote the following letter: 19. X. 23 Dear Signorina Lehman I want to tell you how happy I am with your interpretation of Manon—your art, full of sentiment, together with your beautiful voice have given to my Manon a great vividness [un grande rilievo] and I thank you cordially and am very happy for the great success you have had.—A rivederci—with best greetings Your affectionate G. Puccini In Berlin Lehmann sang the double role Marie/Marietta in Die tote Stadt by Erich Korngold who wrote the following: I cannot leave [Berlin] without expressing, apart from my general thanks to the director, my special gratitude to you for your unique achievement. You were marvelous—enchanting. With all the necessary immorality as required by this role. I would not want one bit more of depravity or “verisimilitude.” Your dramatic impersonation, melodic accents and climaxes, the purity of outline in the death scene—everything was there. Also passion, truthfulness of expression, and devotion to the opera….I thank you a thousand times and with all my heart. In sincere admiration and devotion, your Erich Wolfgang Korngold. After her first performances as the Marschallin in London in 1924 the following reviews appeared (again from her scrapbook, some without attribution): …It is impossible to praise too highly the performance of Mme Lotte Lehmann; she was every inch a princess—voice and gesture alike held a dignity that raised the tone of the whole thing….(The Telegraph) …Lotte Lehmann’s princess moves one as one scarcely expects to be moved in opera…. …The outstanding performance of the evening was that of Mme Lotte Lehmann as the Marschallin. Vocally and histrionically finished to the smallest detail, it had a nobility of style and a depth and variety of emotion that made it seem the only ideal rendering of the part one may wish to hear in a lifetime…. Also 1924, but in Dresden, Lehmann created the role of Christine in Intermezzo by Strauss and the critics wrote (from the scrapbook, so some without attribution): …Lotte Lehmann—vocally and histrionically a sensation. Any man with a heart in his body would be glad to go home to this “Xantippe”…. (Dr. Otto Reuter.) …In the role of the temperamental, passionate wife Lotte Lehmann offered an unsurpassable achievement of rare truthfulness and naturalness, with a thoroughly sympathetic undertone. …No praise is too great for her feat….That Frl. Lotte Lehmann was able to portray this complicated figure with such living warmth assures for her a reputation as a singer with unlimited abilities. While in Dresden to sing Intermezzo, Lehmann also sang many of the roles she sang in Vienna. The following reviews are by Dresden critics. [Desdemona]…Yesterday the sweetness of Verdi’s music was given to us again through a voice that belongs among the most precious that we have ever heard on the Dresden stage….Already in the entrance duet we were transported from one thrill to another….An intoxication of vocal beauty held us entranced and would not let us go….And upon the foundation of such a vocal talent she acted Desdemona for us, not sweetly, but with the pride of an unjustly offended wife. Instead of bathos, true compassion moved us for the suffering of an unhappy woman…. (Th.) …As Desdemona [she] surprised us with an abundance of new sides to her highly gifted artistry. In her costume and makeup, as if after a painting by Titian, she gave the figure utterly individual contours. She by no means yielded herself in grief to the treachery of Iago, but rather plunged actively into the drama and fought for her innocence up until the last moment. Her downfall attained the stature of incomparable tragedy. The glorious voice revels in the high-arched, late-Verdi cantilena, a magnificent, dramatically colored bel canto…. (C. J. P.) [Elisabeth]…On this evening the opera should have been called not Tannhäuser but Elisabeth….[She presented] a natural, girlish Elisabeth, without false pathos of gesture, all moving feeling….[She is] an actress of taste and expressive power….Her soprano [is] of infinitely comforting warmth, her tone full of heartfelt sincerity, and technically mastered with great art. German bel canto in the truest sense of the word. [Elisabeth]…The voice has the intoxication of youth, bubbling over with the blissful joy of singing. Then there is the great temperament, not just in the acting but also in the voice. Further, the fabulous high notes which soar so victoriously over the ensemble, dominating it effortlessly. It was already a magnificent achievement purely from the vocal point of view; it became even more so through the acting. The appearance alone was enough to win us over. One could believe her to be one of those lovely sculptured figures from the Naumburg Cathedral. But that was the external surface. High above that was what Lotte Lehmann accomplished with her portrayal….Here was embodied humanity…. (Th.) [Eva]…She turned the evening into an event…. (C. J. P.) [Mimì]…Yesterday Lotte Lehmann sang Mimì in La Bohème. Those were precious hours that one experienced in the opera house. Hours of inner living. 1927 was the centennial of Beethoven’s death and the Vienna Opera produced his Fidelio with Lehmann in the title role, a role that normally demands a more dramatic voice category. The critics seemed to search for new superlatives. (Lehmann’s scrapbook clippings often cut off the name of the newspaper and critic): …Lotte Lehmann was an experience as Leonore. That is a Fidelio of whom they will still be singing in the most distant future. That is perfection.…Lotte Lehmann, who in the last few years has risen to ever higher perfection, surpassed herself as Leonore, which she sang for the first time…. …Lotte Lehmann was simply glorious; more than that, hers was great singing and a moving womanly creation. …One can hardly imagine another performer of Leonore like Frau Lehmann. Perhaps she lacks heroic volume. But out of her words, whether spoken or sung, the tones sound as if they come from the depths of the feminine heart. So speaks and so sings the purest love, which is infinite in its joy of giving, only giving, and asks nothing, expects nothing in return. That tone, true to nature, unaffected, unadorned with any fancy “nuances,” penetrates movingly to our hearts. Of this Leonore an unattributed reporter from Paris wrote: …Mme Lotte Lehmann, who is the purest and most magnificent soprano of the Vienna Opera, absolutely surpassed herself, vocally and histrionically, in her dramatic rendition of Leonore. A delirious audience showered her with unending applause. Another unattributed critic reported in English: …Lotte Lehmann, whose talent seemingly has no limitations, as she triumphed recently in two such different parts as Puccini’s Turandot and the Frau Storch of Richard Strauss’s Intermezzo, was an admirable Leonore…. And yet another in English: …And Lotte Lehmann created just that same indelible impression which she had made here [in England, in other roles]. She was lifted out of herself, it seemed…. Two months later Lotte sang Fidelio in Hamburg to similar acclaim. …She is one of the few who have realized the mysterious something which this opera contains; she is in tune with the magical things in the Beethoven language, she has come inwardly near to the soul of Fidelio in an astonishing process of artistic travail. For years we have experienced no Leonore in Hamburg who reached so deeply into our hearts….In acting as in song this Leonore was the glowing flame of the evening. Histrionically an accomplishment polished to the last degree, wherein technical mastery could be taken for granted. Feeling was everything, guided vocally by powerful impulses, yet under emotions of the highest kind. A sound-miracle [ein Klangwunder]. (Unattributed clipping) A Berlin critic was equally ecstatic: …In a performance filled by Bruno Walter with the spirit of Beethoven, Lotte Lehmann sings Leonore, frees that image of the Ideal from the bonds of tradition. Intuitively conceived out of the fullness of a strong, individual femininity, a Leonore of pure human greatness emerges, to whom conventional operatic pathos and masculinized heroics are equally foreign. A womanly nature of pensive inner simplicity which does not give up its natural manner even in masculine dress, a true heroine of the heart, whose heroism has its source in feminine soul—power and the self—sacrificing love of a devoted wife. This Leonore moves us and stirs us because she alone is fundamentally the genuinely felt Leonore of Beethoven…. She sings her great aria, technically masterfully articulated, with moving sentiment, an outpouring of purest feeling. In the prison scene she finds just the tone of voice, the very gesture for the strongest possible dramatic accentuation. “Kill first his wife!” how deeply stirring that sounds from her mouth…. (No name) Of Lehmann’s performance as Turandot in Berlin, an unnamed critic wrote the following: …I confess, I anticipated Lehmann’s high notes with some trepidation. A more pleasant surprise is scarcely imaginable! This unbelievably difficult role, difficult because one has to sing almost constantly in the highest register, was as good as totally conquered by the artist. Unforced, free, clear, warm, her voice purled forth, and one could even understand the words of the riddles—if one knew them. Those riddles are the trickiest part of the role. So brava, bravissima! It was a top performance. And figure, makeup, and acting supported the effect in the best way. Of the role of Heliane in Korngold’s Das Wunder der Heliane, the following unidentified newspapers carried the following comments: …Lotte Lehmann does not act Heliane, she is Heliane. In the incomparable timbre of her voice there is the quiet radiance of a chastity which ennobles her every movement and her standing still and which speaks forcefully and movingly out of every manifestation of her feminine heroism, out of sorrow and compassion, love and self-sacrifice. Lotte Lehmann has deeply understood and captured the nature of Heliane, the magic of a naïve loveliness, an innocence threatened by the sweet torments of erotic arousal. Her first entrance, bathed in light, ethereal in appearance and expression, is unforgettable. The way in which she unbinds her hair, uncovers her feet, her body, that cannot be acted more movingly or at the same time with more purity. The aria in which she later defends herself before the court [the aria she recorded] comes out of burning emotion. It is masterfully expounded, building in intensity of feeling, without pose or exaggeration. The language of the heart, which is as shattering as the aria itself. Lotte Lehmann may place Heliane among her gallery of saints, which extends from Wagner’s Elisabeth to Beethoven’s Leonore. …Lotte Lehmann, perfection itself, was Heliane. Grandiose in poetic conception, unsurpassable in song…. A second Paris season (in 1929) brought more adulation. Lehmann sang Elsa in German while the rest of the cast addressed her in French. Then she gave a Lieder recital at the Opéra. It created a sensation: …This admirable priestess of bel canto is perfection itself….(No attribution) …What power, what articulation in the singing, and what inner flame!…A rare mastery. (No attribution) The New York Herald Tribune (2 February 1929) reported the following: …The recital given by Mme Lotte Lehmann at the Opéra on Thursday was not merely a success, but a veritable triumph. It must be said that the art of the great Viennese singer has attained such a point of perfection that…singing becomes, or rather seems to become, so easy that everybody could practice it. But what is Mme Lehmann’s very own is the simplicity of her art. No aiming at effect…Such a soirée is a festival for musicians; it is also a lesson. In the 1920’s various unnamed London papers carried the following notices: …Last night the spirit of poetry singled out the Elsa, and rather ignored her supernatural lover [Karl Peron]. This Elsa was Mme Lotte Lehmann, and she will be long remembered. Her singing was lovely. And there was more still—true impersonation, living and touching. Her prayer for a savior in the first act quite transcended the Elsas of convention. It could not have been more beautiful…. …Tonight’s performance was redeemed from mediocrity by Lotte Lehmann, her Elsa being a completely perfect interpretation. This fine singer and actress was at her very best, and her singing of the restrained phrases of the first act, and her wonderful dramatic intensity were an extraordinary illustration and realization of the combined arts…. …Mme Lehmann is an exquisite singer, perfect in phrasing and diction, and her Elsa was inimitable in its tenderness, poignancy and charm. In 1926, in London, the unnamed writers responded to Lehmann’s Desdemona (in Italian), a Sieglinde, Eva, and Elsa: .…Lotte Lehmann was a perfect Desdemona, in fact the best I can recall—Albani, Eames, Melba,I have heard them repeatedly in that role, but I place Lehmann first. …Frau Lotte Lehmann was a surpassingly fair Sieglinde, singing with rare beauty and acting with still rarer charm. One of the thrills of the evening was her great cry of exultation when Brünnhilde announced to her the future coming of Siegfried. …all the spontaneous impulse of girlhood joined to maturity of voice and style, the Eva of our dreams…. [Elsa] sung and acted as it had not been perhaps for twenty years. 1926 in London Lehmann sang recitals for which she received praise: …A performance that can be described as the perfection of singing. She is a complete mistress of the almost neglected art of phrasing. The quality of her voice never deteriorates, and she does not sing lieder in the lugubrious manner so much affected by some singers… (J. A. F.) For her 1927 Covent Garden performance as the Marschallin, the unnamed reviewer wrote: …Her performances last year and again last week led us to expect great things. But, however well prepared, one does not come in contact with such most admirable art without feeling the thrill and the wonder as of a perfect thing. She sang not a phrase that was not as perfect as a good voice and an unerring taste could make it, and she spoke not a word that was not pronounced so as to carry the full weight and significance it was meant to carry. And how well her histrionic genius filled in those long silences….Such a performance cannot but have its effect on all who share in it…. For 1925 performances of Die Meistersinger with Bruno Walter conducting in Berlin, Lehmann clipped the following reviews without regard to the name of the newspaper or critic: …The most perfect interpretation of Wagner’s conception. And her precious voice is the consummate expressive medium for every impulse—its bloom, its melting loveliness, the model phrasing, all culminate in the quintet. The soul-filled tone, the full splendor of the fresh, floating sound, rise here to a climax, elevating the extraordinary to the level of the unique. …She is a magnificent Evchen and leads the quintet—the highlight of the evening—more beautifully than one has ever heard before…. …Lotte Lehmann, the one and only, caught the style, unerringly, with the instinct of genius. This Evchen was the crown of the performance, attractive and lovely to look at, dignified and genuine in every gesture. And what a treat, that glorious voice! A radiation of most golden splendor not only in the quintet; even in the slightest interjections, like those in the second act from the linden bower, every tone “sat,” every syllable was clearly understandable. Other opera performances of 1925 received the following unattributed reviews: …Lotte Lehmann as Eva was the triumph of the Meistersinger evening, unequaled in beauty of voice or clarity of expression…. …Lotte Lehmann’s Elsa can be called absolutely perfect, lifted far above the standards of any usual evening at the opera. …The incomparable Lotte Lehmann [was] Lisa [in The Queen of Spades]….Her great scene by the river is one of the most glorious operatic moments one has ever heard. The music is radiant in her, she lifts it far above its niveau, she colors it in a personal way, so that it becomes triumphant in itself, apart from any drama on the stage, so that in that moment it seems to become a real experience, not a performance but reality itself. In 1930 Richard Strauss conducted Fidelio with Lehmann in Vienna: …There one felt the dramatic fire of the composer of Elektra. The tragic storm exploded in lightning and thunder; one felt shivers down the spine. But this scene was brought to a climax also by the magnificent voice of Lotte Lehmann. One experienced something extraordinary. The warmth of this so tenderly human Leonore was transformed into heroic power. The moment became monumental. With every performance the Leonore of Lotte Lehmann becomes more remarkable, more gripping…. (E. B.) In Vienna Lehmann sang recitals to mixed reviews: …Then, strangely, from the profusion of available songs by Schubert and Schumann, she chose several which were composed for the male voice, “Der Doppelgänger,” “Der Erlkönig,” “Ich grolle nicht,” and “Frühlingsnacht,” probably more out of vocal considerations than because of the content to be expressed, which would justify sharper accents in these very songs. [It is interesting to note that Lehmann was later criticized for over-dramatizing some of those same Lieder.] But this is just what is so special in Lotte Lehmann’s art: the noble harmony, the lovely evenness of moods, the comforting warmth, which are a part of her temperament and which her singing communicates to the listener in such a lovable way…. (E. B., 10 February 1930.) …An evening of Lieder by Lotte Lehmann is the loveliest, most precious treat for the ear. Mellifluous sweetness floods over the hearer and one does not grow tired of admiring the divine gift of this voice. Every tone is sent forth in its acoustic perfection with an additional spin from the heart, a sort of soul-vibrato. In such a way, every song becomes a tasty delicacy for the ear, which in turn wants nothing to disturb such egotistical enjoyment. Not even through the fact that any just demand for spiritual [as distinct from sensual], truly Lieder-like interpretation of the individual songs is as good as totally unfulfilled. Meanwhile, the Lehmann voice is an exceptional case, and that must satisfy us. Even then, when everything that is actually characteristic and significant has been taken away from the fever-visions of “The Erlking” or the ghostly apparition of “Der Doppelgänger,”…such honeyed euphony, such cozy singing is welcome, even when, apparently quite inorganically, it is supposed to be coming from the spheres of the uncanny and the demonic…. (Heinrich Kralik, 10 February 1930.) …The voice of Lotte Lehmann is of such beauty that one should erect altars to it. That voice alone, even without the natural charm of her personality and a singing technique sublimated to the last degree of purity, would have to lead her to the highest summit of international fame. Brilliance emanates from her….Such mastery is hard to reach, harder still to maintain. But in one sense, Lotte Lehmann has it easy: she has only to sing a “Lehmann tone,” a “Lehmann phrase” in an old Italian aria or a German Lied, to let loose a storm. In summary one could say that her way of singing songs is the incarnation of German Innigkeit [warmth, tenderness, sincerity]…. [from an unidentified clipping on the same page of Lehmann’s scrapbook] Here are some of the mixed reactions of often unidentified London reviewers to her recital in Queen’s Hall, 25 February 1930: …Seldom, if ever, do we hear a more glorious voice than Lotte Lehmann’s….Unfortunately her operatic trick of clipping her words short, though it can be dramatic enough when accompanied with a gesture on the stage, ill befits the singing of Lieder. Perhaps she is aware of this, for she sang “Ich grolle nicht” badly in this respect, and then in response to the undiscriminating applause, sang it well again. But I wonder why she sang it at all…. …Even such a song as Schumann’s “Ich grolle nicht”—essentially a man’s song—was a perfect thing, for the quality of tone and expression leveled all differences….Every song revealed such complete mastery that it might have been mistaken for ease, and it is significant that in an age which prides itself on its cool, practical attitude towards all that stirred most deeply the conscience of the last generation, a simple, sentimental song like Beethoven’s “Wonne der Wehmut” should rouse an audience to enthusiasm. In different ways, every song bore evidence not only of Mme Lehmann’s vocal art and gifts, but also to her genius as an interpreter…. (F. B.) …The exquisite art of Lotte Lehmann was manifestly enjoyed by her large audience….Listening to her opening group—all overly-familiar, if vocally beautiful solos—one fervently wished that all the budding soprani who meditate including [in their recitals] either (or all) “Caro mio ben,” “Lasciatemi morire,” or “O del mio dolce ardor” might be present to hear how really expressive they can be when beautifully sung, instead of (as generally happens) being converted into particularly dreary, punctilious examples of “the classics”….The spiritual beauty of “Du bist wie eine Blume” still lingers in the memory, like the mystic ecstasy, the crystallization of all that has ever been held to symbolize springtime’s magic which this great singer infused (or rather re-created, for the composer has captured it within his inspiration) into “Frühlingsnacht”…. …The thing one would like to do, if it were possible, would be to coax, cajole, harry, coerce all the bad singers of London—without having to tell them how bad, exactly, they were—into one of Madame Lehmann’s recitals: those, namely, who “know all about” legato singing, messa di voce, the right kind of vibrato, colour, diction, enunciation, pronunciation, temperament, except how to do them; and to let them hear how these things sound when there has been time to forget all about how they are done. Of all these virtues we would take Madame Lehmann’s legato for special commendation….It prevents such an old warhorse as “Caro mio ben” seeming jaded; it binds together the successive floods of ecstasy of such a song as “Frühlingsnacht.” After March 1930 recitals in Paris, the following unidentified critics wrote the following: …Ovations on top of ovations for Lotte Lehmann who triumphed at the Salle Pleyel….What tranquil mastery! And how sweet it is to listen to a perfect voice that gives the impression of being a force of nature, which seems born out of the good will of the elements, like the melody of the breeze or of the waves…. …It is always a pure joy, an intoxication, to listen to her! At first one is amazed at the instrumental beauty of her singing. There is not a mediocre note from top to bottom. And what nobility of phrasing! …What caresses in the poems of Wagner! We have, alas! all too few singers in France to place opposite this lady from Vienna. Where has technique disappeared to, here?…Can’t someone send a mission to Austria to recover the principles?… For her Marschallin in Graz, Austria, one unidentified critic wrote the next review: …Among the guests, Frau Lotte Lehmann, who was appearing for the first time in Graz, was resplendent as the Marschallin. She portrayed with moving poetry the last glow of a noble woman’s heart. Rococo magic blossomed around her figure. Every gesture, every tone testified to a wonderful mellowness and wisdom. The way in which Frau Lotte Lehmann spins her tones is incomparable. Her Feldmarschallin is one single song of beauty, free of “effects,” and free of any attempt to “shine” in the conventional sense. It is not too much to say that through Lotte Lehmann art becomes ennobled. For Lehmann performances in one of the Salzburg Festivals, various unattributed critics wrote the following reviews. …Glorious, unforgettable, transfigured in every respect is Frau Lotte Lehmann as the Marschallin. Highest effectiveness, noblest art. …With Lehmann the ending of the first act becomes one of the purest, most precious impressions which any opera stage can offer today….Lotte Lehmann…a princess in appearance, a queen of song, and as a woman—a human being…. …The nature of this God-gifted woman is humble fulfillment and boundless devotion. In holy exaltation she gives herself to the character she is to portray, serves the idea of the work to be interpreted. Leonore’s tremendous destiny: to have to love, to be able to suffer—idea and impulse, affliction and freedom—can not be embodied more gloriously; her simple nobility: womanly dignity and active faithfulness can not be interpreted more tenderly; the melody of her soul: hope, hope…can not be voiced in purer sound than as it is realized by this great artist. And the triumphant radiance of her voice—truly “it penetrates into the depths of one’s heart” [a quotation from the dialogue of the Fidelio dungeon scene]. …The Fidelio of Lotte Lehmann, a perfection, a probably unsurpassable accomplishment, uplifting and deeply stirring…filled with truly Beethovenesque transfiguration. For Lehmann’s work at the Vienna Opera, the following undated and unattributed reviews were positive: …Her singing was a living miracle, more beautiful than in the legend, “The Rose-Miracle of Saint Elisabeth.” The extraordinary, the unique thing about this vision of an artist, her incomparable voice and her genius for acting, can scarcely be put into words. The experience of hearing her and seeing her, as on this Tannhäuser-Sunday, reveals mysterious secrets of eternal beauty, which will remain in memory, inextinguishable, indescribable…. (D.) …In every respect a perfect accomplishment. The gentle radiance of the wondrously moving voice glows like a halo around her appearance. Lovelier than ever, more heartfelt in power and sweetness, is this blessed voice. The Elisabeth of Lotte Lehmann is a saint with a strong feminine nature, earthly and heavenly at the same time. In her being and in her appearance Lotte Lehmann embodies an ideal form of Wagner’s Elisabeth. She gives poetry to the expression of the words, there is poetry in every gesture, down to the graceful play of her hands. The soul-drama of the loving Elisabeth, full of faith and capable of total self-surrender, is fully revealed in the impersonation of Lotte Lehmann….. …The Elisabeth of Lotte Lehmann cast a radiance over the whole Tannhäuser performance. Already after her entrance aria there was colossal applause. Of course. But that was just a preamble to what was still to come, which, at the finale of the act, surpassed by far everything of beauty that Lehmann has given us up until now….The Elisabeth of Lotte Lehmann is now the best Elisabeth of all the opera stages on earth…. (R. K.) Lehmann’s debut in North America took place at the Chicago Opera in 1930: …Her Sieglinde is perfection itself—perfection of voice and action…(Musical Courier) …She has one of the loveliest voices ever heard on the Civic Opera stage. It is of a freedom and purity seldom discovered in American singers and employed with an eloquence and artistry that moved the audience to a great demonstration…. (Musical America) …The texture and the luster of her tone are so distinctive, so quick to reflect each shade of feeling, so potent in moments of Wagnerian orchestral drama, so responsive in the softer expressive inflections, that she must take her place quite unchallenged in the operatic Valhalla….(unidentified source) …In musical perception, in vocal beauty, in histrionic intelligence, Mme Lehmann was at once a lesson and a reproach to most of her colleagues who specialize in the Bayreuth master’s works. (no attribution) …Mme Lehmann was the ideal Elisabeth. Her singing is the acme of art, and she gives a more complete picture than any of her predecessors. She invests the character with an individuality that is absolutely new. Here is one of the great artists of the century. (without newspaper or reviewer’s name) A poetic review from a Paris writer: …A singer? More than that! A soul that sings! [Une âme qui chante] Song incarnate!…The infinite variety of her singing!… (Paris) 7 January 1932, was a major date in Lotte Lehmann’s career, her first New York recital, at Town Hall. Here is a condensation of the review by Olin Downes, then the leading music critic of The New York Times. …The audience that gathered in Town Hall last night to hear Lotte Lehmann’s first song recital in this city was not only impressed but thrilled. It has been a good many years—more years, at least, than the writer has spent in this city—since any local song recital has offered such excitements and distinctions. Singing songs by Brahms, Schubert, Schumann, Mme Lehmann swept her listeners from their feet. She has a voice of magnificent range and color. Above all, it is an intensely communicative voice, one that stirs with feeling and that immediately affects those who hear it. She herself is a woman of superb temperament and capacity for the expression of great and varied emotions. The moment that the first song, “Von ewiger Liebe,” had ended, the audience knew that a great artist was present. The outburst of applause was a spontaneous and most impressive tribute. This first impression was not lessened but intensified as the concert proceeded. To claim that every song was perfectly sung would be exaggeration. That is a thing which never happens. But in sum the vocal and interpretive gifts of the singer surpassed the highest expectations….There were moments last night when Mme Lehmann was operatic, and when, as an interpreter of song, her temperament got the better of her and she stepped from the frame. But even when she did…as in the final measures of Schumann’s “Ich grolle nicht,” she was so puissant, noble, and impassioned in her style, supplementing interpretation with such vocal resource and such a wealth of nuance, tone-color, and all-conquering sincerity, that if she had sung the song backward it would have been hard to keep cool and refuse to be moved by what she did….She sang songs which have become household words in such a way as to resurrect every wonderful thing which familiarity had caused us to take for granted or to accept as a matter of course. At her height she displayed interpretive genius—nothing less…. Grena Bennett wrote about that same evening, mentioning Gerhardt, whose rather less-dramatic manner of interpreting was often mentioned as the complete opposite to that of Lehmann. …Mme Lehmann possesses a voice that glows and glitters; when emitted with full power it resembles the diapason of a great pipe organ; when slightly muted its color and quality are like the dulcet tones of a cello. One of the greatest lieder singers of recent years was Elena Gerhardt. Mme Lehmann has the art and method of her famous predecessor plus a more gorgeous voice…. (Grena Bennett of the Journal-American) From her U.S. tour of 1932 the following reviews appeared: …Mme Lehmann challenges all other sopranos, German, Italian, American or what you will, by the utter purity of her tone, the superb distinction of her style, the genuine musical and spiritual beauty of her interpretation. (Chicago, but no further information) …She is slimmer [than last season], but her crystal and silver voice has gained in beauty—if that were possible. (no names or exact dates) From the same 1932 tour an unidentified writer concluded with the following: …Her Elsa was at once the most moving and most convincing one ever has heard. In New York City’s Town Hall, on 7 February 1932, Lehmann offered Schumann’s ?Frauenliebe und -leben, among other Lieder. …The early part was sung with indescribable tenderness, innocence, and happiness, and in this she had the expression of a girl of seventeen; but as the mood changed she seemed actually to grow older before one’s eyes, and the last three songs of the cycle had a depth of passion and grief that was overwhelming…. (Doris Madden, 12 February 1932.) In Marseilles, March 1932 an unidentified writer offered the following words: …For the sake of all those who have not yet had the good luck to hear her, let me say that the recital of the celebrated singer Lotte Lehmann was a prodigious revelation. And those who were absent…missed an artistic satisfaction of the first order….She truly touches the highest summits of her art, and her program was one long, continual rapture [“ravissement“]…. But the same reviewer expressed regret that Lehmann sang only three French songs—especially since he found her French “very correct”—and that the rest of her program was in German, a language neither liked nor understood in Marseilles. …If we found a very real joy in listening to the eight songs of L’amour et la vie d’une femme [Frauenliebe und -leben] in their original language, it was because our comprehension was aided by that veritable mirror of the soul which is Lotte Lehmann’s face…. (Jacques Dordet.) …It seems as if for her, uniquely for her, the art of bel canto, deserting the balmy skies of Italy, has consented to cross the Rhine. Certainly the German language, above all to French ears, does not naturally lend itself to that sweetness of accent which seems to be a privilege confined to the Latin tongues. Nevertheless, Lotte Lehmann has achieved the miracle of usurping that privilege; and, perhaps for the first time, we have enjoyed the charm of a German song in its original text, so well has this admirable singer been able to soften its harshness with the caress of her heavenly voice…. (Ch. Varigny.) From a recital performed on 1 April 1932, in Rome. Alberto Gaseo wrote the following review. …Eighteen German Lieder, all sung in the original German. Monotonous recital? Not on your life! Signora Lotte Lehmann is such a brilliant, versatile interpreter that she easily holds the attention of the audience….Although expressing herself in a language that, in Italy, is familiar to very few people, she was able to make herself understood—at least in a general sort of way. Even those who knew nothing of German were listening with lively interest and obvious joy….It was an authentic success, one hundred per cent…. (Alberto Gaseo, 26 April 1932.) From various unidentified newspapers of 1932 Vienna we read the following words: …A peak of incomparable artistic enjoyment….The ideal type of Elisabeth….She draws out of this noble role all its magnificent depths, which she fills with the breath of the spirit and the drama of the soul. Lotte Lehmann stands at the zenith of world fame, the Vienna State Opera can be proud….The entrance aria was a powerfully thrilling experience; the prayer floated, a deeply inner, blessed revelation, into the most blissful regions of infinite art…. (A. M. P.) [Desdemona] …Poetry itself is on the stage when Lehmann sings…. …Her every appearance upon the stage is like a sunrise…. …Her acting and her singing have been refined to a point of simple, classical greatness and most ideal perfection. Her Desdemona, like her Elisabeth, can be designated as a most faithful re-creation, the highest achievement that the art of the stage can offer… (A. M. Pirchan.) In 1932, London, we can read the excepts of these unidentified clippings that notice Lehmann’s weight loss. …It was whispered that Sir Thomas Beecham does not like the opera [Meistersinger], and certainly the way he conducted it suggested an impatient desire not to dwell on its intricacies….The adorable Lotte Lehmann, distinctly slimmer, actually elevated the part of Eva into something dramatic as well as lovely… …The Eva of Mme Lehmann is familiar, but not her appearance. Last year she was handicapped by the conventional embonpoint of the grand operatic heroine. This year she is as slim as a film star and her lovely voice is, if anything, better than ever…. From an unattributed clipping of June 1932 Vienna, we read elegant words of criticism. …Lotte Lehmann lent to Sieglinde all loveliness, all poetic magic….An ideal creation, a poem, the essence of romantic grace, captured from the world of German fairy-tales and legends. The image of the musical idea becomes visible to the eye, held fast in the lovely appearance, in the expressive movements of the body…. The unidentified critics of the 1932 Salzburg Festival wrote the following kind words: …There is really only one Marschallin, and her name is Lotte Lehmann…. …Lotte Lehmann as Fidelio—something more perfect, more beautiful, something that goes straighter to the heart, can scarcely be imagined….What Frau Lehmann offers is great, pure, unparalleled art…. (F. K.) 29 September 1932, at the Staatsoper Unter den Linden, Berlin: …The sensation of the evening [was] the world-famous Sieglinde of Lotte Lehmann….Her Sieglinde is a full-blooded woman filled with an uninhibited passion that breaks through all the limitations of conventional operatic acting. Her voice is as radiant, as brilliant, as ever. After the first act a hurricane of applause broke loose. (no newspaper or critic named) This is from a 7 October 1932, Berlin, report of a performance, sent to Edward Ziegler, Assistant Manager of the Met, by the Met’s representative in Europe, the agent, Erich Simon. The cast included: Lotte Lehmann, Eva; Rudolf Bockelmann, Sachs; Gustaf Schützendorf, Beckmeser; Alexander Kipnis, Pogner; Herbert Janssen, Kothner; Fritz Wolff, Stolzing; Karl Laufkötter, David; Margarete Arndt-Ober, Magdalene. Yesterday a remarkable new production of Die Meistersinger took place here, under the musical leadership of Wilhelm Furtwängler, the staging by Heinz Tietjen.The performance was sublime beyond all praise, and seldom in my life have I been witness to such a tumultuous jubilation as on this occasion. The preparations for this premiere took three weeks of intensive rehearsals, and something unprecedentedly beautiful is the result…. The performance ended at 11:30. Although it was so late, the entire audience rose as one man and remained standing for over ten minutes…. It was an unforgettable evening! From a Munich performance given in 1932 we can read what the critics felt. …The way she sings Lieder has a fascinating effect. And one can certainly say that each of the songs presented—and many of them belong among the most familiar in the whole literature—was an artistic experience such as a concert hall can only offer on very rare and festive days….(unidentified) …The voice of this woman alone is like a miracle: one is fascinated by the fullness and clarity of her sound, by the astonishing range both high and low, and by the ineffably noble charm of her timbre. No less enthralling is her phenomenal mastery of that voice, a mastery which seems too natural to have been learned, which seems more likely to have been a gift from heaven….But in the final analysis the determining factor is neither voice nor technique: Lotte Lehmann’s greatest, loveliest gift is rather the art of interpretation. More inspired singing is not even to be dreamed of. The power of passionate feeling and the power of genuine artistic understanding are combined in her in perfect unity. There was not one piece that she did not bring fully to life, down to the last nuance of expression, preserving at the same time the overall line….How amazing it is that she could sing with equal intensity two such totally different pieces, one right after the other, as “Death and the Maiden” and “To be Sung on the Water,” the one full of deathly fear and darkness, the other all spring and light. And what she makes of a somewhat over-familiar piece like Schumann’s “Ich grolle nicht”—how we experience that song anew, how we become conscious, perhaps for the first time, of its inner dramatic vehemence and shattering climax when Lotte Lehmann sings it! So the evening became one great triumph…. (Dr. A. W.) …We heard the best-known songs of German romanticism and heard them new and fresh, beautiful as on the very first day…. (Dr. W. Sch., 10 October 1932) From her first Berlin recital of 1932 we can read a, by now, familiar-sounding review. …Lotte Lehmann is conquering Berlin; the success of her Lieder recital has perhaps even surpassed her operatic triumphs of the last few weeks. Yet, fundamentally, Frau Lehmann is no Lieder-singer. Dramatic song is her natural domain. She is accustomed [on the stage] to make everything that she sings the expression of definite dramatic characters. With this intention, she characterizes, she dramatizes. And in that way she also dramatizes Lieder; if she sings Schubert’s “Serenade,” then a whole stage setting is there, the garden at night, the little house, in front of the house the lover—and that is she herself—who sings his song of longing. It is very beautiful, but it is not quite right; for it is just the difference between Lieder and opera that the Lied is not intended to be the expression of a particular person…. (V. Z.) Here are excerpts from the “perfect notice,” which was written by Redfern Mason for the San Francisco Examiner, 20 December 1932. MME LEHMANN RECOGNIZED AS GREAT ARTIST…. It is said that every woman often thinks she is in love. But when it really happens, she doesn’t think; she knows. It is the same with the dear public and artists. They often credit greatness to inferior talent; but, when the real thing comes along, they know beyond the possibility of doubt. By the time Lotte Lehmann had sung “Von ewiger Liebe” last night [the first number on the program] the audience gathered in the Opera House recognized not merely a singer of unusual merit, but one of the succession of great artists…..Nobody, in my experience, has ever sung the “Erlkönig” with such mastery of characterization….This was magnificent singing and the audience, guided by the infallible instinct of the crowd, was fully aware of it….That heavenly “Ständchen” [Schubert]…had a beauty that left folks not far from tears. And it is not an aloof, distant talent, that of this young German Lieder singer: she is not a goddess condescending to humanity; she is a priestess who raises men and women to heaven’s gate…. Lehmann plays on all the stops of human emotion with a victorious sincerity. She can make her voice swell out in ecstatic triumph; yet the tone is never harsh; and always, between her and the audience, there is the feeling of a subtle sympathy, as if the artist were singing not merely her own emotions, but the emotions crying out for expression in your heart and mine. Which means that Lotte Lehmann is a great artist, one of the uncrowned queens of humanity, uncrowned because her art is nobler than any merely physical crown could be…. In Vienna, in May 1933, Lehmann joined tenor Alfred Piccaver for a joint recital. …How Vienna celebrates her favorites and how the Viennese hold art above everything else! That could be experienced anew in this unique concert. Two of the most beautiful voices of our time were united in a joint recital and were frenetically applauded by the enthusiastic crowd that filled the auditorium of the Concert House up to the ceiling. The greatest of all miracles is the singing soul, and that is what our Lehmann possesses; whether she sings Lieder or opera arias, the listener always forgets the world around him, for this enchantress ensnares him completely with her great art….(no newspaper or critic is named) Regarding their collaboration in the Salzburg Festivals, when Bruno Walter played piano for Lotte Lehmann, Bruno Walter himself wrote: It was admirable how Lotte Lehmann’s dramatic feeling, to which she had formerly been inclined to yield almost to the point where she did violence to her voice, had gradually become restrained to fit the rendition of songs. Amazing, too, that her impetuous elemental personality should have found the way to the stylistic purity of the song by means of her own almost infallible instinct. The advice I gave her occasionally referred merely to details. She owed to herself the mastery of the essentials of Lieder-singing. Her deeply penetrating understanding made her conscious of the beauty of her melodic line as well as of the spiritual and emotional contents of the words. She managed to combine these two elements of Lieder-singing in a frequently ideal synthesis, and thus to fulfill the composer’s intentions. And even in those weaker moments from which no instant-bound reproductive artist can escape, the purely vocal demands of a song or an operatic part may have suffered occasionally, but never their poetic essence. Innate simplicity and tender sensitiveness are the poles of Lehmann’s being. These qualities manifest themselves in her life as well as in her art, charmingly changeful at times, and often harmoniously blended. It is natural that so variously gifted a person—she has a genuine gift for writing poetry and for painting—should reveal certain erratic traits and be frequently guided by impulses. But our friendship, in which she has cordially included my family, has remained uninfluenced by atmospheric fluctuations in her unchangeably young soul, for that friendship had had its source in our essential artistic affinity. When Lehmann finally made her Metropolitan Opera debut in 1934, the critics were ecstatic and wrote very nice reviews. .…Never before in the history of the Metropolitan Opera House has there been such a scene as that at the close of the first act of Die Walküre last night….The instant the curtain fell the applause rang out spontaneously; then when Lotte Lehmann came before the footlights it rose in volume, and as her confreres left her alone—something rare on the first curtain call—the whole audience broke into cheering which lasted a full ten minutes. It was a welcome that must have gladdened her heart, for it came from everywhere—parquette, boxes, and galleries. It was honest and sincere and every bit deserved. In the lobby, after things had quieted down a bit, everybody talked to everybody else and all were saying the same thing—“nothing like it in their lives,” while the oldsters, your scribe among them, are firm in the belief that nothing like it in singing or acting has come from a Sieglinde in the half-century’s life of the Metropolitan. Lehmann is the very essence of grace and beauty. We knew she could sing, for she gave us a recital last season; but we didn’t know what the great love scene at the end of the first act was like until she showed us, and, rising fully to the occasion, Melchior played up to her and sang up to her as he never has before. She was an inspiration. What a glorious voice she has…. (Charles Pike Sawyer, The New York Evening Post, 12 January 1934) …To tell the story of her achievement last night is to report a complete triumph of a kind rarely won from an audience at a Wagnerian occasion. The delighted auditors vented their feelings in a whirlwind of applause and a massed chorus of cheers….More expressive, emotional, lovely singing has not been heard from any soprano at the Metropolitan for many a season…. (Leonard Liebling, The New York American, 12 January 1934) …To those familiar with her Lieder singing her finished phrasing, precise in definition yet always plastic, and her crystalline diction were no surprise. Yet even her admirers in the recital field were not altogether prepared for the other qualities she brought to her superb impersonation: the dramatic fire, the capacity to endow the vocal line with a breadth befitting Wagner’s immense canvas yet to retain always the purely musical finish she might have bequeathed to a phrase of Hugo Wolf; her telling restraint and sureness as an actress. At the end of the first act a cheering audience recalled her seven times….But if the first act was of a sort to startle the critical faculty into sharp attention and admiration, her performance in the second had an electrifying quality that swept that faculty away for once and made even the guarded listener a breathless participant in the emotions of the anguished Sieglinde…. (H. H. [Hubbard Hutchinson], The New York Times) …There has not been such a vital and thrilling first act of Die Walküre at the Metropolitan in years…. (W. J. Henderson, The New York Sun.) …Rarely has any singer been so uproariously applauded and so often recalled as Mme Lehmann was at the conclusion of Act I…. (Pitts Sanborn, The New York World-Telegram) TIME magazine had this to say in the January 22 issue: …If the singer had been an Italian tenor who had spent his last nickel on the claque, the ovation could not have been bigger….[Before the performance] Lehmann was nervous. Her husband knew it. The battered old doll which she kisses for luck each time she goes on stage trembled in her hands. But the audience saw no signs of uncertainty, no lack of confidence…. Also in 1934 Lehmann gave recitals to a lot of praise; The Milwaukee Leader ran the headline: WARMTH OF LEHMANN’S VOICE THAWS HER AUDIENCE …Lotte Lehmann, who sings Lieder as a fine actor reads lines, came to the Pabst Theatre last night. She saw practically the entire membership of Miss Rice’s Music Lovers thaw under the warmth of her performance, and conquered every cold hand in the throng….A glow settled over the audience which mounted into an excited flame as the singer progressed…. (Harriet Pettibone Clinton, Milwaukee Leader, 30 January 1934) The very next night she sang in Cleveland, to an even more ecstatic audience. …Somehow this recital revived one’s faith in man and his possibilities….If human beings can create songs such as were presented on the program last night, and if every so often there comes an artist such as Lehmann who can recreate their splendor in such matchless fashion—then this old world is, indeed, a good place to live in…. (Denoe Leedy, The Cleveland Press, 1 February 1934) Then back in New York City the unnamed newspaper reviewer wrote kindly. …What might be the secret of the spell she wove? Possibly, first of all, the healthiness of her art. Second, perhaps its revelation of a very fine type of womanhood….When she sings she does so with a conviction you cannot resist. You feel that you are receiving something precious from an exceptional person…. (The New York Sun, 5 March 1934) At the 1934 Salzburg Festival there was more praise for Lehmann’s recitals with Bruno Walter. …Working together with Bruno Walter seems to lead the artist even beyond herself and to draw her up to unimagined heights. How those two up there on the concert platform, music-possessed, make music together—that verges on the miraculous. No one thought any more about the singer or about her guide at the piano; rather, the two had become fused into one sounding unity; and what one heard was not Lieder sung with genius and incomparably accompanied, but simply music itself…. Inimitable, with what a sure instinct Lehmann grasps and interprets for us the emotional world of each individual composer…. No wonder that the two artists were jubilantly cheered and that there was no end to the ovations…. (H. E. H.) At that same Salzburg Festival Lehmann sang Fidelio and an American music magazine wrote a review. …Lotte Lehmann thrilled the audience in the title role. She was not only the loving and suffering wife, but she seemed to symbolize in her playing and singing the suffering and deliverance of all mankind…. (Musical Courier, Paul A. Pisk,? 15 September 1934) Not everything at the Festival went well, and an unnamed writer was candid in his/her appraisal of a concert appearance. Mme Lehmann, in bad voice and exceedingly nervous, contributed Elisabeth’s Greeting to the Hall of Song and later the three most familiar Wesendonck songs. She created momentary confusion by obliging Mr. Toscanini to break off in the middle of the introduction to one of these, because she had expected to sing another first. But of the same concert mentioned above, Musical America had positive words to write. …It was uncanny how high a degree of intimacy and facility of expression the singer and the orchestra achieved…. (Dr. Paul Stefan, September 1934) In November 1934 Lehmann sang the roles of Tosca and Butterfly at the San Francisco Opera and critics had a variety of responses. …Her Tosca had not the sculptured beauty of Muzio; she did not wallow as Jeritza did when she sang “Vissi d’arte.” What she did was to give us a Tosca evolved out of her inner consciousness, and in that scene with Scarpia, she touched a note of beautiful humility which neither Bernhardt nor Muzio ever gave us…. (Redfern Mason, The San Francisco Examiner, 17 November 1934) …Singing the role of Sardou’s Roman prima donna for the first time in Italian, Mme Lehmann at one blow struck home to San Franciscans the reason why her name is renowned in Vienna, London, and New York. She is a personality. Her voice, opulent and beautiful, but not necessarily restricted to the charm of honeyed tone, bespeaks a penetrating expressive intelligence. She constructs a role as it should be constructed: with human conviction and with a controlled and flexible sense of its form…. (Alexander Fried, The San Francisco Chronicle) …Superb actress and glorious songstress is Lotte Lehmann….The German soprano sang the role of the glamorous Tosca…and negotiated the mellifluous Italian phrases as if to the manner born. However, had she sung in Sanskrit it would have mattered not. For the Lehmann voice and the Lehmann dramatic instinct are bigger than nationality or language…. (Marie Hicks Davidson, The San Francisco Call-Bulletin) …This Butterfly delighted the emotions by approach through the intelligence….Cio-Cio-San, strictly speaking, is not a Lehmann role. By her mastery of the stage and by the penetration of her feeling she makes it her own…. (Fried, Examiner) …We have been accustomed to the suicide behind a screen….After witnessing Lehmann’s superb acting, her interpretation seems the logical one. She hugged the child in a frenzy of love and despair, shoved him off stage, and then, wrapping a knife in her kimono, committed the dreadful hara-kiri in full view of the audience….It was a shuddery last act, and one we shall not soon forget. Aside from the sheer drama of Lehmann’s acting, there was a quality of voice that spelled agony and death, a kind of declamatory huskiness in minor key that was heartbreak and the will to die…. (Davidson, The San Francisco Call-Bulletin) In December 1934 Lehmann sang in Der Rosenkavalier in Philadelphia. …I had heard Mme Lehmann sing this enamoring role in Europe, but I had never known her to re-create it with so probing a comprehension, so sensitive and sure a touch, a truth of feeling and of utterance so steeped in the essence of the part…. (Lawrence Gilman, The New York Herald-Tribune, 1 December 1934) …So subtly projected was this great lady that for once the conventions of the theatre ceased to exist, and one felt oneself swept irresistibly into absolute identification with an alien soul. It would take a book to enumerate the details of this extraordinary impersonation, its inspired gestures, its perfection of movement, its uncanny vocal revelations, its pathos, nobility, and tenderness. But Miss Lehmann is to do the Marschallin at the Metropolitan this winter, so I shall say no more…for fear of having no adjectives left for that happy occasion…. (Samuel Chotzinoff, The New York Evening Post, 3 December 1934) In Toronto that same December 1934 we can read what a Canadian critic thought. …It was a real Wagnerian voice….As she sang, she seemed like the first Frigga, the original Norse queen of the heavens, who was at once so majestic as to rule but so sensitive that she could spin the clouds on her loom….There was only greatness….Her singing of the “Love-Death” from Tristan und Isolde had an ecstasy that was truly sublime…. (Pearl McCarthy, The Mail and Empire, Toronto, 12 December 1934) New Year’s Day 1935 at the Metropolitan, her Elisabeth in Tannhäuser elicited the following reviews: …It is difficult to speak in anything but rhapsodic terms of Mme Lehmann’s first appearance of the season in the role of Elisabeth…. (Winthrop Sargeant) …The Elisabeth of Lotte Lehmann is one of the most moving embodiments to be seen on the contemporary operatic stage…. (Jerome D. Bohm, The New York Herald-Tribune, 2 January 1935) …The electrifying spark which set off everything at white heat was the superb performance of Mme Lehmann as Elisabeth…. (Henriette Weber, The New York Journal) Lehmann’s Metropolitan Opera Tosca didn’t go so well. …Possibly the performance would have been better coordinated if it had not been for the absence of the unfortunate Mr. Crooks. As it was, Mme Lehmann sang brilliantly, at times in a pseudo-melodramatic way. She was a German Tosca, rather heavy, lacking the mobility and the quick light play that Italian or French singers can give the part…. (Olin Downes, The New York Times, 22 March 1935) …Miss Lehmann, laboring under the disadvantage of some ill-fitting costumes, gave a vivid portrayal of the chaste Roman opera singer and sang with her usual fervor. Yet, somehow, her Tosca did not achieve the reality of her Eva, her Marschallin, and her Elisabeth. It was a stagey facsimile of a hectic lady, melodramatic and rather self-conscious…. (Samuel Chotzinoff, The New York Evening Post) …Mme Lehmann, looking very beautiful and dashing, reminded us from her first entrance that she is a versatile and imaginative singing actress and can turn from Eva to Floria Tosca as easily as most of us can turn from sherry to champagne…. (Lawrence Gilman, The New York Herald Tribune) Looking back at the opera season past, Esquire magazine’s unnamed writer had this to say: …Gatti-Casazza’s final season at the Metropolitan Opera House will probably be remembered chiefly for the rise of Kirsten Flagstad and the recognition of Lotte Lehmann. Through the magic of the first of these two singers, Wagner’s Tristan und Isolde actually became the most popular opera of the year, breaking all box-office records for the old building; and Mme Lehmann succeeded not only in establishing the Strauss Rosenkavalier as the masterpiece that it is, but in bringing new life to several other operas that had all but succumbed to the spell of perfunctory routine…. (The Listening Post, Esquire, June 1935) The 1935 General Motors radio broadcast with Bruno Walter as conductor and accompanist brought forth the following review: …Lotte Lehmann’s Isolde [she sang the “Liebestod“] contained everything that Wagner wrote into the music; and for the creation of such an Isolde there must be not only a great singer but a great woman….She did [Lieder] in such a way that made us wonder whether all music might not be great music if it only had a Lotte Lehmann to sing it…. (Aaron Stein, The New York Evening Post, 15 January 1935) Vincent Sheean remembered Lehmann with Toscanini in Fidelio at the Salzburg Festival. Fame alone, or public recognition, never swayed Toscanini in his choice of a leading artist for any great work. On the contrary, he frequently delighted in excavating artists hitherto unknown and showing what they could do….In the case of Lehmann he was swayed not by her fame as Leonore but by his own ardent admiration, which on one occasion, I was told, led him to declare at the end of a difficult passage in rehearsal: “You are the greatest artist in the world.” Well, she was. The sheer ecstasy which she and Toscanini between them got into certain passages of Fidelio could not otherwise have come into being….There was an element in this Fidelio at Salzburg which defies technical definition. It was not perfect—not as, for example, Falstaff was perfect or nearly so—because in this Fidelio there were singers who were not physically able to reach the exalted mood in which Lehmann and Toscanini performed. The incandescence of the conductor and the soprano produced the very curious effect of making one pass over these imperfections almost without noticing them…. The central soprano part has long been reserved, in Germany anyhow, for those mammoth voices which otherwise sing only Brünnhilde and Isolde. The general idea is that unless a woman has a voice suitable for a fire engine she cannot sing the part of the faithful wife. I am sure Beethoven had no such notion, and Lehmann supplied the proof—if it were needed—that a richly human voice, warm and full, has far more to offer in this music than any hoch-dramatische goddess….Lehmann was not a sylph in 1935, but her appearance in that ungrateful costume was more convincing than any other I remember, and every note of her voice conveyed the meaning of the part….Blaze is the word that comes to mind most often in thinking of this collaboration between Lehmann and Toscanini. They seemed to take fire from each other; the resulting conflagration warmed all of us for as long as memory can last…. An unnamed writer for The Daily Telegraph wrote of Lehmann’s recital in London’s Queen’s Hall on 28 April 1936: So exquisite and so poignant can her voice be that at times a single note sufficed to enhance the effect of a whole song. The whole of Brahms’s “Der Tod, das ist die kühle Nacht” was excellent, but the ravishing softness of its last phrase sealed the success of that performance and made one wonder where and by whom it could ever be equaled. The unnamed writer for the New York Times had this to say about her 16 January 1937 Metropolitan Opera performance. Perhaps the most magical of Wagner’s women is Sieglinde. She is not the greatest, but she haunts us the longest. Like the Iphigenia of Euripides, she is passionate and tender, simple and complex, piteous and wise, strong and weak, heroic and shrinking; and her purity is as elemental as her passion…No singing-actress of our time, I think, has achieved a more telling and veracious Sieglinde than Lotte Lehmann…It gives us the essence of the character, this remarkable and deeply touching embodiment of Mme Lehmann’s…In certain moments of exceptional exactness and felicity of suggestion, she colors her voice and shapes her gestures with something of the primitive magic and strangeness and wonder of those who were daughters of earth in old, far-off, forgotten times…It was one of the signals of Mme Lehmann’s achievement yesterday that she was most piercing and most memorable when the music was. Wagner…speaks of the agonizing utterances of sorrow that this score contains—“I have had to pay for the expression of these sorrows,” he remarks parenthetically. Mme Lehmann’s delivery of Sieglinde’s music in her frenzied scene with Siegmund in the Second Act made us realize with peculiar vividness what Wagner must have meant. In such measures as…“Wo bist du, Siegmund?” she charged the music with an almost insupportable intensity of tragic woe. The unknown Lehmann fan John Hastings wrote a letter to The New York Times, printed 24 January 1937, praising Lehmann at Flagstad’s expense. This did nothing but damage. At long last the critics have paid adequate, long overdue homage to one of the few genuinely great artists of the age, Mme Lotte Lehmann…. The epidemic of idolatry for Mme Flagstad as the greatest of modern Wagnerians, if not, in fact, for a vast percentage of opera-goers the only Wagnerian, is preposterous and entirely out of proportion to her artistic and histrionic, as exclusive of her vocal, endowment. It has been more than a little difficult to understand the general critical agreement on Flagstad’s supposedly limitless imaginative insight and the likewise universal conspiracy of silence toward Lehmann’s interpretive prowess. It seems, at least to this one finite music-lover, that Flagstad’s pre-eminence begins and ends with one bewilderingly simple thing, and that is a great voice perfectly produced and miraculously inexhaustible. Her acting is straightforward and of refreshingly natural simplicity, which modern opera can well use, but it assuredly exhibits none of the many soaring, mystical qualities of sheer inspired creation which are so frequently attributed to her….One critic [Lawrence Gilman, in The New York Herald-Tribune], when speaking of Mme Flagstad’s singing of the “Liebestod,” went so far as to say that “the whole intolerable pathos of the moment is in her singing of the little grace-note before the B on Freunde,” which bids fair to be a new high in preciosity. With Lehmann one does not think of such terms as simplicity, naturalness, vocal perfection, or any of the other merits for which one might justly praise Mme Flagstad, because somehow her vastly inspirational and deeply intuitive art does not lend itself easily to such facile clichés. One might, indeed, almost say of Lehmann that mere vocal perfection is beneath her. The absorption in a mood that is exclusively her province is so complete that faultlessness of production ceases to be a criterion. What is more, her acting is predominantly so inspirational and instinctive that naturalness and simplicity, being attributes of a method at all times conscious and preconceived, prove useless as a basis of appraisal. Her voice is one of ineffable warmth, lustrous and filled with endless variety of shimmering nuances and colors, a voice which, even though not always flawlessly employed, succeeds in conveying undreamt-of revelations and beauties in the music that she sings. Her movements about the stage bear the authentic mark of spontaneity and actual experience of every implication of a role. Who, then, that has seen and heard what Mme Lehmann can do…can doubt that here is the greatest singing actress of our time? It is more than possible that the infrequency with which we are permitted to hear her at the Metropolitan has had much to do with the critical unappreciativeness [sic] of Mme Lehmann, at least in ratio to the critical adoration of Mme Flagstad…. Olin Downes, the critic of The New York Times, had this to say on 17 January 1937, about the “rediscovered” Sieglinde. …As for this writer, who has been privileged to hear some great Sieglindes at the Metropolitan, and that within no distant date, he would sacrifice them all, great and small, high and low, for the glory, the sweep and the transfiguring emotion of Mme Lehmann’s interpretation…one of the warmest, most womanly and beautiful enactments of the Sieglinde part we have seen…one sustained sweep of line and surge of feeling…. The same critic wrote the following of Lehmann’s Eva. …Mme Lehmann graced the role of Eva, and she draws the portrait of Pogner’s daughter with a girlish impulsiveness and warmth of feeling which represent the most exceptional understanding. The voice itself becomes that of Pogner’s daughter…. (Olin Downes) …And there was Lotte Lehmann’s unmatched Eva, which gives us the spiritual essence of a role that is often slighted….(Lawrence Gilman, The New York Herald-Tribune) Carleton Smith, wrote unkindly of the age-difference of Lehmann’s Salzburg Eva for The New York Herald-Tribune of 30 August 1936. She was, after all, 48 years old. I believe that Lehmann was hurt by this review and never sang the role again. …The advantage of having a Walther (Charles Kullman) who was young and exuberant was offset by the disadvantage of his being matched with an Eva (Lotte Lehmann) who looked old enough to be his mother…. In 1937 Der Rosenkavalier returned to the Met and Oscar Thompson wrote the following for The Sun. …Lotte Lehmann’s Marschallin is a famous one, and not without reason. But when it was first disclosed at the Metropolitan three seasons ago it fell short of its full effectiveness, as experienced by those who had sat in the spell of her characterization in Vienna, Salzburg, or elsewhere abroad. As had been true earlier of the Baron Ochs of the lamented Richard Mayr, its detail did not entirely register in the extensive reaches of the house. Last night Mme Lehmann’s first act Marschallin was altogether charming for those seated fairly close to the stage. How it was further back is for someone else than this reviewer to say. The soprano was continent in the use of her voice and the music benefited thereby. The monologue was fashioned with just the right note of wistfulness. Elsewhere were phrases of haunting loveliness, as in the snatch of “Du bist mein Bub, du bist mein Schatz,” [“you are my boy, you are my treasure”] soon after the parting of the curtain; and in the high-arched phrase, “Da drin ist die silberne Ros’n” [“the silver rose is inside”], at the end of the act. This Marschallin was an aristocrat, a philosopher, and above all, a woman, which is precisely what the role requires…. In the 4 December 1937 Cleveland Plain Dealer Herbert Elwell wrote: Predictions of a capacity house for the appearance of Lotte Lehmann at the Cleveland Concert Course at Public Music Hall last night were fulfilled to the letter, adding to one’s perplexity with regard to the apparent capriciousness of the local musical public, who let this celebrated artist sing to a half empty hall at her last recital here but crowded eagerly this time to applaud her in a program fit for the most fastidious taste. One would have supposed that a whole evening devoted exclusively to songs of Schubert, Schumann, Brahms, Wolf and Strauss would appeal primarily to the vocal connoisseur, as undoubtedly it did. Yet to find it also arousing such deep interest on the part of a much larger public was heartening as well as surprising. There were, of course, some encores in English, but in the main, the famed Austrian soprano stuck to that phase of song literature which is really her forte, the German lied, and won her audience solely on the merits of her exceptional interpretive skill in that sphere. I have heard Mme Lehmann when her singing was on a more elevated plane than it was last night, when her voice rang truer and communicated something more sincere and more gripping. Yet despite an occasional false emphasis that weakened the authentic romanticism of some of the songs, she frequently rose to very noble heights, especially in the songs of Wolf, the “Serenade” of Strauss and “Ich grolle Nicht.” Her Schumann group was better than her Schubert. And her Brahms group, on the whole, excelled over her Schumann. Thus the program moved progressively to higher attainments, leaving no doubt that here was indeed a mistress of a very subtle and illusive medium, capable at times of making it a source of deep human as well as artistic satisfaction. Here is an excerpt from Richard Capell’s review in London’s The Daily Telegraph of 11 May 1937. He refers to the “disaster” when Lehmann called an end to the first Act of Der Rosenkavalier, crying out “I can’t go on.” …A supremely beautiful and affecting performance [was] given by Lotte Lehmann as the Marschallin. As if to make up for last week’s disaster, it seemed, she gave a finer subtlety and deeper tenderness than ever to a part which London opera-goers of the last fifteen years must feel to be peculiarly and even exclusively hers. Word after familiar word in Rosenkavalier will be associated, while memory lasts, with Lotte Lehmann’s characteristic enunciation, to say nothing of the charming woman and true princess she represents in her appearance. Olin Downes, The New York Times critic, called Lehmann’s 1941 Winterreise recital “an achievement which transmitted the very essence of the composer’s spirit.” During the war it must have been especially difficult for an American audience to appreciate a program of all German Lieder. In The New York Times, 25 January 1943, Olin Downes wrote the following about her Frauenliebe und Leben and Dichterliebe: LEHMANN IS HEARD IN SCHUMANN SONGS Soprano is assisted by Paul Ulanowsky in Program at Town Hall Two Cycles are offered Frauenliebe und Leben and Dichterliebe Works Follow the National Anthem A very distinguished recital of songs and song cycles by Robert Schumann was given by Lotte Lehmann yesterday afternoon in Town Hall. The capacity of the hall was brought out by an exceptionally attentive and appreciative audience days in advance of the event. There was no fuss about that either. The audience was practically all seated when the singer came in. The program began by Mme Lehmann’s inviting the audience to sing the national anthem with her. Then she and her excellent accompanist, Paul Ulanowsky, began their task of communicants with the songs. These were sung with a matchless simplicity, with an art that concealed an art now fully developed and shorn of every excrescence or superfluity of style, and the interpretation proceeded directly from the heart. Today one wonders if any one could write such songs as Schumann’s, even if he had this unique genius’s melodic gift—if indeed our sophisticated composer wouldn’t be ashamed to write in such a vein as that of the Frauenliebe und Leben cycle. He would be looked upon as a hopeless and unblushing sentimentalist, hardly fit for intelligent society. Mme Lehmann sang these reveries and avowals with a fineness of style and a sense of proportion that had no slightest savor of exaggeration or less than utter sincerity, and her performance said plainly that if this was sentimental the audience could make the most of it. She believed what she sang. She herself was moved by it. The Dichterliebe cycle permitted a wider range of expression and a greater variety of color. But the same simplicity, the same warm poetry and perfect proportion remained. Nor are the postludes of the piano to be forgotten. That is to say that there was complete unity of intention between the two performers, and that Mr. Ulanowsky with rare taste and sensibility completed the poetic thought of interpreter and composer. One remembers those earlier years when Mme Lehmann’s own nature swept her away and this resulted in prodigal and at times explosive outburst of tone, or disproportionate emphasis of phrase. All that is of the past. The thoughtful expenditure and shaping of tone, the maximum of communication with the minimum of effort, an intensity of emotion that requires no noisy heralding spoke more eloquently than any description could do. Mood was established so completely that there was comparatively little demonstration till the end of the recital. For that matter the two cycles were sung without opportunity for applause between the songs that make them. But it is doubtful if in any case there would have been such a sign. There was the rapport between the artist and her listeners made possible by her achievement and also by the proportions of the hall. At the end the audience was loath to leave. Mme Lehmann wisely refrained from an encore. To the best of her ability she had done a complete thing, and what she had done will long be cherished by those who heard her. For her 1943 performance of Elisabeth at the Metropolitan Opera she received the following notice. …Lotte Lehmann, who put herself on record in Town Hall recently as the season’s First Lady of Lieder, just about won the same title for opera with her performance of Elisabeth. Whether heard or seen, the role lived. Every note and line sounded human and needed. Mme Lehmann seemed to forget she had ever sung any other part, even that she was Lotte Lehmann. For three acts she was Elisabeth, ailing and pleading for her hell-bent Minnesinger. Such acting is rare, whether in opera or theatre, and the more brilliant because bound by musical pace. In awkward waits between sequences Mme Lehmann went on living Elisabeth in thought and gesture, not just priming for the next cue. It was a tender and womanly portrait… The notes weren’t just notes, but tokens of feeling growing out of a deep-felt conflict… The audience duly noted the great portrayal set before it…. (Louis Biancolli, The New York World-Telegram, 2 February 1943) Four days later the same critic wrote an editorial on acting in opera. …Mme Lehmann’s Elisabeth looked fit to rank with the [legitimate] theatre’s best efforts. The singer fully identified herself with the plight of Wagner’s heroine. From the moment she chanted a greeting to the Hall of Song, she seemed intent on sustaining a complete illusion of life. Down to the last gasp of prayer she remained the saintly Elisabeth. By then you forgot a prima donna was singing a part. Elisabeth was merely being Elisabeth, having miraculously borrowed the art of Lotte Lehmann to make herself understood. Negative criticisms also exist, such as the following from Jerome D. Bohm’s column, “Singers and Singing,” from The New York Herald-Tribune (mid-October 1942): Mme Lehmann did not reach the Metropolitan until she was well past her prime. It was not until January of 1934 that the illustrious German soprano’s operatic gifts were first revealed to New York audiences, although Vienna and Berlin had long before recognized her extraordinary abilities. Mme Lehmann may be said to be a singer who has triumphed despite the handicap of a faultily produced voice. Of course, it must at once be added that the timbre of the voice is highly individual and of exceptional beauty, so that even the obvious faults of production, the nasality, the pinching of the top notes and the spasmodic breathing have not prevented Mme Lehmann from achieving a truly distinguished career. But Mme Lehmann’s hold on her devotees can be attributed only partially to the entrancing quality of her voice. For had she been unable to make one forget the technical hindrances which mar her vocalism she could not have attained her present distinction. She is one of the very few singers who are equally impressive in opera and recital. Her imaginative gamut is so comprehensive, her musical insight so perceptive, that she can one evening portray with the utmost conviction the sufferings of Wagner’s Elisabeth or Sieglinde and the next night leave the trappings of the operatic stage behind her and convey with equal impressiveness the intimate poetry of the Lieder of a Schubert or a Wolf. If Mme Lehmann is wise, however, and wishes to preserve as many as possible of the still persuasive aspects of her art, she will in the future eschew the rigors of operatic singing and devote herself exclusively to the interpretation of Lieder, a sphere in which she has few peers. Even when I first heard her abroad some twenty years ago she already experienced difficulty in emitting free, effective top tones. Nowadays Mme Lehmann’s efforts to attain the altitudes of such roles as Elisabeth and the Marschallin are less and less being crowned by success. Mme Lehmann would profit by taking a leaf from the book of Hofmannsthal’s philosophical princess and realize that in opera as well as in love the Marschallins must make way for the Sophies. After an all-Brahms recital at Town Hall, Luis Biancolli wrote the following notice in The New York WorldTelegram of 22 January 1945. …Lotte Lehmann’s heart went into each number. You could feel it beat in every phrase, almost as if she had either written the song herself or lived the poem. The personal note was that strong. At times you even felt slightly embarrassed, as if suddenly you were looking into a soul and caught a confidence. Sharing that kind of feeling is probably art’s loftiest reach. There was no sense of illusion here. It sounded too real and went too deep…. Of course, Mme Lehmann has a knack of breathing life into song that few can equal and none surpass. Possibly she does it by the simple process of forgetting herself and becoming the song. Or else through having lived the moment herself at some time…. The real Brahms, the poet of passion and pathos, writer of noble, stirring songs, is a special treat. So special, only the finest seasoned style is equal to it. And every one of these songs was warmed over in the heart, mind, and vocal cords of a great personality…. Lawrence Gilman, the music critic for The New York Herald-Tribune, wrote about Lehmann’s Elisabeth (and some of her other roles) in his book, Wagner’s Operas. For many New Yorkers, the experience of a closer approach to the greatness of Tannhäuser will undoubtedly be associated for years with Lotte Lehmann’s incarnation of the character of Elisabeth…an embodiment of rare imaginative truth: the product, obviously, of a long and searching scrutiny of the character, and of a skillful synthesizing of its constituent factors, music
1646	dbpedia	0	98	https://www.yumpu.com/en/document/view/6773536/auction-number-143-auction-closing-date-saturday-8-may-2010	en	Auction Number 143 -- AUCTION Closing Date: Saturday, 8 May, 2010	https://www.yumpu.com/en…book/6773536.jpg	https://www.yumpu.com/en…book/6773536.jpg	[ "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/Yumpu_Logo_RGB.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step1.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step2.png", "https://img.yumpu.com/6773...	[]	[]	[ "lib.store.yahoo.net", "copy", "issue", "gleaming", "lovely", "rubs", "march", "label", "opera", "recorded", "decent", "auction", "closing", "lib.store.yahoo.net" ]	null	[ "Yumpu.com" ]	null	Auction Number 143 -- AUCTION Closing Date: Saturday, 8 May, 2010	en	https://assets.yumpu.com…icon-favicon.png	yumpu.com	https://www.yumpu.com/en/document/view/6773536/auction-number-143-auction-closing-date-saturday-8-may-2010	<strong>Auction</strong> <strong>Number</strong> <strong>143</strong> - <strong>AUCTION</strong> <strong>Closing</strong> <strong>Date</strong>: <strong>Saturday</strong>, 8 <strong>May</strong>, <strong>2010</strong> Since 1972 Regarding <strong>AUCTION</strong> #<strong>143</strong> (<strong>Closing</strong> <strong>Date</strong>: <strong>Saturday</strong>,, 8 <strong>May</strong>, <strong>2010</strong>), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Friday, when PETER FORD is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX, telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831]. CONDITION GRADING, 78rpm: M-A - nearly MINT, albeit slightly used Copy. A - slightly used Copy, but with no defects. B - used Copy, with light wear and rubs, not affecting playing. Any other defects, e.g.: light (lt), edge chip (ec), lamination (lam), hairline crack (hlc), internal pressure crack (ipc), scratch (scr); label damage, etc. are most clearly identified within each individual listing. POM - A Direct Pressing, Pressed from Original Master, (never a dubbing), whether an Original Pressing or Subsequent Issue. only form of issue - relates exclusively to 78rpm issues, only those which are Pressed from Original Masters. Scroll - relates exclusively to the best period of Victor, always featuring the Scroll Label, mid-1930's, and always offering remarkably quiet surfaces, very often on Z Shellac, although not always so indicated. Z Shellac - relates exclusively to the best pressings ever produced by Victor, mid-1930's, found on PW, Orth (Orthophonic), but primarily on Scroll Labels, always offering remarkably quiet surfaces, identifiable by the minuscule "z" found only in the upper portion of the inner margin of the shellac. In the event that there is no “z” embossed in such pressings, they will be identified as being “z-type shellac.” Master Works is Columbia's equivalent, offering the best pressings ever produced by Columbia, preceded (chronologically) by their notable Blue Shellac Pressings. How to Place Bids We are pleased to receive bids via phone (802-524-7673) or Fax: (1 888 819 4831), or e-mail (norpete@sover.net) 24 hours a day, 7 days a week. We also accept bids via postal mail. When placing your bids, please list the ITEM NUMBER (in left column of catalogue) and a brief description of the item. Include your phone & FAX number (e-mail, when available) on all orders. REMITTANCE: Please include your American Express, Visa or MasterCard number, with expiration date and name as it appears on the card. We also accept PayPal payments. Make checks and money orders payable to Norbeck, Peters & Ford, in US Dollars. Checks and Money orders must be PAYABLE THROUGH A UNITED STATES BANK. ALL FOREIGN BANK CHARGES MUST BE PREPAID! SHIPPING: PLEASE INDICATE THE EXACT ADDRESS TO WHICH YOU WANT YOUR PARCEL SHIPPED. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.
1646	dbpedia	1	40	https://digital.bentley.umich.edu/djnews/djc.1922.03.03.001/2	en	The Detroit Jewish News Digital Archives	https://quod.lib.umich.e…0,/0/default.jpg	https://quod.lib.umich.e…0,/0/default.jpg	[ "https://digital.bentley.umich.edu/assets/The-Detroit-Jewish-News-Digital-Archive-Header-Graphic-8dea5b0f6b44600bd2147d121959d21846feb3cedb198781e8a08b5c147851cb.png", "https://quod.lib.umich.edu/cgi/i/image/api/tile/bhl_djnews:djc.1922.03.03.001-00000002:IMG00000002/full/,200/0/default.jpg" ]	[]	[]	[ "" ]	null	[]	1922-03-03T00:00:00	Image 2 of 10 from the March 03, 1922 publication of The Detroit Jewish Chronicle.	en	/assets/favicon-9fac9103b4f16eaefc95669ef58f8a41c38000e52a27bf0ecf88143ff1521120.ico	The Detroit Jewish News Digital Archives	https://digital.bentley.umich.edu/djnews/djc.1922.03.03.001/2	PACE TWO PIE VETROII: ft WISH RON IC LC • / ' (b ini Funtitttrr tea s f I MUSICANDMUSICIANS. Remember, all you get in this world is w hut you' pay for. 4sAwur you want to get satisfaction on hour Elena Gerhardt Soloist With Detroit Symphony Orchestra. N audience of large numbers listened with a great deal of pleasure to the Detroit Symphony Orchestra and Elena Gerhardt, soprano, on last Thursday evening. The pro- gram was somewhat revised from that originally planned, and Mr. Gabrilowitsch chose as the symphony for the evening "The Divine Poem," by Scriabine. Aside from the fact that the brass section somewhat marred the beauties of this composition. it WES played magnificently. All the color and spirit of the music was vividly brought out, Mr. Gabrilowitsch bringing to a finale that was most brilliant. Altogether it was a wonderful per- formance. The program opened with Mendelssohn's overture to "A Midsummer Night's Dream." This was played with great clarity and lyric beauty. Especially beautiful was the work of the oboe and clarinet. With the overture to "Tannhauser" Mr. Gabrilowitsch can always lay a spell over his audience, and the other night's per- formance was no exception. One OM PHILIP RICE spring suit you must A Of course you know that We tvant to sell y nt ou furn intre— t we rst wa to know if itbuis "Good Furniture" you want, for that is the only stipulation we ask of you — in other words, "Good Furniture" is all we hare N Ow when you realize that this shop has di- rect factory connections—right where we rite' :4; ca nshow you that your furniture is builded with every care, every desire of yours anticipated, and executed, then at least you should be in- terested. we Your architect has ideas that he will not attempt to compete with the many no called sales," for we are in one position will support for different deco- entire effects—we con appreci. ate his desires and en-operate with hint — 11'11 Y 1 We hare "Good Furniture." only throughout the entire year. We sell "Good Furniture" at • price that is consistent with good judgment—Your judgment or our judgment. Is that convincing? J J Drirnit lifttruiturr , Iiiii,Itti Ultima at iltiaprllr flirlritur 13211 the reasons we are always glad to His tone is large, warm and never hear this overture is the fact that it gives Illy, Schkolnik an opportunity rasping in the least. His musician- ship was remarkable and the pyro to be heard in an exquisite solo bit. technical opportunities in the con- The beautiful singing quality of his certo were done with an ease that violin is always a delight to the audi- is seen very seldom. ence. Elena Gerhardt, a German so- I am sore that it was with real sin- prano, was the soloist and while she cerity that Mr. Gabrilowitsch took his contributed some beautiful songs to hand and patted it after the concerto, the program, her singing was net of because he knew, as the audience the kind that evoked mach enthusi- knew, that Air. Press is a real artist. asm. She showed herself to be the The overture to the opera "The Mar- possessor of a clear, sweet voice and riage of Figaro" opened the concert one that was thoroughly trained. and Rimsky-Korsakoff's colorful "Cap- As a finale came the Tchaikowsky riccio Espanol" brought it to an end. "Marche Slav," which Mr. Gabrilo- witsch conducted in matchless style. He was recalled repeatedly after the conclusion of the concert, the audi- ence seeming to insist that the or- The local chapter of Hadassah has chestra share in the acknowledgment issued another appeal for artciles for of the anplause given. It was a con- the rummage sale to be held in the cert that will go down as one of the near future. Those wishing to con- most enjoyable of the season, thus tribute articles are urged to call Mrs. far. Weinstein, Melrose 3554. HADASSAH , to pm•-.4poi _ . , - . i_— = _ = ■ .: • 4 .......--1. VII . , fa ' , ink 1 Illf d : Sunday Afternoon Audience Enjoys Playing of Joseph Corner, Violinist, and Jo- seph Press, Cellist. i I ■ c •■ = ._. sl og i...sali. iii . mu . _ . . we = : p:L. C111111111111111111111111111111111111111111111111111l1111111111111111111111111111111111111111111111111111111111M111111111111111111M1111111111111111110111111 1 " JUDGE ELLMANN IS ONE OF NOMINEES FOR MAYOR OF H. P. Judge James I. Ellmann was one of the successful candidates for the mayoralty nomination of Highland Park at the primaries which took place on Wednesday. Judge Ellmann issued another ap- peal to the people of Highland Park giving his platform. He urged the citizens of his city to register before the last registration day, on March 14, so they will be able to vote at the election on April 3. Among the complimentary things written about Judge Ellmann's candi- dacy is a letter written by Kent and Hayes, lawyers, to voters of Highland Park: "With reference to the coming election in Highland Park, we take the librety of writing you this letter to let you know that we highly-recom- mend Judge Ellmann for the office of mayor. We believe that as chief executive of the city of Highland Park he will bring to bear the same qualities that have distinguished him as justice, namely, energy, courtesy, sincerity, fairness and a fine sym- pathy and respect for the rights of all who come before him, whatever their grade or station. If any liti- gant has ever left Judge Ellmann's court without feeling that he had had his 'day in court' and that his rights had been carefully considered, we have yet to hear of him. TAKES CHARGE OF PURIM I. 0. B. B. OF BAY CITY FORMAL BALL OF K. OF P. GIVES ANNUAL CABARET BAY CITY.—The annual cabaret and dance held at the Hotel Wenonah Feb. 27 by Bay City Lodge No. 17e, Independent Order of B'nai B'rjzt, more than fulfilled the highest expec- tations of those concerned, making it a success. There were 100 couples in attendance, among them being many from out of town. The cabaret acts and dinner lasted from 7:30 to 10 o'clock, and all the acts were received with enthusiasm. Samuel Rosenberg, as Mephistopheles, introduced the actors as follows: Sylva Miller and Ella Schneideman, in a Harlequin dance; Myrtle Beck- man, Irene Jacobson, Mini Hirsch- field, Anne Levy, Jack Silverman, Milton Hirschfield, Sam I.evine and Maurice Miller, in "Just Kids:" Har- old Jacoby, assisted by Elmer Reh- mus, as "Our Own Mischa Elman;" Maurice Miller of Flint in a nonsensi- cal sketch; A. Gelbard and Jennie Demhinsky in a clever little act; and last, but by no means least, Jack Sil- verman, "Himself," who entertained his audience with a little bit of every- thing. "Not only have we tried many eases before Judge Ellmann, but we have been associated as attorneys with him in other cases and have found him to be a man of sterling integrity, energy and ability, and we feel certain that if he is elected he will give Highland Park and efficient and economical administration." MR. J. E. BROWN Who for the past few years Wag with the Rollins Company, Announces that he is now connected with ABE GOLDMAN Mr. Goldman heads the committee of the Detroit Lodge No. 65, K. of P., in charge of arrangements for the twenty.eighth annual formal Purim ball. BIRNBAUM FUR COMPANY On Washington Boulevard. He will be very glad to meet his old customers and friends. a FOR SALE Four choice lake lots, few minutes' walk from trolley, at Cass Lake. Have electricity, sewer and artesian drinking water to each lot. Address JAMES MacFADYEN Pontiac, Mich. 55 Hudson St. COLONIAL THEATER Anna Q. Nilsson and Norman Kerry, two of the most liked players on the screen; George Fitzmaurice, the prominent Paramount director of such great film successes as "On With the Dance" and "The Right to Love" and "Three Live Ghosts," a play that has won more comment than any to reach the stage in a decade, are some of the names for patrons of the Co- lonial theater to think about in con- nection with next week's program. The successful presentation of "Just Around the Corner," "His Nibs" and other big pictures that have been banked at the Colonial recently has led the management to kep rigeht out on the hunt for the biggest and best productions available. As the headliner for the vaudeville program one of the most unusual acts ever presented on the stage has been chosen. This offers Holland Dockrill and company in spectacular bare- back riding, with five of the prettiest and most intelligent horses ever area in vaudeville. There is a real sur- prise in store in this presentation and it is a veritable cirrus spectacle that will send every child who attends into a quandary of delight. Y. P. S. OF B'NAI MOSHE IS IT NOT PROVOKING To Be Continually Calling In the Plumber? Why not let us replace that old fixture with one that is sanitary and up-to-date? Always at your service. THE AGREE BROS CO. Plumbing and Heating Engineers Two Phones: Glendale 7418-7419 4469 John R Street at Garfield The B'nai Moshe Young People's Society's first anniversary banquet. held Sunday evening, Feb. 26, at the B'nai Moshe Synagogue, will long be remembered as the most brilliant af- fair of the season. The entertainment was held under the chairmanship of Edwin Pollakoti. The refreshment, and decorations were arranged by Sam Matoff, chair- man of the social service committee. Samuel L. Miller acted as toastmas- ter. Pis wit and anecdote brought much applause. In response to the toastmaster, the officers and chairmen of committees gave short speeches. On Thursday evening, March 9, Milton Alexander will address the organization. Mr. Alexander is a prominent man and is known throughout the city as an able and in- teresting speaker. All are invited. BORISPOL JEW SEEKING RELATIVES IN DETROIT Hersh Ashel of Borispol, Russia, is seeking the following of his relatives, who were in Detroit when last heard from : Mordoch Smeliansky and his wife, Brucha. Hersh and Tania Leviant. Jacob Chaffin and his wife, Charm. Those informed of the whereabouts of these peenle are asked to communi- cate with the editor of The Detroit Jewish Chronicle. The fact that Joseph Corner is the youngest member of the violin sec- tion of the Detroit Symphony may have had something to do with the applause he received last Sunday af- ternoon, but this reviewer is inclined to believe that it was more because of the fact that Mr. Garner deserved it on account of his playing. lie played Bruch's Concerto in G Minor for violin and orchestra in a manner that admirably displayed this young musician's talent. A little unsteady from extreme nervousness at the start, he soon gained poise and played the andante movement with a purity of tone that was delightful. The finale movement displayed his technical facilities and WILS played with great care as to phrasing and rythm. Mr. Corner was rewarded with an outburst of applause that brought him back several times be- fore taking his chair again in the orchestra. The ever-popular "Peer Gynt" Suite by Grieg was a delight to the audience, which showed their approval by much applause. The real surprise to those who did not already know him was Joseph l'ress, a visit- ing cellist. Mr. Press played the Saint-Saens Concerto for violincello and orchestra in A Minor. Not only is it a most gratifying composition, but it was an extreme joy to hear a cellist as fine as Mr. Press play it LOTUS SOCIAL CLUB The next meeting of the Lotus Cluh will be field at the Jewish Institute building,' uesday evening, March 7. Installatio of officers will take place. The public .. eer 'ally invited. SIP Importing Tailor 208-210 McKerchey Bldg. Cadillac 2083 YOU WILL BE SATISFIED AFTER S. SEGAL PAINTS AND DECORATES YOUR HOME—EXPERTLY VERY REASONABLE. PRICES 1161 Hague Ave. Phone Mkt. 1277 Imported goods for Suits and Overcoats— $65.00 and $55.00 and Up These materials are the best grade and well worth the price. P. ROMAN 226 McKerchey 2631 Woodward Ave. Cadillac 5015 Cherry 8656 JOSEFF BROS. SUPERIOR KOSHER RESTAURANTS Exclusive Caterers to Wedding Parties and Banquets LUNCH ROOM AND DELICATESSEN Open Day and Night 20 West Adams Avenue Near Fyfe's Shoe Store MAIN DINING ROOM 2038 Woodward Ave. Cor. Elizabeth Harry Lebovitz, Mgr. Excellent Downtown Parcel ENTIRE BUILDING FOR SALE OR LEASE Jefferson A r—located in 14.mile circle—right in the heart of Dynamic Detroit's Business center. Six.story modern brick *** and freight and steel construction--daylight on all sides---p I . A high class building at practically your own terms. Capitol Realty Investment Co. 1018 Majestic Bldg. Main 30 - M1110 ,01 AIRI= 7 -,KETZ ,M =S=7 -7.1 WW1NNI t . S.1 ACCURATELY reproduce every size and make of T O record exactly as recorded is an accomplishment that distinguishes the KIMBALL Phonograph. Add to this distinction its natural and lifelike tone, and its exceptional visual beauty—and you have an instrument that is worthy of the preference accorded it by the public. THE exhibit of KIMBALL Phonographs embraces a wide variety of upright and console models. You can buy a KIMBALL that reflects real superiority—at the price you wish to pay. The 1:1318/ILL one-price policy is every purchaser's assurance of the same satisfying KIMBALL value. Grand and Upright Pianos and Player Pianos, Phrasonome Pianos, Pipe Organs, Phono- graphs and Music Rolls. Okeh Records. Agreeable Terme at Payment For fire estimate of allowance on other In- struments In pail exchange, come In, or phone on (Slain 13021. Convenient Payments arranged. • Si, fLa LOX' KIMBALL PIANO CO. 1436 Broadway PONTIAC, 9 Auburn Ave. Up Domestic goods fur Suits and Overcoats-- Cadillac 861 GARRICK THEATER A musical festival with a score which runs the gamut from the popu- lar tune to the operatic classic and then bubbles over with a few humor- ous and semi-classical number just for good measure is Efrem Zimba- list s exquisite musical comedy, Hon- eydew," which comes to the Garrick theater the week beginning Sunday night, March 5, with the usual Wed- nesday and Saturday matinees. "Honeydew" has everything, if one is to believe the advance notices. Among the components which make up the offering are heralded grand opera, comic opera, musical comedy, tragedy, ballet. pantomime, farce and travesty, with a long array of novel- ties to keep the dancers busy, such as Vienna waltzes, whirling Czech polka, clinking Spanish dances and some customary American whirls. An augmented orchestra with the Casino theater, New York, cast and chorus is promised. Those having leading roles are Ethelind Terry, John Dunsmure, George Bancroft, John Park, 'era Jeanne, Madeline Grey, Marie Hall, Vincent Sullivan, Flores, Frank and Antonio Cansino and William H. Dorbin. Joe Weber is the producer. He has brought together a chorus of singers who, strange to relate, are also skilled in dancing and acting. The ladies of the ensemble are ac- cused of being young and numerous. N o more but less quite often. If BRANCH STORES: ANN ARBOR, WYANDOTTE, 211 E. Liberty St. Jr YJTOTMsr 18 Biddle -- ---- Ave., N. -- afill/YAM
1646	dbpedia	2	15	https://www.rootsvinylguide.com/ebay_items/1911-elena-gerhardt-artur-nikisch-piano-schubert-du-bist-die-ruh-monarch-recor78--1912	en	Roots Vinyl Guide	http://assets.rootsvinylguide.com/pictures/1911-elena-gerhardt-artur-nikisch-piano-schubert-du-bist-die-ruh-monarch-recor78--1912_7170723		[ "http://assets.rootsvinylguide.com/pictures/1911-elena-gerhardt-artur-nikisch-piano-schubert-du-bist-die-ruh-monarch-recor78--1912_7170723" ]	[]	[]	[ "reggae", "roots", "dub", "ska", "vinyl", "punk", "rap", "jazz", "record", "tracker", "price guide" ]	null	[ "Will Sulzer" ]	null	RootsVinylGuide.com provides a searchable back catalog of eBay vinyl record auctions.	en			null
1646	dbpedia	1	17	https://www.britannica.com/biography/Hugo-Wolf	en	Hugo Wolf \| Austrian Composer & Romantic Lieder Master	https://cdn.britannica.c…A1/Hugo-Wolf.jpg	https://cdn.britannica.c…A1/Hugo-Wolf.jpg	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/49/137049-004-B784EFA1/Hugo-Wolf.jpg", "https://cdn.britannica.com/58/178358-131-31BB9D53/Beatles-Publicity-Richard-Lester-Help-film-rock.jpg?...	[]	[]	[ "Hugo Wolf", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "The Editors of Encyclopaedia Britannica" ]	1998-07-20T00:00:00+00:00	Hugo Wolf was a composer who brought the 19th-century German lied, or art song, to its highest point of development. Wolf studied at the Vienna Conservatory (1875–77) but had a moody and irascible temperament and was expelled from the conservatory following his outspoken criticism of his masters.	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Hugo-Wolf	Hugo Wolf (born March 13, 1860, Windischgraz, Austria [now Slovenj Gradec, Slovenia]—died Feb. 22, 1903, Vienna) was a composer who brought the 19th-century German lied, or art song, to its highest point of development. Wolf studied at the Vienna Conservatory (1875–77) but had a moody and irascible temperament and was expelled from the conservatory following his outspoken criticism of his masters. In 1875 he met the composer Richard Wagner, from whom he received encouragement. He met Johannes Brahms in 1879, and from him also he received encouragement and the urging to broaden his musical focus and his career. He was also a friend of Gustav Mahler as a young man. In the late 1870s Wolf apparently contracted the syphilis that was to cripple and kill him. In the repeated relapses of the disease, Wolf would enter deep depressions and was unable to compose, but during remissions he was radiant and highly inspired. In 1883 Wolf became music critic of the Wiener Salonblatt; his weekly reviews provide considerable insight into the Viennese musical world of his day. His early songs include settings of poems by J.W. von Goethe, Nikolaus Lenau, Heinrich Heine, and Joseph von Eichendorff. In 1883 he began his symphonic poem Penthesilea, based on the tragedy by Heinrich von Kleist. From 1888 onward he composed a vast number of songs on poems of Goethe, Eduard Friedrich Mörike, and others. The Spanisches Liederbuch (“Spanish Songbook”), on poems of P.J.L. von Heyse and Emanuel von Geibel, appeared in 1891, followed by the Italienisches Liederbuch (part 1, 1892; part 2, 1896). Other song cycles were on poems of Henrik Ibsen and Michelangelo. His first opera, Corregidor (1895; composed on a story by Pedro Antonio de Alarcón), was a failure when it was produced at Mannheim in 1896; a revised version was produced at Strasbourg in 1898. His second opera, Manuel Venegas, also after Alarcón, remained unfinished. Wolf ’s reputation as a song composer resulted in the formation in his lifetime of Wolf societies in Berlin and Vienna. Yet the meagre income he derived from his work compelled him to rely on the generosity of his friends. In 1897, ostensibly following upon a rebuke from Mahler but actually on account of growing signs of insanity and general paresis, he was confined to a mental home. He was temporarily discharged in 1898, but soon afterward he unsuccessfully attempted to commit suicide, and in October 1898 he requested to be placed in an asylum in Vienna.
1646	dbpedia	3	18	https://www.flickr.com/photos/library_of_congress/3491617412/	en	Elena Gerhardt (LOC)	https://live.staticflick…fbdacce0a0_b.jpg	https://live.staticflick…fbdacce0a0_b.jpg	[ "https://live.staticflickr.com/3663/3491617412_fbdacce0a0.jpg", "https://live.staticflickr.com/3663/3491617412_fbdacce0a0.jpg" ]	[]	[]	[ "woman", "hat", "standing", "opera", "coat", "german", "bow", "singer", "libraryofcongress", "mezzosoprano", "xmlns:dc=httppurlorgdcelements11", "dc:identifier=httphdllocgovlocpnpggbain13250", "elenagerhardt" ]	null	[ "Flickr", "The Library of Congress" ]	2024-08-11T11:08:39.103000+00:00	Bain News Service,, publisher. Elena Gerhardt 1913 (date created or published later by Bain) 1 negative : glass ; 5 x 7 in. or smaller. <b>Notes: </b> Title and date from data provided by the Bain News Service on the negative. Photo shows German mezzo-soprano singer Elena Gerhardt (1883-1961). (Source: Flickr Commons project, 2009) Forms part of: George Grantham Bain Collection (Library of Congress). <b>Format: </b> Glass negatives. <b>Rights Info: </b> No known restrictions on publication. <b>Repository: </b> Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, <a href="http://hdl.loc.gov/loc.pnp/pp.print" rel="noreferrer nofollow">hdl.loc.gov/loc.pnp/pp.print</a> General information about the Bain Collection is available at <a href="http://hdl.loc.gov/loc.pnp/pp.ggbain" rel="noreferrer nofollow">hdl.loc.gov/loc.pnp/pp.ggbain</a> <b>Higher resolution image is available (Persistent URL): </b> <a href="http://hdl.loc.gov/loc.pnp/ggbain.13250" rel="noreferrer nofollow">hdl.loc.gov/loc.pnp/ggbain.13250</a> <b>Call Number: </b> LC-B2- 2718-37	en	https://combo.staticflickr.com/pw/favicon.ico	Flickr	https://www.flickr.com/photos/library_of_congress/3491617412	Bain News Service,, publisher. Elena Gerhardt 1913 (date created or published later by Bain) 1 negative : glass ; 5 x 7 in. or smaller. Notes: Title and date from data provided by the Bain News Service on the negative. Photo shows German mezzo-soprano singer Elena Gerhardt (1883-1961). (Source: Flickr Commons project, 2009) Forms part of: George Grantham Bain Collection (Library of Congress). Format: Glass negatives. Rights Info: No known restrictions on publication. Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.13250 Call Number: LC-B2- 2718-37
1646	dbpedia	1	56	https://chicago.universitypressscholarship.com/view/10.7208/chicago/9780226563602.001.0001/upso-9780226563572-chapter-004	en				[]	[]	[]	[ "" ]	null	[]	null					null
1646	dbpedia	2	8	https://www.opera-arias.com/singers/elena-gerhardt/	en	Elena Gerhardt			[ "https://www.opera-arias.com/singers/elena-gerhardt/images/thumbs/r/i/Rigoletto-Act-II-Tutte-le-feste-Piangi-piangi-fanciulla--318681.jpg", "https://www.opera-arias.com/singers/elena-gerhardt/images/thumbs/i/n/In-Dem-Schatten-Meiner-Locken-329656.jpg" ]	[]	[]	[ "Elena Gerhardt" ]	null	[]	null	Elena Gerhardt	en	/favicon-opera-arias.ico	Opera-Arias.com	https://www.opera-arias.com/singers/elena-gerhardt/	Elena Gerhardt (11 November 1883 – 11 January 1961) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. Elena Gerhardt was born at Connewitz near Leipzig, the daughter of a Leipzig restaurateur. She studied at the Leipzig Conservatory from 1899 to 1903, first with Professor Carl Rebling and then with Marie Hedmondt (d. 1941), who remained her friend and vocal adviser for many years. After a year of only technical study, she began work on operatic roles, such as Cherubino, Dorabella, the Mignon of Ambroise Thomas and Hermann Goetz's Katharina, interspersed with Lieder. She won the Carl Reinecke Scholarship. Leipzig provided many opportunities to hear international artists and to hear the early masters. In 1902, Arthur Nikisch became director of the Leipzig Conservatory, and approved her to sing publicly in Leipzig, which she first did in November 1902: he also gave her a solo in Franz Liszt's "Choruses from Herder's Entfesselter Prometheus" (S. 69). On graduating in 1903 and with many engagements, she mentioned her wish to give a lieder recital, and Nikisch offered to be her accompanist, their first (victorious) performance being at the Kaufhaus in Leipzig on her twentieth birthday. Concert engagements poured in, and she sang lieder in almost every university town as supporting artist to names such as Eugène Ysaÿe, Teresa Carreño or Max Reger. By 1905 she made her first appearances (with Nikisch) in Hamburg and Berlin (the Bechsteinhall), and in Berlin made the friendship of Richard Strauss. From summer 1905 she spent holidays with the Nikisch family near Ostend.
1646	dbpedia	1	57	https://www.onthisday.com/music/deaths/date/1961	en	Musicians Who Died in 1961	https://www.onthisday.co…-on-this-day.jpg	https://www.onthisday.co…-on-this-day.jpg	[ "https://www.onthisday.com/images/people/dolly-parton.jpg", "https://www.onthisday.com/images/people/ella-fitzgerald.jpg", "https://www.onthisday.com/images/people/leontyne-price.jpg", "https://www.onthisday.com/images/people/michael-jackson.jpg", "https://www.onthisday.com/images/people/kendrick-lamar.jpg"...	[]	[]	[ "" ]	null	[]	1961-08-11T00:00:00	Deaths in music in 1961. See the composers, musicians, pop stars, rappers and rockers that died in 1961 or search by date or keyword.	en	/apple-touch-icon.png	On This Day	https://www.onthisday.com/music/deaths/date/1961	Elena Gerhardt, German mezzo-soprano singer (b. 1883) Blanche Ring, American singer ("In The Good Old Summer Time"), and stage and screen actress, dies at 89 Henry Geehl, English composer, dies at 79 Francesco Maria Saraceni, Italian composer, dies at 49 János Viski, Hungarian classical pianist, composer (Enigma), and teacher, dies at 54 John Joseph Becker, American composer and conductor, dies a day before his 75th birthday Adolf Vogl, German composer, dies at 87 Archibald T Davison, American musicologist and composer, dies at 77 Velma Middleton, American jazz vocalist (Louis Armstrong's big bands and small groups), dies from complications of a stroke at 43 Jack Whiting, American actor and singer (Marge & Gower Champion Show), dies at 59 Percy Grainger, Australian-American concert pianist and composer (Hill Songs; Country Gardens), dies at 78 Nick LaRocca, American jazz coronetist and composer (Tiger Rag), dies at 71 Joris Vriamont, Flemish writer and music publisher, dies at 64 Paul Wittgenstein, Austrian-born left-handed pianist, dies at 72 George Formby, British singer and comedian, dies at 56 Thomas Beecham, English conductor (co-founded and led London Philharmonic, 1932-39; Royal Philharmonic, 1946-60), dies of heart failure at 81 Wilbur Sweatman, American ragtime and dixieland jazz clarinetist, composer, and bandleader, dies at 79 Edric Cundell, British composer (Serbia; The Tragedy of Deirdre) conductor, and educator (Guildhall School of Music, 1938-56), dies at 68 Jack Kane, British-Canadian arrranger, composer, and orchestra leader (Steve & Eydie; Andy Williams Show), dies at 37 Wallingford Riegger, American cellist, composer (New Dance; Cooper Square), and educator, dies from head injuries in a dog walking accident at 75 Jesús Guridi, Spanish composer, dies at 74 Apr 7 Yusef Greiss, Egyptian composer, dies at 61 Francis de Bourguignon, Belgian pianist (accompanist to Nellie Melba), and contemporary classical composer, dies at 70 Nils-Eric Fougstedt, Finnish composer (Angoscia, Trittico sinfonico), dies at 50 James Melton, American pop (1920-30's) and operatic tenor (Metropolitan Opera, 1942-50), dies at 57 (Joseph) Rosario Bourdon, French Canadian-American cellist, violinist, conductor, arranger and musical director (Victor Talking Machine Company, 1905-31; Symphonique de Montréal, 1935-44), dies at 76 (Gilbert) "Cisco" Houston, American folk singer, and guitarist, dies of stomach cancer at 42 Apr 29 (Irving Milford) "Miff" Mole, American jazz trombonist, and composer (Red Nichols and His Five Pennies - "Slippin' Around"; Sophie Tucker), dies at 63 Henri Gagnon, Canadian organist (Notre-Dame Basilica (Quebec), 1915-1961), composer (Rondel de Thibaut de Champagne), and music educator, dies at 74 Joe Howard, American vaudeville, Broadway, and television singer (Gay Nineties Revue), and songwriter ("Hello Ma Baby"), dies at 91 Uuno Klami, Finnish composer (Psalmus; Kalevala Suite), dies of a heart attack while sailing at 60 Robert Griffith, American theatrical producer (The Pajama Game; Damn Yankees; West Side Story), dies of a heart attack at about 55 [born c. 1907, exact date unknown] Scott LaFaro, American jazz bassist (Bill Evans Trio), dies in a car accident at 25 Julián Bautista, Spanish orchestral and film score composer, and conductor, dies at 60 Erskine Butterfield, American swing and boogie-woogie jazz pianist, singer, and composer, dies at 48 Theodore Chanler, American composer, dies at 59 Méi Lánfāng [Lan], Chinese opera performer known as "Queen of Peking Opera" for his portrayal of female roles, dies at 66 Guido Alberto Fano, Italian composer and pianist, dies at 86 (Granville) "Stick" McGhee, American blues guitarist, singer and songwriter ("Drinkin' Wine. Spo-Dee-O-Dee"), dies of lung cancer at 43 Carlos Salzedo, French-American piano prodigy, harpist, composer, educator (Curtis Institue; Juilliard), and new music advocate (co-founder of International Composers' Guild), dies at 76 Greet Koeman, Dutch opera soprano, dies at 54 Maurice Delage, French pianist, and composer (Ragamalika; Seven Haikais), dies at 81 [date of passing may be 21 Sept] Maurice Delage, French composer, dies at 81 Elmer Diktonius, Finnish poet, composer, and musicologist (Janne Kubrik; Stenkol), dies at 65 Don Barbour, American singer (The Four Freshmen), dies at 34 John Fernström, Swedish violinist, conductor (Nordic Youth Orchestra), and composer (Concertino for Flute, Women's Choir and Chamber Orchestra), dies at 63 Joan McCracken, American stage and screen actress, dancer and comedienne (Oklahoma!; Claudia: Story of a Marriage), dies of a heart attack at 43 Alexander Borisovich Goldenweiser, Russian-Soviet pianist, composer, and teacher, dies at 86 Stanislaw Kazuro, Polish composer, dies at 80 Jēkabs Graubiņš, Latvian composer, dies at 75 William Beatton Moonie, Scottish composer (The Weird of Colbar; Echoes of Perthshire), dies at 71 Boris Semyonovich Shekhter, Russian composer and teacher, dies at 61 Dec 16 Cato Engelen-Sewing, Dutch soprano singer, prima donna, dies at 93 Luis Abraham Delgadillo, Nicaraguan composer, conductor, and educator, dies at 75 Guy de Lioncourt, French composer, dies at 76
1646	dbpedia	1	3	https://www.findagrave.com/memorial/13046353/elena-gerhardt	en	1961) – Find a Grave Gedenkstätte	https://images.findagrav…113768707167.jpg	https://images.findagrav…113768707167.jpg	[ "https://www.findagrave.com/assets/images/logo-fff.png", "https://images.findagrave.com/photos/2006/18/13046353_113768707167.jpg?size=photos250", "https://images.findagrave.com/default-image.png", "https://images.findagrave.com/photos/2006/18/13046353_113768707167.jpg", "https://images.findagrave.com/photos...	[]	[]	[ "" ]	null	[]	null	Opera Singer. One of the leading mezzo-soprano singers of her generation, she was famed for her concerts across the United States and Europe as an outstanding interpreter of German lieder. She taught in London from 1933 until her death.	de	/assets/images/fg-icon.svg		https://de.findagrave.com/memorial/13046353/elena-gerhardt	Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Wir sind auf ein unbekanntes Problem gestoßen. Warten Sie einige Minuten und versuchen Sie es noch einmal. Wenn das Problem weiterhin besteht, kontaktieren Sie Find a Grave. Wir haben die Sicherheit auf der Seite aktualisiert. Sie müssen Ihr Passwort zurücksetzen. Ihr Konto wurde wegen zu vieler fehlgeschlagener Anmeldeversuche für 30 Minuten gesperrt. Bitte kontaktieren Sie Find a Grave unter [email protected], wenn Sie Hilfe beim Zurücksetzen Ihres Passworts benötigen. Dieses Konto wurde deaktiviert. Bei Fragen kontaktieren Sie bitte [email protected] Dieses Konto wurde deaktiviert. Bei Fragen kontaktieren Sie bitte [email protected] E-Mail nicht gefunden. Bitte füllen Sie das Captcha aus, damit wir wissen, dass Sie eine echte Person sind. Mehr als einen Datensatz für eingegebene E-Mail gefunden. Wir haben Ihnen zur Aktivierung eine E-Mail geschickt. Sign in to your existing Find a Grave account. You’ll only have to do this once—after your accounts are connected, you can sign in using your Ancestry sign in or your Find a Grave sign in. We found an existing Find a Grave account associated with your email address. Sign in below with your Find a Grave credentials to link your Ancestry account. After your accounts are connected you can sign in using either account. Geben Sie zum Anmelden Ihre E-Mail-Adresse ein. Geben Sie zum Anmelden Ihr Passwort ein. Geben Sie zum Anmelden Ihre E-Mail-Adresse und Ihr Passwort ein. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es ist ein Systemfehler aufgetreten. Bitte versuchen Sie es später erneut. Eine E-Mail zum Zurücksetzen des Passworts wurde an Email-ID gesendet. Wenn Sie keine E-Mail erhalten haben, durchsuchen Sie bitte Ihren Spam-Ordner. Wir sind auf ein unbekanntes Problem gestoßen. Warten Sie einige Minuten und versuchen Sie es noch einmal. Wenn das Problem weiterhin besteht, kontaktieren Sie Find a Grave.
1646	dbpedia	3	19	https://www.amazon.com/HistoricalFindings-Photo-Gerhardt-Mezzo-Soprano-Passengers/dp/B07XDMJ98S	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/ddwwidnf/Captcha_clgrufjsyx.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=5MV7RRPWT4STTJT3YHQ8&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
1646	dbpedia	1	16	https://www.mediastorehouse.com/fine-art-finder/schools/german-photographer/elena-gerhardt-german-mezzo-soprano-b-w-photo-25134296.html	en	Elena Gerhardt, German mezzo-soprano (b / w photo)	https://www.mediastoreho…5134296.jpg.webp	https://www.mediastoreho…5134296.jpg.webp	[ "https://monitor.fraudblocker.com/fbt.gif?sid=cnYdtc-59XGDbdNoyi6Mq", "https://www.mediastorehouse.com/templates/printstore/2424/images/framed-prints-and-wall-art.png", "https://www.mediastorehouse.com/p/690/elena-gerhardt-german-mezzo-soprano-b-w-photo-25134296.jpg", "https://www.mediastorehouse.com/images/c...	[]	[]	[ "elena gerhardt german mezzo soprano b w photo" ]	null	[]	null	Prints of 2776598 Elena Gerhardt, German mezzo-soprano (b/w photo) by Histed. Our beautiful Wall Art and Photo Gifts include Framed Prints, Photo Prints	en		Media Storehouse Photo Prints	https://www.mediastorehouse.com/fine-art-finder/schools/german-photographer/elena-gerhardt-german-mezzo-soprano-b-w-photo-25134296.html	2776598 Elena Gerhardt, German mezzo-soprano (b/w photo) by Histed, Ernest Walter (1896-1947); Private Collection; (add.info.: Elena Gerhardt (1883-1961), German mezzo-soprano.); Look and Learn / Rosenberg Collection. © Look and Learn / Rosenberg Collection / Bridgeman Images Media ID 25134296 Framed Prints Bring the elegance and timeless beauty of opera into your home with our Framed Prints featuring the legendary German mezzo-soprano, Elena Gerhardt. This stunning black and white photograph captures the captivating expression and artistry of Gerhardt, as she gracefully performs on stage. The print is sourced from Bridgeman Images through Fine Art Finder, ensuring the highest quality and authenticity. Add this exquisite piece to your collection and relive the magic of opera every day. Photo Prints Experience the timeless elegance of opera with our Media Storehouse Photographic Prints featuring the legendary German mezzo-soprano, Elena Gerhardt. This exquisite black and white image captures the intensity and grace of Gerhardt's performance, as she captivates audiences with her powerful voice. This print, sourced from Bridgeman Images through Fine Art Finder, is a must-have for any opera lover or art enthusiast's collection. With its rich history and stunning detail, this photograph is sure to become a cherished piece in your home or office. Poster Prints Bring the elegance and timeless beauty of opera into your home with our Media Storehouse range of Poster Prints featuring the legendary German mezzo-soprano, Elena Gerhardt. This striking black and white photograph captures the captivating presence of Gerhardt, taken by renowned photographer Ernest Walter Histed. Each print is produced using high-quality materials, ensuring vibrant colors and sharp details that bring the image to life. Add this beautiful piece of music history to your wall and relive the magic of a live performance every day. Jigsaw Puzzles Experience the captivating world of opera with Media Storehouse's Elena Gerhardt jigsaw puzzle. Featuring a stunning black and white photograph of the legendary German mezzo-soprano, this puzzle brings the magic of the stage into your home. Immerse yourself in the intricate details of this fine art image from Bridgeman Images, taken by Ernest Walter Histed. A perfect gift for music lovers and puzzle enthusiasts alike, this Elena Gerhardt puzzle is sure to provide hours of enjoyable assembly and serve as a beautiful addition to any room.
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1646	dbpedia	0	21	https://dokumen.pub/singing-in-the-age-of-anxiety-lieder-performances-in-new-york-and-london-between-the-world-wars-9780226563602.html	en	Singing in the Age of Anxiety: Lieder Performances in New York and London between the World Wars 9780226563602	https://dokumen.pub/img/…780226563602.jpg	https://dokumen.pub/img/…780226563602.jpg	[ "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png", "https://dokumen.pub/img/200x200/a-story-lately-told-coming-of-age-in-ireland-london-and-new-york-2013033924-9781451656299-1451656297.jpg", "https://dokumen.pub/img/200x200/the-interchange-of-plays-between-london-and-new-york-19101939-a-study-in-r...	[]	[]	[ "" ]	null	[]	null	In New York and London during World War I, the performance of lieder—German art songs—was roundly prohibited, representi...	en	https://dokumen.pub/doku…e-icon-57x57.png	dokumen.pub	https://dokumen.pub/singing-in-the-age-of-anxiety-lieder-performances-in-new-york-and-london-between-the-world-wars-9780226563602.html	Citation preview SINGING IN THE AGE OF ANXIETY SINGING I N T H E AG E OF ANXIETY '" Lieder Performances in New York and London between the World Wars L au ra Tu n bri d ge T h e U n iv er si t y of C h icag o P r e s s Chicago and London The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2018 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2018 Printed in the United States of America 27 26 25 24 23 22 21 20 19 18 1 2 3 4 5 ISBN-13: 978-0-226-56357-2 (cloth) ISBN-13: 978-0-226-56360-2 (e-book) DOI: https://doi.org/10.7208/chicago/9780226563602.001.0001 Library of Congress Cataloging-in-Publication Data Names: Tunbridge, Laura, 1974– author. Title: Singing in the age of anxiety : lieder performances in New York and London between the World Wars / Laura Tunbridge. Description: Chicago ; London : The University of Chicago Press, 2018. \| Includes bibliographical references and index. Identifiers: LCCN 2017059451 \| ISBN 9780226563572 (cloth : alk. paper) \| ISBN 9780226563602 (e-book) Subjects: LCSH: Singing—New York (State)—New York—History—20th century. \| Singing—England—London—History—20th century. \| Songs, German— Social aspects. \| Music—Social aspects. \| Music—Performance— History—20th century. \| World War, 1914–1918—Influence. Classification: LCC ML2811.8.N48 T76 2018 \| DDC 782.421680943/097471—dc23 LC record available at https:// lccn.loc.gov/2017059451 ♾ This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). In memory of David Tunbridge and Catherine Stewart C on t en t s I nt r od uct ion An Anxious Age 1 one Transatlantic Arrivals 13 t wo Languages of Listening 42 t hree Lieder Society 92 four Saving Music 132 Acknowledgments 169 Notes 173 Selected Bibliography 219 Index 229 vii I n t r od uct ion An Anxious Age T hree men and a woman sit in a bar on Third Avenue in New York City during the Second World War. Their thoughts and talk are interrupted now and again by the radio, “compelling them to pay attention to a common world of great slaughter and much sorrow.”1 The men initially think mostly of battle. The woman of a concert: “To war-orphans and widowed ladies, Grieving in gloves.”2 The quartet of characters who people W. H. Auden’s The Age of Anxiety (1947) reflect the poet’s observation that during wartime “everybody is reduced to the anxious status of a shady character or of a displaced person.”3 That displacement need not be literal, although many—including Auden himself, who had left England for the United States in 1939—found themselves in new countries and new situations. It could also have to do with the way in which the modern world was mediated: through the disembodied voices of radio broadcasts, or the combination of mourning and musical appreciation signified by applause muted by fashion both artistic and sartorial. Amongst all that was new, there was concern for the old. This book follows the fortunes of a musical genre whose future in twentieth-century America and Britain was also uncertain: lieder, or German art song. By the late 1930s, this small-scale, primarily romantic form was akin to a musical refugee. Those who engaged with lieder—performers, listeners, critics, and scholars—may have been anxious about how the repertoire might survive the vicissitudes of international politics and the technologies of mass culture. Yet the mobility and 1 2 I n t r od uct ion adaptability of these songs and their singers enabled them not only to survive, but to stand as symbols of hope for what the sociologist Norbert Elias termed “the civilizing process.” Anxiety and civilization run as dual themes throughout the following chapters, refracting some of the major preoccupations of the interwar period in Europe and the United States that pertain to lieder: nationalism and internationalism, and their ugly cousins xenophobia and racism; the status of high-culture and “leisured” society and aspirations to share it with and spare it from other classes; and the impact of this “first media age” on social activities, including live music making.4 It may seem strange to claim that a book about five white, male, Austro-German composers of the nineteenth century—Franz Schubert (1797–1828), Robert Schumann (1810–1856), Johannes Brahms (1833–1897), Hugo Wolf (1860–1903), and Richard Strauss (1864–1949)—presents a decentered account of a period in musical and cultural history. However, this is an unusual study of the interwar years in New York and London: my concern is not with large-scale institutions—opera houses or symphony halls—nor is its focus on modernism or popular music, which receive the lion’s share of scholarly attention.5 Moreover, this is not a book about composers, nor would I like to think of it as reception history in the traditional sense, which, as Daniel Cavicchi explains, continues to privilege works as drivers of musical culture.6 Instead, this is what the historian of science David Edgerton would call a “use-history.”7 His point is that older technologies continue to be used despite the historian’s emphasis on the new (his most often cited example is horses on battlefields alongside tanks). Along similar lines, I am writing not about new music, but about repertoire that was learned, sung, and listened to in regular concerts—about what constituted everyday concert life for members of a certain social class (and, occasionally, beyond them). I am also concerned with the ways in which new media—recordings, radio, and sound film—interacted with live performance and vice versa, rather than treating them as separate activities. This book might still be taken as a narrative about canon formation. More than that, though, it illustrates the precarious fortunes of those canons. Lieder fell out of Anglo-American recitalists’ repertoire during the First World War, and it was not until after the Second that they came to be as respected as they are today. One of the main findings of this book is that, rather than reaching back to nineteenth- century practices, it was during the 1920s and ’30s that the performance culture surrounding lieder with which we are now familiar came into being. Singing in the Age of Anxiety grew out of my survey of the song cycle, from A n Anx io us Age 3 which I discovered that the interwar period was transformative for performance practices because of the spread of technology and because of tensions between what appeared to be an idiom defined to a large extent by its national identity within an international context.8 What was a paragraph or two became a project that offers insights not only about the Anglo- American reception of lieder, but also about musical life during the first half of the twentieth century. Within its generic, temporal, and geographic limits, this is a book about how musical performance can articulate identity, about the evolution of recording technologies and modes of listening, and about hierarchies of taste. The discussion is necessarily wide-ranging, and an introduction to its themes and sources, as well as the book’s structure, may be helpful before delving into its main chapters, which, while arranged in loosely chronological order, concentrate on particular topics: the reintroduction of German music and musicians to New York and London after the First World War; issues of language and listening practices raised by the presentation of lieder in concerts, recordings, radio broadcasts, and films; the social standing of classical song; and attitudes to German music and musicians from the 1930s until the aftermath of the Second World War.  Auden’s The Age of Anxiety, according to the literary scholar Edward Men delson, ends with “an almost instinctive wish for a shared community we can imagine but never achieve.”9 The notion of imagined communities has been a powerful positive concept for many scholarly accounts of the way nations are defined and culture is shared around the world.10 Anxiety about the ramifications of nation and culture being fragmented or, indeed, united was shared by many writers and commentators of the time. For example, Erich Maria Remarque left Germany in 1933, eventually making his way to the United States.11 His unfinished novel The Promised Land depicted refugees striving to make a new life in New York. One such character is Robert Hirsch, who had fought for the French resistance and now manages a small appliance shop. He takes the narrator with him to shake down another Jewish émigré for money. On being asked how it is possible to intimidate anyone now they are no longer in Nazi Germany but “the land of the free,” Hirsch responds: “Haven’t you understood yet that we are living in the age of anxiety? The age of real and imaginary fear? [. . .] And that as emigrants we’re never going to be able to shake this fear, whatever happens?”12 Yet it was not only emigrants who felt anxious. The anxiety of displacement was also existential. German philosopher Martin Heidegger, in 4 I n t r od uct ion his 1927 tract Sein und Zeit (Being and Time), described anxiety (Angst) as a state of hovering, of feeling detached from the world in the face of the infinite, of being at once nothing and nowhere. A striking aspect of the 1920s and ’30s—particularly in Europe, but also in the United States—is that the notion of this being an “interwar” period is not a retrospective construct: it was felt at the time.13 Although after 1918 many tried not to mention the war, and to distract themselves with all manner of entertainments, beneath the gaiety there was perpetual dread that the horrors might return. References to being anxious abound in texts on everything from performance nerves to music’s therapeutic properties to the perils of cosmopolitanism. There were, as the historian Richard Overy has discussed, “networks of anxiety” manifested in a preoccupation with the destruction of what was referred to as “civilization.”14 Writing in the 1920s, Norbert Elias was careful to distinguish between Kultur and Zivilisation.15 Kultur, he explained, referred to human products, such as works of arts, books, religious or philosophical systems; it was a uniquely German concept that played an important role in nation building (which had taken place relatively late in Germany), and it paid little heed to attitudes or behavior. Zivilisation, by contrast, played down national differences by emphasizing commonalities among all human beings.16 It was the purview of those people, Elias explained, “whose national boundaries and national identity have for centuries been so fully established that they have ceased to be the subject of any particular discussion, peoples which have long expanded outside their borders and colonized beyond them”: in other words, the British and French. Elias acknowledged that the function of the German concept of Kultur took on new life as the First World War raged, for the Allies fought in the name of “civilization.” It is a word that will recur throughout this book, in situations as diverse as explorations of “hotel civilization” to antifascist rhetoric, and with certain kinds of music—not always those associated with Kultur—being co-opted as symbols of civilization. Other writers, from other countries, may have used slightly different terms from those chosen by Elias, but the polarity of national and supranational remained.17 For the English art critic and member of the Bloomsbury group Clive Bell, the meaning of civilization was social and artistic, encapsulated, after the savagery of the war, in “the artificial pleasures of a fashionable dinner party, where we can sit and rail in security against the unheroic quietude of civilized life.”18 “A man or woman entirely insensitive to all the arts can barely be deemed civilized,” Bell claimed, with all the condescen- A n Anx io us Age 5 sion of his class. He conceded, however, that the civilized person was not born but made. The civilizing process went hand in hand with an impulse toward arts education during the interwar period. The nurture of a civilized sensibility thereby had a conflicted relationship with what many perceived as another threat to peace and quiet: mass media.19 Arts educators would attempt to harness the forces of broadcasting and the record industry to improve the taste of the general public; at the same time, as will be seen, there was a drive to protect certain music and modes of being from the hoi polloi. Joseph Horowitz argues that the Great War shattered “the concept of civilization as pursuant to truth and beauty”; that the “rhetoric of uplift” that had accompanied classical music in America’s Gilded Age rang hollow, particularly after it was co-opted by European dictators for a very different type of cultural, communal catharsis.20 Although repertoire was co- opted to political ends, it was not only by dictators. The ability of music to forge communities, to raise morale, and to bolster propaganda during wartime was recognized by both sides. However, as this book demonstrates, the ways in which classical music was used, rhetorically and affectively, during the First and Second World Wars fundamentally contrasted. That said, there were historical continuities between and beyond the outbreak of hostilities. What constitutes “between the wars,” in other words, needs to be defined loosely. Both wars were cataclysmic, but while they may have accelerated some things and curtailed others, certain practices and people remained. In order to explain attitudes and activities after 1918, it is necessary to say something about what happened beforehand; in order to comprehend the import of 1945, its aftermath needs to be acknowledged (note that Auden’s The Age of Anxiety was written not during but following the war). In terms of geographical coverage, New York and London may seem an odd couple of cities through which to consider the performance culture of German song. As wealthy metropolitan centers they were “beyond both city and nation”;21 neither can really be taken as representative of American or British attitudes, and a quite different story would be told by looking at, say, Chicago or Manchester, Atlantic City or Lyme Regis. It is worth clarifying that, within London, discussion focuses on the West End, where most venues were located; for similar reasons, in New York City attention is primarily on midtown Manhattan.22 Comparing these two centers is revealing of shared attitudes and significant differences. Both cities were known as international hubs for the performance of classical music. Both had complicated relationships with German culture: New York, because of its historically large Germanic population and the prominent role that 6 I n t r od uct ion community played in musical and philanthropic life; London, because its relative geographical proximity meant that it could fear German invasion of a militaristic as well as a cultural kind, and because of long-standing connections with German society (not least the royal family). Britain and the United States were, of course, allies in both world wars and shared a common language. Yet, as the divergences in how they dealt with songs of their enemy illustrate, they defined themselves as much against each other as they did in response to the shared threat of Germany.23 New York and London were, throughout this period, important nodes on the transatlantic musical network.24 Typically, a German or Austrian singer wanting to expand his or her reputation internationally would venture from Berlin or Vienna to London and from there to New York. (There were other European nodes, of course—Paris and Amsterdam being the most obvious—but they are beyond the scope of this study.) This was not to say, however, that travel went only one way: American artists continued to visit Europe, and Europeans often returned home, so long as the political situation allowed. Thinking of the relationship between the two cities within the transatlantic unit helps nuance questions of national difference and exceptionalism: as Daniel T. Rodgers argues, the ocean functioned “less as a barrier than as a connective lifeline—a seaway for the movement of people, goods, ideas, and aspirations.”25 The transactional nature of musical life is at the heart of my first chapter, which takes as its starting point the role of the transatlantic liner as what Stephen Greenblatt would call a “contact zone,” where cultural goods are exchanged. The goods in question here were songs and their singers, who mingled at ship’s concerts with a freedom prohibited on land by wartime politics. “It is impossible to understand mobility without understanding the glacial weight of what appears bounded and static,” writes Greenblatt, and the arrivals and departures of the musicians discussed were freighted with significance.26 The contralto Ernestine Schumann-Heink returned to New York after the First World War, determined to reintroduce the performance of songs in German; the tenor Roland Hayes arrived in London to start a long career as one of the most prominent African American classical singers of the age; the composer Richard Strauss and the soprano Elisabeth Schumann commenced an American tour that demonstrated the continuing influence and prestige of German music in New York, as well as the financial allure of “Dollarland.”27 Chapter 2 turns from studies of individual singers to questions of repertoire and the debates over which songs should be sung, by whom, and in A n Anx io us Age 7 what language. Those questions were asked not only in New York and London concert halls after 1918, when hearing the enemy’s vernacular, never mind enemy musicians, was resisted. They were also asked as lieder began to be heard on gramophone recordings and radio broadcasts, and in sound films. The plurality of media, and their points of (dis)connection, are important to take into account, not only in relation to each other but with regard to their intersections with live performance. Songs were encountered—“used,” to borrow again from Edgerton—in numerous different spaces and formats. While their message may, pace Marshall McLuhan, have been inflected by their medium, the ways in which these different versions and experiences overlapped are vital to the understanding of the significance of lieder. How to access that understanding, however, remains a challenge. Cavicchi notes that research into the aesthetic lives of listeners is rare; the reason, surely, is the limitations of available sources.28 There might be access to diaries, memoirs, and correspondence that report directly on a musical experience; these are scarce, though, and it is likely that the kinds of comments made are about practical and personal aspects such as who the writer saw or the difficulties he or she experienced in traveling, rather than about the qualities of the performance. It is rarer still to find someone describing hearing lieder on the wireless or at the cinema; yet, increasingly, music was consumed at home rather than in the concert hall, and it is evident that experience informed interpretations in other situations.29 One is left, then, with published criticism, compared with the archives of venues, management companies, and other institutions to check claims about audience sizes, financial matters, and details of programs. This is not disastrous, for the interwar period saw a flowering of arts criticism in Britain and the United States.30 As well as specialist periodicals, mainstream newspapers— broadsheet and tabloid alike—covered concerts and musical news to an extent unthinkable now. 31 In such a competitive market and a time of so much political upheaval, they were bound to be partisan. The role of big- name critics as gatekeepers was underscored in London by the fact that all the critics sat in the same rows at concerts: the Musical Mirror and Fanfare described them as slouching into Queen’s Hall, “looking like retired parsnips obliged to inspect the drains against their better judgement” (it has to be said that critics then were allowed much greater freedom in the excoriation of their subjects).32 Many did not limit themselves to reviewing but also wrote books: Ernest Newman, who had gained his first full-time position as a critic at the age of fifty, after the First World War, served as the 8 I n t r od uct ion Observer’s London critic before becoming chief music critic of the Sunday Times. His book length studies of the German composers Richard Wagner and Richard Strauss, and the Austrian Hugo Wolf, were hugely influential in persuading readers of their music’s merits. Richard Capell wrote for the Daily Mail for twenty years before moving to the Daily Telegraph in 1931. Despite both papers’ famously warmongering, anti-German stance, he covered song recitals extensively and authored the first English-language monograph on Schubert’s songs.33 Richard Aldrich presided at the New York Times from 1902 until 1923 and also wrote on Wagner, as well as working with the tetchy critic for the New York Tribune, Henry Edward Krehbiel, on the Grove Dictionary of Music and Musicians.34 Aldrich was replaced at the New York Times by Olin Downes, who remained chief music critic until 1955 as well as chairing the Metropolitan Opera Quiz on the radio. In other words, critics were gatekeepers not only in the concert hall but of various music-appreciation projects, be they monographs or broadcasts. The long tenures of Newman, Capell, Aldrich, and Downes also means that there is a relatively steady stream of their views through the interwar period, against which the opinions of less established voices—some of whom wrote anonymously or were only named by their initials—can be judged. The sense of there being establishment and peripheral voices within music criticism, as well as specialist and generalist ones, also applied to venues within New York and London and, in some ways, to performers. Lieder were sung in the home, by amateurs, students, and at informal musical gatherings (including high-society “at homes”), seemingly continuing nineteenth-century practices.35 Usually those activities can only be glimpsed in historical sources, with exceptional happenings noted more often than the day-to-day. More public and better documented renditions, by professional and aspiring singers, took place most regularly at moderately sized concert halls built in the early twentieth century, such as the Wigmore Hall (London) or Town Hall (New York), or at the various piano showrooms (Steinway, Aeolian) with attached recital spaces.36 Lieder also appeared, however, in huge venues such as the Royal Albert Hall in London, and Carnegie Hall and even the Hippodrome in Manhattan; then they were almost invariably sung by well-established stars. It is worth remembering, however, that these venues were all available for hire, if one could afford it (hence Florence Foster Jenkins’s notorious Carnegie Hall recital in October 1944).37 There had been a shift, by the 1920s, away from the “hybrid” recital— A n Anx io us Age 9 which presented a mixture of genres and ensembles—toward the “group” recital, which divided the program into sections according to historical period and place. (Occasionally singers still shared programs with an instrumentalist, usually a violinist or pianist.) Typically, that meant that a recital began with “early” music (Italian arias, Handel, Bach), followed by a group of lieder, then a group of songs from another country, and finally something lighter: popular airs, folk songs, or spirituals. The geographical range was often determined by the singer’s ethnic background, although demonstrating mastery of different languages increasingly was thought to be a sign of good training. Very few singers gave dedicated lieder recitals. On the one hand, this type of programming meant that when German song fell out of favor, during the First World War, it was easily replaced. On the other hand, it also meant that it was rare for larger-scale works to be performed onstage. Only with the celebrations around Beethoven’s and Schubert’s centenaries in 1927 and 1928 respectively did the marketing strategies of gramophone companies, the educational projects of broadcasters, the proliferation of music journalism, and willing singers converge to foster a receptive audience for complete song cycles. As chapter 3 explores, another important environment for the performance and consumption of lieder in Manhattan were clubs and societies dedicated either to music or to a particular social group. These semi-private affairs—accessible by invitation or subscription—were often hosted by another phenomenon of the early twentieth century, which transformed definitions of public space: the luxury hotel. Several of the clubs, such as the Bagby Musical Mornings, had been founded before the war and might have been expected to have died out in the Jazz Age; their persistence illuminates both historical continuities and the influence of especially the women of “old” New York within the modern city. Clubs and hotels also hosted concerts in London. The London Lieder Club, for example, was founded in 1933 as “back-up” to a new recording venture, the subscription-based Hugo Wolf Society. The series exemplified the complex ways in which live and recorded music intersected, and how what might be thought of as older practices were shaped, indeed in many ways created, by new media. Projects to record the collected works of composers, sung in the original language, encouraged the type of dedicated recital promoted by the London Lieder Club. The texts around these recordings—program notes and criticism—put forward a particular kind of informed, attentive listening as desirable, which transferred to the concert hall. The notion of what now seems to be the traditional approach to lieder 10 I n t r od uct ion performance—in concert dress, in the original language—arguably resulted from new technologies and the proliferation of writing about music in the interwar period. The influx of German and Austrian musicians arriving in London in the 1930s was still more influential, for they brought with them performance practices from Vienna and Berlin; notably, the model of the dedicated lieder recital or Liederabend.38 It was the best of these performers who were hired to record for the Hugo Wolf Society and to sing at the London Lieder Club. Around them grew a culture of specialist interpretation. There was, inevitably, an explicitly political angle, for many of these musicians stayed in the country as refugees from the Nazi regime. Chapter 4 explains how, while lieder continued to be associated with Germanic culture, in contrast to British and American attitudes during the First World War, they were no longer approached as songs of the enemy. Instead, the songs of Schubert, Schumann, Brahms, Wolf, and even, up to a point, Strauss became symbols of a civilization in danger of being destroyed by fascism. Throughout the course of the Second World War, classical music was mobilized as a vehicle for cultural uplift and morale boosting. Twenty years earlier it would have been unthinkable for lieder to have been on wartime concert programs in London and New York, particularly sung in German. This time round, though, they were heard at flagship series such as the National Gallery concerts. There were objections to particular performers—Kirsten Flagstad’s return to New York after the war, for instance, was greeted with protests because her husband had been a member of Norway’s Nazi party—but attitudes to repertoire generally were more open. One further case study in this concluding chapter, though, serves as a reminder that while lieder may have become an accepted part of musical life, prejudices against performers were prompted not only by war: Marian Anderson gave a concert on the steps of the Lincoln Memorial in 1939, in effect protesting racial segregation; while she was heard by millions over the radio and received enthusiastically in New York shortly afterward, it was not until 1955 that she appeared as the first African American singer to be hired by the Metropolitan Opera.39 The contrast between what could be achieved in recital and what might be acceptable on the operatic stage points to the myriad ways in which lieder were used between the wars and the “songwork,” to borrow Gary Tomlinson’s term, that they executed.40 Modest in scale, they slipped between private and public spheres and between categories of high-, low-, A n Anx io us Age 11 and—a term invented in the interwar period—middlebrow. Part of the challenge of this project has been trying to account for the multiple identities in whose name lieder were sung and for the many ways in which they were heard and interpreted. The sounds of the singers discussed in these pages are likewise elusive: although many were captured on record, listening to them now is desperately compromised by the limitations of technology and current tastes.41 For that reason, their aesthetic qualities are rarely described in what follows; but I hope that readers may be encouraged to seek out some of the recordings—many of which are now available as reissues or online—and to listen, if not quite with a period ear, then with a richer understanding of their motivations and contingencies.42 Recordings and, with them, radio and film promised to expand markets for lieder nationally and internationally. Their increased dissemination boosted postwar claims for the “universal” qualities of classical music. The centrality within that universe of the Austro-German tradition is surprising only in that there might have been expected to be continued resistance to the music of those who had been the enemy (as there was, of course, from some factions).43 Nationalism was a powerful and increasingly aggressive force during the interwar period. However, it was challenged by the self-conscious development of internationalist projects that, Akira Iriye argues, strove to achieve peace through political, economic, and cultural exchange.44 A term often associated with the latter was “cosmopolitanism,” which surfaces occasionally in the following chapters as a description of activities with an international aspect that may also imply something about the outlook of those involved.45 Quite what that outlook was is sometimes ambiguous. Cosmopolitanism might have been egalitarian in principle but in practice typically has depended on the social, economic, and cultural mobility of the elite.46 It has, according to Amanda Anderson, articulated intellectual and ethical “ideals for the cultivation of character and for negotiating the experience of otherness.”47 The performance culture of lieder in London and New York during the interwar period was in many ways inherently cosmopolitan, for it enmeshed ideas about cultural and social improvement within what was often an international environment. However, this was an age acutely aware—anxious, even—about national identity and difference. Civilization did not mean the erasure or leveling of those identities, but respect for and engagement with other nations. “Auch kleine Dinge können teuer sein”—even little things can be precious—the poet Paul Heyse reminds us in the first song of Hugo Wolf ’s 12 I nt r od uct ion Italienisches Liederbuch. The story of transatlantic musical life during the interwar years, as told through the performance and reception of lieder, yields no grand, overarching narrative. It does, however, intersect with concerns about the importance of art and culture, within and beyond an individual’s own nation and social group, which remain key to evaluating what might be meant by civilization today. One Transatlantic Arrivals “The boat has not only been for our civilization [. . .] the great instrument of economic development [. . .] but has been simultaneously the greatest reserve of the imagination.” —Michel Foucault, “Of Other Spaces” (1986) B etween the world wars, transatlantic travel between Europe and the United States held a special place in the imagination of the cultural elite. It represented a temporal rift, both between old and new worlds, and because—before flight became routine—it took on average six days to make the journey by steam ship.1 Time, then, to dream and to be bored; time to be entertained. Music played a significant role on board.2 There were hired orchestras and dance bands, and it was customary for cabin and first-class passengers to give a concert, typically for nautically themed charities. The diary that the German soprano Elisabeth Schumann kept during her American tour with Richard Strauss—of which more later—conveys the voyage’s tedium and its potential for discomfort or luxury, depending on one’s class of ticket. On their first evening aboard the SS Adriatic (19 October 1921) she recorded: “I am lying in a narrow, wobbly cabin.” Franz Strauss came by to say that the Russian bass Fyodor Chaliapin was on board, sharing a bottle of wine with his father and offering to find them better quarters. After two 13 14 C h apt er One days of fatigue and headaches, Schumann was finally able to enjoy herself: “Wonderful day, sunshine, completely calm sea, great boredom. I completely forgot to mention that we already met [Lucrezia] Bori on the train from Paris to Cherbourg. We don’t see much of Chaliapin; he sits all morning in the Turkish bath, and unfortunately only speaks French, not English.”3 Despite, or perhaps because of, the language barrier the musicians seem to have spent the remainder of their journey playing poker together. On the penultimate evening, 25 October, they gave a charity concert for the widows and orphans of sailors. Schumann recorded that she “had a great success with three Strauss songs. Chaliapin also sang. Wonderful artist. Unfortunately not quite on top form any more. Then a lady played a violin sonata by Strauss too.” Few transatlantic passengers were treated to such impressive programs; the musicians on board were more often amateurs or less well-known professionals, and those instances when an opera company or famous soloists were on board were noted as significant (the German soprano Frieda Hempel recalled in her memoirs that on a 1922 trip to New York the passengers of the SS Olympic heard the three Hs: herself, the pianist Josef Hofmann, and the violinist Bronislaw Huberman, who, together with—yet again—Chaliapin, raised an unprecedented $3000 for the Seamen’s Fund).4 Whoever performed, the concerts were striking for their wide-ranging programs: in the cabin dining saloon of Cunard’s R.M.S. Alaunia on 20 March 1934, the program was light and varied: the ship’s orchestra played Franz von Suppé’s Poet and Peasant overture and “Capstan and Windlass,” a medley of sea shanties by Ernest Reeves; there were solos on the musical saw, cello, and Hawaiian guitar; turns by comedians and a dancer; a recitation; and “O, Donna Clara” and “You’re Gonna Lose Your Girl,” sung in German by a Miss Gerda Drebing.5 In October 1938 Lisa Reitler, the wife of a Viennese Jewish banker and a friend of Elisabeth Schumann, fled Nazi-occupied Austria for New York. She described the concert during her voyage as “just like being in Paris”: she was accompanied by the “wonderful pianist” Myra Hess; there were a tenor and a lyric soprano from the Chicago Opera; “and afterwards cabaret artists, a banjo player who’s just done a big tour of Africa, then a pair who did some apache dances.”6 It is apparent from such lists that, while liners may have reinforced social boundaries according to the different classes of passengers, they were ideal spaces for chance meetings between nations and cultures. Although inherently cosmopolitan, the entertainments available were also intended to introduce passengers to their destinations, for instance Trans atl an t ic A r r i va l s 15 through special restaurant menus that offered either a taste of home or an indication of unknown pleasures to come. An advertisement for United States Lines described their ships as “America Afloat”: All bound for America and already in America—afloat. Going home and already home. They find themselves each other’s friends—fellow citizens of a floating city. Their club is the smoking room. Their sports grounds: the great decks, the swimming pool and gymnasium. They go on shopping expeditions—there are fine shops on board. They dance, dine, go to film shows. They live on board a few full memorable days— and then they reach New York. That life on board might replicate and perhaps exceed what would be offered on arrival encourages us to view these ships as what Michel Foucault would call heterotopic spaces: sites that, unlike utopias, actually exist, but that represent, contest, and invert reality, primarily through juxtaposing incompatible elements. Indeed, Foucault cites the boat—“a floating piece of space, a place without a place”—as the “heterotopia par excellence.”7 Hans-Ulrich Gumbrecht argues that transatlantic travel during the 1920s (particularly from the United States to Europe) signified “ultimate refinement in lifestyle and culture,” with ocean liners becoming opportunities for displays of cultural capital and technological advancements.8 Theatrical entertainments and concerts on board—despite or even because of their class associations—were an integral part of this imaginary civilized cosmopolitanism.9 But all ships return to port eventually, and, particularly during times of conflict, their arrivals could be sharply political. Each of the next three sections takes as its starting point the disembarkation of musicians in New York or London as a means of illustrating the ways in which the First World War impacted musical life on both sides of the Atlantic. Their organization is loosely chronological. First, I consider American attitudes toward German music and musicians during the hostilities, through the examples of the German-American contralto Ernestine Schumann-Heink, the Irish-American tenor John McCormack, and the multiple identities of Louis Graveure. Second, I illustrate how similar attitudes influenced approaches to repertoire and performance in London in the immediate aftermath of the war, taking as my guide the African American tenor Roland Hayes. The final chapter examines responses to the return of two German musicians, the composer Richard Strauss and the soprano Elisabeth Schumann, to New York in the early 1920s. 16 C h apt er One “The Time to Sing German Songs” (Ernestine Schumann-Heink) The Dutch accompanist Coenraad Bos recalled traveling by steamship to New York from Europe shortly after the First World War. The famous contralto Ernestine Schumann-Heink was also on board and, as was the custom on transatlantic trips, they planned a concert. Among their fellow travelers was a Swiss choral group. Bos was horrified to discover the titles of the songs they proposed to sing: “Du, deutscher Rhein,” “Mein Vaterland,” and so on. At that time, he explained, “the performance of music with German text, and frequently of German composers,” was out of favor. He asked Schumann-Heink what to do: she told him not to print the titles on the program; she would handle it. (She herself, “realizing the delicacy of the situation,” had planned to sing an Italian aria and some English songs.) At the concert Schumann-Heink said to the audience: “You are going to hear a group of songs by the Swiss Singing Society. The language in which they sing sounds like German. But it is not German! Please don’t shoot them! ” Whereupon they sang, “in the plainest German,” “Mein Vaterland” and “Du, deutscher Rhein,” and, commented Bos, it “was a great success: if anyone was the wiser, nothing was said.” “Shortly after this,” Bos continued, Schumann-Heink sang in Newark, New Jersey. For the first time, after the war, she included German lieder by Brahms, purposely as a final group on the program. The audience numbered some 4000 people. Just prior to beginning the closing group, Schumann-Heink announced: “The war is over. The time to sing German songs is here. If there are any in the audience who do not wish to hear them, they may leave now.” And quietly, without demonstration, about two hundred people left the auditorium.10 These anecdotes illustrate the complex cultural negotiations musicians undertook in order to reestablish themselves after the war. Schumann- Heink’s willingness to pretend that the language in which the Swiss choir sang was not German was in keeping with the knowing playfulness of the performance situation.11 It seems that the degree to which the ship’s audience cared about the “politics” of the music they heard was negligible, as if while on board they were subsumed by the transatlantic rather than beholden to any particular place. It also demonstrates a determination on Schumann-Heink’s part to continue as best she could, whatever the cir- Trans atl an t ic A r r i va l s 17 cumstances; an attribute well borne out by other incidents in her long and varied career. The large audience that welcomed her onshore in Newark was not unusual for a singer of her stature. However, it is striking that many listeners were not prepared to accept all the repertoire she offered because they still felt offended by the prospect of hearing the German language. The United States may not have been threatened by military attack at home to the same degree as her allies, but there had been the enemy within: the large Germanic populations of metropolitan centers such as New York and Chicago, whose cultural authority was established through money, language, and music. German immigration to the United States peaked in the mid-nineteenth century, spurred by economic depression and political uncertainty in central Europe and the promise of fresh opportunities in the New World (after all, the most famous dynasties in New York, the Astors and the Waldorfs, were of German heritage). By 1910 New York was, next to Berlin, the largest German city in the world, even if midwestern cities such as Milwaukee, St. Louis, and Chicago had higher per capita German immigrant populations.12 There was a seemingly separate German world in New York, divided into neighborhoods according to when residents had arrived, or their religion (a large proportion of the German community was Jewish, for they hoped to find greater tolerance across the Atlantic; Brahms’s collaborator George Henschel explained that he decided in part to settle in London to escape Prussian anti-Semitism).13 Before the war, many second-generation Germans lived in Harlem. After the war, one commentator complained: Harlem! The old Harlem is dead. [. . .] All the Gemütlichkeit of it is gone. Gone are the comfortable Weinstüben where one could smoke his pipe and peacefully drink his Rhein wine. Gone is the old Liedertafel and the hundred-and-one social organizations, and the Turnvereins and the singing clubs where one could pass the evening peacefully. They have all moved elsewhere, and the new places do not have the atmosphere of the old ones. It used to be so pleasant to pass a Harlem street on a summer evening. The young ladies were accompanying their Lieder with the twanging of the soft zither, and the stirring robust melodies from the Lutheran churches used to fill the air on a Sunday. It is all gone now.14 The account is implicitly racist: Harlem has become black, noisy, and selfish.15 It is the nostalgic description of German identity within the city that 18 C h apt er One is of interest, however. There is an emphasis on socializing, be it through wine bars or societies and clubs, and on musicality—communal and individual. Finally, there is the sprinkling of German terms, marked as other by the use of italics but not translated or explained. Migrants had come from many different German-speaking lands; language—in the city of New York, Hochdeutsch, not dialect—was their most obvious commonality and so became “the major indicator of ethnic belonging.”16 Language and, evidently, music. The majority of studies of German- American musical identities have focused on folk and choral singing, which helped to maintain the coherence of immigrant communities.17 Classical music was part of that continuum of music making, but complicated categorization by ethnic identity because of the core role German and Austrian repertoire had long played in transatlantic concert life. Neither the United States nor Britain was known as a musical nation, although they were major importers (to the consternation of those who favored the aesthetic and economic development of home-grown talent). Germans were not the only nationalities who took advantage of Anglo-American markets—Italians and Russians were also prominent, particularly in opera—but they dominated the classical music scene in many American cities, particularly where there were large German populations.18 A few conductors were particularly influential in terms of repertoire and infrastructure. Leopold Damrosch, once Liszt’s concertmaster at Weimar, arrived in New York in 1871 to take over the Arion Society’s male chorus; he soon founded the New York Oratorio Society and the New York Symphony. On his death in 1885 his son Walter literally took up his baton; he would prove one of the most influential musicians in the city, not least because of his ability to befriend wealthy patrons such as Andrew Carnegie, whom he would persuade to build a concert hall.19 Another German-trained conductor, Anton Seidl, like Damrosch, promoted the operas of Richard Wagner at the socially exclusive Metropolitan Opera House and through populist concerts on Coney Island. Even those orchestras not conducted by Germans were substantially peopled by musicians of German origin: by 1890 they constituted 90 percent of the New York Philharmonic. German musicians were visible not only as performers: instrument makers, such as the Steinway piano company, were well established, and there were countless music teachers who advertised that they were of German extraction or had trained abroad.20 The historian Jessica Gienow-Hecht claims that five thousand Americans studied music in Germany between 1850 and 1900; the New York Times calculated that be- Trans atl an t ic A r r i va l s 19 fore the First World War American families paid about $15 million annually to foreign countries (primarily Germany and Austria) for musical tuition.21 What distinguished German classical music making from that of other immigrant groups in the city was the seriousness with which it was taken. In the nineteenth-century “sacralization” of high culture, it was not Verdi and Tchaikovsky but Beethoven and Wagner who were musical idols, to be revered in silence.22 The degree to which this new type of attentive (or at least reverent) listening was a form of social control will be discussed in a later chapter; here, the point is simply that these were German composers. They represented their nation’s Kultur, the singularity of which was emphasized in the anglophone press by the word’s remaining italicized and untranslated. The superiority accorded Kultur was evident throughout music criticism, and especially in German commentaries about American, typically popular, culture: for example, Wilhelm von Polenz criticized the so- called Land of the Future as trivial, stupefying, and mechanical.23 However, such voices were increasingly drowned out by the rapid spread of mass entertainment, the majority of New York’s German population proving no less susceptible than their American counterparts to the charms of baseball, vaudeville, and amusement parks. According to the literary historian Peter Conolly-Smith, for Americans the First World War “sealed the tomb of Kultur.”24 German-language theaters closed, German-language newspapers folded (there were 488 in New York City in 1910, just 152 in 1920), and Germans endeavored to make themselves indistinguishable from “real” Americans. They signaled their assimilation, as they had flagged their difference, in no small part through language: sauerkraut became “liberty cabbage,” German measles (probably to the bemusement of the afflicted) became “liberty measles,” Coney Island’s Kaisergarten—a replica of the one in Munich—was renamed, and many Germans applied to alter their surnames ( just as the British royal family changed Saxe-Coburg to Windsor). Several states prohibited German instruction in schools; California even ordered the removal of German folk songs from children’s music books.25 The power and influence of German musicians was also diminished by the United States’ entry into the war. In the eyes of many scholars, war was no watershed; rather, it simply sped up a process of assimilation begun by the spread of mass media, through which popular culture asserted its hegemony. Kultur’s tomb, however, was not sealed as tightly as some suggest. As we shall see, after the hiatus imposed by the war, Germans and musi- 20 C h a pt er One cians of German origin came once more to play a prominent role in Anglo- American concert life.26 The musical world certainly changed during the subsequent period, in response to the growth of the recording, radio, and film industries, which encouraged new modes of consumption and listening, and had the potential to broaden the dissemination of different repertoires. It was also, and again, impacted by global politics, as musicians dealt with economic crises and then the rise of fascism. Despite all this, German music somehow retained its central position in the Anglo-American classical canon. Few artists were as adept at negotiating German-American identities as Schumann-Heink, whose career and family—were already transatlantic and for whom lieder remained a staple of her repertoire, no matter where she traveled or to whom she sang. Born Ernestine Rössler in 1861 to a German-speaking family living near Prague, she met her first husband, Ernst Heink, when he was secretary of the Semperoper Dresden, where she had made her debut in 1878; they had four children before divorcing in 1893, after which she married Paul Schumann, with whom she had three more children. An actor and director at the Thalia Theater in Hamburg, he was credited with improving her dramatic delivery. Schumann-Heink’s career had taken off at the Hamburg Opera in 1889, when she replaced the prima donna Maria Götze at the last minute (as Carmen, Fidès, and Ortrud on consecutive nights); she performed at the Bayreuth Festival between 1896 and 1914 and in 1899 made her first appearance at the Metropolitan (her last would be in 1932). Paul Schumann died in 1904; the following year Schumann-Heink married her American manager, Paul Rapp. The couple lived together in New Jersey as Schumann-Heink pursued a lengthy court case to try to reclaim some of her savings from Germany, which she had forfeited when she married a foreigner. She left her two oldest children, August and Charlotte, in Germany and became a naturalized American citizen in 1908. She and Rapp divorced in 1915 (fourteen years her junior, he was apparently jealous of the attention she paid her offspring), by which time she had settled in San Diego. Despite her new passport, there could be no doubt about Schumann- Heink’s German heritage. She was strongly associated with the music of Wagner and performed lieder on her extensive concert tours. Yet she was also keen to cultivate a popular following, and, while this partly concerned, as promotional materials put it, “arousing a love for classical songs among the masses,” she was—unlike some of her colleagues—willing to appear in less elevated venues. There she often played up her Germanness Trans atl an t ic A r r i va l s 21 to humorous effect: on Broadway, appearing in Julian Edwards’s operetta Love’s Lottery (1904), she broke off to ask the audience whether her English was satisfactory, and she hammed up her accent in later vaudeville appearances. Much has been written about the use of comedy as a means by which immigrant communities could assimilate, according to which the presentation of negative stereotypes enabled a disavowal of ethnic identity. Classical musicians could play a prominent part in this “community of laughter,” either by lampooning themselves or by being mimicked by others.27 So far as Schumann-Heink and other native German speakers were concerned, humor seemed to derive from careless or unidiomatic English and—particularly for listeners today—musical delivery. For example, at a concert in June 1915 Schumann-Heink performed Mendelssohn, Schubert, Brahms, Wolf, Bizet, and Saint-Saëns before ending with “The Star- Spangled Banner.” She had not, however, learned the words to the latter, which caused “some of her hearers to wonder in what language she was singing.”28 Listening to her recordings of the anthem we might wonder at the way her words are, at any rate, lost in her formidable vibrato, as well as her extensive use of rubato toward the climactic final note of the line “O’er the land of the free.” Schumann-Heink saved face with regard to “The Star-Spangled Banner” by claiming that she was eventually taught the words by an army captain. Still, her German-American identity became more problematic as the war continued in Europe and threatened to cross the Atlantic; the way she navigated her career during this period illuminates the potential conflicts between the political situation and the musical community. As someone with family in Germany and the United States, she had sons fighting on both sides. The diary of her accompanist, Edith Evans Braun (1887–1976), reveals both the energy the singer devoted to looking after her family and career and the extent to which America’s entry into the war affected musical life.29 Schumann-Heink’s fourth son, Hans, died of pneumonia in San Diego in early January 1916; by February she and Evans Braun were on a tour of the East Coast. On arriving in Washington, D.C., Schumann- Heink visited the German embassy to discuss her son August, who was serving in the navy (he died in his U-boat in December 1918). The next day she sang for President Woodrow Wilson and his new wife at the White House; the duo then moved on to Atlantic City, where Schumann-Heink wanted to meet a Judge Jerome to discuss the fortunes of another of her sons. Although Schumann-Heink sometimes found it hard to perform— “I think memories proved too much for her and her grief is still too fresh,” 22 C h apt er One Evans Braun recorded of a morning concert on 14 February—she had a busy schedule. She sang Erda in Wagner’s Siegfried at the Metropolitan that month, as well as appearing at benefit concerts at the Ritz and the Hotel Astor and giving recitals in Connecticut, Atlantic City, and Philadelphia. The Astor benefit, Evans Braun noted, was a “real German fest” in which the Met stars Otto Goritz, Johanna Gadski, Johannes Sembach, Albert Reiss, and Carl Braun also participated. (Their sense of humor can be gleaned from a play they put on alongside the musical performances, which featured Goritz “dressed as [the cartoon character] Buster Brown with a pink suit and yellow wig and eyes made to look cross-eyed. It was a scream!”)30 By March Schumann-Heink was hoarse, but she continued concertizing at a similar rate. Although she was received enthusiastically at New York State’s Auburn correctional facility on 25 April, the organizers were said to be worried that her program contained too much German repertoire. In early May she thought, wrongly as it turned out, that war had been declared; to soothe her nerves she and Evans Braun went to the singer’s favorite spot, on the pier across from Maison de Paris in Atlantic City: “We sat there for a long time watching the ocean.” Schumann-Heink may well have contemplated her peculiar personal and professional situation with regard to transatlantic politics as the tide went out. After Congress declared the United States’ entry into the war, on 6 April 1917, those concerns about performing German music proved well founded. German artists at the Met were fired because they were now enemy aliens (Gadski announced her retirement rather than be dismissed);31 Schumann-Heink would not perform there again until the mid- 1920s. To avoid paying royalties to enemy countries, the music of living composers such as Engelbert Humperdinck and Richard Strauss was cut from programs. Even opera repertoire by dead composers, including the ever-popular Wagner, was canceled.32 The problem, as the critic Krehbiel pointed out, was not the composer, but that the works were in the enemy’s vernacular. Thus, while instrumental music by Beethoven and Brahms continued to be performed (a brief hiatus had proved untenable), singers had either to choose politically acceptable repertoire—that is, music by the United States and its allies—or to start using translations, decisions with implications beyond wartime politics. In a speech made to the Republican Party Convention on 31 May 1916, Theodore Roosevelt spoke out against “hyphenated citizens”: “There can be no fifty-fifty Americanism,” he exhorted, echoing President Woodrow Wilson’s 1915 State of the Union message but now with the added po- Trans atl an t ic A r r i va l s 23 litical weight of war.33 Like many others, Schumann-Heink reformulated her German-American identity into something more patriotic. She announced that she would sever her relationship with Wolfsohn’s Musical Bureau, the longest-established agency in New York City, who had paid her the princely sum of $500 for her first American concert tour back in 1892 (indeed, the founder, Henry Wolfsohn, claimed that his clients the heroic tenor Albert Niemann, Marcella Sembrich, and Schumann-Heink had helped to popularize the song recital). Not only would that distance her from association with a German firm (although Wolfsohn, who had died in 1909, had moved to the United States as a child, and his firm was now run by an American, A. F. Adams), it meant that she could donate the proceeds from her concerts to charitable organizations such as the Red Cross and Jewish War Relief. Schumann-Heink was far from the only artist to undertake such fund-raising, and although performers in legitimate concerts and opera were exempted from the draft after 1 July 1918, artists were expected to contribute to the war effort in other ways (including a 10 percent tax implemented on concert tickets).34 Many adapted their concert programs to incorporate fund-raising and appropriately rousing repertoire and speeches. For instance, Margaret Matzenauer, another contralto born in the Austro-Hungarian empire, who had previously sung German and Italian repertoire at the Met, now programmed songs in English, French, Italian, Russian, and Norwegian, breaking off a Carnegie Hall recital for a “patriotic interruption” of “Dear Lord of Mine” and “The Star-Spangled Banner” and a “stirring speech” by Mrs. Slade of the Women’s Committee. It was a presentational strategy shared by other singers of Germanic origin and, no less, by those representing the nations of the Triple Entente—France, Russia, and Britain—or who had been born in the United States. The New York Times noted that for the Matzenauer concert the hall was decorated with banners and posters for the national war savings campaign (war stamps were sold during the intermission): one read, “Joan of Arc saved France—Women of America, save your country.” Over the stage hung a battle picture inscribed “These boys are giving their lives will you lend your quarters?”35 Other singers with German backgrounds appeared at military bases, such as soprano Frieda Hempel, shown entertaining the troops in figure 1.1. But whereas Hempel wore a gown, as if giving a conventional concert, Schumann-Heink entered more fully into the spirit of war. Many performers were photographed with soldiers or banners as backdrops, but the image of Schumann-Heink at a Wall Street rally, draped in the American flag with her arms around two doughboys, encouraged 24 C h a pt er One 1.1 Frieda Hempel singing to soldiers. Music Division, The New York Public Library for the Performing Arts, Astor, Lenox and Tilden Foundations. familial as well as patriotic associations (figure 1.2). She attempted to distract attention from her Germanic identity by constantly emphasizing her understanding of military life—her autobiography begins, “I am a soldier’s daughter”—and she gained great fame and popularity for performing, as it seemed, tirelessly, for the troops, for “her boys.”36 Her repertoire consisted of American songs and spirituals, as well as Italian and French numbers. A description of the setting for one of her performances at Camp Dix, the army’s training and staging ground in New Jersey, is evocative: There were no lofty cathedral arches lost in misty shadows; no air heavy with long said, passionate prayers and burning incense. Only a vast, sandy plain, and a red sunset slowly fading into ghostly dusk. It meant war; it meant heroic, inescapable resolve: it meant bloody battlefields to come, and the bringing to many of an eternal dusk. [. . .] Against this setting Madame Schumann-Heink sang with her soul in songs of home, of mother, and of cheer [. . .] it was the words of “mother” songs which sank the deepest. Many a boy, as he listened there, brushed away tears sneakingly with a grimy hand.37 Trans atl an t ic A r r i va l s 25 1.2 Ernestine Schumann-Heink at war rally. Music Division, The New York Public Library for the Performing Arts, Astor, Lenox and Tilden Foundations. Schumann-Heink’s reputation as a mother was unrivaled: earlier in her career stories had circulated of her acting as a wet nurse, so full was she of milk from her seven children; in the 1930s she would host a radio show sponsored by a baby food company. Her image served to promote the maternal values considered vital to the war effort;38 her songs helped to universalize the conflict by reminding her audience that every soldier— 26 C h a pt er One everywhere—was somebody’s son. But her appearances were also promoted as “her tribute of love, devotion and gratitude to the people of the United States, to whom she freely admits she owes everything she possesses”— a marked change of tune from statements made before the United States’ entry into the war, which revealed her sympathy for the German cause.39 Popular music and group singing were often used as means of fostering camaraderie during wartime,40 but classical repertoire played a slightly different role. As will be discussed at length in the next chapter, it is important to distinguish here between instrumental and texted music—the latter considered more politically suspect, because it could carry clearer messages from the enemy. It is also worth distinguishing between music experienced as a performer and that consumed more passively as a listener: there was safety in numbers, in all singing together, but attending to one voice alone meant that the listener risked falling prey to demagoguery. These different modes of performance and listening are evident in a report from an American singer who spent the First World War touring army hospitals and whom, in general, the wounded soldiers liked: “the sort of thing they can’t sing themselves. One young vaudeville singer, Gretchen Morris, was told by her soldier audience when she started ‘Oh, How I Hate to Get Up in the Morning,’ ‘we’ll show you how to sing that; sing us something else.’ So she did some concert ballads and they were delighted.”41 As was apparent in the popularity of Schumann-Heink’s songs for her boys, there was a marked preference among the troops for nostalgic topics, such as songs about home, school, or nature: the Irish-American tenor John McCormack—another hyphenated citizen who proved his newly minted American citizenship through endless wartime concertizing for the Red Cross— was said to endear himself to audiences through his “heart songs more than in his art songs.” He, like Schumann-Heink, was adept at devising a multifaceted performing identity, forged through an assumed nationality, and by musical genre (at other points in his career McCormack would stress his Irishness, or—after the war—announce an intention to study German pronunciation). Such malleability raises questions about authenticity that would become heated through the interwar period, and which are latent in many discussions of vocal performance today. A further, colorful example of the potential slipperiness of a singer’s persona, which casts a slightly different light on political allegiances versus commercial gain, was the arrival in New York—apparently from Western Canada—of the Belgian baritone Louis Graveure in autumn 1915. His Aeolian Hall debut revealed a powerful and virile voice; the program Trans atl an t ic A r r i va l s 1.3.1 Wilfrid Douthitt, English baritone. © Look and Learn / Rosenberg Collection. 27 1.3.2 Louis Graveure, between ca. 1915 and ca. 1920. George Grantham Bain Collection, Library of Congress. was reported by the New York Times to have consisted of a group of Schubert lieder, some old English songs, three French numbers by Argentinian Herman Bemberg, and Alexander von Feilitz’s song cycle Eliland, “concluding, as is the custom of Belgian baritones, with a group of modern English ballads.” “His German diction was good, his French excellent, his English unimpeachable” the critic concluded somewhat ironically, as Graveure was widely recognized to be Wilfrid Douthitt, an Englishman who had appeared in musical comedy the previous season (figure 1.3.1).42 Graveure’s concert was a marked improvement on Douthitt’s one recital, the Times acknowledged; indeed, commentators implied that it was because of the resounding silence that had met his previous appearance that he had decided to adopt an alternative, foreign guise (further confirmation, some might say, of American preference for “exotic” musicians).43 Although Douthitt’s decision to redefine himself as Belgian might have suggested an affinity with plucky resistance to the Germans, another motivation might have been that he thereby avoided serving in the British Armed Forces; what’s more, claiming Belgian nationality in the United States prevented 28 C h apt er One 1.3.3 Louis Graveure, German postcard from the 1930s, collection of Paul van Yperen. his having to return home to fight.44 Tellingly, Graveure refused to confirm or deny rumors about his true identity, admitting that either way the publicity was too good to pass up, and he continued giving song recitals through the 1920s, to acclaim in both the United States and Germany (figure 1.3.2). He made many recordings for Columbia, taught singing, and wrote a performance treatise, Super-Diction.45 But name and nationality were not the last migrations in Graveure’s career.46 In 1928 he shaved off his goatee and announced that he would no longer perform as a baritone but as a tenor;47 subsequently he decided to give up singing songs to concentrate on opera. In 1931 Graveure moved to Berlin, where he appeared regularly at the Deutsche Oper (as Faust, Rodolfo, Tonio, Don José, and Lohengrin). He also starred in four musical films made under the Nazi regime. Ich sehne mich nach dir (1934) was directed by a Party member, Johannes Riemann (who later made Ave Maria, starring Beniamino Gigli). It was about a sports teacher who finds fame as a singer but, probably inevitably, his marriage suffers. The title song was newly composed by Willy Engel-Berger, as were most of the other numbers, but in one scene Graveure performed a lied: while his wife, played by Camilla Horn, smoked a cigarette on the balcony Trans atl an t ic A r r i va l s 29 with another man, he sang Schubert’s “Ständchen” (“Leise flehen meine Lieder”). The camera pans around the audience in the marbled atrium, revealing the singer’s face only at the end. The rendition is slow and rubato- rich, a serenade more melancholic than seductive. Although the inclusion of Schubert confirms that lieder had a place in the cinema (there is more on appearances of “Ständchen” in films in chapter 2) as diegetic song, presented in concert it suggests that Schubert deserves to be taken more seriously than the other music in Ich sehne mich nach dir, even if the performer remains the same. In 1938 Graveure fled Germany—and Horn, with whom he had been in a relationship since they met on the set of Ein Walzer für Euch (1934, directed by Georg Zoch)—for unoccupied France. Accused by the Germans of espionage, he eventually made his way to England, returning to the United States with a new wife and child in 1947. He ended his career teaching singing in Hollywood. The many voices of Schumann-Heink, McCormack, and Graveure— from vaudeville and musical comedy to concert singing, from opera to film—serve as a reminder of the flexibility with which performers approached high- and lowbrow registers during the interwar period. Money, inevitably, played an important part in determining what roles they chose to play: Schumann-Heink returned to vaudeville after she lost most of her savings in 1929, and Graveure’s move to Germany was also said to have been prompted by the economic downturn. Before that happened, though, in the intervening years between the end of the war and the Depression, German vocal music had been reestablished in opera houses on concert programs. It was a slow process, entangled with what to some degree proved to be thwarted hopes for the future of anglophone repertoire. An American in London (Roland Hayes) One of the first American classical singers to appear in London after the war was the tenor Roland Hayes. He and his accompanist, Lawrence Brown, arrived in 1920, intending—if all went well—to stay for a few years.48 He became one of the most successful recitalists in the city, regularly attracting large audiences in a variety of venues. Hayes had already gained some recognition in the States; he had toured with the a cappella group the Fisk Jubilee Singers and as a recitalist sold out Boston’s Symphony Hall in 1917. But his American career was limited by his race: even after his success in Boston Hayes could not find a manager, nor would all concert halls— particularly in the segregated South—book a black singer. Attitudes in 30 C h a pt er One London were somewhat different, and, while it could not be said that white audiences and reviewers were necessarily less prejudiced, the city’s mix of African Americans, Africans, and long-established black British communities promised a fertile environment in which Hayes could explore his racial identity. In many ways the singer exemplified what the sociologist W. E. B. Du Bois, earlier in the century, had characterized as the “double consciousness” of the African American, torn into parts by issues such as awareness of his African heritage and the influence of his European upbringing and education.49 By moving to London he was able to confront both aspects: the city served as a staging point for the European continent and, potentially, for Africa.50 Discussions of Hayes’s African American identity intersected with questions about who had the right to sing certain repertoires, and how they should do so. His reception in England, it seems, was thus shaped by both his race and his eventual mastery of German song.51 Early in his career Hayes had decided to dedicate himself to standard European repertoire, and he was recognized as a particularly versatile performer: one critic described him as “downright Italianate in ‘Vesti la giubba’ and Irish as Paddy in ‘I hear you calling me.’ ” That versatility served him well when he tried to establish himself in London. Sampling what was happening, musically, in the week of Hayes’s 1920 debut illustrates the preoccupations of postwar concert life. Foreign instrumentalists were prominent, as was homegrown talent. There was a great deal of opera to be had, with the seasons of both Covent Garden and the Lyceum underway, as well as a glut of old and new English works presented by the Carl Rosa company, the Glastonbury Company at the Old Vic, and The Beggar’s Opera at the Lyric Theatre Hammersmith.52 There were seemingly few orchestral concerts— the Times lists only Frank Lafitte playing the Schumann and Rachmaninoff Piano Concertos with the Albert Hall orchestra, and a choral-orchestral concert of Delius’s The Song of the High Hills, Holst’s Hymn of Jesus, and Beethoven’s Ninth Symphony. Chamber music was fairly well represented, with recitals by the violinists Jascha Heifetz and Isolde Menges; the Flonzalay String Quartet playing Mozart, Smetana, and Loeffler; and piano recitals concentrating on Scriabin and on Norwegian and Czechoslovakian repertoire. Vocalists included the English tenors John Coates and Gervase Elwes (Coates singing French and English love songs at the Queen’s Hall, and Elwes contributing to a concert of music by Rebecca Clarke at the Aeolian Hall); the English soprano Dorothy Silk mixing Schütz, Bach, and modern works (Wigmore Hall); and the returning American Reinhold Werrenrath, who sang music by living English, French, and American composers Trans atl an t ic A r r i va l s 31 (Queen’s Hall).53 More information about singers’ programming strategies are provided in the second and third chapters. Here it is worth noting that most vocal recitals—like Hayes’s—took place in the mid-afternoon (the exceptions here were the better-known Coates and Clarke), which limited the available audience to the leisured classes. All the same, Hayes’s London debut at 3:15 P.M. at the Aeolian Hall, on 31 May 1920, was said to be well attended by his compatriots. There were few reviews of that first concert. The Daily Mail judged Hayes to “be more suited by the less sophisticated music” of his program, but noted that his diction in English and French was good, and that he had “natural vocal gifts and temperament,” predicting that he would be able to command that holy grail of song, the mezza voce or half voice.54 (The rise of this type of singing in vocal recitals would become particularly significant for lieder, because it encouraged the view that this was a quiet art, meant for intimate performance in small halls or, indeed, for listening to at home on headphones.) Gradually, his reputation grew, and there was less equivocation: in April 1921 the Times declared Hayes exceptional, a first-class musician, with an impeccable sense of rhythm and excellent taste (despite allowing himself one “final high note for the groundlings”). Moreover, he had personality, said to be evident in his renditions of the songs from his own country, spirituals. It is here that the Times review invokes some significant tropes for the interpretation of vocal recitals: that the best renditions are when the performers are completely absorbed in their material, and that that absorption is connected with their singing repertoire with which they have a strong personal connection.“He meant them,” wrote the reviewer, “whereas some other people who undertake them sing them because they are ‘quaint.’ That practice ruins the song and stamps the singer; whoever cannot get inside a song makes it a sham and the singing a pose.” Brown’s devised accompaniments were apt—“the simple treated simply”— and at the end of the recital “a curious thing happened. Nobody moved or took his eyes off the platform. They had had reality before them, and it had gone.”55 Arguably, the quality of a singer’s voice is always a prime concern of critics, and their background was often an important factor in assessing their performances, be it through discussions of their diction or their renditions of repertoire in their mother tongue. It will come as little surprise, then, that the vocabulary used to describe Hayes’s voice frequently reflected his race. Many British reviews emphasized the singer’s “natural” gifts. Ezra Pound, writing for the New Age, explained: “I can at the moment think 32 C h apt er One of no singer who employs so many different qualities of voice, from operatic delivery to a singing which is almost speech [. . .] Hayes’s great advantage over the remaining ‘white hopes’ is in his splendid grip on the rhythm-sweep.” He conceded, however, that Hayes’s rendition of Hebridean songs was “given with vigour but not quite assimilated.”56 By 1924 Richard Capell felt able to explain that the secret to Hayes’s art was that it was never forced.57 Americans tended to be more explicit: for example, Musical America reported that critics “found his voice big in power, beautiful in quality, saturated with the racial color belonging alone to the Negro voice.” 58 Hayes came to agree that “even the voice I was born with was colored” but also pointed out that when he started listening closely to white singers, “to my amazement I discovered that their voices were as white their skin.”59 He decided to exploit his “unique” tone more explicitly and, while he continued to perform European classics, embarked on a project to reclaim African American spirituals (or “Aframerican spirituals,” as he came to call them) from their association with the comic antics of minstrels that would become increasingly politicized through his career.60 Spirituals enjoyed great popularity in London during the 1920s; they were performed by singers both black and white, visiting and local.61 Their inclusion on regular concert programs signaled a desire for this repertoire to be taken seriously—to stand shoulder to shoulder with the songs of other nations, rather than being presented as something of a novelty act.62 Hayes encouraged a distinction to be made between spirituals and the other music associated with African Americans, jazz. Ahead of his debut, the “Negro Caruso,” as the Daily Express characterized him, expounded: “My people are a race of singers. Every thought and sentiment finds expression in song. I want to convince the white man that we have a contribution to give to the world of music beyond that of jazz bands and banjos on the beach.”63 Hayes, perhaps remarkably, later found sympathizers among the British right-wing press: in 1926 Charles B. Cochran wrote in the Daily Mail that the American Negro should not be blamed for jazz, which in fact was “an international product,” influenced by those who, for Cochran, were the greater threat: Jews. The spiritual, as sung by Hayes, Robeson, and the songwriting duo Layton and Johnstone, however, had been shown to be “an artistic achievement of great expressiveness, poignancy, humor, and profound religious sentiment.”64 Not that all reviewers were comfortable with the transplantation of such repertoire to the concert hall. Hayes’s performance of spirituals in the Savoy Chapel Royal was decreed—again by the Daily Mail—to have Trans atl an t ic A r r i va l s 33 been the strangest service the four-hundred-year-old church had ever witnessed. It is unclear from the report whether the strangeness stemmed from the repertoire, the musicians’ race, or simply the presentation of a voice- and-piano recital in a chapel overshadowed by a hotel, but for the Mail “nothing could have been further from the conventional Anglican music of a Lent service.”65 The presentation of spirituals in church and in concert halls bolstered claims for the status of a genre some still characterized, disparagingly, as slave music. Importantly, it was not necessarily white audiences who thought in those terms: members of the African American middle classes during the 1920s, as author Zora Neale Hurston observed, preferred to distance themselves from spirituals, considering them a form of retrogressive “niggerism.”66 Only after Hayes was accepted by white audiences, according to Hurston, were they willing to change their mind, leading to Hayes’s concerts’ being recognized as “tremendous propaganda” for racial equality by bringing together white and black audiences.67 Importantly, Hayes’s ability to sing everything well, from Italian opera to Nigerian folk songs, not only was significant racially, but also served to highlight the inadequacies of London’s own: his versatility was recognized by the Daily Telegraph as being “beyond the scope of our own singers,” suggesting, among other things, a frustration with available recital repertoire that would cause a change from wartime practices.68 Hayes became one of the most popular recitalists at the Wigmore Hall in the early 1920s; the financial records document that his audiences grew with each season.69 One major step forward in terms of his British reception was recognized in the press as being a successful visit to Buckingham Palace on 23 April 1921.70 By 1923 he had attained a remarkably high profile for any singer in London: for example, he was said to be the “chief attraction” at a concert arranged by Lady Leconfield and Countess Hochberg for St. George’s Home for Friendless Girls (a charitable institution founded in 1836 to assist poor and destitute girls of good character by finding them situations).71 The well-attended event took place at 25 Park Lane, the vast and extravagantly decorated London town house of Sir Philip Sassoon, a scion of the Rothschild family and a prominent British politician, art collector, and host. The event’s patrons included royalty—Princesses Helena and Mary—and aristocrats with political connections, such as the Dowager Duchess of Abercorn, the Marchioness of Salisbury, and the Countess of Shaftesbury (all married to conservative Members of Parliament, and all of whom served as ladies-in-waiting at Court). Some had belonged to the so-called Marlborough House set, which had gathered around the Prince 34 C h apt er One of Wales at his residence on Pall Mall at the end of the nineteenth century. While often characterized as louche and extravagant by the standards of the day, the Marlborough set invested heavily in cultural life and philanthropy, as evidenced by their continued involvement in concerts such as this. Their patronage was a crucial means of support for artists trying to make their name on the London concert scene and could even extend across the Atlantic (other members of the Marlborough set, such as the Lister-Kayes and Naticia Consuelo, will reappear as participants in New York’s Bagby Musical Mornings).72 What is particularly interesting is that, as Hayes’s audiences expanded— or, one might say, became more elevated—so did his repertoire. Specifically, he began to include more highbrow, and even some German, music.73 West Africa had reported of a concert that took place on 24 September 1921: The programme [at the Wigmore Hall], on the whole, was more worthy of Mr Hayes than some of his former ones. Although his renditions of Afro-American folksongs are artistic to a degree, it is in composers like Schubert, Handel, Scarlatti etc., that he shows the power of his voice and his perfect training. What can be more delightful than to hear Handel’s “Where’er you walk’ ” or Schubert’s “Du bist die Ruh’,” that gem amongst this great composer’s songs, as Mr Hayes sings them?74 The remarkable aspect of Hayes’s program here was less his race or training than that this was the first Schubert he had sung in London. That he now braved “ ‘Du bist die Ruh’ ” suggests, as well as his growing professional surety, that postwar attitudes toward German repertoire were gradually changing. As outlined in further detail in chapter 2, just as in New York, there had been resistance to hearing lieder in London during and for some years after the war; when the songs were reintroduced, they were usually sung in English rather than the original language. The transition to singing lieder in German, whatever one’s nationality, occurred slightly later in the 1920s. It was partly brought about by the lifting of immigration restrictions so that German singers could return to British and American stages. Such eminent interpreters as the mezzo-soprano Elena Gerhardt and the composer-conductor Richard Strauss (discussed in the next section) took up their careers more or less where they had left them before the war, reengaging with their previous audience and introducing a younger generation to lieder repertoire in German.75 As touched Trans atl an t ic A r r i va l s 35 on already in regard to the reception of Schumann-Heink and Hayes, as a German-American and an African American respectively, a singer’s race or ethnicity was often taken into account when evaluating whether his or her take on a particular musical repertoire might be considered authentic. A similar essentialism transferred to the interpretation of lieder as works, in that it was argued that to fully appreciate the poems and their musical setting, one must present the songs in their original language. Before the war young American and British musicians had studied in Europe, and they began to do so again, despite efforts to encourage them to study closer to home (interestingly, language tuition at institutions such as New York’s Juilliard School increased dramatically through the 1920s). Several singers made a point of their linguistic abilities as a means to prove their intellect and cosmopolitanism.76 Such qualities encouraged the view of lieder as a highbrow genre, to be appreciated by the cultural elite. It was in part because of this association that figures such as Hayes and John McCormack became keen to sing lieder; their fame for singing spirituals and Irish ballads meant that they were not always taken seriously by certain critics and audiences, but including a group of Schubert or Wolf could prove their musical mastery across genres and brows.77 The classical vocal recital, in other words, became a performative nexus for identifying as belonging to a certain race or nation while simultaneously demonstrating one’s command over a number of different languages and styles.78 Such displays of cultural internationalism also opened up new markets for singers such as McCormack and Hayes in central Europe. Having studied with George Henschel and Amanda Ira Alridge in London, Hayes traveled to Vienna in 1923 to work with the Polish-Austrian tenor and renowned teacher Theodor Lierhammer.79 His concert debut in the city was greeted with expressions of surprise that an African American could show such mastery over Schubert. The Wiener Allgemeine Zeitung stated: “Do not imagine that it is sufficient to be white to become an artist. Try first to sing as well as this black man did.”80 Yet the announcement the following year that Hayes would perform in Berlin (as McCormack had just done, to some acclaim) provoked an outcry in the city’s press and complaints to the American ambassador.81 Time magazine reported that Berliners were against “the ‘impertinence’ of permitting a Negro to be heard on the concert stage, against the lèst majesté [sic] of offering musically scrupulous Berlin the tunes of the Georgia cotton-pickers.”82 Hayes was greeted at the Beethovensaal with boos and hisses. He recalled: 36 C h a pt er One I found myself standing in a flood of light; in front of me, a black-out audience sat unquietly. From the rear there rolled out a great volley of hisses, which seemed to fill the hall entirely. I was terribly apprehensive, but I took my place in the curve of the piano, closed my eyes, lifted my head into singing position, and stood still as a statue. I waited moment after moment, perhaps for five or ten minutes altogether, listening to the ebb and flow of antagonistic sound. [. . .] When the silence came, as it absolutely did at length, the hall was more still than any I had ever sung in. It was so quiet that the hush began to hurt. I conveyed my readiness to my accompanist with the slightest movement of my lips, without turning my head or my body, and began to sing Schubert’s “Du bist die ruh’,” which otherwise would have occurred later in the program. The entry to that song is almost as silent as silence itself. The German text, stealing out of my mouth in sustained pianissimo, seemed to win my hostile audience over.83 According to Hayes’s daughter, “the greatest sign of approval at that time was the pounding of walking sticks, which all the gentlemen carried, on the floor. So halfway through the song, the pounding of the sticks started. There was so much noise, that by the time he reached the last note, it couldn’t even be heard, because the audience was up on their feet already. And after that, he quietly continued with the rest of the program.”84 Critics subsequently were generous in their praise: according to the right- leaning national newspaper Deutsche Tageszeitung, Hayes showed his dedication to Schubert and Brahms by singing in the German language, while the Deutsche Allgemeine Zeitung declared him to be “a real artist, not just a singer but a musician.”85 Siegmund Piesling, writing for the Berliner Börsen-Zeitung, again compared Hayes favorably to his white competitors: “A Moor, who sings Schubert, Schumann, Brahms, and Hugo Wolf in German without much of an accent, is worth listening to if he can feel the spirit of the German lied. And Hayes gets it. How he sings Schumann’s ‘Ich hab’ im Traum geweinet’! A black man! A couple of white singers could learn a lesson from him.”86 Kira Thurman points out that when he returned to Vienna, Hayes was described as “a black [Franz] Steiner,” suggesting that the singer was evaluated as a native German despite being foreign.87 Hayes’s mastery over musical expression and technique, as well as over the German language, was reported back by critics to London and New York.88 It was a significant message that elided racial and sonic identities: if an African American singer could undertake what Kathrin Sieg Trans atl an t ic A r r i va l s 37 calls “ethnic drag” to the extent of being judged convincingly German in his performance of lieder, so too could—and should—white anglophone musicians.89 The transatlantic circuit for musicians was expanding, and it never went in just one direction. Germans in New York (Elisabeth Schumann and Richard Strauss) On his return to New York City in October 1921, after an absence of almost twenty years, Richard Strauss was greeted as a celebrity. “Twenty reporters and photographers rushed towards us like wild animals,” exclaimed Elisabeth Schumann in her diary; “we were even filmed—that sort of thing doesn’t happen every day.” A police cavalcade escorted the musicians from the Hotel St. Regis to a reception at City Hall, prior to a concert at Carnegie Hall that, according to Schumann, was “like a victor’s triumph.” Strauss was one of the first prominent European composers to return to the United States after the war. He did so primarily for financial reasons: he had been unable to claim copyright fees during the hostilities.90 His visit also marked a turning point in the fortunes of German music and musicians in New York. By 1921 German opera, sung in the original language, had just been reinstated at the Metropolitan.91 German songs, however, were only beginning to reappear on concert programs. In this New York trailed behind London; however, German musicians had not yet returned in person to British stages.92 Part of the pomp surrounding Strauss’s arrival, therefore, was to help prove New York’s international status as a cultural hub.93 Strauss’s presence had further significance in that, despite still being alive, his lieder were grouped among the “classics,” with Schubert, Schumann, Brahms, and Wolf: he was the embodiment of the great German tradition. His visit was thus taken as an opportunity for elite German musicians to publicly reassert themselves in the city. Crowds and photographers lined the streets of Manhattan to watch the arrival of Strauss at City Hall. The dozen or so municipal taxis following the composer’s car contained representatives of the main classical-music institutions—orchestras, opera houses, and conservatories—all of whom had Central European connections. They included the conductors Artur Bodansky, Walter Damrosch, Leopold Stokowski (whose Philadelphia Orchestra Strauss used throughout his tour), and Josef Stránský (despite Strauss’s disparaging remarks about his replacing Mahler at the New York Philharmonic); Beethoven Association bigwigs, the pianist Harold Bauer and the composer Rubin Gold- 38 C h apt er One mark (nephew of Viennese composer Karl Goldmark); the violinist Franz Kneisel, the singer Herbert Witherspoon, and the composers Leo Ornstein and Hugo Riesenfeld. The Polish soprano Claire Dux, about to embark on a career in Chicago, and the German pianist Elly Ney also attended. Mayor John F. Hylan was lauded by the Bavarian-born City Chamberlain Philip Berolzheimer (himself a notable supporter of music in the city) as a patron of the arts and for promoting free concerts for the poor. Goldmark introduced Strauss, the “greatest living composer,” to what had, since his last visit in 1904, become “one of the great musical centers of the world.” In response, Strauss—speaking in German, with a translator to hand— thanked his hosts for their “new and generous welcome to German music” and expressed hope for true peace, which would “bring together the United States of America and my fatherland in closer and closer friendship and labor for that culture which is the property of all peoples.”94 The notion that culture belonged to all peoples was in keeping with the internationalist rhetoric of the postwar period. Strauss was no doubt also anxious to smooth over a minor scandal that had erupted before his arrival, caused by an interview with the Nation, in which he was reported to have said that “culture will always come from Europe,” and that “Europe does not need America— only her dollars.”95 The composer was quick to fight back, claiming that his comments had been “maliciously garbled” and that the interviewer was an amateur who did not speak German.96 He subsequently remarked positively on the influence of jazz and the potential for the United States to develop her own culture, along similar lines to his speech at City Hall. Strauss’s position as “greatest living composer” was, however, contentious.97 The vocal recitals he gave on tour included some Schubert but were predominantly of his own lieder. Few were convinced that he now had much to offer creatively, and even his new songs—several of which would be sung on the 1921 tour—were received with only muted respect. Richard Aldrich reported that there was only “a very moderately sized audience” at the Town Hall and that Strauss was an “indifferent” accompanist, in both manner and quality. Schumann apparently sang with “intelligent phrasing and an excellent German enunciation; and presumably interprets Dr. Strauss’s songs as Dr. Strauss wishes them sung,” but Aldrich said he had heard them sung “with more spirit, more variety of expression, and deeper reach into their emotional significance.”98 A report of Strauss’s appearances in London, on the heels of his American tour, suggested that even the composer’s biographer, Ernest Newman, seemed bored by hearing works that were over thirty years old.99 Trans atl an t ic A r r i va l s 39 The composer’s New York concerts, however, attracted an audience that had not been seen since before the war. According to the New York Tribune critic Henry Krehbiel, those at his first Carnegie Hall concert were “seemingly wholly German,” with few familiar faces from the regular symphony orchestra series.100 A similar sense that Strauss attracted a predominantly German audience can be gathered from Schumann’s diary; in Baltimore she received comments such as “Yes, that is how we sing in Germany!” while she was surprised by the warmth with which they were greeted in Boston, supposed to have been the most “anti-German” town.101 By this stage, opined the Boston Daily Globe, Strauss’s nationality “is comparatively unimportant [. . .] German citizens who perform in our concert halls should be judged on the musical value of their work, and by that alone.”102 Strauss’s eminence did not prevent several halls on the tour being barely full (there were many empty seats in Brooklyn, and a concert in Duluth was canceled because of poor sales) and there were negative reviews, some reflecting the persistent anti-German sentiment of newspapers such as the New York Times. Strauss’s reputation was confirmed by his social engagements during the 1921 tour, which were undeniably Germanic. He and his entourage were entertained in style by wealthy New Yorkers typically of German Jewish descent. At the Hudson estate of the lawyer Samuel Untermyer, they met the banker and art collector Henry Goldman; he and his wife were friends of the mezzo-soprano Elena Gerhardt. They attended the premiere of Erich Wolfgang Korngold’s Die tote Stadt at the Metropolitan with the opera house’s manager, Otto H. Kahn, and lunched with the financier and philanthropist Sir Edgar Speyer and his wife, Lady Leonora. On the surface it might seem as if the financial and charitable networks that had supported the arts were just as they were before the war, but note that Henry Goldman had resigned from his family’s firm, Goldman Sachs, because of its support for the Allies, and that Sir Edgar’s naturalization as a British citizen had been revoked in response to accusations that he had traded with the enemy. They may still have been gatekeepers of certain kinds of culture, but were also somewhat tarnished remnants of the Gilded Age. The musicians appreciated being wined and dined (Strauss devised a new nickname for Schumann: Elobsterbeth) but, as usual, their status was kept in check. Schumann occasionally resented being asked to sing at social gatherings—after an evening at the Speyers with Mrs. Untermyer and the Bodanskys, she noted in her diary, “I did not sing—I don’t see why I always should. These people sit on their pots of money and never hand out fees or 40 C h a pt er One presents.”103 Despite her complaints, and halls not being sold out, the tour was financially lucrative. Strauss was reported to have made $50,000— a magnificent sum in German marks, the New York Times pointed out, and an even more magnificent sum in Austrian kroner (Strauss was then director of the Vienna State Opera).104 He had also collected $500 to support musicians from Central Europe still suffering the effects of the war. The more helpful action, critics claimed, would be for Strauss to promote American culture. Apparently Europeans still considered the United States “ ‘the land of the dollar,’ peopled by crass materialists, ignorant of the finer things of art and without sympathy for the aspirations and achievements of artists.”105 Strauss’s willingness to work with American artists, such as the tenor George Meader, was taken to signal his high regard for the quality of music making in New York (although, of course, Meader was German trained). To be sure, the composer’s visit boosted performances and sales of his songs, which appeared regularly on recital programs through the 1920s. Transatlantic travel became easier as German-American shipping lines reopened. The Johnson-Reed Immigration Act of 1924 limited the number of people from one country living in the United States to 2 percent of those living there a
1646	dbpedia	2	38	https://www.artsandletters.org/tributes/carl-ruggles	en	American Academy of Arts and Letters	https://cdn.sanity.io/im…x1113.jpg?w=1200	https://cdn.sanity.io/im…x1113.jpg?w=1200	[]	[]	[]	[ "" ]	null	[]	null	The American Academy of Arts and Letters is an honor society of the country's 300 leading architects, artists, composers, and writers.	en	/apple-touch-icon.png	American Academy of Arts and Letters	https://www.artsandletters.org//tributes/carl-ruggles	Carl Ruggles died on October 24, 1971 in Bennington, Vermont. He was ninety-five years old. He was born in Marion, Massachusetts, near Cape Cod, on March 11, 1876. His ancestors immigrated to Boston from England in 1637. They included officers in the colonial wars (one a general), clergymen, managers, a steamboat captain on the Mississippi, and a singer. Ruggles often spoke of being descended from a long line of sea captains, possibly from his mother's side of the family. His musical career began when he played on a home-made cigar box violin at the age of six. His mother liked to sing for him. Soon he was playing hornpipes and jigs by ear for the neighbors. A New Bedford bandmaster taught him violin and Carl played pieces like Variations by de Beriot on "The Last Rose of Summer." As a child prodigy he performed for President Grover Cleveland who was vacationing nearby. "In the Sweet Bye and Bye" played on the cornet was one of Carl's favorite tunes. When he was fifteen he heard Arthur Nikisch conduct the Boston Symphony Orchestra and accompany the singer Elena Gerhardt on the piano. Later he played violin in theater orchestras and studied at the New England Conservatory, where he learned the standard violin studies. His teacher, Felix Winternitz, had him audition for Fritz Kreisler, who wanted him to go to Prague to study with Sevcik. The trip was arranged and William Beal agreed to finance it. Carl had letters of introduction to Dvorak. Mr. Beal died suddenly and Ruggles stayed in New England. Carl studied with John Knowles Paine and Walter Spaulding at Harvard as a special student and privately with Joseph Klaus, who also coached George Chadwick and John Philip Sousa and who was greatly admired because of his keen ear. Klaus gave Ruggles thorough training in the Bach chorale style of writing and in orchestration. Carl wrote many songs in his youth. A baritone sang a group of them and the music critic, Philip Hale, wrote that they were "as dry as a covered bridge." To earn a living Carl engraved music and title pages for a Boston publisher. He also studied marine architecture informally at the Massachusetts Institute of Technology for a year and a half and around the turn of the century he wrote reviews for a short-lived Cambridge paper. He covered the American premiere of Strauss's Ein Heldenleben. Among his earliest musical impressions were a performance of Cavalleria Rusticana, conducted by Mascagni, and the American premiere of the César Franck Quintet. He played in Longy's amateur orchestra and he once told me that he had played viola in the Boston Symphony Orchestra. He was also a special student in an English course at Harvard. There he met men who were to become lifetime friends, among them Boardman Robinson, Will Irwin, and Gelett Burgess. He met the singer, Charlotte Harriet Snell, in 1906 and they were married two years later. He lectured on modern music in Lawrence, Massachusetts, and some of his statements served as guidelines for the rest of his life. One was: "I hold that the highest art is of no school, no nationality; I believe it is universal." Another: "Modern music really began with Wagner." He had doubts about Tchaikovsky and Reger, but admired César Franck and Debussy. In 1907 he moved to Winona, Minnesota, where he first taught music and gave violin recitals that were very well received. His Y.M.C.A. orchestra soon became the Winona Symphony. His programs included music by Gounod, Ethelbert Nevin, Bizet, Henry F. Gilbert, Mascagni, movements from classical symphonies, and concert performances of the operas Faust and Cavalleria Rusticana, as well as his own "Valse de Concert." He continued his violin studies with Concertmaster Timner of the St. Paul Symphony Orchestra. His wife, a contralto, sang locally and as soloist with the Minneapolis Symphony Orchestra. In 1911 the Ruggleses made their only trip to Europe, visiting London, Paris, the Hague, and Hamburg, and Carl coached conducting with Dr. Ernest Kunwald in Holland. In 1912 he began working on an opera, "The Sunken Bell," with a libretto by Charles Henry Meltzer, based on Hauptmann's "Die Versunkene Glocke." The Ruggleses came East in 1917, and Carl wrote some music criticism for a New York Socialist paper. He also started an orchestra at the Rand School. He spent a great deal of his time composing—his song, "Toys," written at age forty-three, was the first of the short list of compositions that he acknowledged, and was followed by Men and Angels—while he and Charlotte lived in Grantwood, New Jersey. In 1922, they moved to New York. Around this time he prepared three lectures, "The Present Situation in American Music," "The Historical Background of Music," and "Technique and Fantasy in the Study of Composition" to introduce a class in composition that he was planning to give at the Whitney Studio Club. His likes and dislikes were, by then, firmly established, and in his lectures he did not hesitate to demolish, with a few well-chosen words, Edward MacDowell, Walter Damrosch, John Alden Carpenter, Charles Griffes, and Leo Ornstein. He liked Cowell, Wagner, Stravinsky, Ravel, and Ruggles. His song cycle, Vox Clamens in Deserto, for solo voice and chamber ensemble, was sung by Greta Torpadie for the first time in 1924. Carl worked on "The Sunken Bell" for thirteen years. In the early twenties a Chicago organization with the somewhat fractured name of "Opera in Our Language Foundation," included "The Sunken Bell" in a list of American operas that it recommended for performance. When I asked him about his opera some fifteen years later, he said that Artur Bodanzky, conductor of the Metropolitan Opera, accepted the work and set a performance date. Carl wanted a large bell and knew just the man in Brooklyn who could cast one. Bodanzky thought this was impractical and suggested a papier-mâché bell with suitable sounds in the orchestra. According to Carl, he picked up his as-yet-unfinished score and walked out, saying, "No bell, go to hell." That ended his connection with the Metropolitan. Years later he discovered he could not write operas. I asked him what had happened to the score and he said that it was at the bottom of a trash heap in his shed in Vermont. Later it was apparently destroyed or lost. Rockwell Kent, a close friend, introduced the Ruggleses to Vermont and they moved to Arlington, permanently, in 1923. On one of their visits with Kent, the two men got into an argument about the relative difficulties of composing and painting, and Kent suggested that Carl should paint a picture and he would compose a piece of music. A week later Carl produced a drawing of Mount Anthony, but Kent had no song. This started Carl on his second career, that of painter. He soon met many painters and became a lifelong friend of some, notably Henry Schnakenberg. Although he never studied painting he worked at it steadily from 1928 on. Critics and fellow artists said that his work was remarkably free of influences and consequently authoritative in its own statements. In Arlington, the Ruggleses lived in a rebuilt schoolhouse. Carl stayed musically active and conducted the Arlington Choral Society in a performance of Harvey B. Gaul's "The Holy City" in 1923. In the twenties a number of his compositions were infrequently performed in Europe and in this country. The reception was at first mixed, but nothing could induce him to compromise. His musical friends in New York were Varese, Ives, Salzedo, and Cowell. He had an exalted view of his art and was completely honest in his reactions. He also had a genius for making friends and enemies. The conductors he liked were Goossens, Slonimsky, San Juan, and Stokowski. He despised Toscanini. He liked to tell that when Toscanini heard a Ruggles work at the Venice Festival the Maestro said that the hall should be fumigated. Carl made no comment about Toscanini's remark, believing that the Maestro with his own words had branded himself a Pharisee and a Philistine. The Ruggleses loved Vermont and the Vermonters loved them. The old schoolhouse where they lived seemed to absorb their personalities, and they, in turn, seemed to become a part of the brook, the trees, the flowers, the bushes, the rocks surrounding the house—and of the sky and hills. The large room with the old grand piano was filled with old furniture, flowers, colored glass, art objects, paintings, drawings, books, scores, and cigar smoke. The magic of the light coming through the window seemed to transform the room and the Ruggleses at one and the same time into a work of art and a part of nature. A visit with them was a full and deep experience. They gave of themselves completely and one felt that one had really become a part of their life during the visit. Carl worked in the morning, but in the afternoon he spent a great deal of time in the general store, swapping yarns with his cronies. His profanity was spectacular. His Rabelaisian stories and limericks were colossal and it was not wise to expose unprepared friends to his recitations. Carl's personality had as many facets as his art and the same integrity. Every action was charged with emotion. Henry Cowell described him as honest, slow-working, irascible, deeply emotional, self-assured, intelligent, original, and sturdy. Charlotte said of Carl that God made him and broke the mold. Cowell told about listening to Carl pound out the same chord, fortissimo, for forty-five minutes. He asked him what he had in mind. Ruggles said he wanted to repeat the chord and see if it still continued to sound magnificent. Cowell said that only time would tell; Ruggles replied, "The hell with that—I'm giving it the test of time right now." When Carl Sandburg visited the Ruggleses he made some disparaging remarks about modern music. Charlotte went to the entrance and returned with Sandburg's hat, coat, and guitar: "Mr. Sandburg," she said, "people who make disparaging remarks about modern music are not welcome in this house. Here are your things and the door is right behind you." Carl had only contempt for pretentious and pompous people who relied on their public relations and routines to uphold their reputations. He took great pleasure in classifying the great and near great in many fields, and demolishing unworthy celebrities with a few well-chosen words, his favorite being "putrid." On his scoreboard he rated painters, trombonists, poets, statesmen, pitchers, conductors, tennis players, composers, umpires, college presidents, and any other category that interested him. One of his friends recalls spending several hours with Ruggles as he tried to decide whether Tchaikovsky was a thirteenth- or fourteenth-rate composer. In the field of American composition, he had no hesitation in putting himself at the top, with Charles Ives a close second, although he had some doubts about the latter. He told a story about a dinner at Ives's after which that composer showed him one of his symphonic works. Ives became irritated because he couldn't seem to arrange the pages and project his meaning, so he threw the score in the air, shouting, "It's no good!" and the pages fell all over the floor. Ruggles continued, "As I helped Charles and Harmony pick up the pages I took one and I said to him, 'Charlie, you're exaggerating. In this measure right here, I see something that gleams.'" When Bennington College was founded Carl viewed the occurrence with suspicion. Academia in Vermont was bad enough, but although he was not, by any means, a male chauvinist, a women's college in Vermont was something new and he viewed it with alarm. In 1934 President Leigh invited him to spend a day on campus as visiting composer for a fee of $50 and meals. Carl was pleased with the generous stipend. He came to my freshman class, which was studying orchestral instruments, and was ominously well-behaved for the first fifteen minutes, but as I was explaining the use of mutes, he exploded: "Hell and damnation! Why don't you give them something to chew on… like Richard Strauss?" He then bellowed some of his favorite themes from Ein Heldenleben and Zarathustra, conducted some of Wagner's Ring with groans and stampings, and illustrated his ideas with a work of his own, pounding the piano mightily. Within forty minutes he had created a celestial orchestra which didn't exist just then, but which when it does come into being will make a beautiful and mighty sound! The students were at first dazed, then hypnotized. They finally trotted out, gazelle-like, to spread the news that at long last a real person had arrived on campus! Carl then went to the Commons building and greeted faculty and students with all the dignity of a ship's captain. The small string orchestra was rehearsing a movement from a Lully suite which he wanted to hear. When we had finished he said, "Very nice, like fudge; but it needs some more stirring. Keep it up," and with a kindly smile he excused himself. At lunch with the faculty he started telling some racy stories, then modulated to his choicest limericks, all delivered in a stage whisper that echoed through the room. Service was badly disrupted as the student waitresses tried to get within earshot. The splendor of his profanity and the rich imagery of his limericks made a deep and lasting impression, and by the time he left campus he had won over everyone, including the kitchen and grounds staff. Ruggles' friend Karl Lorenz organized a children's orchestra in Bennington County, aided and abetted by Carl. Lorenz treated the children, aged seven to fourteen, like members of the New York Philharmonic. To strengthen the group, Carl played viola in dress rehearsals and concerts. In 1940 the Children's Orchestra played a special arrangement of Ruggles' Angels for strings, with Carl in the viola section. Governor Aiken made a speech. There was a one-dollar admission charge and they toured the state, earning enough money to buy their own instruments. Carl's artistic credo was simple: he believed art to be universal. He said that every one of his own works represented a new beginning and that his approach to each work was a different one. He maintained that in all works there should be the quality he called mysticism. He was impelled to work by a vague and mysterious vision that transported him to a vibrational world of color or sound. From this world, with infinite pains and patience, he would consciously select just the right sounds, colors, and shapes to project his vision. This often took years to accomplish but he kept on working until the external score or painting was in complete equilibrium with his inner vision. The titles of some of his works give a clue to his visions. He took Men and Mountains from Blake's aphoristic lines: "Great things are done when Men and Mountains meet; / This is not done by Jostling in the Street.'' Portals was from Walt Whitman's "Songs of Parting": "What are those of the known, but to ascend and enter the Unknown?" To view Carl's paintings in the schoolhouse was a moving experience. There were many of flowers and these projected the feeling that the flowers had roots and were really alive, drew water from the soil, and breathed. His paintings and drawings of trees never included a branch or a leaf that didn't seem to feed from the root of the tree. His hills and mountains seemed to be a communication between the earth and the sky. There was something of Blake in his paintings. Carl said of his own works that his lines never met, and often he used thick impastos that gave a three-dimensional quality to his works. In 1935 he gave his first one-man show at Bennington College, and the next year a second show. He was later invited to show at the Arts Club of Chicago, several times at the Detroit lnstitute of Arts, and at the Southern Vermont Arts Center. In Vermont Carl seemed to be discovering music all over again. He respected Varèse, but thought he was lacking in melodic invention. He thought Ives was often inspired, but uneven in his work. He admired Richard Strauss and liked some of Henry Cowell's works. From time to time he would hear compositions that he had undoubtedly once known, and rediscover them. One day he asked me if I knew the E-flat Major Nocturne of Chopin. He had heard it on the radio and considered it one of the greatest pieces ever written. Although practically everybody knew the piece, it didn't exist for him until he had rediscovered it. About Mozart's Jupiter Symphony he said, "Have you ever heard of a Jupiter Symphony by Mozart? Why this is one of the goddamnedest best compositions that anybody ever made; the last movement is spilling over with counterpoint." He also discovered Berlioz and his allegiance to Wagner was steadfast. Carl didn't like to confine his musical ideas to small black notes. He often wrote his scores with large notes, done with colored crayons on butcher's brown wrapping paper which he ruled himself. They seemed to us like a kind of modern illuminated manuscript. He sneered at all composing systems and said that the melodic rhythmic line was the life of any composition; of course, together with counterpoint, counter-rhythms, and a strong and rich orchestration, all stemming directly from the composer's imagination. I visited him one afternoon when he was composing. He went to his old and noble grand piano and said, "Listen to this." He then banged out a triple forte chord: C, C-sharp, F, and F-sharp. "Have you ever heard anything so god-damned beautiful as this damn chord? Listen again," and he repeated it for ten minutes. Then he sat me down and in a voice ringing with cosmic overtones, said, "Composers should be like scientists—when they discover something new, they should share it with their fellow artists. Otto, I want you to know you can use that chord any time you need it." It took him sixteen years to complete the four Evocations. In 1934, as he formulated each section, he asked Julian DeGray, a pianist from Bennington College, to try it out. Then Carl would perfect it. With the passing of years, other pianists, Gregory Tucker and Lionel Nowak, were involved in the growth of Evocations. As each one played sections or an entire Evocation, Ruggles would improve it and the pianists also improved. Finally DeGray played all four in 1952 at Bennington College. Hans Lange conducted Carl's Men and Mountains with the New York Philharmonic on March 19 and 20, 1936, using the published version. We had proofread the score and parts. The performances were received with respect, if not enthusiasm. A year later, I saw Carl working on the score of Men and Mountains. Somewhat taken aback, I asked him what he was doing. "After hearing the performance with the Philharmonic, I realized that the melodic lines were too god-damned cramped in a lot of places, so I'm making a new setting that's going to be right." No sooner were the revised Evocations published than Carl found the ideal solution to the climax of the first one and he wanted it re-engraved. But Charlotte stopped him, "Now, Carl, Ray Green has gone to all that trouble to make that edition exactly the way you wanted it. Now you just can't do that, at least not just now." In 1949 Stokowski conducted Organum twice in New York with the Philharmonic Symphony, and Carl had his first great popular success. The Ruggleses spent a number of years in Miami where Carl conducted a seminar in Composition at the University and from 1948 for nine years they spent their winters at the Hotel Chelsea in New York. Charlotte died suddenly in Arlington on October 2, 1957. The next April Carl wrote a hymn without words for Charlotte. It was a G Major unison tune for congregation with a few chromatic notes in the organ, entitled "Exaltation." It was his last finished composition and although he left a great mass of fragments and sketches, there are no other later completed works. After Charlotte's death Carl moved to the old Arlington Inn and eventually, in 1966, to a nursing home in Bennington, where his friends the Nowaks, DeGrays, Brockways, and Finckels could visit him. On February 9, 1954, he was elected to the National Institute of Arts and Letters. A new generation discovered him in the sixties. The University of Vermont gave him an honorary Doctor of Music degree in June 1960. In 1961 the State of Vermont designated his eighty-fifth birthday as "Carl Ruggles Day." A year later Goddard College opened a show of his paintings with a recital by Lionel Nowak. In 1964, Brandeis University conferred on him a Creative Arts Award. In January 1966, Bowdoin College gave a festival of most of his music and showed forty of his paintings and drawings. His music was being performed, and Sun Treader for orchestra and Evocations, played by John Kirkpatrick, the pianist, and also Ruggles' biographer, were on records. Theodore Strongin, The New York Times music critic, said of the works on the Bowdoin program: "concentrated, dissonant, asymmetrical, logical, but spontaneous-sounding. They are like eloquent, granitic prose." On September 29, 1968, Bennington paid him a unique tribute. The Albany Symphony, Vermont Symphony, Berkshire Symphony, and Bennington Community Orchestras joined forces with soloists and gave a concert of all of his music in the beautiful auditorium of Bennington's Mount Anthony High School. A simultaneous exhibition of his paintings revealed his remarkable talent in this medium. He was presented with the Gold Medal of Honor from the Vermont State Council on the Arts in recognition of his achievements in both music and art. The event was televised by the National Educational Broadcasting System. His hearing had been failing for many years and composing became difficult, but in spite of later failing eyesight, he continued doing occasional abstract paintings into his ninety-third year. When he got to be ninety-four, it was difficult for him to communicate with his friends because of his infirmities, but once he grasped his visitor's hand, the recognition was tactile, and he would tell about planned performances or of new admirers of his works. He was fortunate in having strong patronage for more than half a century, but in the last years of his life some of his supporters died and he was in a precarious financial state. Some of his friends from Bennington and elsewhere met on October 24, 1971, to see if anything could be done for his comfort. It was difficult to visit him because he was often in a comatose state. The New York contingent drove back in the afternoon, feeling sad, and at six o'clock Lionel Nowak called up to say that Carl Ruggles had died. On November 8, 1971, the young conductor of the Boston Symphony Orchestra, Michael Tilson Thomas, programmed Men and Mountains for a concert in New York. Alan Rich, the music critic of New York Magazine, had this to say: "Profoundly and excitingly original… knew tremendous amounts about emotional power and the excitement of pure instrumental color… the tremendous, clashing energies of the brief suite by the late Carl Ruggles, are, forty-seven years after their creation, more exhilarating than almost anything being thought of today." Virgil Thomson summed it all up in his essay on Ruggles in American Music Since 1910. He ranked Ruggles' music higher in quality than that of Ives. "The music of Ruggles, far more recondite, is also more intensely conceived and more splendidly perfected… Ives falls short, I think, of Whitman's total commitment, as he does also of Emerson's high ethical integrity. Ruggles, judged by any of these criteria, comes out first-class. Europe, where he has been played more than here, has never caviled at such an estimate; nor has his music, under use or after analysis, revealed any major flaw. Standing up as it does to contemporary tests, including public indifference, how can one doubt that it will also stand the test of time?"
1646	dbpedia	3	1	https://momh.org.uk/exhibitions/elena-gerhardt-1883-1961/	en	Museum of Music History	https://momh.org.uk/wp-c…main-lrg-261.jpg	https://momh.org.uk/wp-c…main-lrg-261.jpg	[ "https://momh.org.uk/wp-content/uploads/Logo-Long-Inverted.svg", "https://momh.org.uk/wp-content/uploads/Logo-Long-Transparent.svg", "https://momh.org.uk/wp-content/uploads/Logo-Long-Inverted-Transparent.svg", "https://momh.org.uk/wp-content/uploads/Logo-Long-Transparent.svg", "https://momh.org.uk/wp-conten...	[]	[]	[ "" ]	null	[]	2023-10-22T10:41:56+01:00	Elena Gerhardt was possibly the most successful lieder recitalist in history; she certainly did more than any other singer to popularise the form as we know it today.	en	/wp-content/uploads/Icon-Default-250.png	Museum of Music History	https://momh.org.uk/exhibitions/elena-gerhardt-1883-1961/	Elena Gerhardt was possibly the most successful lieder recitalist in history; she certainly did more than any other singer to popularise the form as we know it today. Born and trained in Leipzig, she owed much of her early success to the coaching and accompanying of the conductor Arthur Nikisch, who had become Director of the Conservatorium while she was a student there. It was also during Nikisch’s one-year term as Director of the Leipzig Opera (1905-6) that she made her only appearances in opera – in the title-role of Ambroise Thomas’s Mignon and as Charlotte in Massenet’s Werther. (At this time Gerhardt was a soprano; later her voice matured into a rich and flexible mezzo-soprano.) Gerhardt’s career as a recitalist developed quickly from a debut in Leipzig’s Städtisches Kaufhaus (with Nikisch) on her 20th birthday and the next three years saw her touring widely in Germany. Her first foreign engagement was in London in June, 1906 – in a Queen’s Hall concert with the London Symphony Orchestra and a recital at the Bechstein Hall – and this started an annual pattern of London recitals and provincial tours which was interrupted only by World War I. Her US debut in 1912 was also hugely successful and far-reaching. After a popular teaching course organised by her agent in London 1928, Gerhardt was invited to become Head of Singing at the Leipzig Conservatory the following year. In 1932 she married Dr. Fritz Kohl, Director of Leipzig Radio, who was arrested one year later in the Nazi purge of broadcasting officials but eventually released. The couple settled in England – always regarded by Gerhardt as her second home – in 1934. Gerhardt continued to tour widely, selling out halls wherever she appeared, and to teach at the Guildhall School of Music and privately. During World War II she famously contributed to the National Gallery Concerts organised by her friend Myra Hess and at the Wigmore Hall in 1943 celebrated the 40th anniversary of her first recital. Her final public appearance was at Liverpool in March 1947. Gerhardt’s many distinguished pupils included Derek Hammond-Stroud, Flora Nielsen, Sir Peter Pears, Winifred Radford, Meriel St.Clair and Esther Salaman. She published her autobiography Recital in 1953.
1646	dbpedia	0	37	https://www.academia.edu/81198236/Voice_of_the_New_Renaissance	en	Voice of the New Renaissance	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif	[ "https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg", "https://a.academia-assets.com/images/academia-logo-redesign-2015.svg", "https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg", "https://0.academia-photos.com/attachment_thumbnails/87327102/mini_magick20220610-5273-nde...	[]	[]	[ "" ]	null	[ "Christopher Swanson", "independent.academia.edu" ]	2022-06-10T00:00:00	Voice of the New Renaissance				https://www.academia.edu/81198236/Voice_of_the_New_Renaissance	Britten turned forty years of age in 1953 and, like most of us, this landmark no doubt gave him cause for pause, reflection and a stocktake of his life, work and mortality. The success generated by the London premiere of Peter Grimes in 1945 made Britten one of the most famous composers of his generation, a status that would surge in the years that followed. Having just written three operas in as many years, the ensuing years of the mid-1950s, were a relatively fallow period in Britten’s output. No doubt, the generally negative reaction to ‘Gloriana’ was a contributing factor as were several health problems and a self-imposed sabbatical from composing. However, that such factors aligned in this ‘mature‘ period of his creative life, makes a focused study of the works created therein, all the more fascinating. Accordingly, this recording has selected four diverse vocal works between the years 1952 to 1958. The first task was to gather what can be called opera. Quite a few vocal works are not classified in that genre because they are considered as oratorios as if an oratorio was not an opera (a musical work entirely sung generally in two tones, prosodic and psalmodic). That goes back to the Old Testament which is divided in its accompanying music, written in the margins, in these two tones. It is of course present in any oratorio, starting in the 13th century in Beauvais Cathedral with Ludus Danielis. The opera is only the transfer of this religious musical genre into the secular field. The opera is nothing but a secular oratorio. And can we see a musical difference between operas and oratorios in Handel and are Bach’s Passions oratorios or operas? Some purist will tell you the opera was invented in Italy, etc. Purity leads to closure. This geographic definition of the opera was introduced in a time when we did not know the musical accompaniment of the Old Testament probably codified by the music school set up by King David. At that time too Ludus Danielis was unknown and Italy was torn apart by two styles, one favored by the Roman Popes and remaining very narrowly religious and traditional, and another secular and bound to flourish in the Italian opera houses that were still to be invented and built in the 16th-17th centuries when that artistic quarrel between the Church and society was starting to rage with Monteverdi. Anyway it does not apply to Benjamin Britten for the simple reason that he does not differentiate the recitative from the arias. The music is the same in tone and style from beginning to end. Then the difference between operas and oratorios, if there is one, is purely because of the religious dimension of oratorios. That is light and semantic. You will hereafter find my notes on the 21 works I classify in this field, in chronological order, some small, some big, some famous, some less well-known, but all in a distinctive musical style that is unique and yet that is also very closely articulated on the music of the 20th century. Benjamin Britten knew his classics, even the modern classics of his time, and borrowing or imitating are fundamental: he is able to use the style of anyone and turns it into his own style that is first of all transformative. During a lecture presented in Darmstadt, Luigi Nono offered an analysis of his La terra e la compagna and Il canto sospeso. He stated that in these pieces the "multi-dimensional profusion of expressive and phonetic possibilities" had been fully explored. Although Nono believed that this technique opens "a world of new combinatorial possibilities", he was fully aware of the fact that precursors of this phenomenon emerged in different stages of music history. Nono devoted particular attention to sixteenth-century polyphony, giving examples of pieces by Gesualdo and Giovanni Gabrieli and showing not only how the phonetic material of the words played a crucial role in the organisation of the polyphonic texture, but also how it complemented and stressed the text‘s semantic content. His ideas are confirmed by the literary and musical theories of that time. Above all, these insights can have important consequences for today‘s performance practice of and listening attitudes towards early music.
1646	dbpedia	1	94	https://www.e-flux.com/notes/582923/open-letter-to-the-berlin-senate-cultural-administration-and-to-joe-chialo-state-minister-for-culture-and-social-cohesion	en	Open Letter to the Berlin Senate	https://www.e-flux.com/e…haring-image.jpg	https://www.e-flux.com/e…haring-image.jpg	[ "https://images.e-flux-systems.com/?w=1200", "https://www.e-flux.com/elements/EFL03_X.svg", "https://www.e-flux.com/elements/EFL03_hamburger.svg", "https://www.e-flux.com/elements/EFL03_search.svg", "https://www.e-flux.com/elements/EFL03_X.svg", "https://www.e-flux.com/elements/EFL03_search.svg", "https...	[]	[]	[ "" ]	null	[]	null	Open letter against the compulsory commitment to the controversial IHRA definition of antisemitism as a prerequisite for cultural funding from the federal state of Berlin.	en			null	January 4, 2024 We—Berlin-based cultural producers of various disciplines—protest: For the preservation of the freedom of art and the freedom of expression Against the compulsory commitment to the controversial IHRA definition of antisemitism as a prerequisite for cultural funding from the federal state of Berlin Against the political instrumentalization of antisemitism clauses. The Berlin Senate Cultural Administration is planning to award funding from the cultural budget of the state of Berlin on condition that applicants sign an antisemitism clause, with immediate effect. Anyone who signs the antisemitism clause in its present form must acknowledge that they are for a “diverse society” and against “any form of antisemitism according to the definition of antisemitism of the International Holocaust Remembrance Alliance and its extension by the German government.” This decision by the Senate Cultural Administration does not recognize that there is a controversial debate about the IHRA’s definition of antisemitism, as well as an alternative definition developed by international scholars: the Jerusalem Declaration on Antisemitism. The latter was explicitly drafted in order to prevent the imputation of antisemitism from being abused and politically instrumentalized, and responds to ambiguities within the IHRA definition. We strongly protest against the inclusion of this specific antisemitism clause as a legally binding requirement for cultural funding by the State of Berlin. The measure was implemented without any prior open debate or consultation; no transparent decision-making process was carried out, and no affected persons, associations, or institutions were consulted. This understanding of freedom of expression and of artistic freedom is profoundly undemocratic! The Senate Cultural Administration fails to recognize that such a forced acknowledgement is an encroachment on constitutionally guaranteed fundamental rights. The Berlin Cultural Administration’s elevation of a specific definition of antisemitism into a doctrine of cultural policy represents an absolute exception, a differentiation that does not exist for any other form of discrimination. We are against this hierarchization of forms of discrimination (and resulting division) of marginalized social groups, and consider this to be dangerous. We see the fight against all [other] forms of discrimination and inequality as a task that also applies to culture. The fight against racism goes hand in hand with the fight against antisemitism, as well as against Islamophobia. It is our concern to fight all these battles in solidarity and independently of current events. However, the horrific events of October 7, the war in Gaza, and the heated polemical debates that are taking place in Germany on this subject give rise to fears that clauses such as those discussed here will only serve to create an administrative basis for disinviting and canceling events with cultural workers who are critical of Israel. This also affects Jewish cultural workers in Germany who show solidarity with Palestine, who advocate for dialogue and peace-oriented solutions, and who are confronted with accusations of antisemitism by non-Jewish Germans—an extremely shameful and absurd constellation! The IHRA’s “non-legally binding working definition of antisemitism” is not intended to aid criminal prosecution, but serves to improve the monitoring of antisemitic tendencies in society. Additionally, it is not intended as an instrument for the state sanction of cultural expressions and invitation policies, and is unsuitable for this purpose due to its open wording. The German government’s own extension of the IHRA definition only serves to amplify its one-sided application in relation to criticism of Israeli government policy. Using the IHRA definition of antisemitism, which is open to interpretation, as an instrument to sanction the [possible] withholding or withdrawing of funding is fatal! Financial support and public platforms are currently being withheld and withdrawn as a means to exert pressure to exclude critical positions on Israeli government policy and the war in Gaza from public discourse. The planned clause will make it easier for the administration and politicians to use this leverage and further restrict the space for necessary discourse. International and especially Palestinian artists are particularly affected by the clause. Many already report that they feel held under general suspicion due to ethnic or religious attributions. A climate of fear is emerging in a field in which many of us are already exposed to precarious working conditions and residence permits. The extent of self-censorship that already exists today is damaging Berlin’s cultural sector. Not only individuals are affected by this intimidation and insecurity, but also institutions, as can be seen from the few public statements released on this matter by institutions. The Senate’s procedure represents a step backwards in light of successful efforts in recent years to diversify and open up Berlin’s art and cultural sector as a location for international art discourse. We condemn the repressive cultural policy signal that this sets. It is to be expected that funding applicants will exclude certain groups and individuals from planned projects in anticipatory obedience. The fear is that no one will be protected by this antisemitism clause, but many will be put at risk. With its plan, the Senate Cultural Administration actively contributes to the further intensification of the aggressive and often nonobjective public debate and the deepening of social divisions. Discussion and learning spaces in which political contexts might be culturally communicated and debates facilitated are thus hindered, instead of being encouraged. This contradicts our own commitment to a diverse society. It is not the task of the cultural administration to define the social boundaries of freedom of art and opinion, provided that the expression of opinion remains within the boundaries of the legal framework. Rather, this is the complex task of culture itself, as well as of intellectual discourse and of the critical public. In this pluralistic field, it is important to develop social norms and agreements for social coexistence. Norms are not an instrument of power, and under no circumstances can they be used against the constitutional rights of individuals and groups, or as a means of exerting pressure to stifle social debate. In cultural funding, the principle of equality applies regardless of gender, sexual orientation, ethnic or religious background, or political position. The relevance and quality of all funded cultural projects is ensured by qualified expert juries and committees. As artists and cultural professionals, we reject political interference in the function, methods, and freedom of cultural production and call on the Senate Cultural Administration to withdraw the antisemitism clause immediately! For the German text, and a link to sign, see → Notes January 7, 2024: The English version of the letter includes two corrections of translation errors. These changes have been left visible (in brackets), acknowledging the large number of people who had already signed the original version. Due to numerous attempts at defamation through obviously false entries, the signatures from openletter.earth were moved here. New incoming signatures are checked daily for scam attempts and then published. Signatures
1646	dbpedia	3	62	https://wienerholocaustlibrary.org/event/book-launch-music-and-exile-from-1933-to-the-present-day/	en	Hybrid Book Launch – Music and Exile: From 1933 to the Present Day	https://wienerholocaustl…image-scaled.jpg	https://wienerholocaustl…image-scaled.jpg	[ "https://wienerholocaustlibrary.org/wp-content/themes/wienerholocaustlibrary/images/wiener-logo-long.svg", "https://wienerholocaustlibrary.org/wp-content/themes/wienerholocaustlibrary/images/cash-donate.svg", "https://wienerholocaustlibrary.org/wp-content/themes/wienerholocaustlibrary/images/cash-donate.svg", ...	[]	[]	[ "" ]	null	[]	2023-09-28T08:48:59+00:00	The Wiener Library, in association with the Research Centre for German and Austrian Exile Studies, is delighted to invite you to the launch of Music and Exile: From 1933 to the Present Day, Yearbook 22 of the RCGAES (Brill 2023).	en	https://wienerholocaustl…e-touch-icon.png	The Wiener Holocaust Library	https://wienerholocaustlibrary.org/event/book-launch-music-and-exile-from-1933-to-the-present-day/	The Wiener Library, in association with the Research Centre for German and Austrian Exile Studies, is delighted to invite you to the launch of Music and Exile: From 1933 to the Present Day, Yearbook 22 of the RCGAES (Brill 2023). Co-editors Dr Malcolm Miller and Dr. Jutta Raab Hansen will introduce the Yearbook, delving into its international scope, tracing refugee musicians in Europe, the USA, Australia, and Shanghai. They will explore in detail the lives and legacies of three outstanding émigré British musicians: Ferdinand Rauter, pianist and founder of the Anglo-Austrian Music Society, the conductor-composer Peter Gellhorn and composer-pianist Franz Reizenstein. Contributing to the discussion we are delighted to welcome their children Andrea Rauter, Mary Gellhorn and John Reizenstein, as well as the singer Norbert Meyn FRCM, Principle Investigator of the ‘Music, Migration and Mobility’ project at the Royal College of Music, and a contributor to the volume. Refreshments will be served. About the speakers Malcolm Miller is Honorary Associate and Associate Lecturer in Music at the Open University, UK. He has published widely on Beethoven, Wagner and contemporary music. His essay ‘Music as Memory: British Émigré Composers and their Wartime Experience’ appeared in The Impact of Nazism on Twentieth-Century Music (ed. Erik Levi, Böhlau Verlag, 2014). Jutta Raab Hansen studied musicology at Berlin Humboldt University and, in 1988, joined Peter Petersen’s exile music research group at Hamburg University, resulting in her PhD thesis NS-verfolgte Musiker in England: Spuren deutscher und österreichischer Flüchtlinge in der britischen Musikkultur (Hamburg, 1996). Research in the UK, Australia and Jerusalem (2003–11) included a contribution to ORT’s ‘Music and the Holocaust’ project, followed by her translation and edition of émigré singer Elena Gerhardt’s 1953 memoirs (Altenburg, 2012). She worked as a music therapist, between 2012–18 in Thuringia, Germany. Virtual Event guidelines: The Library will send you a Zoom link and joining instructions via email prior to the event. Please check your junk email folders. Please try and join 5 minutes before the event start time and we will let you into the room (do try and bear with us if this takes a few minutes). If you would like to ask a question during the event, please type your question into the chat function, and we will endeavour to answer as many questions as possible during the Q&A. Your webcam will not be seen during this event. This event is free, although registration via the link below is required. Please note that our free events are run by staff volunteers. Thank you for your patience should we have any technical or audio difficulties. We will do our best to correct them but this is not always possible. Book now
1646	dbpedia	3	42	https://groups.google.com/g/rec.music.opera/c/YJ_jIvind1I	en	Great Lieder Singers of the 20th Century	https://www.gstatic.com/…/groups_32dp.png	https://www.gstatic.com/…/groups_32dp.png	[ "https://fonts.gstatic.com/s/i/productlogos/groups/v9/web-48dp/logo_groups_color_1x_web_48dp.png", "https://lh3.googleusercontent.com/a/default-user=s40-c", "https://lh3.googleusercontent.com/a/default-user=s40-c", "https://lh3.googleusercontent.com/a-/ALV-UjVxHJEMxpbB0xujKzBbzSYMJFDwcz2zGnj-eN6bRFI1tiVGyQ=s4...	[]	[]	[ "" ]	null	[]	null		en	//www.gstatic.com/images/branding/product/1x/groups_32dp.png		https://groups.google.com/g/rec.music.opera/c/YJ_jIvind1I	I trust by your choices you mean the subject line literally, I.e. singers of German lieder. Certainly there are a raft of great singers of art songs (Tourel, Simoneau, Schipa, Valletti, Dolukhanova, Pears, Lisitsian, de los Angeles, Bernac, Souzay, Gramm, Curtin, de Gaetani, etc.) who are principally associated with another repertory, though some of them programmed some lieder with great success as well. What about Elly Ameling? Aksel Schiotz? Arleen Auger? And I heard a Schreier Beethoven/Schumann recital in San Jose CA (!) that remains among my greatest of all concert experiences. Three of the most influential touring recitalists in the early part of the century were Marcella Sembrich (one of the first opera singers to do what we would call "serious" lieder programs), David Bispham and Julia Culp. To my mind they deserve higher honors than that archfraud Elena Gerhardt, though her disastrous influence is undeniable. To me she is a self-mythologizing High Priestess figure on the order of Wanda Landowska and Nina Koshetz, and while I get some pleasure from certain of their records, I get none at all from Gerhardt's, and wonder if anyone else would had they not been told by generations of Walter Legges that she was A (The?) Great Lieder Singer. Nice to think about this repertory, which I love. David Shengold ---------- In article <FEM5w...@oswego.Oswego.EDU>, sg...@news.oswego.edu (Celia A.  > Add Janet Baker. Victoria De Los Angeles..... Well here we get into the usual apples/oranges discussion of whether one is moved by one singer over another. I think Janet Baker is one of the great artists of all time. Her Gluck, Monteverdi, Mahler and Elgar are just sublime. I just have never felt that she is at her best in recital repertoire with piano... I always get the feeling of an opera/concert singer taking a day off by doing some lieder and chansons..... I just don't put her in the same class as Lehmann or Dieskau or Hotter in terms of the total investment in the poetry and the stylistic "rightness" for lieder. I also find her French chanson singing mannered.... very musical and every note in place, but just not "right" somehow... And again, I adore her... I just think she's untouchable in early music and English song and not in the same leagues as the ones mentioned. de los Angeles in Spanish song is perfectly charming. Her lieder and chanson work has always been marred by her imperfect technique and her poor ear for German, IMHO. I winced when I heard her sing a lieder recital in Vienna, and she only JUST redeemed herself by singing Falla, Turina and Granados at the end. When Lehmann sings, you can literally visualize the story she's telling, with Dieskau, one gets exquisite musicianship and virtually flawless technique, and Hotter... well you get Hotter.... not the best voice or technique, but it all falls together somehow.... especially in music with tragic or nostalgic themes, he's well nigh unbeatable. One could argue that they couldn't hold their own in Spanish against de los Angeles or against Baker in Elijah, and I would concede the point. But if we're strictly talking about German lieder, I don't think either artist is in the top 20, though they are admirable in many ways... there's just too much competition! >To your list, which I think is absolutely correct, I would add Peter >Schreier. His Liederabends in Europe were a hot ticket for years, especially >when he sang Schumann or Schubert. Guten Tag! WELL, of course you are right, but as you know there always music lovers who don`t like some singers for different reasons. I have to confess that Schreier was/is a singer who(m?) I`m always found boaring, really boaring always.Maybe to the backgound of finding him soooooooo boaring belongs his very naive way of singing the Lieder of Schumann and Schubert like many adults did it to/for their children with German Volkslieder after WW II. I am part of that second genaration after the war who never trust that "naivity" of my parents generation any more.(and Schreier) Another singer (who was the most popular Lieder singer in Germany, much more popular then DFD, was Hermann Prey). I am not the only one who had problems with his way of singing too, because his priority was emotion in singing Lieder. Like "naivity" this seemed to me too "onesided". (for my taste too "schmaltzy". Dieskau was the RIGHT one, he was able to differenciate in many ways BUT "he couldn`t stop singing. His later "Winterreise" with Barenboim and Murray Perrahia" were too late. After he left, there are suddenly a whole dozen of wonderfull German Lieder singer. >> >> Given all the interest in end-of-the-century list-making, I propose a list >> of the great Lieder singers of the 20th century, by which I mean those who >> had the greatest impact on the art form, whether I happen to enjoy >> listening to them or not. BTW, the order of the list is more chronological >> than anything else. >> >> Elena Gerhardt >> Lotte Lehmann >> Alexander Kipnis >> Gerhard Huesch >> Karl Erb >> Elisabeth Schumann >> Heinrich Schlusnus >> Hans Hotter >> Elisabeth Schwarzkopf >> Dietrich Fischer-Dieskau >> >> Comments are welcome, of course. << Wonderfull choice, I agree totally. My favorits are also Kathleen Ferrier, and Julius Patzak. Baker, Ludwig and Gerard Souzay following behind them only a liitle bit. "Liebeslieder Walzer" by Brahms from the Edinghburgh Festival with Ferrier/Patzak and Bruno Walter at (on?) the piano is the very best I ever heard. I have to mention two tenors from England and Denmark whose "Dichterliebe" are the very BEST, Axel Schiotz and Peter Pears. Especially Schiotz has to be in my TOP TEN . Last not least I would like to mention Mathias Goerne of the younger Generation because I was impressed by his Winterreise more then by Dieskaus, Prey`s Wunderlich`s and Pear`s (heard them all LIVE with "Winterreise") Last not least I wanne suggest to hear Henry Plunket Green with "Leiermann" from 1937, at the age of 69. It`s greatt irony that an older irish singer sang the most touching "Hurdy-gurdy man" in English (EMI 5661502 (2 CD Lieder on Record 1898-1952, SCHUBERT, vol I ) Best.................wolf(j) Celia A. Sgroi wrote in message ... >Given all the interest in end-of-the-century list-making, I propose a list >of the great Lieder singers of the 20th century, by which I mean those who >had the greatest impact on the art form, whether I happen to enjoy >listening to them or not. BTW, the order of the list is more chronological >than anything else. > > Elena Gerhardt > Lotte Lehmann > Alexander Kipnis > Gerhard Huesch > Karl Erb > Elisabeth Schumann > Heinrich Schlusnus > Hans Hotter > Elisabeth Schwarzkopf > Dietrich Fischer-Dieskau > >Comments are welcome, of course. > >Celia A. Sgroi Historically I think it should begin with two great pioniers: the Polish soprano Marcella Sembrich (1858-1935) and the Dutch baritone Johan Messchaert (1857-1922) Sembrich was probably the first famous opera singer who gave Lieder recitals everywhere. Sometimes she acompanied herself on the piano. She left a few Lieder recordings. Messchaert didn't make recordings (as far as I know), but there are several reports about his performances and DFD considered him as his great predecessor. About ten years ago I made a study of the musical life in Amsterdam in the 1880's and 1890's and read a lot of reviews of Messchaert's recitals, which gave a good idea about how revolutionary Liederrecitals were at that time ("Messchaert amazed the audience singing all the twenty songs of Schubert's Die Schoene Muellerin..." "It were especially `Morgengruss', `Mein' and `Der Jaeger' which received much applause...", etc. Another famous Dutch Lieder in the first quarter of the century was Julia Culp (1880-1970). She made a large number of aucoustical and some electrical recordings (Frauenliebe und -lebe, alas). Purely vocally she was a better singer than Gerhardt, and paid more attention to te music and less to the words than her contemporary. Other singers who might be included as having rather much impact on the history of Lieder singing are Gerard Souzay, Peter Schreier and perhaps Brigitte Fassbaender. It's difficult to make a choice from the new generations: there are very good Lieder singers (Baer, Quasthoff, Goerne, Holzmaier, etc.,etc.) but I don't think any of them is meeting the standards to be included on the list. Benjo Maso
1646	dbpedia	2	4	https://www.memorabilia-uk.co.uk/p/elena-gerhardt	en	Elena Gerhardt	https://www.memorabilia-uk.co.uk/favicon.ico	https://www.memorabilia-uk.co.uk/favicon.ico	[ "https://www.memorabilia-uk.co.uk/images/logo.png", "https://www.memorabilia-uk.co.uk/images/subject_images/imageFile_imageFile__0170161045e58e3b322625a86883_7ub2.jpeg", "https://www.memorabilia-uk.co.uk/images/item_image_images/imageFile_imageFile__aa814bcaad8ccc7c011e30d28a22_Dih5.jpeg", "https://www.memora...	[]	[]	[ "" ]	null	[]	null	ELENA GERHARDT d1961. German mezzo-soprano singer associated with the singing of German classical lieder of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. She died in London aged 77 on January 11th 1961.	en	/favicon.ico	Memorabilia UK	https://www.memorabilia-uk.co.uk/p/elena-gerhardt	ELENA GERHARDT d1961. German mezzo-soprano singer associated with the singing of German classical lieder of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. She died in London aged 77 on January 11th 1961.
1646	dbpedia	3	15	https://www.nytimes.com/1961/01/12/archives/elena-gerhardt-singer-77-dead-specialist-in-19thcentury-german.html	en	ELENA GERHARDT, SINGER, 77, DEAD; Specialist in 19th	https://static01.nyt.com…op.png?year=1961	https://static01.nyt.com…op.png?year=1961	[ "https://s1.nyt.com/timesmachine/pages/1/1961/01/12/97578588_360W.png?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "The New York Times" ]	1961-01-12T00:00:00	Gerhardt, Elena	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/1961/01/12/archives/elena-gerhardt-singer-77-dead-specialist-in-19thcentury-german.html	ELENA GERHARDT, SINGER, 77, DEAD; Specialist in 19th-Century German Lieder Edited 2 Collections of Works Advertisement SKIP ADVERTISEMENT ELENA GERHARDT, SINGER, 77, DEAD; Specialist in 19th-Century German Lieder Edited 2 Collections of Works Jan. 12, 1961 See the article in its original context from January 12, 1961 , Page 29Buy Reprints TimesMachine is an exclusive benefit for home delivery and digital subscribers. Full text is unavailable for this digitized archive article. Subscribers may view the full text of this article in its original form through TimesMachine. Advertisement SKIP ADVERTISEMENT
1646	dbpedia	0	40	https://dokumen.pub/german-song-onstage-lieder-performance-in-the-nineteenth-and-early-twentieth-centuries-0253047005-9780253047007-w-7358224.html	en	German Song Onstage: Lieder Performance in the Nineteenth and Early Twentieth Centuries 0253047005, 9780253047007	https://dokumen.pub/img/…07-w-7358224.jpg	https://dokumen.pub/img/…07-w-7358224.jpg	[ "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png", "https://dokumen.pub/img/200x200/german-song-onstage-lieder-performance-in-the-nineteenth-and-early-twentieth-centuries-0253047005-9780253047007.jpg", "https://dokumen.pub/img/200x200/german-industry-and-german-industrialisation-essays-in-german-e...	[]	[]	[ "" ]	null	[]	null	A singer in an evening dress, a grand piano. A modest-sized audience, mostly well-dressed and silver-haired, equipped wi...	en	https://dokumen.pub/doku…e-icon-57x57.png	dokumen.pub	https://dokumen.pub/german-song-onstage-lieder-performance-in-the-nineteenth-and-early-twentieth-centuries-0253047005-9780253047007-w-7358224.html	Table of contents : Cover Title Page Copyright Contents Acknowledgments Introduction: Restaging German Song / Laura Tunbridge 1. “Eine wahre Olla Patrida [sic]”: Anna Milder-Hauptmann, Schubert, and Programming the Orient / Susan Youens 2. Song in Concert as Observed by the Schumanns: Toward the Personalization of the Public Stage / Benjamin Binder 3. From Miscellanies to Musical Works: Julius Stockhausen, Clara Schumann, and Dichterliebe / Natasha Loges 4. Natalia Macfarren and the English German Lied / Katy Hamilton 5. “For Any Ordinary Performer It Would Be Absurd, Ridiculous, or Offensive”: Performing Lieder Cycles on the American Stage / Heather Platt 6. The Concert Hall as a Gender-Neutral Space: The Case of Amalie Joachim, née Schneeweiss / Beatrix Borchard, Translated by Jeremy Coleman 7. Nikolai Medtner: Championing the German Lied and Russian Spirit / Maria Razumovskaya 8. From the Benefit Concert to the Solo Song Recital in London, 1870–1914 / Simon McVeigh and William Weber 9. German Song and the Working Classes in Berlin,1890–1914 / Wiebke Rademacher 10. Lilli Lehmann’s Dedicated Lieder Recitals / Rosamund Cole 11. “Eine Reihe bunter Zauberbilder”: Thomas Mann, Hans Pfitzner, and the Politics of Song Accompaniment / Nicholas Attfield 12. Performers’ Reflections / Natasha Loges and Laura Tunbridge Timeline Index Citation preview
1646	dbpedia	3	54	https://www.liederabend.cat/en/2-bloc/944-ladies-that-sing-songs-for-gentlemen%3FrCH%3D2	en	Ladies that sing songs for gentlemen	https://www.liederabend.…enteuil-mini.jpg	https://www.liederabend.…enteuil-mini.jpg	[ "https://www.liederabend.cat/images/logo_palabrab750.png", "https://www.liederabend.cat/images/logo_palabrab750.png", "https://www.liederabend.cat/images/nubeclarah500.png", "https://www.liederabend.cat/images/archivos/schubert_web700.jpg", "https://www.liederabend.cat/images/quadres/2019/mini/26-NeigeArgen...	[]	[]	[ "" ]	null	[]	null	Should women sing "male" song cycles? Shoud women sing "Winterreise"? Well... why not?	en	/favicon.ico	Liederabend	https://www.liederabend.cat/en/2-bloc/944-ladies-that-sing-songs-for-gentlemen%3FrCH%3D2	We are in the middle of June and what we could call our "regular season" is about to finish; except for unforeseen events, July will belong to the students of the Master's Degree of Lied-ESMUC and, in August, I’ll focus on the Schubertíada, as I did in previous years. Once more, I have a few pending posts; Some of them will be moved to my next season's notebook (mental note: to buy the next season's notebook) and others will patiently wait to draw my attention again. But still two weeks to go, so let's get started with the first one. When I learned that Joyce DiDonato would sing Winterreise this summer in Vilabertran, I realized that it would be the first time I would listen to that cycle sung by a woman in a recital; so, I wrote down: ladies that sing songs for gentlemen. Many years ago, I talked about gentlemen who sing songs for ladies. At that time, the excuse was Jonas Kaufmann's recording of Wagner's Wesendonck Lieder; the tenor, and director Donald Runnicles argued that there is nothing in Mathilde Wesendonck's poems that labels them as female or male poems. Therefore, there shouldn’t be a problem if f a man sang these songs, despite Wagner had specified at the score that they were für Frauenstimme (for a woman's voice). I agree with them. Of course, a tessitura change would affect the appreciation, but this reflection, as we discussed previously, could also apply to a song sung by a tenor or a baritone. Meaning that it doesn't necessarily have to be related to a change of sex. But what if the poetic voice clearly matches with a woman, as is the case of Frauenliebe und -leben or to a man, as Winterreise, our pretext today? The debate about the convenience of either a man or a woman to sing them is not new; when Elisabeth Schwarzkopf said that she wanted to sing Winterreise the answer was: "Elisabeth, my dearest, you're not a man!" It's not a new debate, but it's not that old either. Do you know who sang Frauenliebe und -leben for the first time? A gentleman. And Dichterliebe? A lady. That is, there was a time when men and women were able to sing those songs they liked the most without genre considerations. I would say that it lasted until the 1930s; the mezzo-soprano Elena Gerhardt, for example, often sung Winterreise during the interwar period. However, a time came (together with those first Lied recordings, during the World War II) when it was agreed that male cycles were sung by men and female cycles, by women, as done in Opera (should I mention trouser roles or the witch in Hänsel und Gretel?). And the discussion arises: do Lied singers really play a role? If yes, if we think that singing Lied is like playing a theatre role, it would be difficult to accept a man who talks, moved, about his pregnancy in Frauenliebe und -leben. On the other hand, if we think that we're listening to a poetic voice, voice and piano blended, that would be a minor detail. Or maybe we're halfway and give singers the opportunity to make us forget about their sex. This was the argument of Lotte Lehmann, the first woman to record a complete Winterreise (in fact, there were two incomplete recordings, in 1940 and 1941, later joined): Despite Lehmann's reflections, women kept away from Winterreise for decades, until the late 1980s, when two wonderful ladies, Christa Ludwig and Brigitte Fassbaender, recorded the cycle. Since then, a lady who sings Winterreise is no longer such a strange option (at least, this is fairly more common than a gentleman who sings Frauenliebe und -leben). But I'm afraid that's an unusual case; Let's consider, for instance, other male cycles such as Die schöne Müllerin, Dichterliebe, or so many other... My first Winterreise recording with a female voice was that of Christa Ludwig and James Levine; I'm sharing the second song, Die Wetterfahne (The weathervane). What do you think? Is it suitable a woman singing a man’s words? Before the audition, however, I would like to introduce a recently published website exclusively devoted to this cycle, https://winterreise.online His creator, Iain C. Phillips, has collected a lot of related information: recordings (they're ordered by voices, so you could have a look at the Winterreise sung by women), translations to many languages, a concert schedule, books, artistic works... I bet you’ll stay quite a long time on this website if you haven’t done it already. And, if you feel there is something missing, get in touch with Iain; He will be delighted to add concerts, books, recordings, etc. in order to offer a more complete information each time.
1646	dbpedia	2	18	https://www.alamy.com/stock-photo/german-opera-singer-soprano.html	en	res stock photography and images	https://s.alamy.com/logo…avicon-16x16.png	https://s.alamy.com/logo…avicon-16x16.png	[ "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/logos/1.68.0/alamy-black.svg", "https://s.alamy.com/logos/1.68.0/alamy-black.svg", "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/assets/latest/footer/mastercard.svg", "https://s.alamy.com/assets/latest/footer/visa.svg"...	[]	[]	[ "" ]	null	[ "Alamy Limited" ]	null	Find the perfect german opera singer soprano stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.	en	https://s.alamy.com/logo…avicon-16x16.png	Alamy	https://www.alamy.com/stock-photo/german-opera-singer-soprano.html	Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 26/08/2024 Alamy Ltd. All rights reserved.
1646	dbpedia	0	6	https://musicbrainz.org/artist/4d777d12-059c-4406-9a0e-f21509b7676a	en	Elena Gerhardt	https://musicbrainz.org/…avicon-32x32.png	https://musicbrainz.org/…avicon-32x32.png	[ "https://static.metabrainz.org/MB/header-logo-1f7dc2a.svg", "https://static.metabrainz.org/MB/search-52f8034.svg", "https://static.metabrainz.org/MB/filter-a7c3d16.png" ]	[]	[]	[ "" ]	null	[]	null	German mezzo-soprano, Type: Person, Gender: Female, Born: 1883-11-11 in Leipzig, Died: 1961-01-11 in London, Area: Germany	en	/static/images/favicons/apple-touch-icon-57x57.png		null	~ Person Discography Album + Compilation YearTitleArtistRatingReleases2009The Record of Singing: The Very Best of Volumes 1-4: 1899-1952Various Artists1 Showing official release groups for various artists (Show official release groups) Artist information Sort name: Gerhardt, Elena Type: Person Gender: Female Born: Born in: Leipzig, Sachsen, Germany Died: Died in: London , England, United Kingdom Area: Germany Rating Editing Subscriptions Collections
1646	dbpedia	1	61	https://www.marstonrecords.com/products/block	en	Marston Records	https://cdn.shopify.com/…peg?v=1447694642	https://cdn.shopify.com/…peg?v=1447694642	[ "https://cdn.shopify.com/s/files/1/0614/0837/files/m-banner-preferred-1.png", "https://www.marstonrecords.com/cdn/shop/products/53011_large.jpeg?v=1447694642", "https://cdn.shopify.com/s/files/1/0614/0837/files/FindUs-FB-RGB-1024.png" ]	[]	[]	[ "gramophone recording", "phonograph cylinder recording", "classic recording reissue", "historic piano recording", "historic opera recording", "historic voice recording", "Pathe opera recording", "Pathé opera recording", "Edison recording" ]	null	[ "Marston Records", "Takeshi Takahashi" ]	null	Home page of Marston Records. New release, promotions, and the latest information of the company.		//www.marstonrecords.com/cdn/shop/t/2/assets/favicon.ico?v=136588477034757280881416780421		https://www.marstonrecords.com/products/block	History of the Block Cylinders Julius Block was born in Pietermaritzburg, Natal, (a British colony located in South Africa) in 1858. He had hopes of becoming a musician, but his father, a wealthy businessman who represented two American trading firms in Russia, insisted that he not waste his career on music. Reluctantly, Julius capitulated. Block proved to be an outstanding businessman and the family business in Russia flourished under his leadership, but music remained an essential part of his life. It was this confluence of music and business, linked with ingenuity, drive, persuasiveness, and charm that stimulated one man to create one of the world’s most important surviving musical legacies. In 1889, the young entrepreneur, Julius Block, paid Thomas Edison a visit at his laboratory in Orange, New Jersey, in order to secure a phonograph. Block, an amateur pianist, had read about the tantalizing new invention in European newspapers and immediately recognized its amazing potential: a phonograph could preserve musical performances and capture oral history. Edison demonstrated the phonograph for Block, who eagerly asked to take one back to Russia. Edison agreed. Upon his return to Russia, Block demonstrated the phonograph to Tsar Alexander III and his family; arranging this meeting was no small feat. The presentation was a resounding success. Intrigued, the Tsar asked to purchase a phonograph. Block wired Edison with the request, and soon Block personally presented the Tsar with his own phonograph, complete with a dedication plate from Edison.1 With this demonstration behind him, Block mounted a successful publicity campaign for his phonograph by organizing public exhibitions at the St. Petersburg Conservatory, the Moscow Conservatory, the Imperial Academy of Sciences, and other universities and scientific societies. These created a sensation and there was a keen curiosity in many circles throughout St. Petersburg and Moscow to witness this new invention firsthand. Beginning in 1889, one of the earliest dates to record music, Block organized phonographic soirees, which resulted in his greatest accomplishment: documenting some of the most important artists and personalities of his time on cylinder. Within ten years, Block was able to demonstrate his cylinder machine to—and in many cases record—numerous luminaries who lived and passed through Moscow and St. Petersburg. Pyotr Ilyich Tchaikovsky, Leo Tolstoy, Nicolai Rimsky-Korsakov, and Anton Rubinstein were among these and each described his reaction to the phonograph in Block’s “Edison Album.” Tchaikovsky called it “the most surprising, most beautiful and most interesting invention of the end of the nineteenth century” Tolstoy predicted the phonograph, like the printing press, would herald a new “epoch in the history of humanity.” Rimsky-Korsakov, with some foresight, saw the possibility of using the phonograph “in a broadcast manner,” adding “” Rubinstein saw in the phonograph a boon to “the PERFORMING artists,” for now their “lamentations that their art is forgotten immediately after the execution are eliminated.” He added, “But ‘gare aux executants’!!!” (sic) (“Performers beware!!!”). This warning could, of course, mean at least two things: that recorded music might take the place of performers or that ephemeral memories of performances might be kinder than the harsh reality of recordings. Rubinstein may have had the latter in mind when Block recorded snippets of a gathering he attended, probably early in January 1890.2 One by one, the guests—including Tchaikovsky (the only surviving cylinder in which he participates), the soprano Elizaveta Lavrovskaya, and the pianist Vasily Safonov (who had just become director of the Moscow Conservatory)—urged Rubinstein to play the piano. Lavrovkskaya sings some trills, Safonov introduces himself, Tchaikovsky pronounces: “Block is great, but Edison is even better!”—and then whistles into the recording horn. Rubinstein remained steadfast in his refusal to perform, but left posterity with a single recorded sentence; referring to the phonograph, Rubinstein said, “What a wonderful thing.” Luckily, others were not so reticent. Because of Block, we can eavesdrop on Josef Hofmann playing a year after Anton Rubinstein’s death; Paul Pabst, a Liszt pupil who died in 1897, performing his own solo transcriptions as well as piano four-hand with Leo Conus and Sergei Taneyev; Anton Arensky performing his own compositions, including excerpts from his famous D Minor Piano Trio in the year of its composition with violinist Jan Hřímalý and cellist Anatoly Brandukov; Maria Klimentova-Muromtzeva, who created the roles of Tatiana and Oksana in Tchaikovsky’s Eugene Onegin and Cherevichki, accompanied at the piano by Tchaikovsky’s pupil Taneyev; the great Russian mezzo-soprano Elizaveta Lavrovskaya, who recommended to Tchaikovsky that he compose an opera based on the story of Eugene Onegin; as well as Anna Essipova, Nikolai Figner, Paul Pabst, and many others. Block moved to Germany in 1899. There is no evidence that Block recorded cylinders between 1901 and 1910, but significant recordings do survive from the years 1911 to 1915. These include the 11-year-old Jascha Heifetz one week after his sensational debut with Arthur Nikisch and the Berlin Philharmonic; Nikisch accompanying Elena Gerhardt; Paul Juon, a student of Arensky and Taneyev, playing his own compositions; Leonid Kreutzer, the pianist and teacher at the Berlin Academy of Music, playing four-hand piano with Juon as well as solos by Chopin, Liadov, and Juon; and the 19-year-old-violinist, Eddy Brown, who is accompanied by Block, playing Kreisler, Haydn, Beethoven, and others. Block spent his final years in Vevey, Switzerland with his second wife, where he added Emanuel Moór and his wife, Winifred Christie-Moór to his circle of friends, which included Paul Juon, who was also living in Vevey. While living in Switzerland, Block recorded the pianist Egon Petri and the voices of the Moórs as they listened to Petri. In Vevey, Block also recorded the voices of Leo Tolstoy’s daughter and granddaughter. Julius Block died in 1934, in Switzerland. During his lifetime, Block was quite aware of the importance of his collection. In fact, in his journal Block wrote, “…these are some of the treasures stored up in my phonogram library, and their value will increase with time.”2 He sent several of his cylinders to Edison with the hope that the inventor could preserve them by making moulds of the recordings. Such attempts failed.4 The cylinders that Block sent to Edison were evidently later destroyed in a fire. In 1930, Block began negotiations with the Phonogramm-Archive at the Ethnologisches Museum in Berlin to preserve his cylinders. Three were turned over to the archive for galvanization that year, with plans to galvanize all the cylinders to assure their preservation. But Block’s death and financial considerations prevented that from happening. After Block’s death, his daughter Nancy donated 359 original wax cylinders to the Phonogramm-Archiv with a catalogue of the cylinders entitled, “Phonogrammothek.” Block’s large collection of musical scores and manuscripts went to Bern University in Switzerland (Bibliothekarin, Institut für Musikwissenschaft).5 According to Block’s son Walter, some of the cylinders also went to an archive in Warsaw, Poland. This would explain the disappearance of a number of cylinders Block mentions in his memoirs and essays. For example, Block refers to recordings of Leopold Auer and of the Eccles cello sonata played by Joseph Press, which are not listed in the “Phonogrammothek.”6 Most intriguingly, Block writes in another essay that he recorded the Tchaikovsky piano trio with Taneyev, Hřímalý, and Brandukov. He said that he recorded the trio specifically for a visit by Tchaikovsky on 7 November 1891, “as a surprise” for the composer. The day before, Tchaikovsky had conducted the premiere of his symphonic poem Voivode in Moscow. The composer was disappointed by the work’s reception and went into a great depression. The meeting at Block’s apartment, with Tchaikovsky’s brother Modest and several mutual friends, including Taneyev and Brandukov, was meant to lift his spirits. The evening began with dinner, but Tchaikovsky’s mood remained dark. After dinner, Block played the recording of his trio, as well as others. Tchaikovsky’s “gloom did not disappear until well on in the phonographic séance. Our maestro was so taken by some of the musical recordings that he continued to listen until the clock struck half past two.”7 If only we knew what other recordings Tchaikovsky listened to that night. Several recordings in this set were recorded before 7 November 1891. These include performances of Tchaikovsky compositions by both Klimentova-Muromtzeva (accompanied by Taneyev) and the tenor Samus. Could it be that Tchaikovsky listened to these very cylinders that night? Many, including Block’s family, believed that all of the cylinders were destroyed during World War II. As his son Walter wrote in 1965: “Unfortunately, the collections in Warsaw and Berlin were destroyed during the second World War. But the collection in Bern is still preserved…”8 Amazingly, many of the Berlin cylinders survived; they had been evacuated to Silesia in 1944 to prevent their destruction.9 They were confiscated by the Russians after the war. The Berlin archive that originally housed the cylinders was located in what soon became Soviet-controlled East Berlin, and it disappeared behind the Iron Curtain. The cylinders themselves were eventually taken to Leningrad where they came to be housed at the Institute of Russian Literature—more commonly known as the Pushkin House (Pushkinsky Dom). Outside the Soviet Union, everyone assumed that the cylinders were forever lost. Interest in the Block cylinders occasionally resurfaced. Block’s son Walter gave a copy of his father’s memoirs to Yale University in 1965. The book contained detailed information about the cylinders. In the early 1990s, a small collection of 24 Block cylinders, together with photographs, papers, and ephemera relating to them appeared and were auctioned in London. The noted New York collector Allen Koenigsberg bought them and wrote an article about the Block cylinders in the Antique Phonograph Monthly in 1992. Within Russia, musicologists were aware that the Block cylinders existed. In the 1990s, news began to filter out to the West about the lone Tchaikovsky cylinder. But only now, as the result of a chance discovery of the remaining cylinders in 2002, can the treasures of the Pushkin House be heard by all. ©John and John Anthony Maltese, 2008 1 Julius Block, Mortals and Immortals: Edison, Nikisch, Tchaikofsky, Tolstoy. Episodes Under Three Tzars. Unpublished manuscript, distributed by Yale University Library, New Haven, Connecticut. H.S.R., ML300 .4 B651 M84, with the compliments of Walter E. Block, 1965, Bermuda, p. 16. 2 This recording is perhaps the most curious cylinder in Block’s collection and additional information is devoted to it in the article, “A Note on the Recordings.” 3 Block, Mortals and Immortals, p. 22. 4 Allen Koenigsberg, “The Russian Connection: Julius H. Block Meets the Czar,” Antique Phonograph Monthly, Vol. 10, no. 4, Issue No. 88, p. 9. 5 It is possible that some Block cylinders also survive in Bern. The Bibliothekarin has several uncatalogued cylinders that may be a part of the Block Collection. 6 Block, Mortals and Immortals, p. 22. 7 Essay by Julius H. Block in Alexander Poznansky, ed., Tchaikovsky Through Others Eyes, translated from Russian by Ralph C. Burr, Jr. and Robert Bird, Bloomington: Indiana University Press, 1999, 160–161. 8 Block, Mortals and Immortals, “Introduction,” Walter E. Block. 9 Letter from Dr. Susanne Ziegler (of the Phonogramm-Archiv, Ethnologisches Museum, Berlin) to John Anthony Maltese, 26 May 2003. The Block Cylinders and the Dawn of Recording In 1889, in the months just after Edison perfected the first viable sound recording device, the inventor’s agent Theo Wangemann inscribed a number of unique cylinder recordings of great musicians. Most famous is the legendary (some would say notorious) Brahms cylinder, on which the composer can be heard performing one of his own Hungarian Dances. Played so much it was worn out long before it was copied onto a 78 rpm disc, this earliest of all composer recordings is the object of controversy, with some claiming the remaining sound is so faint and distorted that it sadly reveals little of musical value, while others have written extravagant essays about Brahms’s playing. Most of the other cylinders incised by Wangemann, recordings of Hans von Bülow, Lilli Lehmann, Theodore Thomas, and other important musicians, have apparently been lost to history. Wangemann was not the only pioneer making celebrity cylinders—in his Berlin home the prodigy Josef Hofmann recorded tenor Jean de Reszke and others in the early 1890s, while at the same time Polish-born novelist Joseph Conrad made cylinders of his friends Paderewski and soprano Marcella Sembrich, and a New York City doctor assembled a library of cylinders that included several played by his friend, the pianist Leopold Godowsky. These too seem to have disappeared from history.1 At the same time in Russia, the farsighted businessman Julius Block was recording cylinders. Consumed with interest in the newly invented phonograph, Block was determined to record and preserve the piano playing of pianist Anton Rubinstein. Alas! He never succeeded. It was a huge loss to posterity, but history owes Block a great debt for the many other cylinders he did record, and which have miraculously survived. A remarkable 1922 letter from Edison to Block has also survived. Block had written to the inventor, offering to send these cylinders so Edison’s company could preserve and even issue them. Edison’s answer makes it clear he had no interest in Block’s cylinders. Among these Block cylinders are the earliest surviving recordings ever made of music by Bach, Wagner, Chopin, Schumann, Donizetti, Bizet, Tchaikovsky, Verdi, and others. There are also recordings by the composers Arensky, Taneyev, and Pabst. Paul Juon and Leo Conus were also captured playing their own compositions, and the singing and playing of musicians who created operatic roles and premiered major works by Tchaikovsky, Rimsky-Korsakov, Anton Rubinstein, and Rachmaninoff were preserved. Block’s cylinders provide a unique glimpse into Tchaikovsky’s musical circle with performances by eight artists who had premiered his works, including his pupil Taneyev, who gave the premiere of the Second Piano Concerto, and completed the Third Concerto after Tchaikovsky’s death. These are Taneyev’s only recordings, and his 1891 cylinder enjoys the status of being the earliest surviving recording by a major soloist, if we agree that Brahms was not a major soloist. Among the most satisfying cylinders that Block recorded are those of the Liszt pupil Paul Pabst, who died in 1897 at the age of 43. By then Pabst’s paraphrases of Tchaikovsky melodies were already famous. His 1895 cylinder of his own paraphrase of the Sleeping Beauty Waltz is probably the first great piano recording in history, enjoying amazing sound quality that successfully showcases the grandeur and virtuosity of his pianism. No wonder that both Tchaikovsky and Rachmaninoff had dedicated compositions to him. The cylinder is a fitting tribute to his friend Tchaikovsky, who had died 26 months earlier. Together, Pabst’s recordings are a major addition to the discography of nineteenth century pianists. Obviously a very great virtuoso in the Liszt/Rubinstein tradition, Pabst’s passionate reading of Schumann’s “Chopin” section from Carnaval might be the most lyrical Schumann playing ever captured. His cylinders, the only recordings of this neglected Liszt pupil, include the first-known recordings of works by Chopin and Schumann. Pabst and Sergei Taneyev were recorded playing movements from Arensky’s Silhouettes for two pianos, representing three titans from the Moscow Conservatory. In 1892, when these recordings were made, Taneyev was teaching counterpoint at the Conservatory (which he had directed from 1885 to 1889), while Pabst taught piano, and Arensky taught composition. Their pupils included such luminaries as Scriabin, Rachmaninoff, Medtner, and Glière. Another important pianist whose playing would have been lost without Block’s efforts is Anna Essipova, who had some coaching with Liszt but was really the creation of Theodor Leschetizky, who became her husband. Her 1898 cylinder of a gavotte by Benjamin Godard is less well recorded than Pabst’s cylinders, but shows her to have been an elegant stylist with a distinct and attractive musical personality. Her only other recordings are unreliable Welte piano rolls. Essipova’s daughter by Leschetizky, the soprano Therésè Leschetizkaya, married the tenor Evgeny Dolinin, who sang in the premieres of Rimsky-Korsakov’s Sadko (1897) and The Tale of Tsar Saltan (1900.) Neither recorded otherwise. Dolinin’s sole 1898 Block cylinder is the earliest surviving recording of music by Wagner. If Thérèse was remembered before these cylinders were discovered, it was because she later became the teacher of the musical philanthropist Alice Tully. An Essipova student, Leonid Kreutzer, who studied piano with her and composition with Glazounov at the St. Petersburg Conservatory, was captured in his earliest known recordings. Several of the singers Block recorded had close ties to Tchaikovsky, and two had important links to the opera Eugene Onegin. The great mezzo-soprano Elizaveta Lavrovskaya, one of the stars of the Mariinsky Theatre, actually suggested the idea of turning Pushkin’s novel into an opera to Tchaikovsky. He dedicated his Six Romances, op. 27 (1875) to her. Soprano Maria Klimentova-Muromtzeva had created the role of Tatiana at the premiere of Eugene Onegin in 1879. She also created the role of Oksana in Cherevichki in 1887. Each recorded a Tchaikovsky song, with Taneyev accompanying Klimentova-Muromtzeva. These are the only known recordings of both singers. Tenor Nikolai Figner sang in the premieres of Tchaikovsky’s Queen of Spades (1890) and Iolanta (1892). Block’s 1891 cylinder of Figner was recorded a decade before the tenor’s first commercial recordings. The cylinder of Adele Borghi, recorded in 1891 singing the “Habanera” from Carmen (just 19 years after the opera’s premiere) is faint, but she was the most famous Carmen of her day. It is the first recording ever made of music from Carmen. Much more vivid are the cylinders recorded in 1890 of “Mlle. Nikita,” an American soprano (Louisa Margaret Nicholson) who had a sensational career for several years in Europe and Russia. She took Russia by storm in 1889, where she returned in 1890 when the first of these cylinders were made, and again in 1895, when she was accompanied by the young pianist Harold Bauer. Nicholson was reputed to have received 2,000 fan letters per season and Massenet begged her to sing his Manon, yet a bicycle accident in 1897 crushed her throat and ended her career. Nikita dropped from history—her fate and death date unknown. These recordings suggest that she deserves attention. Perhaps the most important of her cylinders is a decorated rendition of Lucia’s mad scene, accompanied at the piano by the composer/ conductor Pyotr Schurovsky (his only known recording), who had studied with Tchaikovsky, Moscheles, and Litolff, and frequently conducted at the Bolshoi Theatre. In 1890 Block also recorded four cylinders of the tenor Vasily Samus, who taught voice at the St. Petersburg Conservatory. His student there, tenor Lavrentii Donskoi, was recorded in 1894 during his own tenure at the Bolshoi Theatre. Donskoi had also studied at the Free Music School co-founded by Rimsky-Korsakov, whose aria he sings. There are also cylinders by two mysterious singers about whom we have not found biographical information: soprano Maria Ivanovna Gutheil (definitely not the famous Mahler singer, Marie Gutheil-Schoder) who Block recorded singing in a large hall in 1894, and mezzo-soprano Eugenia Jurjevna Werdan, recorded two years earlier. These are the only known recordings of these singers, as well as the first recordings ever made of music by Bizet, Donizetti, Tchaikovsky, and Verdi. The great pianist Josef Hofmann’s cylinders for Block were made in 1895 just after his sensational Russian debut, and then in 1896 after a concert in Moscow at which the 19-year-old Hofmann honored his recently deceased teacher, Rubinstein. They include two works by Rubinstein and one by Mendelssohn that Hofmann didn’t otherwise record, as well as Wagner’s “Magic Fire Music,” which he did record in 1923, offering an opportunity to compare versions. Block himself was a musician, and he can be heard accompanying cylinders made in 1914 in Germany of the 19-year-old violinist Eddy Brown, whose few recordings are much sought after by collectors. These are the earliest surviving recordings of the American violinist, a fellow Auer pupil with Heifetz. The Juon piece and the three original Kreisler compositions are new to Brown’s discography. Brown speaks on all but the last cylinder. These are also the only cylinders in which Block performs. Two years earlier an even greater fiddler recorded for Block. His recordings of the 11-year-old Jascha Heifetz were made one week after the prodigy’s sensational debut with Arthur Nikisch and the Berlin Philharmonic. Little Jascha speaks on the cylinders, as does his father. All of the compositions are new to Heifetz’s discography, and they include a performance of “Schön Rosmarin” composed by his idol, Fritz Kreisler, who had accompanied Heifetz in the same piece six months earlier. These recordings pre-date Heifetz’s first Victor recordings by five years. His accompanist, Waldemar Liachowsky, a Schnabel pupil who was born in Russia, later accompanied many violinists, including Kreisler, Mischa Elman, Maud Powell, and Carl Flesch. These were not, however, the earliest recordings of the violinist or even of a prodigy, for Heifetz had recorded three commercial discs a year earlier in Russia in 1911. Cellist Joseph and violinist Michael Press also made a Block cylinder together, the only recording of the Press brothers performing with each other. Both studied at the Moscow Conservatory—Joseph with Alfred Glehn and Michael with Jan Hřímalý. Halvorsen had made his famous arrangement of the Handel in 1894. Though undated, this cylinder was probably made shortly thereafter and is surely the first recording of this work. Block documented the musical circle of Anton Arensky as well as that of Tchaikovsky. He was especially proud of the recordings he made of Arensky playing his own compositions, the first systematic effort in history to preserve any composer’s interpretations of his own works. Block began the project in 1892 and therefore predated the Gramophone Company’s recordings of composers such as Grieg in 1903 and Saint-Saëns in 1904 by 11 years. Arensky recorded several of these pieces in the year of their composition. Perhaps the greatest achievement of Block’s project is the set of recordings he incised in 1894 capturing Arensky playing the piano in his Trio No. 1 in D Minor, one of the most beloved chamber works in the repertoire, recorded just months after the Trio was composed. Though not a complete performance, these cylinders contain substantial sections of the first three movements. The fourth movement was recorded, but does not survive. In the performance we hear the only recordings of Arensky and violinist Hřímalý, who taught at the Moscow Conservatory from 1869 to 1915, and who premiered Tchaikovsky’s string quartets number 2 (1874) and 3 (1876) and piano trio (1882); his passionate performances of the Trio were legendary. , who premiered Rachmaninoff’s two piano trios (1892 and 1893) and cello sonata (1901, dedicated to him) and Tchaikovsky’s Pezzo capriccioso, Op. 62 (1889), which was also dedicated to him. Hřímalý and Brandukov enjoyed reputations as great artists; now it is verified. Jules Conus was a successful violinist/composer who in 1892 had just returned from a period as associate concertmaster of the New York Symphony. His own violin concerto, dedicated to his teacher Hřímalý, has remained in the repertoire. He recorded two selections for Block in 1892, the first solo violin recordings ever made, including the earliest recorded performance of Bach. The young composer Paul Juon (who had also studied violin with ) accompanies Conus in a third, 1894 recording—the same year that Conus premiered Rachmaninoff’s second piano trio with the composer and the cellist Anatoly Brandukov. These are the only known recordings of Jules Conus. Paul Juon was nicknamed “the Russian Brahms,” and Block’s cylinders are his only known recordings. His solo cylinders document him playing his own works when he was head of the composition department at the Hochschule für Musik in Berlin in 1911. His earlier, 1894 cylinder as an accompanist to Jules Conus was recorded when Juon was a student at the Moscow Conservatory, where he studied with Arensky and Taneyev. Juon’s compositions are also performed by other musicians recorded by Block, and he was recorded playing excerpts from his own Tanzrhythmen with pianist Leonid Kreutzer in 1915. Jules Conus’s brother Leo was a pianist whose playing was documented by Block performing his own Suite for four hands with his teacher Taneyev. Leo Conus had also studied with Arensky. This is his only known recording. Block secured pianist Vladimir Wilschaw’s only recording. Wilschaw was a student of Arensky, Pabst, and Taneyev at the Moscow Conservatory, and a lifelong friend to Rachmaninoff; their correspondence has provided three generations of scholars with rich source material. Sandra Droucker, an Anton Rubinstein pupil, is represented by her only recordings aside from Welte piano rolls. Besides Nikolai Figner, Block also recorded cylinders by two other artists who did make commercial recordings: the lieder singer Elena Gerhardt accompanied on the piano by the conductor Arthur Nikisch with whom she was romantically linked. Block captured that duo in one Brahms song they did not record commercially. In all, the surviving Block cylinders document the work of 21 composers and musicians who did not otherwise record, as well as one of Gerhardt and Nikisch speaking. Block also recorded the voice of Leo Tolstoy, whose cylinder gives a fascinating glimpse of the Tolstoy family. Dating from 1895, it is the first recording Tolstoy made, reading from his work ”The Repentant Sinner.” It also contains the voices of Tolstoy’s wife, Countess Sophia Andreyevna, as well as a recording of the Tolstoys’ daughter and granddaughter, inscribed on the same cylinder 33 years later at Block’s home in Vevey, Switzerland. Block’s final musical cylinders, made in 1923, captured the earliest recordings of pianist Egon Petri, at Block’s home in Vevey in the presence of composer Emanuel Moór. Block’s oddest, and some might say the most important cylinder is presented last on our three-CD set. It contains the voices of several people including Anton Rubinstein and Tchaikovsky. It is unlike any other cylinder in the Block collection and a detailed discussion is devoted to it in the article, “A Note on the Recordings.” None of the above facts, however, can emphasize enough the musical importance of these recordings. Taneyev’s 1891 cylinder of Mozart’s Fantasie C Minor K. 396, shows that he played with a freedom and elasticity of tempo almost unknown today. More than 100 years have passed since Taneyev made that cylinder, but less than a 100 years had passed from the time of Mozart’s death to Taneyev’s recording. The Taneyev cylinder and several others presented here contain powerful evidence to help address questions about the evolution of performance practices and styles. Schumann had been dead for less than 40 years when Pabst recorded excerpts from his Carnaval, about the same amount of time that has passed between the writing of these words and Stravinsky’s death; Chopin had been dead a decade longer. There is compelling reason to regard these recordings as the “Rosetta Stone” of nineteenth century musical performance practice. © John Anthony Maltese and Gregor Benko, 2008 1 Transcriptions of two other cylinder recordings from 1889 do survive. These were made in Denmark of the bass Peter Schram (1819–1895) singing arias from Don Giovanni. The celebrated Mapleson cylinders of live opera performances were recorded at the Metropolitan Opera House between 1900 and 1904 and have been issued by their custodian, the New York Public Library. BIOGRAPHIES Arensky, Anton Stepanovich [Pianist, Composer, Conductor] (1861–1906). Born in Novgorod, Russia, Arensky studied composition with Rimsky-Korsakov at the St. Petersburg Conservatory (1879–1882). The Moscow Conservatory hired him upon his graduation, and he taught harmony and composition there until 1895. His students included Rachmaninoff, Scriabin, and Glière. In 1895, he succeeded Mily Balakirev as director of the Imperial Chapel in St. Petersburg, a coveted post that he held until 1901. Notorious for his heavy drinking and gambling, he fell ill with tuberculosis and died at a sanatorium in Finland at the age of 44. Arensky, described by the New Grove Dictionary as “one of the most eclectic Russian composers of his generation,” wrote over 70 works, including three operas, two symphonies, a ballet, violin and piano concertos, chamber music, songs, and works for the piano. Block, Julius [Pianist, Businessman] (1858–1934). Born in Natal (a British colony located in South Africa), Block was raised in St. Petersburg where his father represented two American trading firms. Julius loved music and was a fine amateur pianist. He wanted to study at the Leipzig Conservatory, but his father stood in the way. After travels to London and the United States to further his education, Julius joined his father’s business in 1877 and took it over in 1888. Between them, he and his father introduced many inventions to Russia, including the cotton gin, the elevator, the bicycle, and the phonograph. Block moved to Berlin in 1899 and spent his last years in Switzerland. He recorded these cylinders with a phonograph that Thomas Edison gave him during a visit to the United States in 1889. Borghi, Adele [Mezzo-Soprano] (1860–?). Relatively little is known about Borghi (not to be confused with Adelaide Borghi-Mamo). She was born in Italy and sang at La Scala where she originated the role of Lélio in Ponchielli’s Marion Delorme in 1885. She toured widely, appearing in Russia, Spain, Romania, and the United States. She was especially known for her interpretation of Carmen. Brandukov, Anatoly Andreyevich [Cellist] (1856–1930). Born in Moscow, Brandukov studied there at the Conservatory from 1868 to 1877. He moved to Paris in 1878, where he played in Martin Marsick’s string quartet and performed the Saint-Saëns cello concerto with the composer conducting. He also performed with Liszt and Anton Rubinstein. He returned to Russia frequently and played the premieres of both of Rachmaninoff’s trios with the composer at the piano. He and Rachmaninoff also played the premiere of the cello sonata, which Rachmaninoff dedicated to him. Tchaikovsky dedicated his Pezzo Capriccioso, op. 62 (1889) to Brandukov, as well as an arrangement of the “Andante Cantabile” from his first string quartet, which Brandukov premiered in Paris with Tchaikovsky conducting. Brandukov became director of the Moscow Philharmonic School of Music and Drama in 1906, and taught at the Moscow Conservatory from 1921 until his death. Brown, Eddy [Violinist] (1895–1974). Born in Chicago, Brown studied violin with Hubay and composition with Bartók and Kodály at the Budapest Conservatory (1904–1909). After hearing Brown’s 1909 London debut, Leopold Auer invited the 14-year-old to study with him at St. Petersburg. Brown agreed and stayed with Auer from 1910 to 1915. He made his Berlin debut in 1910 with Nikisch and the Philharmonic, and he played there often before making his U.S. debut in 1916. He gave the U.S. premiere of the Debussy sonata at Carnegie Hall in 1917. One of the first great American violinists, he recorded for Columbia, Odeon, and Royale. In the 1930s, he turned to a career in radio, becoming director of WOR and later WQXR in New York. Conus [Konyus], Jules [Yuly Eduardovich] [Violinist, Composer] (1869–1942). Born in Moscow to a family of French musicians, Conus studied violin with Hřímalý and composition with Arensky and Taneyev at the Moscow Conservatory. He played in the Colonne Orchestra in Paris and was associate concertmaster of the New York Symphony for one season (1891–1892). He returned to Russia to teach violin at the Moscow Conservatory. There, he became a close friend of Rachmaninoff, who dedicated his Two Pieces, op. 6 to him in 1893. The next year he performed the premiere of Rachmaninoff’s second piano trio with Rachmaninoff and Brandukov. Conus is best remembered for his violin concerto, written in 1898 and dedicated to Hřímalý. Kreisler gave its U.S. and British premieres, and Heifetz later championed it. Conus lived in Paris from 1919 to 1939 before returning to Moscow. His son Boris married Rachmaninoff’s daughter Tatiana in 1932. Conus [Konyus], Leo [Lev Eduardovich] [Pianist, Composer] (1871–1944). The brother of Jules, Leo was born in Moscow. He studied there at the Conservatory under Arensky and Taneyev. Like his brother, he was a close friend of Rachmaninoff. Conus arranged Tchaikovsky’s Pathétique symphony for piano 4-hands and played it with Taneyev for Tchaikovsky in 1893. Conus taught at the Moscow Conservatory from 1912 to 1920 and served as head of the piano department. He moved to Paris in 1921 and then immigrated to the United States in 1937. He settled in Cincinnati and taught there until his death. Dolinin, Evgeny Ivanovich [Tenor] (1873–1918). Born in Simbirsk (currently Ulyanovsk), Russia, as Evgeny Shein, he later adopted the stage name Dolinin. He studied at the St. Petersburg Conservatory with Cotogni. Upon graduation he sang at the Mariinsky Theatre. He originated two Rimsky-Korsakov roles: Foma Nazarich in Sadko and Tsarevich Gvidon in The Tale of Tsar Saltan. He performed throughout Russia and appeared in Italy (1902), Prague (1904–1905), Budapest (1905), and Vienna (1906). He settled in Khar’kov, Ukraine where he taught at the College of Music. His wife was the soprano, Therésè Leschetizkaya (daughter of Theodor Leschetizky and Anna Essipova), who is also heard on these cylinders. Donskoi, Lavrentii Dmitrievich [Tenor] (1857 or 1858–1917). Born into a peasant family in the village of Ushilovo in the Kostroma region of Russia, Donskoi moved to St. Petersburg in 1872. There he studied at the Conservatory with Samus and Everardi from 1877–1880. He then studied at the Free Music School, created by the so-called “Mighty Handful” (Balakirev, Borodin, Cui, Mussorgsky, and Rimsky-Korsakov), and was among Mussorgsky’s last pupils. He sang with the Bolshoi Theatre in Moscow from 1883–1904. Donskoi was an accomplished actor and acclaimed as one of the best singers of his generation. He sang 78 roles in 69 different operas, performed at the Paris World’s Fair in 1900, received the title “Distinguished Singer of the Imperial Theatres” in 1909, and taught at the Moscow School of Music and Drama from 1907–1917. Droucker, Sandra [Pianist] (1876–1944). Born in St. Petersburg, Droucker studied with Anton Rubinstein and made her debut in 1894. She toured Europe, appearing with Fürtwangler and other leading conductors. Her 1910 marriage to the pianist Gottfried Galston ended in divorce. She taught in Berlin, Munich, and Vienna, wrote a book about Rubinstein that was published in 1904, and made piano rolls for Welte-Mignon. Essipova [Essipoff], Anna [Annette] Nikolayevna [Pianist] (1851–1914). Born in St. Petersburg, where she entered the Conservatory at the age of 13, Essipova studied first with Villoing and then with Leschetizky (to whom she was later briefly married). After her Moscow debut in 1871, Tchaikovsky took note of her exceptional technique and artistic expression. She met and played for Liszt in 1873 and began a period of extensive touring. She made her London debut in 1874, her Paris debut in 1875, and her U.S. debut in 1876. After 20 years of touring, she settled in St. Petersburg and taught at the Conservatory until her death. Her pupils include Barere, Borowski, Pouishnoff, Prokofiev, and Schnabel. She made piano rolls for Welte-Mignon, but the one cylinder in this collection is her only recording. Figner, Nikolai [Tenor] (1857–1918). Born in the province of Kazan, Figner attended the Naval College in St. Petersburg and served in the Navy for six years. He later studied voice at the St. Petersburg Conservatory, but was told that he had no vocal talent. Undeterred, he traveled to Italy for further lessons and made his debut in Naples in 1882 in Gounod’s Philémon et Baucis. This led to successful appearances throughout Italy and Spain, followed by a season in South America where he sang in Aïda under the young Toscanini in 1886. He returned to Russia in 1887 and made his debut at the Mariinsky Theatre in St. Petersburg. He sang in the premieres of Tchaikovsky’s Queen of Spades (1890) and Iolanta (1892), and Napravnik’s Dubrovsky (1895) and Francesca da Rimini (1902). From 1910 to 1915, he directed the Narodny Dom Theatre in St. Petersburg. (Nikolai was the husband of the famous Italian soprano, Medea Mei-Figner.) Gerhardt, Elena [Soprano and Mezzo-Soprano] (1883–1961). Gerhardt was born in Leipzig where she studied at the Conservatory with Marie Hedmont from 1900–1904. Her talent was such that the Conservatory’s director, Arthur Nikisch, accompanied Gerhardt at her debut recital on her 20th birthday. She sang briefly with the Leipzig Opera (1905–1906), but devoted most of her career to lieder and helped to perfect a style of lieder singing distinct from the operatic style used by most of her predecessors. Nikisch, with whom she was romantically involved, accompanied Gerhardt at her 1906 London debut, and the two made a series of records for G&T in 1907. Gerhardt made her U.S. debut in 1912. She left Germany in 1934 and settled in England. Her voice deepened to mezzo-soprano with time, and she gave recitals as late as 1953. Gutheil, Maria Ivanovna [Soprano]. Almost nothing has been discovered about this soprano except that she studied with Elizaveta Lavrovskaya and that she is not the soprano Marie Gutheil-Schoder. Heifetz, Jascha [Violinist] (1901–1987). Born in Vilnius, Heifetz entered the St. Petersburg Conservatory in 1910. He studied first with Nalbandyan and then with Auer, who introduced Heifetz to Berlin at a private press matinee in May 1912. Among the many violinists in attendance was Heifetz’s idol, Fritz Kreisler, who accompanied Heifetz at the piano and then wrote: “Never in all my life have I witnessed such precocity.” Heifetz made his Berlin recital debut that same month, followed by a sensational debut with the Berlin Philharmonic under Nikisch on October 28. These cylinders were recorded exactly one week later. Heifetz made his U.S. debut at Carnegie Hall in 1917 and his London debut in 1920. He proceeded to take the world by storm, including Australia in 1921 and the Far East in 1923. He recorded extensively for Victor and Decca, and gave his final recital in Los Angeles in 1972. Hofmann, Josef [Pianist] (1876–1957). Born in Krakow, Poland, Hofmann was one of the greatest pianists of all time. He toured extensively as a child prodigy, making his European debut in 1886 at age ten, and his U.S. debut a year later at the Metropolitan Opera House. In 1888 he retired from the concert stage when the heir of the Singer Sewing Machine fortune put up an enormous sum to insure the boy’s future education. Hofmann worked briefly with Moszkowski before becoming the only private pupil of Anton Rubinstein in 1892. He resumed his concert career in November 1894, the same month that Rubinstein died. Hofmann returned to the United States in 1898, and toured Europe and America widely, visiting South America in 1936. He was considered the preeminent pianist of his generation. In 1926 he became director of Philadelphia’s Curtis Institute of Music. Hofmann was also a prolific inventor (of shock absorbers for motor vehicles, piano improvements, medical devices, etc.) and held over 70 patents. He made his first cylinders during a visit to the Edison laboratory in 1888, but went on to leave few recordings over his long career, apparently sharing Rubinstein’s distrust of recording. Hřímalý [Grzhimali], Jan [Ivan Voytekhovich] [Violinist] (1844–1915). Born in Pilsen, Hřímalý studied at the Prague Conservatory with Moritz Mildner. From 1862 to 1868 he served as concertmaster of the Amsterdam Concertgebouw. He also had a successful career as a soloist and chamber musician, performing in the premieres of Tchaikovsky’s string quartets number 2 (1874) and 3 (1876) and piano trio (1882). He taught at the Moscow Conservatory from 1869 to 1915, succeeding Ferdinand Laub as chief violin professor in 1874 and establishing himself as Moscow’s equivalent to Leopold Auer in St. Petersburg. Hřímalý’s scale studies are still widely used. His many students included Stanislaw Barcewicz, Issay Barmas, Jules Conus, Paul Juon, Lea Luboschutz, Alexander Moguilewsky, Alexander Petschnikoff, and Michael Press. Juon [Yuon], Paul [Pavel Fedorovich] [Pianist, Composer, Violinist] (1872–1940). Born in Moscow of German and Swiss descent, Juon spent most of his life in Germany. He entered the Moscow Conservatory in 1889, studying violin with Hřímalý and composition with Arensky and Taneyev. Between 1894–1895, he studied composition at the Hochschule für Musik in Berlin and won the Mendelssohn Prize. He returned briefly to Russia to teach violin and music theory at the Baku Conservatory, but settled in Berlin in 1897. In 1906, Joseph Joachim appointed him head of the composition department at the Hochschule für Musik, a post he held until 1934. He wrote a great deal of chamber music, as well as works for solo piano, orchestra, and several concertos. He was nicknamed “the Russian Brahms” and won the Beethoven Prize in 1929. He translated Arensky’s book on harmony into German in 1900, and published his own book on the subject the next year. He also translated Modest Tchaikovsky’s two-volume biography of Pyotr Tchaikovsky. Klimentova-Muromtzeva, Maria [Soprano] (1857–1946). Born in the Kursk region of Russia and raised in Kiev, Klimentova studied at the Moscow Conservatory from 1875–1880. As a student, she sang Tatiana in the 1879 premiere of Tchaikovsky’s Eugene Onegin (a student production conducted by Anton Rubinstein). She made her debut at the Bolshoi Theatre in Moscow the following year as Marguerite in Faust, and sang there until 1889 when, at the peak of her career, she left over a conflict with the administration. She also originated the role of Oksana in the 1887 premiere of Tchaikovsky’s Cherevichki. Beginning in 1890, she taught at the Moscow Conservatory, where she worked with the director Constantin Stanislavsky to stage student productions. Kreutzer, Leonid [Pianist] (1884–1953). Born in St. Petersburg, Kreutzer attended that city’s conservatory, where he studied piano with Essipova and composition with Glazounov. He was Sergei Rachmaninoff’s only piano student (the composer admitted to just mentoring and coaching others who claimed they were his piano students) and Kreutzer assisted Rachmaninoff and Siloti in preparations for the premiere of the composer’s Second Piano Concerto in 1901. Kreutzer moved to Berlin in 1908 and toured as a concert pianist. He taught at the Hochschule für Musik from 1921–1933, subsequently teaching at the Imperial Academy in Tokyo. Kreutzer recorded discs for Polydor and Japanese Columbia as well as making piano rolls. His students included Ernö Balogh, Karl Ulrich Schnabel, Wladyslaw Szpilman, and Alexander Zakin. Lavrovskaya, Elizaveta Andreyevna [Mezzo-Soprano] (1845–1919). Born in Kashin, Lavrovskaya studied with Henriette Nissen-Saloman at the St. Petersburg Conservatory and with Pauline Viardot in Paris. She was a staple at the Mariinsky Theatre, and also sang at the Bolshoi. She toured widely, including the European continent and England. She had close ties to Tchaikovsky, who dedicated his Six Romances, Op. 27 (1875) to her and was the one who suggested Pushkin’s Eugene Onegin as a subject for an opera. Tchaikovsky described her suggestion in a letter to his brother Modest on 18 May 1877. At first, he wrote, the “idea seemed wild to me,” but later as he ate alone at a restaurant he thought about Lavrovskaya’s idea and grew more and more excited. He located a copy of Onegin, spent an “utterly sleepless night” reading it, and found a librettist to work on it the very next day. Lavrovskaya was appointed a voice professor at the Moscow Conservatory in 1888. Leschetizkaya-Dolinina, Therésè [Soprano] (1873–1956). Born in St. Petersburg, Leschetizkaya was the daughter of Theodor Leschetizky and his second wife, Anna Essipova. She first studied piano, but after developing rheumatism in her right hand at age 16, she turned her attention to singing. In 1891 the eminent soprano Marianne Brandt took an interest in her voice and began to teach her singing. Therésè continued her studies with Desirée Artôt de Padilla, Madame Giraldoni, and later with Napravnik. She established a career as a concert singer and coach and became head of the vocal department at the St. Petersburg Conservatory, where one of her students was the tenor Evgeny Dolinin, whom she married. She left Russia to escape the depredations of the Soviet government and moved to Vienna, teaching there from 1933–1939, before returning penniless to Paris with a different husband, a noted vocalist named Voskresensky. She taught at the Russian Conservatory in Paris. Her American student Miriam Carleton-Squires wrote: “...she never talks about the voice. In fact, she says there is no voice, that we make it through our will.” Leschetizkaya died in Paris. Liachowsky, Waldemar [Pianist] (1874–1958). Waldemar Liachowsky was born in Stolptsy, Russia, in 1874. He immigrated to Berlin as a young man, received his academic and musical education there, and studied piano with Artur Schnabel. His first big break came as accompanist for Mischa Elman, one of the early child prodigies to come out of Russia. He traveled to America with Elman and accompanied him at his debut in Carnegie Hall in 1908 and in many recitals to come. Liachowsky became a prominent accompanist for numerous famous violinists, including Maud Powell, Fritz Kreisler, Jascha Heifetz, and Carl Flesch. He even accompanied Albert Einstein who was an amateur violinist. He married the lieder singer Paula Nivell, with whom he appeared on the concert stage. They had two sons, Henry and Rudolph, whom he sent out of Nazi Germany to safety in the U.S. Liachowsky himself immigrated to the U.S. in 1937, changed his name to Lea, and continued his musical career, coaching and accompanying young violinists and singers. Nikisch, Arthur [Pianist, Conductor] (1855–1922). Born in Hungary, Nikisch attended the Vienna Conservatory where he studied the violin with Joseph Hellmesberger and composition with Felix Dessoff. Upon graduating in 1874, he joined the Vienna Court Orchestra where he played in the violin section. He became assistant conductor of the Leipzig Opera in 1878 and principal conductor the next year. His posts included music director of the Boston Symphony, the Budapest Opera, the Leipzig Gewandhaus Orchestra, and the Berlin Philharmonic. He also directed the Leipzig Conservatory. Nikita (stage name of Louisa Margaret Nicholson) [Soprano] (1872– ?) Probably born in Kentucky, though some sources say Philadelphia, Nicholson studied in Washington, D.C. with her uncle M. C. Le Roy. She toured America in her pre-teens and was billed as “The Miniature Patti.” She continued her studies in Paris with the brother-in-law of Adelina Patti, Maurice Strakosch. She was much manipulated by the inflated schemes of her uncle and Strakosch, who floated the absurd story that she was abducted as an infant by an Indian chief named “Niki”. In 1889 she made her Russian debut and immediately became a favorite of the public as well as with composers and musicians. That same year she appeared in Moscow (Zerlina in Don Giovanni) and in concert at Covent Garden with Luigi Arditi conducting. She also sang leading roles in Germany and Paris. Her looks, charm, and extraordinary singing led to huge success in Europe, until a bicycle accident in 1897 crushed her throat and ended her career. She retired to life as a society figure in Paris. Despite her stardom in Europe and Russia, Nikita has been completely forgotten. Pabst, Paul [Pianist, Composer] (1854–1897). Born in Königsberg, Germany (now Kaliningrad, Russia), Pabst first studied piano with his father. He later studied in Dresden and then with Anton Door in Vienna. He also spent time with Liszt at Weimar. Pabst joined the piano faculty of the Moscow Conservatory in 1878 at the invitation of Nikolai Rubinstein, and was elevated to professor of high degree in 1881 (joining Taneyev and Safonov)—a post he held until his untimely death. Pabst composed many works, including a piano concerto, a piano trio (dedicated to the memory of Anton Rubinstein), and numerous paraphrases based on Tchaikovsky’s music. In return, Tchaikovsky dedicated his Polacca de concert, op. 72, no. 7 to Pabst. Pabst also had ties to Rachmaninoff. He performed Rachmaninoff’s Suite No. 1 for two pianos, op. 5 with the composer shortly after its composition, and Rachmaninoff dedicated his Seven Pieces for piano, op. 10 to Pabst. His students include Nikolai Medtner, Alexander Goldenweiser, and Konstantin Igumnov. Petri, Egon [Pianist] (1881–1962). Born in Hanover, Petri studied with Teresa Carreño in Berlin and later with Busoni, who became his mentor, in Weimar. He made his debut in Holland in 1902 and taught at the Royal Manchester College of Music from 1905–1911 and at the Hochschule für Musik in Berlin from 1921–1925. In 1923, the year these cylinders were made, he appeared in the Soviet Union, playing 31 times in 40 days to enormous acclaim. He was reportedly the first soloist from the West to perform there after the Revolution. He made his U.S. debut in 1932. He settled there in 1940, teaching at Cornell University and then Mills College in California. He collaborated with Busoni in an edition of Bach’s keyboard works. Among his many pupils are Eugene Istomin, Grant Johannesen, Ernst Levy, John Ogdon, and Earl Wild. Press, Joseph [Cellist] (1881–1924). Born in Vilnius, Press studied at the Moscow Conservatory with Alfred Glehn and graduated in 1902. He had further studies with Casals and Julius Klengel. He performed widely both as a soloist and as a chamber musician. In 1906, he formed the Trio Russe with his brother, Michael, and Michael’s first wife Vera Maurina. They toured with great success throughout Russia and Europe. From 1916–1918 Press was professor of cello at the St. Petersburg Conservatory. In 1918 he moved to the Kiev Conservatory, and later to the Odessa Conservatory. He left Russia in 1921 and was offered a position as head of the cello department at the Berlin Conservatory, but he turned down that offer in order to tour the United States as soloist. He was well received in the U.S., and joined the faculty of the Eastman School of Music in 1922. He died suddenly of pneumonia at the age of 41 shortly before a scheduled Carnegie Hall recital. He recorded for Polyphon. Press, Michael [Violinist] (1872–1938). Born in Vilnius, Press was a prodigy. He played first violin in the local theater orchestra at the age of ten and became its concertmaster at the age of 13. He entered the Moscow Conservatory, where he studied with Hřímalý. Press was appointed professor of violin at the Moscow Conservatory in 1901, and succeeded Hřímalý as chief violin professor in 1915. He narrowly escaped execution during the Russian Revolution and fled to Germany where he lived for several years. He made his U.S. debut in 1922, joined the violin faculty of the Curtis Institute in 1924 (serving as Carl Flesch’s assistant for one year), and taught at Michigan State College from 1928–1938. He was also a composer and conductor (guest conducting the Boston Symphony, among others). He recorded for acoustic Vox when he lived in Germany. Rachmaninoff, Sergei [Composer, Pianist, Conductor] (1873–1943). Rachmaninoff was a 20-year-old Moscow Conservatory graduate whose pre-eminent talent had already been proclaimed by Arensky, Taneyev, and Tchaikovsky when the cylinder in this set was recorded. The work known variously as O Mother of God Perpetually Praying, Sacred Concerto, or Spiritual Concert, was composed in the summer of 1893. The three-part work for unaccompanied mixed chorus began the composer’s relationship with the Choir of the Synodical School of Moscow, which culminated 22 years later in the premiere of his choral masterpiece, All Night Vigil. The Sacred Concerto was not published or performed again in the composer lifetime. Rubinstein, Anton Grigorevich [Pianist, Composer, Conductor] (1829–1894). Rubinstein is widely considered one of the greatest pianists of his time. He founded the St. Petersburg Conservatory, which along with the Moscow Conservatory (founded by Anton’s brother Nikolai) helped to establish Russia’s reputation for producing innumerable outstanding musicians. Rubinstein studied with Alexander Villoing (one of Moscow’s leading piano teachers) as a non-paying student. Under Villoing’s tutelage, Rubinstein played in the Salle Erard for an audience that included Frederic Chopin and Franz Liszt. Liszt advised Rubinstein to study composition in Germany, which he did in time. In Berlin, Anton and his younger brother Nikolai were supported by Felix Mendelssohn and Giacomo Meyerbeer, who arranged for their instruction in composition, theory, and other non-musical subjects. Safonov, Vasily Ilyich [Pianist, Conductor, Director of the Moscow Conservatory] (1852–1918). Safanov studied with Theodor Leschetizky and Louis Brassin. He graduated from the St. Petersburg Conservatory in 1880 and taught there briefly before succeeding Taneyev as director of the Moscow Conservatory in 1889. He was the principal conductor of the Moscow branch of the Russian Musical Society from 1889–1905, and again from 1909–1911; the principal conductor of the New York Philharmonic from 1906–1909; and director of the National Conservatory of Music in New York from 1906–1909. He returned to Russia in 1909 where he resumed his concert work and played in chamber ensembles. Samus, Vasily Maksimovitch [Tenor] (1849–1903). Samus attended the St. Petersburg Conservatory where he studied voice. He became an instructor there shortly after his graduation in 1877. He was elevated to Professor in 1886. Lavrentii Donskoi was his most prominent student. Schurovsky, Pyotr Andreevich [Pianist, Composer, Conductor] (1850–1908). Schurovsky studied composition at the Moscow Conservatory with Tchaikovsky, with further studies under Ignaz Moscheles in Leipzig and Henry Charles Litolff in Paris. He conducted often at the Bolshoi Theatre, led the Berlin premiere of Glinka’s A Life for the Tsar, and wrote a book on conducting. He also published a collection of 85 national anthems, and wrote one for Thailand (which is still used). His other compositions include an opera, piano pieces, and nearly 30 songs (some dedicated to, and sung by, Nikolai Figner). He also wrote extensively as a music critic. Taneyev, Sergei Ivanovich [Pianist, Composer] (1856–1915). Born in Dyudkovo, Russia, Taneyev studied composition at the Moscow Conservatory with Tchaikovsky, and piano with Nikolai Rubinstein. When he graduated in 1875, he was the first in the history of the Conservatory to win the gold medal for both composition and piano performance. He made his official debut as a pianist in Moscow in January 1875, playing the Brahms D minor concerto. The following December he gave the Moscow premiere of Tchaikovsky’s first piano concerto. He also premiered Tchaikovsky’s second concerto in 1882 (with Anton Rubinstein conducting) and after Tchaikovsky’s death completed his third concerto. When Tchaikovsky resigned from the Moscow Conservatory in 1878, the 22-year-old Taneyev took over his harmony and orchestration classes, and when Nikolai Rubinstein died in 1881, Taneyev took over his piano classes. In 1883 Taneyev also took over the composition classes and in 1885 he became director of the Conservatory, a post he held until 1889. Thereafter he taught counterpoint at the Conservatory. A renowned polyphonist, Taneyev’s many compositions include symphonies, chamber music (including nine string quartets), an opera, and over 60 songs. Among his pupils were Scriabin, Rachmaninoff, Glière, Medtner, and Juon. Tchaikovsky, Pyotr Ilyich [Composer] (1840–1893). Tchaikovsky was born in Votkinsk, Russia and although he showed early promise in music, he began a career as a civil servant. Without “giving up his day job” Tchaikovsky studied music at the new St. Petersburg Conservatory including instrumentation and composition under Anton Rubinstein, whom he idolized, but who never warmed up to him. Upon graduation, Tchaikovsky accepted the position of professor of harmony, composition, and history of music, but eventually was able to compose full-time, resulting in beloved masterpieces such as: Romeo and Juliet, the 1812 Overture, Marche Slave, the Nutcracker, Eugene Onegin, and the Fourth, Fifth, and Sixth Symphonies. Details of the mysterious circumstances surrounding his early death have launched novels, biographies, and movies, but the opening of archives in Russia in recent years, and this publication of recordings by his colleagues and friends, provide new and important resources for anyone interested in Tchaikovsky and his work. Tolstoy, Count Leo [Lev] Nicholaevich [Novelist, Philosopher] (1828–1910). Born to nobility in Central Russia, Tolstoy is considered one of the greatest of all novelists, War and Peace and Anna Karenina being his most famous works. He was known for his views on nonviolence (Writings on Civil Disobedience and Nonviolence, The Kingdom of God is Within You) and was a great influence on Gandhi, who called Tolstoy “… the greatest apostle of non-violence that the present age has produced.” What is less known, is Tolstoy’s love of music. Tolstoy is quoted as saying, “Music is the shorthand of emotion,” and Tolstoy composed a simple waltz for piano, which survives today. Eugenia Jurjevna Werdan [Mezzo-Soprano]. We have been unable to locate any biographical information about Werdan. Wilschaw, Vladimir Robertovich [Pianist] (1868–1957). Born into a musical family (his father played violin at the Bolshoi Theatre), Wilschaw attended the Moscow Conservatory where he studied piano with Pabst. He also took classes with Arensky and Taneyev. At Pabst’s suggestion, he went to study with Busoni in Helsinki and then followed him to Boston for a year. Wilschaw was a lifelong friend of Rachmaninoff. He became a teacher, first at a women’s college, and then at the Moscow Conservatory. A Note on the Discovery of these Cylinders The discovery of these cylinders is, for my father and me, the culmination of a search that lasted more than 30 years. It is also an event of remarkable serendipity. We first learned about these cylinders in 1971, when I was 11 years old. The source: the great American violinist Eddy Brown, who was a friend of my father’s. Brown made cylinders for Julius Block in Berlin in December 1914, and he told us that Jascha Heifetz had also recorded cylinders around the same time. Brown even claimed to have recorded duets with Heifetz. He and Heifetz had both studied with Leopold Auer at the St. Petersburg Conservatory in Russia, and also at Auer’s summer school in Loschwitz, Germany (where Heifetz was stranded in 1914 at the start of World War I). For years, my father and I tried to hunt down these cylinders. Years before meeting Eddy Brown, my father had asked Heifetz if he had ever made recordings before coming to the United States. Heifetz had nodded yes and said, “In the old country.” Perhaps these were the recordings he meant.1 Armed with Brown’s story, we asked Heifetz’s producer at RCA, Jack Pfeiffer, if he had ever heard of these recordings. He had not. Pfeiffer, in turn, asked Heifetz, who now claimed never to have made recordings before coming to the U.S. (if, in fact, he remembered making them, maybe he feared that they would not be up to his exacting standards and did not want Pfeiffer to look for them). When Heifetz died, we examined his personal collection of recordings (donated to the Stanford Sound Archive) in search of clues. None could be found. When we published discographies of Heifetz, we mentioned Brown’s claim in the hopes that a reader might come forward with information about them. None did. Then, in early 2002, we began corresponding with Galina Kopytova, who lived in St. Petersburg, Russia. She was writing a book about Heifetz’s boyhood years, and I sent her an e-mail in which I mentioned the 1912 cylinders of Heifetz, adding: “Eddy Brown told me about them years ago. They do not survive, as far as I know.” Her reply on 2 March stunned me: “I have information to add to Eddy Brown’s: In the Institute of Russian Literature (St. Petersburg) are stored wax [cylinders] recorded by Heifetz in 1912….The recordings were made in the apartment of Julius Block.” After picking myself up off the floor I shot back an e-mail asking for more details. On 10 March, she wrote back to say that she had visited the institute and that, indeed, there were also recordings of Eddy Brown, and they had been made in Berlin. We had found the cylinders at last. Ten days later, Galina wrote with even more good news: the collection also included recordings of Josef Hofmann, Anton Arensky, Elena Gerhardt, Arthur Nikisch, Leo Tolstoy, and others. She put me in direct contact with the institute (better known as the Pushkin House) and I then traveled to St. Petersburg to see the cylinders for myself and to listen to them. The institute expressed interest in publishing the cylinders, and I contacted Ward Marston and his business partner Scott Kessler to secure their help. Together we went back to Russia in 2005, met with sound engineers at the Pushkin House, and returned with digital copies of the cylinders. Our friendship with Eddy Brown is not my only indirect link to Edison and these cylinders. When Block visited Edison in 1889, my great, great grandfather, Theodore Carmen, worked for Edison in his laboratory. In fact, his young daughter Maria was one of the first to have her voice captured on record. Shortly after inventing the phonograph in 1877, my great grandmother (then just eight years old) was visiting the laboratory and Edison asked her to sing into the device that would transform the world. Maria lived to be 103 years old—long enough for me to get to know her and to talk with her about growing up around Edison. The tin-foil of her voice no longer exists, but the cylinders of Julius Block and the testimonials written about them are tangible documents that reflect the excitement felt by those experiencing the phonograph for the first time. As Tchaikovsky wrote in 1889: “Honor to the great inventor Edison!” ©John Anthony Maltese, 2008 1 In fact, Heifetz probably was referring to discs that he made for Zvukopis in St. Petersburg in May 1911. Appendix 1: Recording locations The majority of cylinders were recorded at Julius Block’s residences. Based on Block’s journal and the announcements heard on the cylinders, these include locations in Russia (Moscow and St. Petersburg), Germany (Berlin and Grunewald), and Switzerland (Vevey.) The notable exceptions are Cylinder 40, which was recorded at the Hall of the Synodical School of Moscow; Cylinders 64, 65 and 66, which were recorded in Moscow at the History Museum’s main lecture hall; Cylinders 68, 69, and 70, which were recorded at the Physics Lecture Hall, Moscow University; and Cylinder 74, which was recorded at the St. Petersburg Conservatory. Appendix 2: Cylinder Announcements: Translations and Transcriptions C40 From Russian January 23, 1894, performed by the Synod Choir in the hall of the Synod College, concerto by Rachmaninoff, second and last parts C43 from Russian [Unintelligible] with Brandukov, December 10, 1894 C44 from Russian Performed by the author [unintelligible] Brandukov, year 1894, 10th of December C50 from Russian March 10, 1892 C51 from Russian Romance by Tchaikovsky, “Lullaby in a Storm” C52 from Russian Romance “Ich liebe dich” by Grieg and “Musical Picture” by Cui is sung by Eugenia Jurjevna Werdan November 14th, 1892 in Moscow, on [unintelligible] (Ostonovchesky Pereulok?) street, at the Lepeshinsky House, Apartment #14 C55 from Russian Part of Tchaikovsky’s “Legend” was sung by Eugenia Jurjevna Werdan in Moscow on November 14th, 1892. That’s all, that’s all. C59 from Russian “La Zingara” was sung by Mademoiselle Nikita, accompanied by Pytor Schurovsky in St. Petersburg on February 19th, 1890. C60 from Russian “A la Fontaine” [unintelligible] was sung by Mademoiselle Nikita, accompanied by Pytor Schurovsky in St. Petersburg, on February 19, 1890. C61 from English “Nocturne” by Chopin sung by Mademoiselle Nikita on the 22nd of November 1891 in Moscow C63 from English [Unintelligible] in Moscow. C64 [Speech unintelligible] C65 from Russian Sung by Madame Klimentova-Muromtseva on 4 February 1891 at the History Museum’s main lecture hall in Moscow. C66 from Russian Sung by Madame Klimentova-Muromtseva on 5 February 1891 at the History Museum’s main lecture hall in Moscow. C68 from Russian Romance “Sail” by Rubinstein is sung by Maria Ivanovna Gutheil at the Physics Lecture Hall of Moscow University at the 9th Congress of Russian Researchers in Moscow on January 10, 1894. C69 from Russian “And night, and love, and the moon” (“E noch’, e lubov’, e luna”), romance by Davydov was sung by Maria Ivanovna Gutheil at the 9th Congress of Russian Researchers and Physicians in Moscow, at the Physics Lecture Hall of Moscow University on January 10, 1894. C70 from Russian “Longing” (“Zhelanie”), romance by Rubinstein is sung by Maria Ivanovna Gutheil at the 9th Congress of Russian Researchers in Moscow on January 10, 1894. C74 from Russian [At beginning of cylinder]: Dargomïzhsky’s romance “I am in love, oh beautiful girl [my maiden my beauty] (Vljubljon ya, deva-krasota) sung by Samus, accompanied by [unintelligible] in the hall of the St. Petersburg Conservatory, February 15, 1890. [At end of cylinder]: Thank you, I am very grateful. C77 from Russian Moscow, 1890 [unintelligible] at the apartment of Nikolai Ivanovich [unintelligible] C88 from Russian March 31, 1891 C93 from Russian “Lohengrin’s Tale” (“Rasskaz Loengrina”) by Wagner was sung by me, Evgeny Dolinin, at Julius Ivanovich Block’s December 10th, 1898. C97 from German “Chanson de Florian” by Godard sung by Therésè Leschetizkaya 26 November 98, St. Petersburg C100 from German “Blinde Kuh,” lied by Johannes Brahms performed by Elena Gehardt, and accompanied by Arthur Nikisch, on Thursday, 16 September 1911, in Berlin. C101 from German “Wohin” by Schubert, performed by Elena Gerhardt, and accompanied by Arthur Nikisch, on 16 September 1911 in the afternoon at the Block residence in Berlin-Grunewald. C104 from English I want thank Mr. Block and his kind wife for the charming afternoon we have here and I hope we can another wonderful evening. [Unintelligible] keen pleasure [unintelligible] and I ask to forgiveness for my very bad improvisation to Emanuel Moór, Vevey, [unintelligible] of October, 1923, Vevey. I have to thank Mr. and Mrs. Moór for THEIR kindness of giving us the pleasure of… C106 from English Free improvisation after old classic [unintelligible] it’s the old ones do much better than I do now. Ah, yes, Mr. Moór, E. Moór, inventor of the duplex, wife [sic] of Winifred Christie, formerly Christie, yes [unintelligible] of October, 1923. C107 [Speech unintelligible] C109 from Russian [Unintelligible] by Arensky was performed by the [unintelligible] December 20, 1894 in Moscow. C111 from Russian “Polichinelle’” and suites by Arensky were performed by Sergei Ivanovich Taneyev in Moscow on December 14, 1892. C112 from Russian [Unintelligible] by Arensky [unintelligible] November 24, 1892. C114 from Russian “Nocturne” by Arensky was performed by the author November 25, 1894 in Moscow. C117 from Russian [Unintelligible] April 12, 1899 [unintelligible] by Arensky [unintelligible] C119 from Russian [Unintelligible] by Arensky [unintelligible] December 20, 1894. C120 from Russian Improvisation number 5 by Arensky. C121 from German “Nocturne E” by Chopin [unintelligible] Pavel Augustovich Pabst, Moscow. C123 from Russian Mazurka. Chopin. Performed by Pavel Augustivich Pabst [unintelligible] Moscow [unintelligible] 12 February 1895. C124 from Russian Tchaikovsky, Pyotr. A fragment from “Sleeping Beauty” was performed by the author February 12, 1895 in Moscow. C125 from Russian Pavel Pabst [unintelligible] in Moscow [unintelligible] 12 February 1895 C127 from Russian [Unintelligible] in Moscow December 14, 1892. C134 from Russian In the house of the hosts Block, played February 16, 18 [unintelligible] (laughter) [unintelligible] Oh, I forgot to say that I am Sandra Droucker. C135 from Russian As you might have noticed, with great success, performed by [unintelligible]. February 18, 1898. C136 from Russian November 15, 1898 I, Anna Nikolayevna Essipova played at the apartment of Julius Ivanovich Block. C139 from German [Unintelligible] by Anton Rubinstein performed by Josef Hofmann, as a token of remembrance for Herr Julius Block in Moscow, on 24 December 1895. C140 from German Performed by Josef Hofmann on 10 February 1896 in Moscow. C141 from Russian [Speech unintelligible] C158 from German Presented by Leonid Kreutzer, February 1915 in Grunewald. C162 from Russian Variations on his own sonata for violin were played by Pavel Fyodorovich Juon February 26, 1911 at the home of C189 from Russian April 7, 1894, much respected Jules Ivanovich Block, performed [word repeated twice]” C191 from Russian “Dance Sarasate” was performed October 4, 1893 1892 [the announcer first says 1893, then corrects himself] in Moscow by Jules Eduardovich Conus. C192 from German On 4 November 1912, I, Jascha Heifetz, played at the Block residence in Grunewald: “Orientale” by César Cui. C193 from German On 4 November 1912, I, Jascha Heifetz, played at Herr Block in Grunewald: Cui “Orientale.” C194 from German I, Jascha Heifetz of Petersburg, played at Herr Block, Grunewald: “Gavotte” by Leopold Auer on 4 November 1912. C195 from German I, Jascha Heifetz of Petersburg, played at Herr Block, Grunewald: “Spinnlied” by Popper-Auer. C197 from German [Jascha Heifetz]: I, Jascha Heifetz of Petersburg, five years old1, played at Herr Block, Grunewald: “Schön Rosmarin“ by Fritz Kreisler on 4 November 1912. [Male German Speaker]: Accompanied by Waldemar Liachowsky of Königsberg-Schottenwald. [Ruvin Heifetz]: I am very pleased how my son Jascha could perform with this amazing machine. C198 from German “Passacaglia” by Handel, played by the Press brothers [unintelligible]. C200 from German On 27 December 1914, I, Eddy Brown, played the “Tartini Variations” at Herr Block’s home in the Grunewald, who [Block] also accompanied me. C202 from German … have on 6 December 1914. C205 from German Played by Eddy Brown on 27 December 1914 at Herr Bloch: “Vogel als Prophet” by Schumann. C207 from German I, Eddy Brown, played the Martini “Andante” on 6 December 1914 in the Grunewald at Herr Block. C209 from German I, Eddy Brown, played the “Minuet” by Haydn on 27 December 1914 at Herr Block in the Grunewald, who (Block) also accompanied me. C211 from German [Eddy Brown]: I, Eddy Brown, played on 27 December 1914 in the Grunewald at Herr Block: “La Chasse” by Cartier. Herr Block also accompanied me. [Female Voice, German]: I thank Eddy Brown for this most beautiful playing. It is the most beautiful performance [of the piece] which I have ever heard. C212 from German Eddy Brown played on 27 December 1914. “Minuet” by Beethoven. C245 from Russian and English2 Part 1: [Tolstoy reading from “The Repentant Sinner,” 14 February 1895]: Now surely I shall be allowed to enter. Peter and David must let me in, because they know man’s weakness and God’s mercy; and thou wilt let me in, because thou lovest much. Was it not thou, John the Divine who wrote that God is Love, and that he who loves not, knows not God? And in thine old age didst thou not say unto men: “Brethren, love one another.” How, then, canst thou look on me with hatred, and drive me away? Either thou must renounce what thou hast said, or loving me, must let me enter the kingdom of heaven.3 Part 2: [Spoken by Tatiana Mikhailovna Sukhotina-Albertini (1905–1996), Tolstoy’s granddaughter, daughter of his daughter Tatiana L’vovna Tolstaya-Sukhotina, 2 November 1927]: I, Tata Sukhotina, November 2, 1927, listened on this same cylinder, to the voice of my grandfather, Lev Nicholaevich, and will now hear the voice of my grandmother. Part 3: [Sophia Andreevna Tolstaya, wife of L.N. Tolstoy, is reading from “The Repentant Sinner,” 14 February 1895]: He fell ill but even then did not repent. Only at the last moment, as he was dying, he wept and said: ‘Lord! forgive me, as Thou forgavest the thief upon the cross.’ And as he said these words, his soul left his body. And the soul of the sinner, feeling love towards God and faith in His mercy, went to the gates of heaven and knocked, praying to be let into the heavenly kingdom.4 Part 4: [Leo Tolstoy, 14 February 1895]: Spoke I, in Moscow, February 14, ‘95. I—Lev Nicholaevich Tolstoy, and his [sic] wife. Part 5: [Spoken by Tatiana L’vovna Tolstaya-Sukhotina, Tolstoy’s daughter, 2 November 1927]: Tolstoy’s views are now so different from the views of the people of the secular world, that one has to think his views through deeply, and learn Tolstoy thoroughly, to understand him. People of the world want to apply their own measure to him, but he has walked away from this world’s measure. And that’s why, I think, his views, his worries, his bewilderment, now annoy them and are misunderstood. Part 6: [Spoken by Tatiana L’vovna Tolstaya-Sukhotina in English]: I, Tatiana L’vovna Tolstaya have listened to my father’s voice 32 years later at Mr. Block’s house in Vevey and have added a few sentences in Russian from my lecture upon his ideas, 2nd of November 1927. C247 from Russian Read by Count Lev Nickolaevich Tolstoy. And he said unto Jesus, Lord, remember me when thou comest into thy Kingdom. And Jesus said unto him, Verily I say unto thee, Today shalt thou be with me in paradise.’- Luke xxiii. 42,43. THERE was once a man who lived for seventy years in the world, and lived in sin all that time. He fell ill but even then did not repent. Only at the last moment, as he was dying, he wept and said: Lord! forgive me, as Thou forgavest the thief upon the cross. And as he said these words, his soul left his body. And the soul of the sinner, feeling love towards God and faith in His mercy, went to the gates of heaven and knocked, praying to be let into the heavenly kingdom. Then a voice spoke from within the gate: What man is it that knocks at the gates of Paradise and what deeds did he do during his life? And the voice of the Accuser replied, recounting all the man’s evil deeds, and not a single good one. And the voice from within the gates answered: Sinners cannot enter into the kingdom of heaven. Go hence! Then the man said: Lord, I hear thy voice, but cannot see thy face, nor do I know thy name. The voice answered: I am Peter, the Apostle. And the sinner replied: Have pity on me, Apostle Peter! Remember man’s weakness, and God’s mercy. Wert not thou a disciple of Christ? Didst not thou hear his teaching from his own lips, and hadst thou not his example before thee? Remember then how, when he sorrowed and was grieved in spirit, and three times asked thee to keep awake and pray, thou didst sleep, because thine eyes were heavy, and three times he found thee sleeping. So it was with me. Remember, also, how thou didst promise to be faithful unto death, and yet didst thrice deny him, when he was taken before Caiaphas. So it was with me. And remember, too, how when the cock crowed thou didst go out and didst weep bitterly. So it is with me. Thou canst not refuse to let me in. And the voice behind the gates was silent. Then the sinner stood a little while, and again began to knock, and to ask to be let into the kingdom of heaven. And he heard another voice behind the gates, which said: Who is this man, and how did he live on earth? And the voice of the Accuser again repeated all the sinner’s evil deeds, and not a single good one. And the voice from behind the gates replied: Go hence! Such sinners cannot live with us in Paradise. Then the sinner said: Lord, I hear thy voice, but I see thee not, nor do I know thy name. And the voice answered: I am David; king and prophet. The sinner did not despair, nor did he leave the gates of Paradise, but said: Have pity on me, King David! Remember man’s weakness, and God’s mercy. God loved thee and exalted thee among men. Thou hadst all: a kingdom, and honour, and riches, and wives, and children; but thou sawest from thy house-top the wife of a poor man, and sin entered into thee, and thou tookest the wife of Uriah, and didst slay him with the sword of the Ammonites. Thou, a rich man, didst take from the poor man his one ewe lamb, and didst kill him. I have done likewise. Remember, then, how thou didst repent, and how thou saidst, “I acknowledge my transgressions: my sin is ever before me?” I have done the same. Thou canst not refuse to let me in. And the voice from within the gates was silent. The sinner having stood a little while, began knocking again, and asking to be let into the kingdom of heaven. And a third voice was heard within the gates, saying: Who is this man, and how has he spent his life on earth? And the voice of the Accuser replied for the third time, recounting the sinner’s evil deeds, and not mentioning one good deed. And the voice within the gates said: Depart hence! Sinners cannot enter into the kingdom of heaven. And the sinner said: Thy voice I hear, but thy face I see not, neither do I know thy name. Then the voice replied: I am John the Divine, the beloved disciple of Christ C283 from Russian and German [Participating in the discussion:] Anton Grigorevich Rubinstein (1829–1894) – pianist, composer Elizaveta Andreyevna Lavrovskaya (1845–1919) – singer Pyotr Ilyich Tchaikovsky (1840–1893) – composer Vasily Ilyich Safonov (1852–1918) – pianist, conductor, Moscow Conservatory director Alexandra Ivanovna Hubert (1850–1937) – pianist, Moscow Conservatory director Julius Ivanovich Block (1858–1934) Unidentified voice Translation from Russian (R) and German (G): [Lavrovskaya]: That awful Kuz’min! How dare he call me insidious? (R) [unidentified]: [Sings a scale out of tune.] [Tchaikovsky]: This trill could have been better! (R) [Lavrovskaya}: [heard vocalizing]. (R) [Tchaikovsky}: Block is great, but Edison is even better! (R) [Lavrovskaya sings]: Coo-Coo, coo-coo. [Safonov]: Peter Jurgenson in Moscow. (G) [Tchaikovsky]: Who was speaking just now? I think it was Safonov’s voice. [whistles]. (R) [Lavrovskaya]: Anton Grigorievich, play something! For posterity! Please, a couple of chords! Please Anton Grigorievich, play! (R) [Hubert]: [Unintelligible] (G) [unidentified]: [Unintelligible] (G) [Safonov]: Please, little one, a couple of chords! (R) [Rubinstein]: What a wonderful thing. (R) [Block]: Finally! (R) C352 from German [Participating in the discussion:] Julius Ivanovich Block (1858–1834) Elena Gerhardt (1883–1961) – singer Arthur Nikisch (1855–1922) – conductor Frau Professor Nikisch (dates unknown) – wife of Arthur Nikisch Fräulein Friedländer (dates unknown) Frau Block (dates unknown) – wife of Julius Block Unidentified voice Translation from German: [Block]: Today, on 16 December 1911, in the Grunewald in Blockhausen, I spent a most charming afternoon speaking with Frau Professor Nikisch, Herr Professor Arthur Nikisch, Fräulein Elena Gerhardt, Fräulein Friedländer, and the Block family. [Gerhardt]: [laughs] Today I have tasted Pommery for the first time—it was magnificent. And I thank the dear host that he gave me this magnificent libation. [A. Nikisch]: I hope to get many more full hands tonight, and to bluff my buddies thoroughly. These scoundrels do not deserve better. [Gerhardt]: But I prefer the Pommery even to Champagne; and the sold-out houses in the Philharmonic. [Fräulein Friedländer or Frau Professor Nikisch]: Will come back soon. It tasted magnificent. Indeed, it was […] [J. Block]: I am very pleased, and I hope you will at least keep your word, unlike Fräulein Gerhardt, who already for the weekend [unintelligible] us pleasure [unintelligible] but it takes time [unintelligible] the pleasure to see you [unintelligible]. [Frau Block]: I thank you all, dear guests, for the most pleasant afternoon. 1 “Five years old” is clear, yet history shows that Heifetz was not in Germany at this early date. The sound of the other Heifetz cylinders are similar to this when Heifetz was 11; the announced year of 1912 is relatively clear; and the voice of the young Heifetz is not that of a five year-old. Either Heifetz misspoke, the phrase refers to something else, or we are mis-hearing. 2 A description of how this cylinder contains several recordings from two different dates, as well as an excerpt from Block’s journal can be found on pages 54–55 of this booklet. 3 The translation of the passage is provided by Louise and Aylmer Maude. 4 Ibid. Appendix 3: The Phonogram Archive of the Institute of Russian Literature of the Academy of Sciences The Phonogram Archive is part of the Institute of Russian Literature of the Academy of Sciences, more commonly known as the Pushkin House (Pushkinsky Dom). The Phonogram Archive contains over 35,000 historic recordings in the field of ethnomusicology, ethno-linguistics, and philology. Specifically noteworthy is the high proportion of items from the earliest period of recording (i.e. before 1910) that use a phonograph in the field. The collections in the Archive offer a rich overview of the orally transmitted cultures of the former Tsarist Russian Empire and the later Soviet Union. Many of these recordings are the oldest of their kind, and some are unique. As a whole, they represent orally transmitted cultures, languages, and rites, which have since undergone substantial changes or are entirely lost.1 The Julius Block Collection is a small part of the Phonogram Archive. Unlike the majority of the collections in the Archive, the Block cylinders have little to do with language and ethnology.
1646	dbpedia	3	81	https://www.gettyimages.no/photos/elena-%3Fpage%3D8%26sort%3Doldest	en	Getty Images			[ "https://www.gettyimages.no/sign-in/assets/static/white-f114c2d21e50f9b239ac.svg", "https://www.gettyimages.no/sign-in/assets/static/black-dd9588e3db810afab0eb.svg" ]	[]	[]	[ "" ]	null	[]	null	Getty Images. Find high resolution royalty-free images, editorial stock photos, vector art, video footage clips and stock music licensing at the richest image search photo library online.	en			null
1646	dbpedia	1	77	https://www.gramophone.co.uk/features/article/gramophone-magazine-a-history-the-1930s	en	Gramophone magazine: a history – the 1930s	http://www.gramophone.co.uk/media/246552/gramophone-magazine-in-the-1930s.jpg?anchor=center&mode=crop&width=960&height=640&rnd=133492682750000000	http://www.gramophone.co.uk/media/246552/gramophone-magazine-in-the-1930s.jpg?anchor=center&mode=crop&width=960&height=640&rnd=133492682750000000	[ "https://www.facebook.com/tr?id=1212098742461537&ev=PageView&noscript=1", "https://www.gramophone.co.uk/media/233361/e64c2718796a53a23b65326a1c69e6d253b27705-photoroom-png-photoroom.png?height=69", "https://www.gramophone.co.uk/media/232137/953472d9ca7ea8fad442e86a32a1f0f8199b200d.png?height=25", "https://www...	[]	[]	[ "" ]	null	[ "James Jolly" ]	2024-01-09T00:00:00	The decade the record industry came of age, a period of great creativity and ambition	en	/media/127553/bge7m-5ffd4-0.png	Gramophone	https://www.gramophone.co.uk/features/article/gramophone-magazine-a-history-the-1930s	Cecil Pollard, the young accountant who saved The Gramophone in 1926, and stayed for the rest of his life If the 1920s brought to an end the industry’s infancy, the 1930s were perhaps its teenage years – a period of colossal creative energy, boundless enthusiasm and the establishment of a way of working that remains much the same today. And all this against a background of tough economic conditions. It also gave us quite a few of the first classics of the gramophone, recordings – often first recordings – that have stood the test of time: Pablo Casals playing Bach’s cello suites, Artur Schnabel in the complete Beethoven piano sonatas, some of the earliest recordings of Sibelius symphonies and Hugo Wolf Lieder sung by Elena Gerhardt, all issued by HMV – and masterminded by the young Walter Legge – as Society Editions, and limited to 500 subscribers who paid upfront. (Many years later a reader questioned why no LP reissues of the Schnabel Beethovens had appeared: an obstacle created by the initial subscription concept. Alec Robertson suggested in the magazine’s pages that older subscribers would waive any rights and allow this classic cycle to appear on LP. And this did indeed happen in November 1961. They have not left the catalogue since.) Fred Gaisberg pours the coffee for Artur Schnabel at the Abbey Road Studios Green Room in the early 1930s (photo: Warner Classics) In 1932, Christopher Stone stepped up from being London Editor, taking his place as Co-editor of The Gramophone with Mackenzie (Mackenzie’s wife Faith would take on the role of London Editor – their marriage seemed to work best when they weren’t actually living under the same roof!). Another important figure appeared in the magazine’s pages: Edgar Jackson, who tried – unsuccessfully – to modernise the appearance of the magazine, but also took on the coverage of jazz and light music in our pages, a role he held for 28 years. Jackson had been the founding editor of Melody Maker, and he and his American colleague Leonard Feather established their invaluable ‘personnels’ (ie artist listings) that gave The Gramophone’s reviews particular cachet. Jackson also brought onboard the American writer and later record producer John Hammond, who discovered artists like Billie Holiday, Count Basie, Bob Dylan and Benny Goodman (who would later become his brother-in-law). The 1930s was a tough decade financially, and Cecil Pollard fought had to keep costs down – the launch and then closure of Vox, a broadcast review edited by Christopher Grieve (aka the poet Hugh McDiarmid) left a nasty dent in the company’s finances. A change of printer helped and in 1938 The Gramophone moved to Gibbs & Bamforth, a company (and its successors) that retained the contract for the next 42 years. Mackenzie would leave The Channel Islands in 1930, taking many of his books and records with him, but the pre-electrical recordings were given a kind of Viking funeral – as Faith Mackenzie recalled, ‘What more dignified end could be devised for them than to be warmed gently on the stove and fluted to fantastic shapes and launched on to a milky sea carrying paper sails on a perfect evening in June.’ (With Mackenzie’s departure from his island, the original company registered in The Channel Islands was liquidated and a new company was floated on the mainland, General Gramophone Publications Limited, the ‘General’ was needed to distinguish it from Hayes-based, The Gramophone Company, home of HMV.) The 1930s also saw a new arrival on the classical record scene that very quickly would establish itself as one of the major players, Decca Records. Despite tough economic conditions, the record industry was performing well: the Columbia Graphophone Company’s shares had risen from 11 shillings (55p) in 1923 to nearly £20 in 1929. A young stockbroker, Edward Lewis, was tasked with the flotation of the Barnett Samuel Company, manufacturers of the Decca Dulcephone, the patent for which had been filed in 1914. (The word Decca came about merging the word Mecca with the initial D of Dulcephone – it has the great advantage that it is easy to pronounce in most languages.) Lewis quickly realised that actually making discs to be played on the gramophones they produced would make perfect sense, and in 1929 he bought the Duophone Company in south-west London. The resulting new company was named The Decca Gramophone Company. Another major feather in the young record company’s hat was when Walter Yeomans jumped ship from The Gramophone Company to Decca, bringing considerable expertise of the nascent record business with him. The first recording was of Frederick Delius’s Sea Drift with the baritone Roy Henderson (Henderson’s pupil Kathleen Ferrier would later join the Decca roster and was a hugely important figure as the company moved from 78 to LP in the early 1950s). Right at the start of the decade (April 1931), the Columbia and Gramophone companies merged to form Electric and Musical Industries Ltd (which later would become known simply as EMI). As the decade drew to a close, and with war on the horizon, the gramophone captured a musical event that had far more than just cultural importance. It was the classic recording of Mahler’s Ninth Symphony, recorded live by the Vienna Philharmonic and Bruno Walter (who had conducted the work’s premiere) on January 16, 1938 – almost exactly two months before Hitler annexed Austria, the so-called Anschluss (‘Union’) – and overseen by Fred Gaisberg, one of the great record producers of the pre-Second World War period. (It would come out on 20 78rpm discs, and in the January 1939 issue of The Gramophone, Gaisberg wrote about Dr Bruno Walter with affection and admiration: ‘He has said that he always tries to approach even the oldest and most hackneyed work as though it was a new composition which he was playing for the first time.’) Gramophone in the 1930s: Timeline May 1930 First release in Columbia’s ‘History of Music’ series, eventually comprising five sets containing 40 10-inch 78rpm discs October 1930 BBC SO formed, first permanent London orchestra since the LSO (1904). The new orchestra makes its debut in Queen’s Hall December 1930 Compton Mackenzie leaves Jethou April 1931 The Gramophone Company and the Columbia Graphophone Company merge to form Electric and Musical Industries Ltd (EMI) September/October 1931 RCA launches a short-lived series of 10- and 12-inch 33⅓rpm discs, including Stokowski and the Philadelphia Orchestra in Beethoven’s Fifth (the first symphony specially recorded for this new format) November 1931 EMI opens its Abbey Road Studios with Sir Edward Elgar conducting the London Symphony Orchestra December 1931 Alan Blumlein (EMI) takes out a patent embracing all aspects of two-channel stereo recording February 1932 Christopher Stone appointed Co-editor of The Gramophone April 1932 BASF and AEG, in collaboration with Fritz Pfleumer, produce magnetic tape in Germany October 1932 First concert of the newly formed London Philharmonic Orchestra under Beecham in Queen’s Hall February 1933 First American symphony recorded by American Columbia – Roy Harris’s First Symphony by the Boston Symphony Orchestra and Serge Koussevitzky January 1934 The London Philharmonic Orchestra under Beecham make experimental stereo recording for EMI of Mozart’s Jupiter Symphony using Blumlein’s system March 1934 Herman Klein dies, aged 78 June 1934 HMV make first recordings in the new Glyndebourne Opera House with concerted items from Mozart’s Le nozze di Figaro under Fritz Busch August 1934 Decca Records Inc, a subsidiary of The Decca Record Company, founded in New York October 1934 RCA introduces the first record club in the USA October 1935 Decca records its first complete opera, Purcell’s Dido and Aeneas, with 20-year-old Nancy Evans as Dido. July 1936 National Federation of Gramophone Societies (later Federation of Recorded Music Societies) formed by WW Johnson and FE Young November 1936 BASF records the London Philharmonic Orchestra under Beecham in concert at Ludwigshafen on magnetic tape. November 1936 The BBC opens world’s first regular television service from Alexandra Palace. March 1937 Decca purchases the Crystalate Company, and with it its studios in West Hampstead, together with two engineers, Arthur Haddy and Kenneth Wilkinson January 1938 HMV records Mahler’s Symphony No 9 with the Vienna Philharmonic Orchestra under Bruno Walter live in concert December 1938 Columbia Broadcasting System (CBS) acquires the American Recording Corporation 1939 Goddard Lieberson joins CBS Masterworks assistant to the Director
1646	dbpedia	1	98	https://www.passes.com/wiki/coenraad-bos	en	Coenraad V. Bos (@coenraad	https://cdn.passes.com/p…e108/profile.jpg	https://cdn.passes.com/p…e108/profile.jpg	[ "https://www.facebook.com/tr?id=815174093601101&ev=PageView&noscript=1" ]	[]	[]	[ "Coenraad V. Bos", "coenraad-bos", "leaks", "passes", "birthday", "bday", "astrology", "star", "sign", "profession" ]	null	[]	null	Coenraad V. Bos birthday Dec 7th, 1875. Coenraad V. Bos bday Dec 7th, 1875. Coenraad V. Bos profession Pianist. Coenraad V. Bos age. Coenraad V. Bos astrology sign. Coenraad V. Bos star sign. Who is Coenraad V. Bos (coenraad-bos). Why is Coenraad V. Bos (coenraad-bos) famous.	en	/assets/pwa/logo_192x192.png	Passes	https://www.passes.com/wiki/coenraad-bos
1646	dbpedia	3	39	https://chicago.universitypressscholarship.com/view/10.7208/chicago/9780226563602.001.0001/upso-9780226563572-chapter-005	en				[]	[]	[]	[ "" ]	null	[]	null					null
1646	dbpedia	2	75	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8684095/	en	The social role of pediatrics in the past and present times	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	https://www.ncbi.nlm.nih…rd-share.jpg?_=0	[ "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/favicons/favicon-57.png", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-dot-gov.svg", "https://www.ncbi.nlm.nih.gov/coreutils/uswds/img/icon-https.svg", "https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/logos/AgencyLogo.svg", "https://www.ncbi.nlm.ni...	[]	[]	[ "" ]	null	[ "Gregorio Serra", "Mario Giuffrè", "Ettore Piro", "Giovanni Corsello" ]	2021-08-11T00:00:00	Pediatrics and society are closely related. This link is as old as the history of Pediatrics, and dates to the second half of the eighteenth century. The vocation of the first European pediatric schools, indeed, was clinical and scientific, as well as ...	en	https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico	PubMed Central (PMC)	https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8684095/	Pediatrics and society in the past A radical turning point about the attention given to children, within pedagogy, literature, and family, occurred between the 18th and nineteenth century. A new educational concern appeared thanks to the thought and work of Jean Jacques Rousseau, the father of modern pedagogy. Since then, the value of childhood shifted from an economic plan to that of feeling, regarded as affection and attention. The idea of the new Man introduced and promoted by the Enlightenment, opened to the consideration of infancy as the starting dimension of men. Therefore, doctors and pedagogists began to share a body’s philosophy, which allowed children to be protected. The techniques on the body started to join character education. Indeed, authoritative thinkers of the eighteenth century observed and controlled the “infantile bodies” of their children. They “looked with special attention at the physical life of their sons”. The “physical life of children” started to have a real attention, becoming object of hospital care, as well as of a dedicated medical (pediatric) culture, also due to a growing treatise literature [2]. The first treatise on Pediatrics, De Infantum Aegritudinibus et Remediis, was written by the Italian Paolo Bagellardo in 1472. However, childhood medical publishing was lacking in Italy during the seventeenth century. This was related to the political, religious, and cultural events occurred between the end of the 16th and the seventeenth century. The Counter-reform (Trento, 1545–1573) played a substantial breaking action on the scientific progress in the countries of catholic area, with the imposition of the Aristotelian orthodoxy. Consequently, cultural activities in the fields of natural sciences and medicine migrated from southern to northern Europe, especially Netherlands, England, and Scandinavian countries. Indeed, among the most important pediatric treatises of the 17th and 18th centuries stood out those of the English William Harris (De Morbis Acutis Infantum, 1689), George Armstrong (1767) and Michael Underwood (1784), and that of the Swedish Nils Rosen von Rosenstein, published in 1765. In 1794 Christoph Girtanner, a Swiss pediatrician, wrote another relevant text, which led the way to the great pediatric treatise literature flourishing during the nineteenth century in France (Billard, 1828; Rilliet and Barthez, 1843; Bouchut, 1845; Comby, 1892), Germany (Vogel, 1860; Gerhardt, 1877; Henoch, 1881; Baginsky, 1882), Russia (Filatov, 1894) and United States of America (Smith, 1869). Italy followed at the end of the nineteenth century with its only pediatric book of that time (Biagini, 1897), also due to the cultural dependence from foreign countries, which finished only after the Risorgimento and the process of unification [2]. The first schools of pediatrics and children’s hospitals The first pediatric school was founded in Italy, even if it lasted for a short time. In fact, on April 1802, a chair of pediatrics was born in Florence on initiative of the king of Etruria, Ludwig I of Bourbon, who entrusted the task to Professor Gaetano Palloni, who gave lessons at the Ospizio degli Innocenti. The school of Palloni lasted just 3 years, until 1805, when the queen Maria Luisa of Spain suppressed the chair of children’s diseases. However, in 1807, she restored the chair of pediatrics, owing to the high number of deaths among children. Nonetheless, also this time the Florentine School of Pediatrics had no luck. Indeed, due to the upheavals caused by the Napoleonic gestures, all the old institutions were suppressed or renewed and, in the same year (1807) when Tuscany became a French province, the school was definitively closed [1]. While the Ospizio degli Innocenti in Florence was the first, although brief, seat of pediatric teaching, the first real pediatric hospital was born in Paris on May 1802, in the middle of the Napoleonic era. The hospital, which was called Hôpital des enfants malades, was set up inside an old convent of nuns which was variously used in different times, until, during the Revolution, it became an orphanage (Maison de l’Enfant Jesus). It hosted children from 2 to 15 years old. Alongside the hospital wards, an outpatient clinic was also set up for care of patients with less serious diseases and of those who did not need hospitalization. In the same location, activities for teaching and spreading childcare notions to mothers belonging to popular classes were also carried out. The Hôpital des enfants malades soon grew as center of pediatric studies and for the spread of pediatric culture during the whole nineteenth century, becoming the cradle of French and European pediatrics [1]. Pediatrics and society in France The French Pediatric School foundation overlaps with that of the Hôpital des enfats malades, between the end of 1700 and the beginning of 1800. The prestige of this school is related to great scientists as Bichat, Corvisart, Laennec, who were not pediatricians, but contributed to the advancement of pediatrics [3]. Furthermore, there were other eminent physicians particularly interested in pediatric diseases. Charles Michel Billard (1800–1832), founder of the pediatric pathological anatomy, studied many corpses of children and babies died in the Parisian orphanages. Fréderic Rilliet (1814–1861) and Antoine-Charles-Ernest Barthez (1811–1891), both doctors at the Sainte Eugénie Hospital in Paris, published in 1843 the Traité clinique et pratique des maladies des enfants, which was the reference text for the pediatricians of the nineteenth century. Eugene Bouchut (1818–1891) was the first to use the laryngeal intubation in the croup (1858). Armand Trousseau (1801–1867) carried out studies on convulsions, chorea, eruptive fevers, diphtheria, and typhus. His fame is related to the first tracheotomies which performed in Paris, defining technique and postoperative treatment. His name is linked to the sign of tetany [4]. Marie-Jules Parrot (1829–1887) was interested in the cerebrovascular lesions of childhood, and studied the nutritional disorders of early infancy, coining the term “atrepsia”. The pseudoparalysis of luetic infants bears his name [5–7]. Pierre Costant Budin (1846–1917) and Adolphe Pinard (1844–1934) were obstetricians and sustained the relevance of boiling milk [8] and breastfeeding, respectively. Thèophile Roussel (1816–1903), was a doctor and politician involved in social and occupational medicine [9]. Jean Bernard Antoine Marfan (1858–1942) was the first professor of Early Childhood Clinic in Paris. He dealt with many fields of children’s pathology and had a great scientific production [10]. In 1881 and 1897 were launched, respectively, the Monthly Review of Childhood Diseases and the Children’s Medicine Archives [1]. Pediatrics and society in Central Europe German pediatrics started to grow and to be notable during the eighteenth century. In 1753 Jakob Reinbold Spielmann (1722–1783) was the first to analyze the milk of women and domestic animals. In 1787, Joseph J. Mastalier founded in Vienna the first Public Institute for Sick Children, which was, rather than a real hospital, an outpatient pediatric clinic. About 50 years later, the first Austrian pediatric hospitals (Sainte Anne in 1837, and Saint Joseph in 1842) were built in Vienna. Conversely, German pediatrics was officially born in 1830, with the foundation of a small ward at the Charité Hospital in Berlin. It developed as a clinic in the following decades, under the direction of Barez. This latter had a prestigious teaching activity and founded the first pediatric journal in the world: the Journal für Kinderkrankenheit. Other pediatric hospitals were built throughout the century in the area belonging to Germanic culture, which had in the Viennese Pediatric School its driving force, proof of an increasing interest in childhood. Carl Credé (1819–1892) was obstetrician, and proposed the prophylaxis of blenorrhagic conjunctivitis of the newborn (main cause of neonatal blindness of that time), by the instillation in the conjunctival sac of 2% silver nitrate. Eduard Heinrich Henoch (1820–1910), considered the founder of clinical pediatrics in Germany, was director of the Pediatric Clinic at the Charité Hospital in Berlin. His name is linked to the purpura fulminans, which from him took the name of “Henoch purpura”. Franz Soxhlet (1848–1926), chemist and physiologist, studied milk sterilization and was able to fractionate its proteins into casein, albumin, globulin and lactoproteins. Alois Epstein (1849–1918) was director of the Prague Brefotrophy, which became with him a great pediatric school. Theodor Escherich (1857–1911) linked his name to the bacteriological research on intestinal germs, and on changes of the intestinal flora in infants with nutritional disorders. He discovered the bacterium coli, which was then called Escherichia coli. Carl von Pirquet (1874–1929) introduced the concept of allergy. He also supported the suffering childhood, becoming organizer of social provisions for poor children, especially after the terrible famine that struck Austria after the defeat of World War I [1]. Pediatrics and society in the United Kingdom The first interests in childhood diseases, although not yet framed into pediatric schools, began in Great Britain as early as the seventeenth century. Daniel Whistler (1619–1684), and then Francis Glisson (1597–1677), started indeed around 1650 the first studies on rickets, while Thomas Sydenham (1647–1732) deepened various topics of pediatric interest, such as exanthematous diseases, chorea (Sydenham’s chorea), difficult dentition and scurvy [1]. Actually, English pediatrics started with George Armstrong, and was characterized by a greatly humanitarian and sensitive care. In 1769 in London, he made the first generous experiment of pediatric care. Indeed, he opened then a pediatric clinic, where cured about 35,000 children in 12 years, sustaining alone costs and efforts. Andrew Wilson (1718–1792) was his successor, for a short time, in the direction of the London pediatric clinic, which closed in 1783 shortly after the death of its founder, due to lack of benefactors and funds [1, 2]. Before having a real children’s hospital in Great Britain, it was necessary to wait until the second half of the nineteenth century, when the Great Ormond Street Children’s Hospital was founded in London in 1852. It may be considered the cradle of English pediatrics, and was the first place where pediatrics was taught. Its first director was Charles West (1816–1898). In 1871, he published Above some disorders of the nervous system in children, where he described the infantile myoclonic encephalopathy, which took from him its name (West syndrome). He also gave a significant contribution in the field of the organization of pediatric hospitals, publishing a study entitled On hospital organization, with special reference to the organization of hospitals for children. Thomas Barlow (1845–1945) is also linked to the prestigious hospital for sick children in Great Ormond Street, where he completed his studies. They were dedicated to infantile scurvy, to which he first gave features of autonomous disease, providing clinical and anatomical-pathological evidence. Scurvy took, then, from him the name of Barlow’s disease. George F. Still (1868–1941) followed in the direction of the Great Ormond Street Hospital. He described chronic childhood primary polyarthritis, which was then named Still’s Disease [1, 2]. Pediatrics and society in Italy The first organizations for childhood appeared for the first time in Italy in the medieval age. The first institutions are the Ospizi for foundlings or gettatelli, which was the name attributed to abandoned or refused newborns. Including the so called “wheels” (which served to receive the abandoned newborns, guaranteeing anonymity to those who left them), they were expression of a charitable attitude, and were able to counteract infanticide [11]. To find a new type of institutes dedicated to childhood, especially sick children, it is necessary to wait the Ospizi Marini of the nineteenth century. They were promoted by the intelligent and passionate work of Giuseppe Giannelli, and then of Giuseppe Barellai (1813–1884) [12]. This latter founded the first marine colony in Viareggio in 1862, which was followed by many others in marine and mountainous areas. These institutes arose thanks to the commitment of spontaneous civic committees, and to the awareness of the benefits which children affected with tuberculosis or rickets might have from thalassotherapy. The requirement was that of belonging to poor families, among which, moreover, there were most of the affected subjects [12].In 1843, Count L. Franchi founded the Regina Margherita Children’s Hospital in Turin, which was the first Italian pediatric hospital. Soon thereafter, in 1845, the Ospedaletto di Santa Filomena was founded by the Marquise Falletti of Barolo in Turin, specifically intended for girls affected with tuberculosis and/or rickets, and aged 3 to 12 years. In 1869, the Bambino Gesù Hospital was built in Rome, on the initiative of the Duchess Salviati, where children from 2 to 12 years old were accepted (Table ) [1, 2]. Table 1 CityHospital (Director)YearAlessandriaCesare Arrigo (Prof. Paolo Bosio)1886AnconaChildren’s Hospital (Prof. Alberto Caucci)1900BolognaOspedalino (Dr. Marcellino Venturoli, Dr. Gaetano Modonesi)1880BresciaUmberto I (Prof. Andrea Pagani-Cesa)1902CremonaChildren’s Hospital (Dr. Felice Celli)1881CuneoRegina Elena (Dr. Teresio Cattaneo)1912FlorenceAnna Meyer (Prof. Giuseppe Mya)1891GenoaS. Filippo (Prof. Luigi Della Valle)1888LivornoSanta Famiglia (Prof. Alberto Funaro)1888LodiVittorio Emanuele II (Dr. Oreste Grazia)1927MantovaBulgarini1858aMilanChildren’s Hospital (Prof. Girolamo Taccone)1899ModenaPietro Siligardi (Prof. Riccardo Simonini)1911NaplesGesù e Maria (Prof. Francesco Fede)1881PalermoChildren’s Hospital (Prof. Rosario Buccheri, Dr. Antonio Carini)1882ParmaChildren’s Hospital (Prof. Cesare Cattaneo)1900RomeBambino Gesù (Prof. Francesco Valagussa)1869San RemoA. Nuñez Del Castillo (Dr. Vincenzo Pesante)1908TurinOpera Pia Barolo-Santa Filomena (Dr. Giovanni Battista Filippello)1845TurinKoelliker-Mensi (Prof. Enrico Mensi)1928TrentoMaria dei Savoja (Dr. Carlo D’Anna)1920TriesteSpedale Infantile, Burlo Garofolo (Dr. Paolo Israeli)1867, 1907VeniceUmberto I (Prof. Ettore Giorgi)1892VeronaAlessandri (Prof. Giuseppe Zambelli)1912 However, in many cities, hospital care for children was also provided within large general hospitals, which dedicated special pavilions to them. A critical issue of the hospital care of that time was the exclusion of children under the age of 3, among which there was the greatest morbidity and mortality, due to the difficult management of such young patients. Although a hospital vocation of some orphanages and institutes for children with rickets, near to the twentieth century the united Italy was still widely poor of structures for hospitalization and cure of children, especially infants. Moreover, 80 years passed from the foundation of the Florentine Pediatric School, before seeing the birth, in a united Italy, of a chair of pediatrics. The credit went to Dante Cervesato (1850–1905). After gaining experiences in the pediatric field as student at the Wiederhofer of Vienna, he returned to Padua, and was able to set up a small Pediatric Clinic, where he received in 1889 the assignment of full professor of Pediatrics. From Padua, Cervesato moved to Bologna in 1900, where he created a thriving pediatric school. He there performed studies on tetany, infantile tuberculosis, neonatal hemorrhagic diseases, appendicitis, intestinal tumors, liver cirrhosis, and poliomyelitis. Therefore, also due to a new cultural attitude towards childhood, a change in the field of pediatric care occurred between the end of the 19th and the beginning of the twentieth century. Indeed, also in Italy it became clear that childhood had the right to organized and structured places of cure, based on their specific needs. In 1876, a Children’s Hospital was built in Trieste (named in 1907 Burlo Garofolo), then followed by many others, among which Naples and Cremona (1881), Palermo (1882), Genoa and Livorno (1888), Florence (1891), Milan (1897), Bologna (1907) and Modena (1911) (Table ). Infancy finally received from society a new attention, which never enjoyed before. However, almost all children’s hospitals were funded by private charities, and scarcely by initiative of public institutions. Often these hospitals began their activity in humble rented buildings, to become larger over time with subsequent extensions, restorations of old buildings, or even with construction of new ones [1, 2, 13]. It is noteworthy that some hospital admissions did not have medical indications. They were healthy children “which enter healthy for various reasons … , among which the more frequent is here the concomitant admission of the sick mother in another part of the hospital, or that healed, they stay abandoned for many, painful or shameful, reasons” [14]. This declaration of Ponticaccia (1908) is a complaint for some parental behaviors, as well as a clear proof of the social role which sometimes the hospital had to play. The patients who came to hospitals belonged to the poor classes, which were vulnerable for lacking diets and/or unhealthy environments. The scientific articles which appeared at the end of the nineteenth century and the beginning of the 20th one, provided precious information on the reasons of hospitalizations of those years, and of their length [15–18]. The little patients, especially infants, were often hospitalized for severe conditions of “atrepsia”, characterized by extreme decay of the general conditions, frequently irreversible and fatal [19]. Francesco Fede (1832–1913) first related primitive atrepsia to malnutrition, underlining that these children belonged to the poorest social classes, and calling upon an intervention from authorities aimed at improving their conditions [19]. He was the greatest exponent of early Italian pediatrics, even if chronologically not the first. He was a founding member and president of the Italian Society of Pediatrics, and in 1893 he founded the periodical La Pediatria [13]. Subsequently in 1897, Luigi Concetti (1855–1920) introduced Pediatrics as a free course at the University of Rome. He promoted the first Congress of the Italian Society of Pediatrics, of which he was a founding member and then president in 1903. He founded in 1904 the Journal of Pediatric Clinic, together with Giuseppe Mya (1857–1911) [20]. Mya was called in 1891 in Florence to hold the chair of Pediatric Clinic. In 1901, he transferred the small rooms of his Institute at the Maternity Hospital to the Anna Meyer Children’s Hospital, which the Marquis of Montagliani founded in 1887 in memory of his wife (Table ). In 1916, Vitale Tedeschi (who followed Dante Cervesato in Padua) discussed the possibility to hold the mothers within efficiently and safely organized pediatric wards [21]. It was clear, from the beginning of the foundation of the first pediatric hospitals, that hospitalization might induce suffering in children and parents due to their separation. The time for the introduction of the mother near to her son seems however to be far, but a new attention to the physical and psychological needs of the child was starting to grow. In more recent years, a diffuse change of point of view towards childhood finally shows the necessity of reconstructing, within hospitals, the binomial mother-child, promoting a specific and global approach to the little patient [22, 23]. During the 1970s a process of de-hospitalization and humanization of pediatric hospitals started, also through the creation of new outpatient systems (Day-Hospital, and then Day-Surgery). In the meantime, and to respond to new and different epidemiological needs, the old sanatoriums for tuberculosis were dismantled or used for other health issues and/or diseases. Then, around the ‘80s, through many regional laws included as aims of health plans, the doors of the hospital wards started to open to the mothers of sick children. Initiatives sustained by associations of families and volunteers were carried out, allowing children to continue the normal activities within hospitals, like games and school, also through psychological support and/or that of cultural mediators. Also, the environments were humanized and tailored on the child. The habit of decorating the walls of infirmaries and hospitalization rooms progressively spread and, in neonatology units, the practice of rooming-in began [24]. In the same years, primary care were carried out by family pediatricians in all the areas of the country. Pediatrics and society in Palermo (Sicily) The Pediatric Clinic was born in Palermo in 1903, when Rocco Jemma, young and brilliant doctor working in Genoa, was called to hold the role of professor of Pediatrics at the University of Palermo. Promoter of this initiative was Ignazio Florio, belonging to one of the richest and most influential European families of entrepreneurs and patrons of the time. In a few years a new and efficient structure was built, and inaugurated in 1907 [25]. Rocco Jemma founded in those years a real school of pediatricians, who came from all Sicily. When Jemma moved to Naples in 1913, the most brilliant of his pupils, Professor Giovanni Di Cristina, succeeded him. He continued the work of his master, further expanding the scientific activities of the Clinic and starting new social and care initiatives [16]. It is due to him, moreover, the discovery of an effective and decisive treatment for the cure of visceral leishmaniasis with antimony salts, then universally used, which allowed to overcome such infectious disease, commonly lethal until then [17, 26]. He was active for the construction, on lands and with funds obtained from donations, of the hospitals Casa del Sole (assigned as tuberculous sanatorium in a hilly area of the town) and Aiuto Materno (for the hospitalization of children with high social risk). His premature and unexpected death, in 1928, left a great emptiness in pediatrics of the whole island. The city dedicated to him the Children’s Hospital in 1929, which he wanted closely related to the Pediatric Clinic, and which thereafter took his name. After Di Cristina, the direction of the Clinic and the Hospital passed to La Franca, and then Cannata, Maggiore, and Gerbasi. In 1946, the School of Specialization of Pediatrics was established, favoring the recruitment of scientifically able young doctors. Gerbasi was principal of the Faculty of Medicine and rector of the University, and gave shine to the pediatrics of Palermo, also at a national level. His school was particularly rich of prestigious pupils and personalities, first Giuseppe Roberto Burgio (who later became director of the Pediatric Clinic in Perugia, and then in Pavia). Hematology, infectious diseases, and nutrition were his areas of major scientific impact. He gave decisive contributions on deficiency diseases, as the definition of the perniciosiform anemia of infants (Gerbasi’s anemia), and on dystrophies [26, 27]. The great social caliber of his activities was evident also during the earthquake of Belice in 1968, a dramatic time which Gerbasi faced moving on site doctors, nurses, and hospital equipments. Pediatrics and society today The changes that took place over the centuries, and described so far, were innumerable and extraordinary. Society, institutions, and political and economic structures of countries underwent profound transformations. Indeed, the political and health reforms implemented in Italy (and in the other European countries) during the last decades, and the increased economic well-being allowed the reduction of infant mortality rates, which currently are among the lowest worldwide. Specifically, the infant mortality rate for children < 1 year of age (IMR) was 231‰ in 1865, and fell to 185‰ already before the end of the nineteenth century (1895) [28, 29]. Then, this downward trend became even more relevant, till the first two decades of 1900. Afterward, it had two sudden stops and reversals, corresponding to the two war periods. Moreover, the 1920 IMR (155‰) also included the deaths due to the Spanish flu epidemic [29]. Thereafter, in the interwar period (1930), such rate halved (119‰) if compared to the initial recorded values, and dropped below 50‰ in the 1960s and 20‰ in the 1980s, reaching 3‰ between 2015 and 2020 (in Europe decreased from 38.2‰ in 1961 to 3.4‰ in 2019) [28–30] (Fig. ). The reduction of IMR over time was associated to a variation of the causes of death. Their analysis better defines the improvements obtained, showing the progressive disappearance of infectious diseases (from about 65% in 1895, to 2% in 2015), and the emergence of other ones, which today mainly includes congenital malformations and conditions of perinatal origin (69%) [29]. Pediatrics significantly contributed to the achievement of these formidable results, through the development of a culture of children’s rights, the acquisition of specific technical knowledge and skills within the context of a constant medical and technological progress, and the control of previously endemic (malaria) and/or past and current communicable diseases (syphilis, tuberculosis and more recently measles, pertussis and lastly COVID-19) [31]. The pediatrician had to adapt and reshape himself in the light of the sociocultural changes of society, as well as of the current biological and psychological features of patients, of what infants, children and adolescents are today [32]. Old diseases disappeared, or their prognosis is significantly improved for ever more effective therapies. New diseases appear, or re-emerge with higher incidence or prevalence, also due to the constant migratory flows from low-income countries to western ones. Diseases which had poor prognosis, are no longer considered as such (oncohematological and genetic ones), in relation to the continuous updating of therapeutic approaches (i.e., transplantations, gene therapies). New techniques of intensive care allow to extremely preterm newborns to survive, and novel treatments (i.e., hypothermia) to reduce adverse outcomes and morbidities. New tools for the identification of genetic diseases (i.e., next generation sequencing) permit more precise diagnosis, prognosis and counselling to patients and their families. New antibiotics, more rationalized treatments, in addition to early and multidisciplinary management, improve quality and length of life of children with complex and chronic diseases [2]. Then, despite the overcoming of many diseases, however pediatricians must increasingly face new health critical issues (new addictions, as the abuse of technological and digital devices [33], contrast to overweight and obesity, care of the migrant child, new infections, as evidenced also by the devastating novel coronavirus pandemic). The functional and environmental changes of pediatric hospitals, as well as the hygienic and structural ones, must be adjusted to the epidemiological mutations of diseases, in addition to the new diagnostic and therapeutic approach to sick children. They must be realized to keep pace with the times, and to guarantee a careful and updated clinical care. Furthermore, to answer to the many and relevant changes of the current digital and hyper-connected society, which especially occurred in recent years, the pediatrician must be formed and equipped with a wide cultural baggage, not exclusively made by eminently clinical and technical aspects. The complexity of his role, in addition to the new scientific knowledge (i.e., the acquisition on the epigenetic mechanisms subtending diseases), led to an increase of his responsibilities, and then to the need to own holistic competences, which should span bioethical, law, relational and communication issues, and several others including pedagogy, bioengineering, sociology, economy, art, sport, politics, technology, music, botany, poetry [34–41]. They compose the cultural background of pediatricians, to take care of all children effectively and competently. The goal of today’s pediatrician is to protect and improve the health of all children, guaranteeing their fundamental rights from conception. The data relating to social inequalities in our country, as in the whole world, are worrying, especially if we refer to the pandemic period. Although neonatal and child mortality in Italy decreased, notable disparities still remain disadvantaging insular and southern regions (linked to cultural, economic and social factors, in addition to organizational problems also referring to the perinatal network and the high number of small birthing centers) than center-northern ones, and foreign citizens than Italians [31, 42]. Such inequities are amplified if we look at the European context, and even more at the global one. Indeed, there is a significant territorial disparity in the access to health care, as well as in education, and adequate living conditions. Most of these children live in the southern regions of our country (and of the world), where there is a high risk of social exclusion, leading to possible adverse long-term consequences. It is pediatrician’s duty to work to guarantee to every child the same right to health and education, regardless of the family and region of origin [43]. The gradual reduction in funding for the health sector, which characterized the last few decades, led to a profound suffering of our national health system (NHS), which became particularly evident during the pandemic: in a such dramatic time, indeed, local doctors and pediatricians were literally overwhelmed by an immense care burden. Today’s pediatrician must therefore find a new and adequate place within a new structure of the NHS, which must be remodeled and oriented to more effective care networks. Furthermore, the collapse in the number of pediatricians, which will further worsen in the next years, requires the development of a new system able to guarantee pediatric specificity and the right of all subjects in developmental age to be assisted by the pediatrician, with a continuity of care between territory and hospital. Currently, due to lack of specialists in Pediatrics, the child is often evaluated in the first instance by the doctor for adults, with the inevitable risk of clinical inappropriateness. It seems therefore crucial to reformulate university and specialist training programs, supporting the most lacking areas based on territorial needs [43]. Finally, the pediatrician must sustain the cultural and scientific theme of prevention. The promotion of healthy lifestyle (primarily breastfeeding), starting before conception and during the first 1000 days, represents the most effective intervention to counteract the development of chronic socially communicable diseases (i.e., obesity, diabetes, cardiovascular diseases), which today represent among the main causes of morbidity and mortality also among children. For this purpose, all health education activities may play a key role. Investing in the school, indeed, as well as in the health system and in policies to support families, will likely reduce inequality, educational poverty, social neglect, behavioral disorders, delinquency, and ultimately many of the health problems of the children of today and tomorrow [44].
3575	dbpedia	3	16	http://www.treetreetree.org.uk/Alphabet/F/Fitch/FitchSamuelsonJames1.htm	en				[]	[]	[]	[ "" ]	null	[]	null					null
3575	dbpedia	0	43	https://greenwichhistory.org/ls_mills-fitch/	en	Greenwich Landmarks Series: Mills-Fitch House	https://greenwichhistory…_Fitch_House.jpg	https://greenwichhistory…_Fitch_House.jpg	[ "https://greenwichhistory.org/wp-content/uploads/2020/01/ghs-logo-full.svg", "https://greenwichhistory.org/wp-content/uploads/2020/01/ghs-logo-full.svg", "https://greenwichhistory.org/wp-content/uploads/2022/03/kidstudio-768x617.jpg 768w, https://greenwichhistory.org/wp-content/uploads/2022/03/kidstudio-300x241...	[]	[]	[ "" ]	null	[]	null	The Mills-Fitch house is one of the finest examples of the French Second Empire style to be found in Greenwich, but it wasn’t always that way. When it was built…	en	https://greenwichhistory…icon-100x100.png	Greenwich Historical Society	https://greenwichhistory.org/ls_mills-fitch/	The Mills-Fitch house is one of the finest examples of the French Second Empire style to be found in Greenwich, but it wasn’t always that way. When it was built around 1711, its aspect was Colonial and, what is now the rear section of the house, had a hewn timber frame which remains intact. The house today represents the aesthetic influence of the Paris skyline as it was redesigned under Napoleon lll during France’s Second Empire, 1852-1870. Of particular interest in Paris and abroad was the mansard roof, named after Francois Mansart, the 17th century French architect who introduced the steep, often slate-shingled roof when he enlarged the Louvre. Typical of the period are the third floor dormers with triangular window hoods. Samuel Mills came from Long Island to Greenwich in 1710 and was given permission to operate a house of public entertainment, and “retail strong drinks,” when he wasn’t working as a saddler. By the following year, he had received land from the Town of Greenwich. He bought additional land five years later from Timothie Knapp for seven pounds ten shillings and, like many early colonists, purchased and sold land over the following decades. It was no doubt Mills who built the original home, but it was later owners who both expanded, renovated and, in 1871, lifted and trundled the square house with four great chimneys from near Put’s Hill to a new location, receiving the patterned-slate mansard roof with a full third floor whose three bedrooms had ten-foot ceilings. Windows on the first floor were dropped to floor level in the French mode and decorative elements of the era added to both interior and exterior, including overhanging eaves displaying decorative brackets. At an earlier time, about 1845, the front section of the house had been built as a Greek Revival structure, and then a Second Empire style porch was added in front in 1871, and the exterior redone to conform to the later style. The 15-room, 8-bedroom house retains innumerable early features. On the first floor, the rooms still have their original, ornate plaster ceiling moldings. The doors date to the 19th century, and the mantel and decorative woodwork is Greek Revival. Greek Revival elements also appear in the moldings of the family room, the parlor and around the window in the billiard room. The library is in mid-Victorian style, and the dining room was repaneled almost a century ago. The kitchen still has a cooking fireplace with a beehive oven topped by a 1750 mantel and 1890s blacksmith-crafted latches on the doors. Early cut nails and pine plank floors are evident on the second floor, and the back hall has an early planked door. The closets are refashioned with hand-planed boards. Original trim, sash and doors remain in two bedrooms, and three bedrooms have Victorian fire backs in their fireplaces. Even early 19th century six-over-six windows are visible today. In 1734, some of the property went to Captain Jabez Mead who married the Mills’ daughter, Sarah. Then John Mead, Reuben Mead and, later still, Amos and Ruth Mead owned the property. Members of the Close family owned the House from 1764 to 1804 when it was sold to Jacob Fitch. Fitch was the grandson of Samuel Mills and Governor Thomas Fitch of Norwalk. He attained the rank of Captain during the American Revolution, later becoming a Colonel. He served as Greenwich Town Clerk from 1776 to 1814. He also was a Selectman and a Registrar of the Town. Joined by Dr. Amos Mead, he represented Greenwich as a delegate to the 1788 convention in Hartford that approved the new federal constitution. Toward the end of the Revolution he was charged with raising a troop of one hundred men to proceed by land and water “to annoy the enemy by all proper means in their power” and to prevent illicit trade with the enemy. To encourage recruitment he was given one hundred pounds and two hogsheads of rum. In 1782, Fitch and his crew and boats became icebound in the Mianus River. Attacked by 80 light dragoons bent on destroying the flotilla and running off any nearby cattle, Fitch and his men were rescued by the arrival of troops from Fort Stamford under General Waterbury. Dr. Darius Mead, an 1807 graduate of Yale, owned the house for half a century from 1814 to 1864. He studied under Dr. Rush, a physician in Philadelphia, practiced medicine here in Greenwich, married Lydia Knapp Belcher, fathered six children and was described as a “diligent reader of the Bible.” Mead also was one of the founders of Greenwich Academy in 1826. At its inception the school had a total of two rooms on two floors near the Second Congregational Church. After more than a decade, Mead’s son-in-law, Philander Button, became Principal, remaining for twenty-two years. He represented Greenwich in the State Senate in 1845 and 1846. After Mead’s death, Julia and Philander lived in the house until 1906. —Written by Susan Nova, for the Greenwich Historical Society
3575	dbpedia	1	19	https://gw.geneanet.org/tdowling%3Flang%3Den%26n%3Dfitch%26p%3Dsamuel	en	Navigation inhabituelle	https://geneacdn.net/pub…/img_generic.jpg	https://geneacdn.net/pub…/img_generic.jpg	[]	[]	[]	[ "" ]	null	[]	null	Leader de la généalogie en France et en Europe : publiez votre arbre généalogique et recherchez vos ancêtres dans la première base de données généalogique.	fr	https://geneacdn.net/favicon.ico	Geneanet	https://gw.geneanet.org/bots/firewall?cause=suspicious_ip	Nous observons une navigation inhabituelle sur notre réseau. Merci de bien vouloir remplir le formulaire ci-dessous afin de nous assurer que vous n'êtes pas un robot.
3575	dbpedia	1	35	https://sv.findagrave.com/memorial/261014581/jabez-fitch	en	Jabez Fitch I (1695-1779) – Find a Grave...	https://images.findagrav…438a0b39708.jpeg	https://images.findagrav…438a0b39708.jpeg	[ "https://sv.findagrave.com/assets/images/logo-fff.png", "https://images.findagrave.com/photos/2023/301/261014581_386121d3-e084-4a21-a255-8438a0b39708.jpeg?size=photos250", "https://images.findagrave.com/photos/2023/301/227593900_5cf05a25-083f-4198-8a32-05403c125b07.jpeg?size=photoThumbnails", "https://images....	[]	[]	[ "" ]	null	[]	null	Born 3 JUN 1695 Norwich, New London, Connecticut DEATH 28 MAR 1779 Norwich, New London, Connecticut Father: Samuel Fitch BIRTH 16 Apr 1655 Old Saybrook, Middlesex County, Connecticut DEATH 18 Feb 1725 (aged 69) Norwich, New London County, Connecticut BURIAL Brewster's Neck Cemetery Preston, New London County,...	de	/assets/images/fg-icon.svg		https://de.findagrave.com/memorial/261014581/jabez-fitch	Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Wir sind auf ein unbekanntes Problem gestoßen. Warten Sie einige Minuten und versuchen Sie es noch einmal. Wenn das Problem weiterhin besteht, kontaktieren Sie Find a Grave. Wir haben die Sicherheit auf der Seite aktualisiert. Sie müssen Ihr Passwort zurücksetzen. Ihr Konto wurde wegen zu vieler fehlgeschlagener Anmeldeversuche für 30 Minuten gesperrt. Bitte kontaktieren Sie Find a Grave unter [email protected], wenn Sie Hilfe beim Zurücksetzen Ihres Passworts benötigen. Dieses Konto wurde deaktiviert. Bei Fragen kontaktieren Sie bitte [email protected] Dieses Konto wurde deaktiviert. Bei Fragen kontaktieren Sie bitte [email protected] E-Mail nicht gefunden. Bitte füllen Sie das Captcha aus, damit wir wissen, dass Sie eine echte Person sind. Mehr als einen Datensatz für eingegebene E-Mail gefunden. Wir haben Ihnen zur Aktivierung eine E-Mail geschickt. Sign in to your existing Find a Grave account. You’ll only have to do this once—after your accounts are connected, you can sign in using your Ancestry sign in or your Find a Grave sign in. We found an existing Find a Grave account associated with your email address. Sign in below with your Find a Grave credentials to link your Ancestry account. After your accounts are connected you can sign in using either account. Geben Sie zum Anmelden Ihre E-Mail-Adresse ein. Geben Sie zum Anmelden Ihr Passwort ein. Geben Sie zum Anmelden Ihre E-Mail-Adresse und Ihr Passwort ein. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es ist ein Systemfehler aufgetreten. Bitte versuchen Sie es später erneut. Eine E-Mail zum Zurücksetzen des Passworts wurde an Email-ID gesendet. Wenn Sie keine E-Mail erhalten haben, durchsuchen Sie bitte Ihren Spam-Ordner. Wir sind auf ein unbekanntes Problem gestoßen. Warten Sie einige Minuten und versuchen Sie es noch einmal. Wenn das Problem weiterhin besteht, kontaktieren Sie Find a Grave.
3575	dbpedia	0	5	https://www.wikitree.com/wiki/Fitch-1370	en	Samuel Fitch II (1730-1811)			[ "https://www.wikitree.com/images/wikitree-small.png.pagespeed.ce.5G9g5z_Ayb.png", "https://www.wikitree.com/photo.php/thumb/d/d2/Platt-1392.jpg/75px-Platt-1392.jpg", "https://www.wikitree.com/images/icons/privacy60.png.pagespeed.ce.40ChhYgHYM.png", "https://www.wikitree.com/images/icons/map.gif.pagespeed.ce.d...	[]	[]	[ "Samuel Fitch genealogy" ]	null	[]	1811-10-11T00:00:00	Is this your ancestor? Compare DNA and explore genealogy for Samuel Fitch II born 1730 Norwalk, Fairfield, Connecticut Colony died 1811 Wilton, Fairfield, Connecticut, United States including ancestors + descendants + 1 photos + DNA connections + more in the free family tree community.	en	/favicon.ico		https://www.wikitree.com/wiki/Fitch-1370	WIKITREE HOME \| ABOUT \| G2G FORUM \| HELP \| SEARCH IMPORTANT PRIVACY NOTICE & DISCLAIMER: YOU HAVE A RESPONSIBILITY TO USE CAUTION WHEN DISTRIBUTING PRIVATE INFORMATION. WIKITREE PROTECTS MOST SENSITIVE INFORMATION BUT ONLY TO THE EXTENT STATED IN THE TERMS OF SERVICE AND PRIVACY POLICY. © 2008 - 2023 INTERESTING.COM, INC. CONTENT MAY BE COPYRIGHTED BY WIKITREE COMMUNITY MEMBERS.
3575	dbpedia	3	82	https://thewhistler.ng/fitch-downgrades-dangote-industries-says-company-has-issues-repaying-maturing-debt/	en	Fitch Downgrades Dangote Industries, Says Company Has Issues Repaying Maturing Debt	https://thewhistler.ng/w…te-Refinery-.jpg	https://thewhistler.ng/w…te-Refinery-.jpg	[ "https://thewhistler.ng/wp-content/uploads/2024/06/logo.svg", "https://thewhistler.ng/wp-content/uploads/2024/06/logo.svg", "https://thewhistler.ng/wp-content/uploads/2024/06/logo.svg", "https://thewhistler.ng/wp-content/uploads/2024/07/Aliko-Dangote-and-Dangote-Refinery-.jpg", "https://thewhistler.ng/wp-co...	[]	[]	[ "" ]	null	[ "Ifeanyi ONUBA" ]	2024-08-06T12:39:24+00:00	Fitch Ratings has downgraded Dangote Industries Limited due to the significant deterioration in the group’s liquidity position following	en	https://thewhistler.ng/w…icon-16x16-1.png	The Whistler Newspaper	https://thewhistler.ng/fitch-downgrades-dangote-industries-says-company-has-issues-repaying-maturing-debt/	Fitch Ratings has downgraded Dangote Industries Limited due to the significant deterioration in the group’s liquidity position following lower-than-expected disposal proceeds, operational and financial underperformance compared to our prior expectations. Fitch Ratings stated that it has placed Dangote Industries Limited on Rating Watch Negative due to the uncertainty related to the group’s ability to refinance maturing debt. The ratings firm stated these in a report on August 5, 2024. It stated that the downgrade was affected by local currency devaluation, adding that Dangote Industries Limited’s lack of contracted backup funding to repay its significant debt facilities maturing on 31 August 2024. “Fitch Ratings has downgraded Dangote Industries Limited National Long-Term Rating to ‘B+(nga)’ from ‘AA(nga)’ and senior unsecured debt rating issued by Dangote Industries Funding Plc to ‘B+(nga)’ from ‘AA(nga)’. Fitch has simultaneously placed the ratings on Rating Watch Negative “Lack of tangible steps to refinance or repay the maturing debt would lead to further downgrade while we do not expect a positive rating action until the company’s liquidity position improves substantially. It said Dangote Industries Limited has immediate debt servicing requirements related to the syndicated loan raised to finance the construction of Dangote Oil Refining Company. “Further delays in meeting the funding requirements would significantly increase the likelihood of financial restructuring or default and lead to further rating downgrade. “During the first half of 2024 the refinery operated at around 50 percent capacity and produced between 325,000 bpd to 375,000 bpd, but the EBITDA contribution from Dangote Oil Refining Company has been far below our previous projection as the facility is ramping-up and optimizing production,” Fitch said. Fitch Ratings expects gradual improvement in the EBITDA contribution from Dangote Oil Refining Company going forward following the initiation of gasoline production in Q3 this year. It stated that major currency devaluation in 2023, caused the group to record a significant FX loss of N2.7tn in 2023 as the company faces a mismatch between USD-denominated debt and domestic revenues. “We expect devaluation to continue at a higher pace in 2024,” Fitch Rating stated. Fitch said the company has raised senior unsecured debt amounting to N350bn with long-dated maturities in 2029 and 2032 to finance capex requirements. “We expect Dangote Industries Limited’s EBITDA margins in cement production to drop further in 2024 following softer retail demand for cement particularly in the Nigerian market and limited ability to pass on increased raw material cost to consumers,” it said. Fitch Ratings stated that refinancing or repayment of the upcoming maturities and a significant improvement in the liquidity position can lead to positive rating for Dangote Industries Limited while lack of tangible steps to refinance upcoming maturities or steps towards default-like financial restructuring or payment default can lead to negative ratings action.
3575	dbpedia	1	74	http://homepage.eircom.net/~lindaohdsl/d0004/g0000009.html	en	I1202: Samuel FITCH (____			[]	[]	[]	[ "" ]	null	[]	null					null
3575	dbpedia	2	21	http://shawgomemorialhome.com/obituaries/458	en	Shawgo Memorial Home	http://shawgomemorialhome.com/obituaries/favicon.ico	http://shawgomemorialhome.com/obituaries/favicon.ico	[ "http://shawgomemorialhome.com/obituaries/images/logo.png" ]	[]	[]	[ "" ]	null	[ "Obituaries - Shawgo Memorial Home" ]	null			favicon.ico		null	Jon S. Fitch May 10th, 1962 – December 10th, 2020 Jon Samuel Fitch, age 58 of Abingdon, Illinois, passed away at 1:14 pm Thursday, December 10, 2020 at Cottage Hospital in Galesburg, Illinois. He was born on May 10, 1962 in Macomb, Illinois, the son of Donald and Mary Lou (Millard) Fitch. Jon is survived by his son Craig Hasley of Abingdon, Illinois, two daughters Ashley Brashers and Krista (and Jamie) Wilson, both of Flippin, Arkansas, 16 grandchildren, 1 great-grandson, his mother, Mary Lou Bland of Midlothian, Texas, one step-daughter Johanna Wake of Flippin, Arkansas, two step-sons, Danny Canavit and Michael (and Jami) Canavit, both of Springfield, Illinois, his sister Deann (and Paul) Pearson of Macomb, Illinois and several nieces and nephews. He was preceded in death by his father and two brothers, Donald Fitch, Jr. and Michael Fitch. Jon worked for Hardee's in Macomb while in High School. He also worked at Walmart, Haeger Pottery, and Zeta Manufacturing, all in Macomb, and GE in Burlington, Iowa and AO Ammunition in Middleton, Iowa, as a material handler. He really enjoyed being the village clerk for Bardolph, Illinois. He was an avid St. Louis Cardinal and Chicago Bear fan. He enjoyed the outdoors and spending time with his family and friends. Visitation will be held on Sunday, December 13, 2020 from 4-6 pm at Shawgo Memorial Home in Astoria, Illinois. Masks and social distancing will be required for all who attend. Memorials in memory of Jon may be made to the donor's choice. Cremation rites will be accorded following the visitation. Condolences December 12th, 2020 CRAIG and family. We are so sorry for your loss.Prayers of comfort for you all. Melinda Blue and Kayla Powell and family December 12th, 2020 So sorry for the family loss. I worked with Jon at Haeger Pottery. He was a sweet man. FLY HIGH Jon. December 12th, 2020 I'm sorry Jon passing he will be miss. Fly high with Angel's Jon From Linda Kidd December 13th, 2020 Our sympathy to the Fitch family. Terry & Lois Bugham December 13th, 2020 Sorry to hear of Jon's passing. December 13th, 2020 My sympathies are with the Fitch family. Jon was a really good friend, I'm glad I got to call him a friend for all those years. Rest in peace. December 17th, 2020
3575	dbpedia	0	38	https://sites.google.com/site/kathrynsplace/genealogy-fitch	en	kathrynsplace	https://ssl.gstatic.com/atari/images/public/favicon.ico	https://ssl.gstatic.com/atari/images/public/favicon.ico	[]	[]	[]	[ "" ]	null	[]	null	Genealogy -- Fitch Pushlished in June 2007	en	https://ssl.gstatic.com/atari/images/public/favicon.ico		https://sites.google.com/site/kathrynsplace/genealogy-fitch	Generation No. 1 1. Thomas13 Fitche (Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1447 in Fitche Castle. He married Agnes Alger ABT 1493, daughter of Robert Alger and Lady (Unknown). She was born ABT 1470, and died ABT 1530. Children of Thomas Fitche and Agnes Alger are: 2 i. Richard14 Fitch, born ABT 1492. 3 ii. William Fitch, born ABT 1496. + 4 iii. Thomas Fitche, born 1490. 5 iv. Margaret Fitch, born ABT 1505. + 6 v. Roger Fitch, born ABT 1507 in Lindsell, Essex, England; died Dec 1558 in Panfield, County Essex, England. 4. Thomas14 Fitche (Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1490. He married Lady Margaret Meade. Child of Thomas Fitche and Lady Meade is: + 7 i. Thomas15 Fitche, born 1522. 6. Roger14 Fitch (Thomas13 Fitche, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born ABT 1507 in Lindsell, Essex, England, and died Dec 1558 in Panfield, County Essex, England. He married Margery Humphret 1533. Children of Roger Fitch and Margery Humphret are: 8 i. Richard15 Fitch, born ABT 1544. 9 ii. John Fitch, born ABT 1546. 10 iii. Bartholomew Fitch, born ABT 1547. + 11 iv. George Fitch, born ABT 1552 in Bocking, Essex, England; died May 1605 in County Suffolk, England. 7. Thomas15 Fitche (Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1522. He married Lady Ann Bentley. Child of Thomas Fitche and Lady Bentley is: + 12 i. Thomas16 Fitch, born 1562. 11. George15 Fitch (Roger14, Thomas13 Fitche, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born ABT 1552 in Bocking, Essex, England, and died May 1605 in County Suffolk, England. He married Joan Thurgood 14 Sep 1574 in Little Canfield, England. She was born ABT 1546 in County Essex, England, and died ABT 1600 in County Suffolk, England. Child of George Fitch and Joan Thurgood is: 13 i. Thomas16 Fitch, born ABT 1577 in County Essex, England; died ABT Jan 1632/33 in County Essex, England. 12. Thomas16 Fitch (Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1562. He married Mary Munck, daughter of Sir John Munck John Munck. Child of Thomas Fitch and Mary Munck is: + 14 i. Thomas17 Fitch, born 1590 in Brazen Head, near Bocking, England; died Jan 1631/32 in Bocking, England. 14. Thomas17 Fitch (Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1590 in Brazen Head, near Bocking, England, and died Jan 1631/32 in Bocking, England. He married Anne Reeve 08 Aug 1611 in St. Mary's, Bocking, Essex, England, daughter of George Reeve. She was born 29 Nov 1590 in Garret Manor, Bocking, County Essex, England, and died ABT 1670 in Norwich, CT. Children of Thomas Fitch and Anne Reeve are: + 15 i. Thomas18 Fitch, born 14 Oct 1612 in Bocking, Essex Co., England; died 14 Apr 1704 in Norwalk, Fairfield, Ct. 16 ii. John Fitch, born ABT 1614. 17 iii. Elizabeth Fitch, born 07 Nov 1615. + 18 iv. Rev. James Fitch James Fitch, born 24 Dec 1622 in Bocking, Essex, England; died 18 Nov 1702 in Lebanon, CT. 19 v. Nathaniel Fitch, born 26 Dec 1623. 20 vi. Jeremy Fitch, born 05 Aug 1625. 21 vii. Samuel Fitch, born 09 Nov 1626. + 22 viii. Joseph Fitch, born ABT 1628 in Bocking, Essex Co., England; died Aft. 1713 in Prob. MA. 23 ix. Mary Fitch, born 27 Mar 1629. 24 x. Anne Fitch, born 06 Aug 1630. 25 xi. Sara Fitch, born 24 Jul 1631. 15. Thomas18 Fitch (Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 14 Oct 1612 in Bocking, Essex Co., England, and died 14 Apr 1704 in Norwalk, Fairfield, Ct. He married Anne "Anna" Stacie/Stacey 16 Nov 1632 in Norwalk, Fairfield, Ct or England. She was born ABT 1611 in Bocking, Essex Co., England, and died 20 Jan 1685/86 in Norwalk, Fairfield, Ct. Children of Thomas Fitch and Anne Stacie/Stacey are: + 26 i. Thomas19 Fitch, born 1633 in Bocking, Essex Co., England. 27 ii. John Fitch, born 1633 in Bocking,Essex Co.,England. + 28 iii. Mary Fitch, born 1643 in Norwalk,Fairfield,Ct; died 25 Dec 1730 in Stratford,Fairfield,Ct. 29 iv. Ann Fitch, born 1645 in Norwalk,Fairfield,Ct. 30 v. Sarah Fitch, born 1647 in Norwalk, Fairfield, Ct. 18. Rev. James Fitch James18 Fitch (Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 24 Dec 1622 in Bocking, Essex, England, and died 18 Nov 1702 in Lebanon, CT. He married (1) Abigail Whitfield 18 Oct 1648 in Saybrook, CT, daughter of Henry Whitfield and Dorothy Sheaffe. She was born 01 Sep 1622 in Ockley, Surrey, England, and died 09 Sep 1659 in Saybrook, Middlesex, CT. He married (2) Priscilla Mason 03 Oct 1664 in Saybrook, CT, daughter of John Mason and Anne Peck. She was born Oct 1641 in Windsor, Hartford, CT, and died 1714 in Windsor, CT. Children of James Fitch and Abigail Whitfield are: + 31 i. Maj. James19 Fitch, Jr., born 02 Aug 1649 in Saybrook, Middlesex Co., CT; died 10 Nov 1727 in Canterbury, CT. 32 ii. Abigail Fitch, born 05 Aug 1650 in Saybrook, Middlesex Co., CT. She married John Mason; born 15 Aug 1646 in Windsor, Hartford, CT. 33 iii. Elizabeth Fitch, born 02 Jan 1651/52 in Saybrook, Middlesex, CT. 34 iv. Hannah Fitch, born Sep 1653 in Saybrook, Middlesex, CT. + 35 v. Samuel Fitch, born 16 Apr 1655 in Saybrook, Middlesex, Ct; died 1725 in Preston. 36 vi. Dorothy Fitch, born 05 Apr 1658 in Saybrook, Middlesex, CT. Children of James Fitch and Priscilla Mason are: + 37 i. Capt. Daniel Fitch Daniel19 Fitch, born 16 Aug 1665 in Norwich, New London Co., Ct; died 24 May 1743 in Norwich, New London Co., Ct. 38 ii. John Fitch, born Jan 1666/67 in Norwich, New London Co., Ct. + 39 iii. Jeremiah Fitch, born 10 Sep 1670 in Norwich, New London County, CT; died 22 May 1736 in Coventry, Tolland Co., CT. 40 iv. Jabez Fitch, born Apr 1672 in Norwich, New London Co., Ct. 41 v. Ann Fitch, born Apr 1675 in Norwich, New London Co., Ct. + 42 vi. Capt. Nathaniel Fitch Nathaniel Fitch, born Oct 1679 in Norwich, CT (?); died 04 May 1759 in Lebanon, CT (?). + 43 vii. Joseph Fitch, born Nov 1681 in Norwich, New London Co., CT; died 09 Apr 1741 in Lebanon, New London Co., CT. 44 viii. Eleazer Fitch, born 14 May 1683 in Norwich, New London Co., CT. 22. Joseph18 Fitch (Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born ABT 1628 in Bocking, Essex Co., England, and died Aft. 1713 in Prob. MA. He married Mary Stone, daughter of Rev. Samuel Stone. Children of Joseph Fitch and Mary Stone are: + 45 i. Joseph19 Fitch II, died 18 Feb 1696/97. 46 ii. Nathaniel Fitch, died 04 Apr 1719. 26. Thomas19 Fitch (Thomas18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1633 in Bocking, Essex Co., England. Child of Thomas Fitch is: + 47 i. Thomas20 Fitch. 28. Mary19 Fitch (Thomas18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1643 in Norwalk,Fairfield,Ct, and died 25 Dec 1730 in Stratford,Fairfield,Ct. She married Matthew Sherwood. He was born 1643 in Concord,Middlesex,MA. Child of Mary Fitch and Matthew Sherwood is: + 48 i. Mary20 Sherwood, born 1672 in Fairfield, CT; died 16 Sep 1752 in Montville, New London, Ct. 31. Maj. James19 Fitch, Jr. (James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 02 Aug 1649 in Saybrook, Middlesex Co., CT, and died 10 Nov 1727 in Canterbury, CT. He married (1) Elizabeth Mason Jan 1676/77 in Norwich, Ct, daughter of John Mason and Anne Peck. She was born Aug 1654 in Saybrook, CT, and died 08 Oct 1684. He married (2) Alice Bradford 08 May 1687 in Norwich, New London, CT, daughter of William Bradford and Alice Richards. She was born ABT 1659 in Plymouth, MA, and died 10 Mar 1744/45 in Canterbury, Windham, MA. Children of James Fitch and Elizabeth Mason are: 49 i. James20 Fitch, born Jan 1677/78 in Norwich, CT. 50 ii. James Fitch, born 07 Jun 1679 in Norwich, CT; died Sep 1679 in Norwich, CT. + 51 iii. Jedediah Fitch, born 17 Apr 1681 in Norwich, New London County, CT; died 20 Nov 1756 in Nantucket, MA. 35. Samuel19 Fitch (James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 16 Apr 1655 in Saybrook, Middlesex, Ct, and died 1725 in Preston. He married Mary Ann Brewster 28 Nov 1678. She was born 10 Dec 1660 in Norwich, New London, CT. Children of Samuel Fitch and Mary Brewster are: 52 i. Mary20 Fitch, born 1679. 53 ii. Samuel Fitch, born 1681. + 54 iii. Hezekiah Fitch, born 1682. 55 iv. Elizabeth Fitch, born 1684. 56 v. Abigail Fitch, born 1686. 57 vi. Samuel Fitch, born 1688. 58 vii. Benjamin Fitch, born 29 Mar 1691. He married Hannah Read. 59 viii. John Fitch, born 1693. + 60 ix. Jabez Fitch, born 1695. + 61 x. Peletiah Fitch, born 1698 in Mohegan; died 1750 in Preston. 37. Capt. Daniel Fitch Daniel19 Fitch (James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 16 Aug 1665 in Norwich, New London Co., Ct, and died 24 May 1743 in Norwich, New London Co., Ct. He married Mary Sherwood 07 Mar 1697/98 in Fairfield, Fairfield, CT, daughter of Matthew Sherwood and Mary Fitch. She was born 1672 in Fairfield, CT, and died 16 Sep 1752 in Montville, New London, Ct. Children of Daniel Fitch and Mary Sherwood are: + 62 i. Adonijah20 Fitch, born 1700 in Norwich,New London Co.,Ct. 63 ii. James Fitch, born 18 Oct 1703 in New London Co., Ct. 64 iii. Lemuel Fitch, born Jan 1703/04 in Preston, New London, Ct. 65 iv. Mary Fitch, born Sep 1707. 66 v. Daniel Fitch, born 1709. 39. Jeremiah19 Fitch (James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 10 Sep 1670 in Norwich, New London County, CT, and died 22 May 1736 in Coventry, Tolland Co., CT. He married Ruth Gifford/Guilford. She was born 30 Dec 1676 in Norwich, New London County, CT. Children of Jeremiah Fitch and Ruth Gifford/Guilford are: 67 i. Ruth20 Fitch, born 18 Apr 1699 in Lebanon,New London,Ct. 68 ii. Lucy Fitch, born 18 Apr 1699 in Lebanon, New London, Ct. 69 iii. Hannah Fitch, born 18 Jan 1700/01 in Lebanon,New London,Ct. 70 iv. Abner Fitch, born 08 Jul 1703 in Lebanon,New London,Ct. 71 v. Gideon Fitch, born ABT 1705 in Lebanon,New London,Ct. 72 vi. Joseph Fitch, born 1705 in Lebanon, New London, Ct. 73 vii. Elisha Fitch, born ABT 1707 in Lebanon,New London,Ct. 74 viii. Jeremiah Fitch, born ABT 1708 in Lebanon,New London,Ct. 75 ix. James Fitch, born ABT 1709 in Lebanon,New London,Ct. 76 x. Stephen Fitch, born ABT 1712 in Lebanon,New London,Ct. 77 xi. Elisha Fitch, born 1714 in Lebanon,New London,Ct. 42. Capt. Nathaniel Fitch Nathaniel19 Fitch (James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born Oct 1679 in Norwich, CT (?), and died 04 May 1759 in Lebanon, CT (?). He married (1) Mindwell Higley 17 Sep 1729 in Lebanon, New London, Connecticut, USA. She was born 01 May 1692 in Simsbury, Hartford, CT, and died 01 Sep 1769 in Lebanon, New London, Connecticut, USA. He married (2) Anne Abel 10 Dec 1759, daughter of Joshua Abel and Mehitable Smith. She was born 02 Apr 1681 in Norwich, CT, and died 03 Jul 1728 in Lebanon, CT. Children of Nathaniel Fitch and Mindwell Higley are: 78 i. Jabez20 Fitch, born 04 Oct 1730 in Lebanon, New London, Connecticut, USA; died 14 Nov 1736 in Lebanon, New London, Connecticut, USA. 79 ii. Ezekial Fitch, born 11 Mar 1731/32 in Lebanon, New London, Connecticut, USA; died Nov 1811 in Coxsackie, Greene, New York, USA. 80 iii. Isaac Fitch, born 10 May 1734 in Lebanon, New London, Connecticut, USA; died 25 Sep 1791 in Lebanon, New London, Connecticut, USA. Children of Nathaniel Fitch and Anne Abel are: 81 i. Anne20 Fitch, born 05 Nov 1702 in Lebanon, New London, CT; died 11 Nov 1748 in Norwich, New London, Connecticut, USA. 82 ii. Joshua Fitch, born 13 Feb 1703/04 in Lebanon, New London, Connecticut, USA; died 07 Jun 1790 in Salisbury, Litchfield, Connecticut, USA. 83 iii. Nathan Fitch, born 29 Mar 1705 in Lebanon, New London, Connecticut, USA; died 12 Jun 1750 in Lebanon, New London, Connecticut, USA. 84 iv. Nehemiah Fitch, born 10 Feb 1707/08 in Lebanon, New London, Connecticut, USA; died 16 Nov 1745 in Norwich, New London, Connecticut, USA. + 85 v. James Fitch, born 15 Oct 1709 in Lebanon, CT; died 15 Nov 1760 in Salisbury, Litchfield, Connecticut. 86 vi. John Fitch, born 07 Jan 1711/12 in Lebanon, New London, Connecticut, USA; died 07 Jan 1741/42 in Lebanon, New London, Connecticut, USA. 87 vii. Nathaniel Fitch, born 14 May 1714 in Lebanon, New London, Connecticut, USA; died Dec 1746 in Lebanon, New London, Connecticut, USA. 88 viii. Mehitabel Fitch, born 03 Feb 1716/17 in Lebanon, New London, Connecticut, USA; died 18 Dec 1800 in Lebanon New London, Connetictu, Connecticut, USA. 89 ix. Elizabeth Fitch, born 26 May 1718 in Lebanon, New London, Connecticut, USA; died 18 Dec 1747 in Lebanon, New London, Connecticut, USA. 90 x. Rachel Fitch, born Oct 1720 in Lebanon, New London, Connecticut, USA; died 28 May 1726 in Lebanon, New London, Connecticut, USA. 91 xi. Abel Fitch, born 22 Nov 1722 in Lebanon, New London, Connecticut, USA; died 17 Jun 1725 in Lebanon, New London, Connecticut, USA. 92 xii. Caleb Fitch, born 17 Jun 1725 in Lebanon, New London, Connecticut, USA; died 19 Mar 1749/50 in Lebanon, Litchfield, Connecticut, USA. 43. Joseph19 Fitch (James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born Nov 1681 in Norwich, New London Co., CT, and died 09 Apr 1741 in Lebanon, New London Co., CT. He married Sarah Mason 02 Nov 1703 in Stonington,N London,Ct. She was born 1680 in Stonington, New London, CT. Children of Joseph Fitch and Sarah Mason are: + 93 i. Sarah20 Fitch, born 24 Jan 1703/04 in Stonington,N London,Ct; died 05 Jan 1739/40 in Lebanon,New London Co.,Ct. 94 ii. Mason Fitch. 95 iii. Joseph Fitch, born 14 Feb 1710/11 in Stonington, Ct. 45. Joseph19 Fitch II (Joseph18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) died 18 Feb 1696/97. Child of Joseph Fitch II is: + 96 i. Joseph20 Fitch. 47. Thomas20 Fitch (Thomas19, Thomas18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) Child of Thomas Fitch is: 97 i. Thomas21 Fitch. 48. Mary20 Sherwood (Mary19 Fitch, Thomas18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1672 in Fairfield, CT, and died 16 Sep 1752 in Montville, New London, Ct. She married Capt. Daniel Fitch Daniel Fitch 07 Mar 1697/98 in Fairfield, Fairfield, CT, son of James Fitch and Priscilla Mason. He was born 16 Aug 1665 in Norwich, New London Co., Ct, and died 24 May 1743 in Norwich, New London Co., Ct. Children are listed above under (37) Daniel Fitch. 51. Jedediah20 Fitch (James19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 17 Apr 1681 in Norwich, New London County, CT, and died 20 Nov 1756 in Nantucket, MA. He married Abigail Coffin 13 Sep 1701 in Newbury, MA. She was born 09 Jul 1683 in Nantucket, Nantucket Co., MA, and died 25 May 1736 in Barnstable, MA. Children of Jedediah Fitch and Abigail Coffin are: + 98 i. Elizabeth21 Fitch, born 30 Sep 1703 in Nantucket, MA; died 22 Jul 1777 in Nantucket, MA. + 99 ii. Peter Fitch, born 28 Jul 1705 in Canterbury, Windham Co., CT; died 21 Jan 1793 in Nantucket, MA. + 100 iii. Mary Fitch, born 22 Jul 1708 in Nantucket, MA; died 21 Apr 1794 in Nantucket, MA. + 101 iv. Beriah Fitch, born 30 Aug 1713 in Nantucket, MA; died 04 May 1785 in NC. 54. Hezekiah20 Fitch (Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1682. He married Anne (Unknown). Child of Hezekiah Fitch and Anne (Unknown) is: + 102 i. Esther21 Fitch, born 08 Jan 1743/44 in Norwich, New London, CT; died 19 Apr 1825 in Griswold, New London, CT. 60. Jabez20 Fitch (Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1695. Child of Jabez Fitch is: + 103 i. Pelatiah21 Fitch, born 1722 in Norwich, New London Co., CT. 61. Peletiah20 Fitch (Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1698 in Mohegan, and died 1750 in Preston. He married (1) Elizabeth Haskell 1723. He married (2) Elizabeth Choate 02 Nov 1726. She was born 09 Dec 1706. Child of Peletiah Fitch and Elizabeth Haskell is: 104 i. Abigail21 Fitch, born 1724. Children of Peletiah Fitch and Elizabeth Choate are: 105 i. Benjamin21 Fitch, born 1727. 106 ii. Jabez Fitch, born 1729; died 1812. 107 iii. Elizabeth Fitch, born 1732. + 108 iv. Stephen Fitch, born 1734 in Preston. 109 v. Walter Fitch, born 1736. 110 vi. Mary Fitch, born 1740. 111 vii. Ammi Fitch, born 1742. 112 viii. Andrew Fitch, born 22 Mar 1746/47; died 28 Aug 1811. 62. Adonijah20 Fitch (Daniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1700 in Norwich,New London Co.,Ct. He married Sarah Fitch ABT 1725, daughter of Joseph Fitch and Sarah Mason. She was born 24 Jan 1703/04 in Stonington,N London,Ct, and died 05 Jan 1739/40 in Lebanon,New London Co.,Ct. Children of Adonijah Fitch and Sarah Fitch are: 113 i. Mary21 Fitch, born 24 Apr 1727 in Montville,New London,Ct. She married Major Major Prince Alden. 114 ii. Sarah Fitch, born 02 Mar 1728/29 in New London, Ct. 115 iii. Ann Fitch, born 20 May 1731 in New London, CT. 116 iv. Squire Joseph Fitch, born 12 Aug 1733 in New London,Ct. 117 v. Elizabeth Fitch, born 17 Aug 1735 in New London,Ct. 118 vi. John Fitch, born 10 Dec 1737 in New London,Ct. 85. James20 Fitch (Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 15 Oct 1709 in Lebanon, CT, and died 15 Nov 1760 in Salisbury, Litchfield, Connecticut. He married Abiel Metcalf 22 Nov 1733 in Lebenon, Connecticut, daughter of Joseph Metcalf and Abiel Adams. She was born 15 Nov 1709 in Falmouth, Barnstable, MA, and died 02 Feb 1778 in Greenbush, Schoharie, New York. Child of James Fitch and Abiel Metcalf is: + 119 i. Col. William21 Fitch, born 18 Jul 1737 in Lebanon, colony of Connecticut; died 30 Apr 1785 in Pawlet, VT. 93. Sarah20 Fitch (Joseph19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 24 Jan 1703/04 in Stonington,N London,Ct, and died 05 Jan 1739/40 in Lebanon,New London Co.,Ct. She married Adonijah Fitch ABT 1725, son of Daniel Fitch and Mary Sherwood. He was born 1700 in Norwich,New London Co.,Ct. Children are listed above under (62) Adonijah Fitch. 96. Joseph20 Fitch (Joseph19, Joseph18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) He married Sarah Shaler. Child of Joseph Fitch and Sarah Shaler is: 120 i. John21 Fitch, born 21 Jan 1742/43 in East Windsor, Windsor Twp., Hartford Co., CT; died 02 Jul 1798 in Bardstown, KY. He married Lucy Roberts 29 Dec 1767; born in of Simsbury, CT. 98. Elizabeth21 Fitch (Jedediah20, James19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 30 Sep 1703 in Nantucket, MA, and died 22 Jul 1777 in Nantucket, MA. She married Ebenezer Calef 08 Apr 1722 in Nantucket, MA. He was born 25 Jan 1695/96 in Ipswich, MA. Children of Elizabeth Fitch and Ebenezer Calef are: 121 i. Mary22 Calef, born 29 Sep 1728. 122 ii. Peter Calef, born 26 Sep 1731. 123 iii. Robert Calef, born 26 Sep 1731. 124 iv. Elizabeth Calef, born 10 Apr 1736. 125 v. Ebenezer Calef, born 22 Jul 1739. 126 vi. Margaret Calef, born 15 Nov 1745. 99. Peter21 Fitch (Jedediah20, James19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 28 Jul 1705 in Canterbury, Windham Co., CT, and died 21 Jan 1793 in Nantucket, MA. He married Rachel Chase 18 Feb 1729/30 in Nantucket, MA. She was born 20 Oct 1712 in Nantucket, MA, and died 23 Mar 1801 in Nantucket, MA. Children of Peter Fitch and Rachel Chase are: 127 i. Abigail22 Fitch, born 1731. 128 ii. Benjamin Fitch, born ABT 1734. 129 iii. Coffin Fitch, born ABT 1736. 130 iv. James Fitch, born ABT 1739. 131 v. Peter Fitch, born 07 Jul 1741. 132 vi. Rachel Fitch, born ABT 1743. 133 vii. Ebenezer Fitch, born ABT 1745. 134 viii. Seth Fitch, born ABT 1746. 135 ix. Sarah Fitch, born 21 Sep 1750. 100. Mary21 Fitch (Jedediah20, James19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 22 Jul 1708 in Nantucket, MA, and died 21 Apr 1794 in Nantucket, MA. She married Thomas Bailey 05 Jun 1729 in Nantucket, MA. He was born ABT 1707 in Nantucket, MA. Children of Mary Fitch and Thomas Bailey are: 136 i. Joseph22 Bailey, born 02 Sep 1729. 137 ii. Elizabeth Bailey, born 08 Feb 1730/31. 138 iii. Thomas Bailey, born 10 Apr 1733. 139 iv. Ebenezer Bailey, born ABT 1735. 101. Beriah21 Fitch (Jedediah20, James19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 30 Aug 1713 in Nantucket, MA, and died 04 May 1785 in NC. He married Deborah Gorham 11 Dec 1735 in Nantucket, Nantucket County, MA. She was born 1715 in Nantucket, MA, and died 21 Apr 1787 in Nantucket, Nantucket County, MA. Children of Beriah Fitch and Deborah Gorham are: 140 i. Eunice22 Fitch, born 12 Sep 1736 in Nantucket, Nantucket County, MA; died Aft. Nov 1792 in Guilford County, NC. She married Benjamin Barnard 09 Jan 1755 in Nantucket, Nantucket County, MA. 141 ii. Lydia Fitch. 142 iii. Jonathon Gorham Fitch. 143 iv. Parnel Fitch. 144 v. Phebe Fitch. 145 vi. Lucinda Fitch. 146 vii. Beriah Fitch, Jr.. 147 viii. Reuben Fitch. 148 ix. Shubael Fitch. 149 x. Puella Fitch. 150 xi. Deborah Fitch. 151 xii. Jedediah Fitch, born 02 Oct 1762 in Nantucket, Nantucket County, MA. 102. Esther21 Fitch (Hezekiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 08 Jan 1743/44 in Norwich, New London, CT, and died 19 Apr 1825 in Griswold, New London, CT. She married Abel Geer 05 Feb 1766 in Preston, New London Co., CT. He was born 20 Jun 1735 in Preston, New London Co., CT, and died 04 Aug 1816 in Preston, New London Co., CT. Children of Esther Fitch and Abel Geer are: + 152 i. Esther22 Geer, born 05 Nov 1766 in Preston, New London Co., CT. 153 ii. Samuel Geer. 154 iii. William Geer. 155 iv. Molly "Polly" Geer. 156 v. Charles Geer. 157 vi. Zepporah Geer, born 14 Mar 1779 in Preston, New London Co., CT. 158 vii. Martha Geer. 159 viii. Ebenezer Geer. 160 ix. Moses Geer. 161 x. Fitch Geer. 103. Pelatiah21 Fitch (Jabez20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1722 in Norwich, New London Co., CT. He married Elizabeth Burrows. She was born 1725 in Groton, CT. Child of Pelatiah Fitch and Elizabeth Burrows is: + 162 i. Elisha22 Fitch, born 1756; died 1826. 108. Stephen21 Fitch (Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1734 in Preston. He married Sarah (Unknown). Children of Stephen Fitch and Sarah (Unknown) are: + 163 i. Col. Asa Fitch Asa22 Fitch, born 05 Feb 1755 in Bozrah, CT; died 19 Aug 1844 in Bozrah, CT. 164 ii. Walter Fitch. 165 iii. Clarissa Fitch. 166 iv. (Unknown) Fitch. 167 v. (Unknown) Fitch. 119. Col. William21 Fitch (James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 18 Jul 1737 in Lebanon, colony of Connecticut, and died 30 Apr 1785 in Pawlet, VT. He married Altie Wheeler 09 Oct 1760 in NY, daughter of (Unknown) Wheeler and Margaret (?). She was born ABT 28 Dec 1732 in Kinderhook, Albany, New York, and died ABT 1805 in Richmond, Ontario, New York. From the book, History of Rutland County, VT, Page 703: Colonel William Fitch was one of the earliest settlers and most prominent citizens of the town. He was employed by the Council of Safety to furnish supplies for the troops raised to repel the invasion of Burgoyne. He owned the first saw and grist-mills built at the village by William Bradford, and also kept the first store in town; the village was known on early maps as "Fitch's Mills." Children of William Fitch and Altie Wheeler are: + 168 i. Abial22 Fitch, born 06 Mar 1762 in Rensselaer, Rensselaer, New York. + 169 ii. Margaret Fitch, born 07 Nov 1763 in Pawlet, VT; died 24 Mar 1833 in Richmond Twp., NY. 170 iii. John Fitch, born 20 Feb 1765 in New York; died 14 Oct 1799 in Pawlet, VT. + 171 iv. Sina Fitch, born 18 Feb 1767 in Schodack, Rensselaer, New York. + 172 v. Rachel Fitch, born 09 Sep 1768 in Pawlet, Rutland County, VT; died 17 Feb 1864 in Pawlett, VT. 173 vi. Altie Fitch, born 24 May 1770 in New York; died 29 May 1781. + 174 vii. Sybil Fitch, born 24 Feb 1772 in Pawlet, Rutland Co., Vermont; died 14 Jun 1850. 175 viii. Anna Fitch, born 28 Dec 1773 in Pawlet, Rutland Co., Vermont. She married Dr. Chipman Cyrus Chipman 05 Oct 1787 in Pawlet, Rutland County, VT. 152. Esther22 Geer (Esther21 Fitch, Hezekiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 05 Nov 1766 in Preston, New London Co., CT. She married Samuel Smith, Jr. 03 Sep 1797 in Preston, New London Co., CT. He died 01 Jan 1801 in Preston, New London Co., CT. Children of Esther Geer and Samuel Smith are: + 176 i. Prosper23 Smith, born 01 Dec 1795 in Preston, New London Co., CT. 177 ii. George Smith, born 16 May 1798 in Preston, New London Co., CT; died Jan 1802. 178 iii. Fanny Smith, born 06 Jun 1799 in Preston, New London Co., CT. 162. Elisha22 Fitch (Pelatiah21, Jabez20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1756, and died 1826. Child of Elisha Fitch is: + 179 i. Frederick23 Fitch. 163. Col. Asa Fitch Asa22 Fitch (Stephen21, Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 05 Feb 1755 in Bozrah, CT, and died 19 Aug 1844 in Bozrah, CT. He married (1) Susannah Fitch 08 Feb 1781 in Bozrah, CT. She was born 04 Jan 1757 in Bozrah, CT. He married (2) Mary House 22 Jan 1816 in Bozrah, CT. She was born 1762. Children of Asa Fitch and Susannah Fitch are: 180 i. Nehemiah H.23 Fitch. 181 ii. Lois F. Fitch. She married Capt. George Lee George Lee. 182 iii. Clarissa Fitch. + 183 iv. Asa Fitch, born 06 May 1787. 184 v. Susan Fitch. She married Capt. George Lee George Lee. + 185 vi. Stephen Fitch, born 21 Aug 1790 in Bozrah, CT; died 06 Oct 1868 in Bozrah, CT. 186 vii. Fanny Fitch. She married Sherwood Raymond. 187 viii. Douglass Fitch, born 18 Feb 1796. + 188 ix. William Fitch, born 27 Oct 1800 in Bozrah, CT; died 23 Dec 1880 in Norwichtown, CT. 189 x. Clarissa Fitch, born 05 Jun 1802. She married Maj. John W. Haughton John W. Haughton 14 Oct 1824. 168. Abial22 Fitch (William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 06 Mar 1762 in Rensselaer, Rensselaer, New York. She married Nathaniel Harmon 10 May 1781 in Pawlet, Rutland County, VT. He died 1845. Children of Abial Fitch and Nathaniel Harmon are: 190 i. Phila23 Harmon, born 22 Feb 1786 in Pawlet, Rutland County, VT. 191 ii. William Fitch Harmon, born 25 Oct 1781 in Pawlet, Rutland County, VT. 192 iii. Altia Harmon, born 18 Nov 1782 in Pawlet, Rutland County, VT. 193 iv. Tina Harmon, born 04 Feb 1784 in Pawlet, Rutland County, VT. 169. Margaret22 Fitch (William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 07 Nov 1763 in Pawlet, VT, and died 24 Mar 1833 in Richmond Twp., NY. She married Philip Reed 25 May 1780 in Pawlet, VT, son of Jacob Reed and Lydia Longbottom. He was born 11 Jul 1756 in New Lebanon, CT, and died 20 May 1828 in Richmond Twp., NY. Children of Margaret Fitch and Philip Reed are: + 194 i. Maj. John Fitch Reed John Fitch23 Reed, born 23 Dec 1781 in Pawlet, VT; died 13 Sep 1857 in Richmond, NY. + 195 ii. Silas Reed, born 15 Jul 1783 in Pawlet, VT; died 15 Aug 1853 in Richmond, NY. + 196 iii. Wheeler Reed, born May 1788 in Pawlet, Rutland County, VT; died 12 May 1867 in Canandaigua, NY. 197 iv. Altae F. Reed, born 1795 in Richmond, Ny; died 21 Aug 1812 in Richmond, Ny. + 198 v. William Fitch Reed, born 1800 in Richmond, NY; died 30 Oct 1862 in Richmond, NY. + 199 vi. Philip Reed, born 1806 in Richmond, NY; died 18 Oct 1851 in Richmond, NY. 171. Sina22 Fitch (William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 18 Feb 1767 in Schodack, Rensselaer, New York. She married Lemuel Chipman. Child of Sina Fitch and Lemuel Chipman is: + 200 i. (Unknown)23 Chipman. 172. Rachel22 Fitch (William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 09 Sep 1768 in Pawlet, Rutland County, VT, and died 17 Feb 1864 in Pawlett, VT. She married Col. Ozias Clark Ozias Clark 14 Nov 1784, son of Elisha Clark and Irena Meigs. He was born 14 Nov 1764 in Suffield, CT, and died 04 Jun 1855 in Pawlett, VT. Children of Rachel Fitch and Ozias Clark are: 201 i. Nancy23 Clark, born 02 Apr 1785 in Pawlet, Rutland County, VT. 202 ii. Meggs Clark, born 14 Jan 1787 in Pawlet, Rutland County, VT. 203 iii. Irena Clark, born 04 Apr 1789 in Pawlet, Rutland County, VT. + 204 iv. Fitch Clark, born 14 Nov 1792 in Pawlet, Rutland County, VT; died 30 Jan 1873 in Pawlett, VT. 205 v. Nancy Clark, born 05 Dec 1794 in Pawlet, Rutland County, VT. 206 vi. Alta Clark, born 24 Aug 1801 in Pawlet, Rutland County, VT. 207 vii. John Meggs Clark, born Mar 1803 in Pawlet, Rutland County, VT. 208 viii. Robert Woodworth Clark, born 03 Mar 1805 in Pawlet, Rutland County, VT. 209 ix. Betsy Griswold Clark, born 06 May 1808 in Pawlet, Rutland County, VT. 210 x. Marietta Clark, born 26 Sep 1813 in Pawlet, Rutland County, VT. 174. Sybil22 Fitch (William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 24 Feb 1772 in Pawlet, Rutland Co., Vermont, and died 14 Jun 1850. She married Daniel Clark 31 Jan 1788, son of Elisha Clark and Irena Meigs. He was born 15 Dec 1770 in Suffield, CT, and died 01 Oct 1842 in Pawlet, Rutland County, VT. Children of Sybil Fitch and Daniel Clark are: 211 i. Elisha23 Clark, born 29 Jun 1791. 212 ii. William Fitch Clark, born 17 Jun 1793. 213 iii. Philip Reed Clark, born 07 Jun 1795; died 27 May 1872. 214 iv. Wheeler Clark, born 18 Apr 1797; died 29 Oct 1874. 215 v. John Fitch Clark, born 05 Apr 1799. 216 vi. Cyrus Austin Clark, born 28 Jul 1801. 217 vii. Darius Clark, born 11 Dec 1803. 218 viii. Cornelia Clark, born 06 Jun 1806. 219 ix. Corrilla Clark, born 06 Jun 1806. 220 x. Senia Clark, born 29 Aug 1808. + 221 xi. Daniel Clark, born 13 Aug 1812 in Pawlet, Rutland County, VT; died 03 Mar 1889 in West Rutland, VT. 176. Prosper23 Smith (Esther22 Geer, Esther21 Fitch, Hezekiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 01 Dec 1795 in Preston, New London Co., CT. He married Maria E. Cabals. She was born 1801 in CT. Children of Prosper Smith and Maria Cabals are: 222 i. Julia Ann24 Smith. She married Austin A. Brown. 223 ii. Clariface Smith, born 1844 in CT. 224 iii. Alonzo Morton Smith, born 17 Jun 1818 in CT; died 1891 in Waterford, CT. He married Lucy Ann Barber. 179. Frederick23 Fitch (Elisha22, Pelatiah21, Jabez20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) Children of Frederick Fitch are: + 225 i. Graham Newell24 Fitch. 226 ii. Edwin Fitch. 227 iii. Charles Fitch. 228 iv. Thomas Garvin Fitch. 229 v. Wythe Fitch. 230 vi. Harriet Fitch. 231 vii. J R Fitch. 183. Asa23 Fitch (Asa22, Stephen21, Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 06 May 1787. He married Hannah Avery. Child of Asa Fitch and Hannah Avery is: + 232 i. Edwin Augustus24 Fitch, born 09 Jan 1823 in Preston; died 17 Sep 1904 in Norwich, CT (VR). 185. Stephen23 Fitch (Asa22, Stephen21, Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 21 Aug 1790 in Bozrah, CT, and died 06 Oct 1868 in Bozrah, CT. He married Mary I. Rogers 23 Mar 1817. She was born 04 Jan 1794 in Norwich, CT (VR), and died 22 Sep 1837 in Norwich, CT (VR). Children of Stephen Fitch and Mary Rogers are: 233 i. Sophia Ingraham24 Fitch, born 10 Dec 1817; died 01 Jul 1873 in Paris. She married William S. Cruft. 234 ii. Asa Douglass Fitch, born 27 Mar 1820 in New Hartford, NY; died 27 Nov 1891 in Norwich Town, CT. 235 iii. Mary Elizabeth Fitch, born 27 Jul 1827. She married (1) Hon. R. H. Winslow Richard Henry Winslow. She married (2) Dr. R. C. M. Page R. C. M. Page. + 236 iv. William Huntington Fitch, born 04 Nov 1830 in New Hartford, NY; died 28 Oct 1904 in Norwich Town, CT. 188. William23 Fitch (Asa22, Stephen21, Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 27 Oct 1800 in Bozrah, CT, and died 23 Dec 1880 in Norwichtown, CT. He married Mary Elizabeth Williams 14 Oct 1857. She was born 23 Jan 1825 in Bethlehem, Litchfield county, CT, and died 12 Jul 1897 in Norwichtown, CT. Children of William Fitch and Mary Williams are: 237 i. William Asa24 Fitch, born 07 Aug 1858. + 238 ii. Marion Hillhouse Fitch, born 28 Sep 1860; died 21 Mar 1907. + 239 iii. Susan Lee Fitch, born 19 Mar 1863. + 240 iv. Elizabeth Mason Fitch, born 11 Aug 1865. 241 v. Fannie Raymond Fitch, born 22 Dec 1867; died 21 Jul 1890. + 242 vi. Sarah Griswold Fitch, born 07 Dec 1871. 194. Maj. John Fitch Reed John Fitch23 Reed (Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 23 Dec 1781 in Pawlet, VT, and died 13 Sep 1857 in Richmond, NY. He married Antha Steele 07 Nov 1807. She was born ABT 1786, and died 08 May 1852. Children of John Reed and Antha Steele are: 243 i. Anna24 Reed, born ABT 1838; died ABT 11 May 1852. + 244 ii. Philip Harrison Reed III, born 11 Mar 1813 in Richmond, NY; died 19 Nov 1897 in Richmond Twp., Ontario co., NY. + 245 iii. Wheeler Reed II, born 21 Jun 1811 in Richmond, New York. + 246 iv. Deacon John A. Reed John Alexander Reed, born 12 Oct 1826; died 1900. 247 v. Horatio Reed. 248 vi. William Reed. 249 vii. Amanda Reed. 195. Silas23 Reed (Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 15 Jul 1783 in Pawlet, VT, and died 15 Aug 1853 in Richmond, NY. He married Altie Chipman 21 May 1809. She was born 20 Mar 1791 in Pawlet, Rutland County, VT, and died 23 Mar 1859 in Richmond Twp., Ontario co., NY. Child of Silas Reed and Altie Chipman is: 250 i. Guy24 Reed, born 26 May 1810; died 19 Feb 1863 in Richmond Twp., Ontario co., NY. 196. Wheeler23 Reed (Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born May 1788 in Pawlet, Rutland County, VT, and died 12 May 1867 in Canandaigua, NY. He married (1) Olive Risden Bef. 1816, daughter of Ornismus Risden and Sarah Wheeler. She was born 11 May 1790 in Rupert, VT, and died 11 May 1816 in Richmond Mills, New York. He married (2) Hannah Risden Aft. 1816, daughter of Ornismus Risden and Sarah Wheeler. She was born 16 Sep 1797 in Pawlet, Rutland County, VT, and died 02 Feb 1877 in Lima, NY. Children of Wheeler Reed and Olive Risden are: 251 i. James24 Reed, born ABT 16 Aug 1810 in Richmond Mills, New York; died 28 Sep 1810. + 252 ii. Caroline Reed, born 14 Oct 1811 in Richmond Mills, Ontario Co., New York; died 22 Apr 1899 in Livonia, Livingston, New York, USA. Children of Wheeler Reed and Hannah Risden are: 253 i. Olive24 Reed, born 29 Aug 1819; died 29 Dec 1890 in Richmond Twp., Ontario co., NY. + 254 ii. George W. Reed, born 28 Oct 1822 in Richmond Mills, Ontario Co., NY; died 18 Jun 1900 in Coldwater, MI. 255 iii. Byron W. Reed. 256 iv. Marcia Reed, born 20 Aug 1833 in Richmond Twp., Ontario co., NY; died 13 Feb 1838 in Richmond Twp., Ontario co., NY. 257 v. Emily Reed. She married (Unknown) Longyear. 258 vi. Fitch Reed. 259 vii. (Unknown) Reed. She married Benjamin Coy. 260 viii. Wheeler Reed, Jr. 198. William Fitch23 Reed (Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1800 in Richmond, NY, and died 30 Oct 1862 in Richmond, NY. He married Amelia C. Palmer. She was born ABT 1805, and died 04 Nov 1877 in Richmond Twp., Ontario co., NY. Children of William Reed and Amelia Palmer are: 261 i. Caroline A.24 Reed, died 04 Jan 1870 in Richmond Twp., Ontario co., NY. 262 ii. T. Lodosia Reed, died 1837 in Richmond Twp., Ontario co., NY. 263 iii. Samuel Palmes/Palmer Reed, born 17 Feb 1827. 264 iv. Edward C. Reed, born 17 Aug 1839; died in Richmond Twp., Ontario co., NY. 265 v. (Unknown) Reed, born ABT 1844 in Pawlet, Rutland County, VT; died 06 May 1846 in Pawlet, Rutland County, VT. + 266 vi. Charles E. Reed. 199. Philip23 Reed (Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1806 in Richmond, NY, and died 18 Oct 1851 in Richmond, NY. He married Betsey Blackmer 18 Oct 1827, daughter of Levi Blackmer and Hannah Pitts. She was born 18 Apr 1804, and died 12 May 1871. Children of Philip Reed and Betsey Blackmer are: 267 i. Gideon Pitts24 Reed, born 22 Aug 1828; died 16 Jan 1853. 268 ii. Almon Clark Reed, born 20 Dec 1831; died 29 Nov 1854. + 269 iii. Henry Gilbert Reed, born 09 Nov 1834 in Richmond Mills, New York; died 22 Oct 1877 in Grand Rapids, MI. 270 iv. Albert Stevens Reed, born 18 Jun 1839; died 28 Jul 1907. He married Frances Risden. + 271 v. Thomas Richmond Reed, born 04 Aug 1841 in Richmond Township, Ontario Co., NY; died 11 Oct 1908. 272 vi. Alice Eliza Reed, born 05 May 1845; died 09 Oct 1861 in Richmond Twp., Ontario co., NY. + 273 vii. Adelaide Elizabeth Reed, born 05 May 1845; died 10 Apr 1920. 200. (Unknown)23 Chipman (Sina22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) She married Dr. Ephraim W. Cheney Ephraim W. Cheney. He was born Bet. 1793 - 1794 in Sturbridge, MA. Children of (Unknown) Chipman and Ephraim Cheney are: 274 i. Bishop24 Cheney. 275 ii. Dr. W. Fitch Cheney W Fitch Cheney. 204. Fitch23 Clark (Rachel22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 14 Nov 1792 in Pawlet, Rutland County, VT, and died 30 Jan 1873 in Pawlett, VT. He married Laura Baker 12 Sep 1813. She was born 1796, and died 28 Feb 1869 in Pawlett, VT. Children of Fitch Clark and Laura Baker are: 276 i. Ozias24 Clark. 277 ii. Lucretia Clark, born 11 Sep 1814 in Pawlet, Rutland County, VT. 278 iii. Sheldon Clark. 279 iv. Laura Clark. + 280 v. Annis Clark, born 15 Jul 1818; died 15 Jun 1891. 281 vi. Sarah S. Clark, born ABT 1841 in Pawlet, Rutland County, VT; died 01 Mar 1869 in Pawlet, Rutland County, VT. She married Fayette Guilford. 282 vii. Harriet Clark. 283 viii. Jonathan Clark. 284 ix. Harry Griswold Clark, born 29 May 1828 in Pawlet, Rutland County, VT; died 02 Jun 1832 in Pawlet, Rutland County, VT. 285 x. Horace A. Clark, born 09 Feb 1839 in Pawlet, Rutland County, VT; died 22 Jul 1866 in Pawlet, Rutland County, VT. 221. Daniel23 Clark (Sybil22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 13 Aug 1812 in Pawlet, Rutland County, VT, and died 03 Mar 1889 in West Rutland, VT. He married Maria Salisbury. She was born 10 Aug 1818, and died 1894. Children of Daniel Clark and Maria Salisbury are: + 286 i. Elias Edwin24 Clark, born 17 Sep 1840 in La Pierre, MI. 287 ii. Sarah F. Clark, born 1845. She married (1) M. C. Kelsey. She married (2) Charles H. Slason. She married (3) Henry G. Post. 225. Graham Newell24 Fitch (Frederick23, Elisha22, Pelatiah21, Jabez20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) Child of Graham Newell Fitch is: + 288 i. Martha25 Fitch. 232. Edwin Augustus24 Fitch (Asa23, Asa22, Stephen21, Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 09 Jan 1823 in Preston, and died 17 Sep 1904 in Norwich, CT (VR). He married Frances Swan 07 Jan 1862. She was born 27 Sep 1836 in North Stonington. Children of Edwin Fitch and Frances Swan are: 289 i. Charles Edward25 Fitch, born 17 Dec 1862; died 06 Sep 1872. 290 ii. George Swan Fitch, born 09 Dec 1863. 291 iii. Frank Augustus Fitch, born 20 Feb 1868. 292 iv. Lillian Frances Fitch. 293 v. Ella May Fitch. 294 vi. Albert Avery Fitch. 295 vii. William Asa Fitch. 236. William Huntington24 Fitch (Stephen23, Asa22, Stephen21, Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 04 Nov 1830 in New Hartford, NY, and died 28 Oct 1904 in Norwich Town, CT. He married Louise C. Smith 13 Jan 1870 in Bozrah, CT. She was born 03 Dec 1844 in Bozrah, CT. Children of William Fitch and Louise Smith are: 296 i. Mary I.25 Fitch, died Deceased. 297 ii. Stephen D. Fitch, died Deceased. 298 iii. William D. Fitch, born 25 Oct 1879. 238. Marion Hillhouse24 Fitch (William23, Asa22, Stephen21, Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 28 Sep 1860, and died 21 Mar 1907. She married Elihu G. Loomis 11 Apr 1882. Children of Marion Fitch and Elihu Loomis are: 299 i. Mary Fitch25 Loomis. 300 ii. Ralph Lane Loomis. 301 iii. Hubert Hillhouse Loomis. 302 iv. Samuel Lane Loomis. 303 v. William Fitch Loomis. 239. Susan Lee24 Fitch (William23, Asa22, Stephen21, Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 19 Mar 1863. She married William Robert Jewett. He was born 13 Oct 1861. Children of Susan Fitch and William Jewett are: 304 i. Edward Whitehead25 Jewett. 305 ii. William Fitch Jewett. 306 iii. Fannie Faymond Jewett. 240. Elizabeth Mason24 Fitch (William23, Asa22, Stephen21, Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 11 Aug 1865. She married William Nelson Wilbur 29 Apr 1885. Children of Elizabeth Fitch and William Wilbur are: 307 i. Lawrence Hillhouse25 Wilbur. 308 ii. William Fitch Wilbur. 309 iii. Mary Elizabeth Wilbur. 310 iv. Harriet Mason Wilbur. 311 v. John Mason Wilbur. 242. Sarah Griswold24 Fitch (William23, Asa22, Stephen21, Peletiah20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 07 Dec 1871. She married Francis Hillhouse 14 Jul 1897. Children of Sarah Fitch and Francis Hillhouse are: 312 i. Mary Fitch25 Hillhouse. 313 ii. Frances Betts Hillhouse. 314 iii. Marian Hillhouse. 244. Philip Harrison24 Reed III (John Fitch23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 11 Mar 1813 in Richmond, NY, and died 19 Nov 1897 in Richmond Twp., Ontario co., NY. He married (1) Louise Wemple 1837. He married (2) Emily Bostwick 1847. Child of Philip Reed and Louise Wemple is: + 315 i. Henry Harrison25 Reed, born 12 Dec 1840. 245. Wheeler24 Reed II (John Fitch23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 21 Jun 1811 in Richmond, New York. He married Phila G. Wimple 04 Oct 1838 in Franklin, MI. She was born 18 Jan 1813. Children of Wheeler Reed and Phila Wimple are: + 316 i. Norman Kellogg25 Reed, born 19 Sep 1848; died 17 Dec 1903 in Richmond, NY. 317 ii. Almeron Reed, born 1841. 318 iii. Emily W. Reed. 246. Deacon John A. Reed John Alexander24 Reed (John Fitch23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 12 Oct 1826, and died 1900. He married Mary Eveline Ashley 1854. She was born 1834, and died 1894. Children of John Reed and Mary Ashley are: 319 i. Mary Eveline25 Reed, born 1855. 320 ii. Edwin Reed, born 1858; died 1880. + 321 iii. Martha Jane Reed, born 1860. 322 iv. Anna L. Reed, born 1863; died 1942 in Bristol, NY. She married (Unknown) Gilbert. 323 v. Frank A. Reed, born 1865. He married Violet Quick. 324 vi. Augusta E. Reed, born 1867. 325 vii. John F. Reed, born 1869. 326 viii. F. William Reed, born 1871. 327 ix. Robert F. Reed, born 1876; died 1961 in Richmond, NY. 328 x. N. Raymond Reed, born 1876. 252. Caroline24 Reed (Wheeler23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 14 Oct 1811 in Richmond Mills, Ontario Co., New York, and died 22 Apr 1899 in Livonia, Livingston, New York, USA. She married Benjamin Chambers Coy 27 Mar 1833 in Livonia, Livingston, New York, USA. He was born 30 Aug 1806 in Tunbridge, Orange, Vermont, USA, and died 06 Apr 1897 in Livonia, Livingston, New York, USA. Children of Caroline Reed and Benjamin Coy are: 329 i. Samuel Brainard25 Coy, born 08 Jun 1835 in Livonia, Livingston, New York, USA; died 11 Jan 1894 in Litchfield, Hillsdale, Michigan, USA. 330 ii. Edwin Reed Coy, born 10 Mar 1838 in Livonia, Livingston, New York, USA; died 21 Sep 1914 in Livonia, New York, USA. 331 iii. Reuben W Coy, born 27 Apr 1843 in Livonia, Livingston, New York, USA; died 12 Jan 1896. 332 iv. Justus F Coy, born 20 Sep 1840 in Livonia, Livingston, New York, USA; died 16 Mar 1920 in Independence, Iowa, USA. 333 v. Caroline Emily Coy, born 01 Sep 1851 in Livonia, Livingston, New York, USA; died 1851. 334 vi. Charlotte M Coy, born 1833 in New York, USA. 254. George W.24 Reed (Wheeler23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 28 Oct 1822 in Richmond Mills, Ontario Co., NY, and died 18 Jun 1900 in Coldwater, MI. He married (1) Mary Elizabeth Bramble 11 Nov 1845 in Richmond Mills, Ontario County, NY, daughter of Daniel Bramble and Serepta Peck. She was born 11 Jan 1826 in Richmond Mills, Ontario Co., NY, and died 06 Aug 1891 in Coldwater, MI. He married (2) Maggie Batterson ABT 17 Oct 1891 in Coldwater, MI. She was born ABT 1846, and died Aft. 18 Jun 1900. Children of George Reed and Mary Bramble are: + 335 i. George H.25 Reed, born 14 May 1852; died 25 May 1919 in Coldwater, Ovid Twp., Branch County, MI. + 336 ii. Elmer Ellsworth Reed, born 13 Apr 1864 in Coldwater, Ovid Twp., Branch County, MI; died 23 Jun 1924 in Ann Arbor, MI. 266. Charles E.24 Reed (William Fitch23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) He married Amelia B. Wells. Children of Charles Reed and Amelia Wells are: 337 i. James Wells25 Reed, born 1870. 338 ii. George Pitts Reed, born 1873; died 1957 in Richmond, NY. 339 iii. Caroline "Carrie" A. Reed, born 1875. 340 iv. Lizzie M. Reed, born 1884. 269. Henry Gilbert24 Reed (Philip23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 09 Nov 1834 in Richmond Mills, New York, and died 22 Oct 1877 in Grand Rapids, MI. He married Almeda Maria Pennell 27 Jan 1858 in Honeyoye, New York. She was born 06 Oct 1840 in Honeyoye, New York, and died 03 Aug 1914 in Duluth, Minnesota. Children of Henry Reed and Almeda Pennell are: 341 i. Sarah25 Reed, born 25 Apr 1861 in Richmond Mills, New York; died 18 Jun 1890 in Grand Rapids, MI. + 342 ii. Alice Bessie Reed, born 16 Sep 1864 in Kalamazoo, MI; died 1950. 271. Thomas Richmond24 Reed (Philip23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 04 Aug 1841 in Richmond Township, Ontario Co., NY, and died 11 Oct 1908. He married Sara Elmira Pennell 28 Mar 1865. She was born 09 Jan 1844 in Richmond, Ontario Co., NY, and died 16 Sep 1908 in Fallon, Churchill Co., NV. Children of Thomas Reed and Sara Pennell are: + 343 i. Fannie Elmira25 Reed, born 15 Jan 1866 in Richmond, Ontario Co., NY; died 02 Mar 1945 in Geneva, Ontario Co., NY. 344 ii. Alice Reed. She married Joshua Teare. 345 iii. Charles Reed. 273. Adelaide Elizabeth24 Reed (Philip23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 05 May 1845, and died 10 Apr 1920. She married Fayette D. Short. He was born 15 Jun 1842 in Richmond Twp., Ontario co., NY. Children of Adelaide Reed and Fayette Short are: + 346 i. Myra B.25 Short, born 1866; died 10 Apr 1920 in Richmond Mills, New York. 347 ii. Clark Reed Short, born 1869. 348 iii. Bessie E. Short, born 1870; died Deceased. + 349 iv. Richmond B. Short, born 1872. 350 v. Perrez Short. 351 vi. Junia Short. 280. Annis24 Clark (Fitch23, Rachel22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 15 Jul 1818, and died 15 Jun 1891. She married Johnson Loomis 15 Sep 1839 in Rutland, VT. He was born 1816, and died 1844 in Richland, NY. Children of Annis Clark and Johnson Loomis are: 352 i. Laura Ann25 Loomis. + 353 ii. Julia Annis Loomis, born 1843; died 1927. 286. Elias Edwin24 Clark (Daniel23, Sybil22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 17 Sep 1840 in La Pierre, MI. He married Henrietta Caroline Worrell 07 Sep 1865. She was born 26 Sep 1841 in Philadelphia, PA. Children of Elias Clark and Henrietta Worrell are: + 354 i. Chandleretta25 Clark, born 23 Feb 1868. + 355 ii. Wayne Salisbury Clark, born 31 Jul 1870. 288. Martha25 Fitch (Graham Newell24, Frederick23, Elisha22, Pelatiah21, Jabez20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) She married Charles Harvey Denby in Logansport, IN. He was born 16 Jun 1830 in Botetourt County, VA. Children of Martha Fitch and Charles Denby are: + 356 i. Graham Fitch26 Denby, born in Evansville, IN. 357 ii. Edwin Denby, born 1870 in Evansville, IN. 358 iii. Thomas Garvin Denby, born 1878. 315. Henry Harrison25 Reed (Philip Harrison24, John Fitch23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 12 Dec 1840. He married Elizabeth Gooding 1862. She died 1918 in Richmond, NY. Children of Henry Reed and Elizabeth Gooding are: 359 i. Fred G.26 Reed, born ABT 1864; died 1942 in Richmond, NY. 360 ii. Louise Reed, born 1867. 361 iii. Hallie Reed. 362 iv. Philip Reed IV, born 1874. 363 v. Murray E. Reed, born 1877. 364 vi. Florence W. Reed, born 1878. 365 vii. Roy W. Reed, born 1879; died 1952 in Richmond, NY. 316. Norman Kellogg25 Reed (Wheeler24, John Fitch23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 19 Sep 1848, and died 17 Dec 1903 in Richmond, NY. He married Caroline Arnold. Children of Norman Reed and Caroline Arnold are: 366 i. Eugene Lawrence26 Reed, born 11 Sep 1878; died 1943 in Richmond, NY. 367 ii. Irving Reed, born 27 Sep 1880. 321. Martha Jane25 Reed (John Alexander24, John Fitch23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1860. She married Herman Joel Waterbury 1883. He was born 1857. Child of Martha Reed and Herman Waterbury is: 368 i. Josephine26 Waterbury, born in Richmond, N. Y.. She married Gail Murphy. 335. George H.25 Reed (George W.24, Wheeler23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 14 May 1852, and died 25 May 1919 in Coldwater, Ovid Twp., Branch County, MI. He married Leiza Ferguson. Children of George Reed and Leiza Ferguson are: 369 i. Annie26 Reed, born ABT 1890. She married (Unknown) Brinneman. 370 ii. Florence Reed. She married (Unknown) Cummins. 371 iii. Edith Reed. She married Samuel B. Light 25 Nov 1914 in Coldwater, Branch Co., MI. 336. Elmer Ellsworth25 Reed (George W.24, Wheeler23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 13 Apr 1864 in Coldwater, Ovid Twp., Branch County, MI, and died 23 Jun 1924 in Ann Arbor, MI. He married Nellie L. Clark 10 May 1886 in Branch county, MI, daughter of Joshua Clark and Gertrude Lockwood. She was born 31 Jan 1867 in Coldwater, MI, and died 25 Nov 1963 in Jackson, MI. Children of Elmer Reed and Nellie Clark are: + 372 i. Star Margaret26 Reed, born 21 Jul 1890 in Coldwater, MI; died 08 Sep 1976 in Albion, MI. + 373 ii. Gertrude Elizabeth Reed, born 06 Jun 1906 in Coldwater, MI; died 26 Mar 1984 in Midland, MI. 342. Alice Bessie25 Reed (Henry Gilbert24, Philip23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 16 Sep 1864 in Kalamazoo, MI, and died 1950. She married Marcus Frederick Bates. He was born 1862, and died 1948. Child of Alice Reed and Marcus Bates is: 374 i. Dorothy Whitman26 Bates, born 1899. 343. Fannie Elmira25 Reed (Thomas Richmond24, Philip23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 15 Jan 1866 in Richmond, Ontario Co., NY, and died 02 Mar 1945 in Geneva, Ontario Co., NY. She married Frank Alexander Campbell, Sr 01 Sep 1897 in Bristol ??, NY. He was born 24 Jul 1869 in Seneca, Ontario Co., NY, and died 25 Jan 1956 in Rushville, Ontario Co., NY. Child of Fannie Reed and Frank Campbell is: + 375 i. Frank Alexander26 Campbell, born 30 May 1906 in Richmond, Ontario Co., NY; died 10 Sep 1989 in Geneva, Ontario Co., NY. 346. Myra B.25 Short (Adelaide Elizabeth24 Reed, Philip23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1866, and died 10 Apr 1920 in Richmond Mills, New York. She married Arthur B. Newton ABT 1888. He was born in Fairport, NY. Child of Myra Short and Arthur Newton is: + 376 i. Fayette26 Newton, died 1920. 349. Richmond B.25 Short (Adelaide Elizabeth24 Reed, Philip23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1872. Child of Richmond B. Short is: 377 i. Richmond26 Short, Jr., born ABT 1896. 353. Julia Annis25 Loomis (Annis24 Clark, Fitch23, Rachel22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 1843, and died 1927. She married Henry Woodbury Keyes. He was born 1840, and died 1872. Child of Julia Loomis and Henry Keyes is: + 378 i. Anna Gertrude26 Keyes. 354. Chandleretta25 Clark (Elias Edwin24, Daniel23, Sybil22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 23 Feb 1868. She married Walter C. Thrall. Children of Chandleretta Clark and Walter Thrall are: 379 i. Mabel Henrietta26 Thrall. 380 ii. Rollin Clark Thrall. 381 iii. Wayne Edwin Thrall. 382 iv. Walter Deland Thrall. 355. Wayne Salisbury25 Clark (Elias Edwin24, Daniel23, Sybil22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 31 Jul 1870. He married May Angeline Morgan 01 Jan 1901. Children of Wayne Clark and May Morgan are: 383 i. Elsie May26 Clark, born 04 May 1902. 384 ii. Wayne Morrell Clark, born 20 May 1903. 356. Graham Fitch26 Denby (Martha25 Fitch, Graham Newell24, Frederick23, Elisha22, Pelatiah21, Jabez20, Samuel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born in Evansville, IN. Children of Graham Fitch Denby are: 385 i. (Daughter)27 Denby. 386 ii. Caroline Denby. She married (Unknown) Morey. 372. Star Margaret26 Reed (Elmer Ellsworth25, George W.24, Wheeler23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 21 Jul 1890 in Coldwater, MI, and died 08 Sep 1976 in Albion, MI. She married Robert Louis Hicks 18 Sep 1918 in Albion, MI, son of Robert Hicks and Ellen Wetherell. He was born 11 Sep 1899 in Hersey, MI, and died 04 Mar 1972 in Albion, MI. Children of Star Reed and Robert Hicks are: 387 i. Robert Reed27 Hicks, born 30 Sep 1919 in Britton, SD; died 11 Feb 1980 in Albion, MI. He married (1) Betty (Unknown) Bef. 1942. He married (2) Mary LaDonna "Donna" Shaner 31 Jan 1942 in Bowling Green, OH; born 23 Jul 1921 in Bowling Green, OH; died 01 Oct 1974 in Albion, MI. 388 ii. Graydon Keith Hicks, Sr, born 02 Jan 1922 in Albion, MI; died 20 Dec 1969 in Grand Blanc, Genesee Co., MI. He married Bertha Jane Coughlen 22 Aug 1944 in Indianapolis, IN; born 02 Nov 1926 in Indianapolis, IN; died 03 Jan 1996 in Jackson, Jackson Co., MI. 389 iii. Phyllis Jane Hicks, born 13 Jan 1925 in Albion, MI. She married Earl Paul Foster 25 Nov 1947; born 31 Dec 1927 in Walnut Ridge, AR; died 31 Oct 2001 in Albion, MI. 390 iv. Constance Jean Hicks, born 13 Jan 1925 in Albion, MI; died 15 Feb 1982 in Albion, MI. She married (1) Charles Lowell Morgan 16 Jan 1942 in Piggott, AK; born 16 Oct 1923 in Piggott, AK; died 24 Aug 1962 in Albion, MI. She married (2) Lee Norris ABT 1964. She married (3) Robert Vail 05 Jul 1967 in Concord, MI; born 28 Sep 1914 in Neward, OH; died 23 Mar 1973 in Albion, MI. 391 v. Kathryn Margaret Hicks, born 15 Feb 1934 in Albion, MI. She married Robert Paul Trautman 26 Mar 1954 in Camp Rucker, Dothan, Coffee County, AL; born 27 Aug 1931. 373. Gertrude Elizabeth26 Reed (Elmer Ellsworth25, George W.24, Wheeler23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 06 Jun 1906 in Coldwater, MI, and died 26 Mar 1984 in Midland, MI. She married Col. Russell Lorris M. Russell, son of Merrell Russell and Nellie (Unknown). He was born 09 Oct 1901 in Napoleon, MI, and died 15 Jul 1979 in Tawas City, MI. Children of Gertrude Reed and Lorris Russell are: 392 i. Nancy27 Russell, born 30 Nov 1928. She married Norman C. Olmsted Aug 1938; born 20 Feb 1925 in Jackson, MI. 393 ii. MaryLynn Russell, born 08 Nov 1936 in Jackson, MI. She married (1) Dwayne Cowgill ABT 1957. She married (2) Fred Welch ABT 1960; died Unknown. She married (3) Robert Roberson 1970. 375. Frank Alexander26 Campbell (Fannie Elmira25 Reed, Thomas Richmond24, Philip23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) was born 30 May 1906 in Richmond, Ontario Co., NY, and died 10 Sep 1989 in Geneva, Ontario Co., NY. He married Ruth Alida Metcalf 14 Jun 1928 in Geneva, Ontario Co., NY. She was born 10 May 1909 in Fayette, Seneca Co., NY. Child of Frank Campbell and Ruth Metcalf is: 394 i. Ralph William27 Campbell, born 20 Jan 1930 in Geneva, Ontario Co., NY. He married Nina Jane Smith 06 May 1950 in parents home, Geneva, Ontario Co., NY; born 10 Apr 1930 in at home, Waterloo, Seneca Co., NY. 376. Fayette26 Newton (Myra B.25 Short, Adelaide Elizabeth24 Reed, Philip23, Margaret22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) died 1920. He married Lillian Bauer. Children of Fayette Newton and Lillian Bauer are: 395 i. Elizabeth27 Newton. 396 ii. Bessie Newton. 378. Anna Gertrude26 Keyes (Julia Annis25 Loomis, Annis24 Clark, Fitch23, Rachel22 Fitch, William21, James20, Nathaniel19, James18, Thomas17, Thomas16, Thomas15 Fitche, Thomas14, Thomas13, Thomas12, William11, Thomas10, Thomas9, William8, John7 De Montfitchet, Roger6, Richard5, Richard4, Gilbert3, William2, Robert1 De Gernon) She married Ben Chase Schryver. Child of Anna Keyes and Ben Schryver is: 397 i. Harriet Keyes27 Schryver, born 1889. She married Carroll Henry Breed 1916.
3575	dbpedia	1	23	https://freepages.rootsweb.com/~jsggenealogy/genealogy/Jsgordon/d133.htm	en	TWELFTH GENERATION			[ "https://freepages.rootsweb.com/~jsggenealogy/genealogy/Jsgordon/bullet.gif", "https://freepages.rootsweb.com/~jsggenealogy/genealogy/Jsgordon/bullet.gif", "https://freepages.rootsweb.com/~jsggenealogy/genealogy/Jsgordon/bullet.gif", "https://freepages.rootsweb.com/~jsggenealogy/genealogy/Jsgordon/bullet.gif"...	[]	[]	[ "" ]	null	[]	null					null	TWELFTH GENERATION 3764. Thomas Fitch (460) was born before 1583 in Essex, England. He died in Jan 1632 in England. Thomas Fitch inherited considerable property from his father, He was involved in the cloth trade, traditional in Bocking, and prospered greatly, despite depression in the industry as a whole. In his will he disposed of 1800 pounds by specific bequest and his wife, the executrix, had to post a bond of no less than 2000 pounds to guarantee that the other terms of the will were carried out. Thomas is the ancestor of all the American Fitches. Among them are Governor Thomas Fitch of colonial Connecticut; John Fitch, who designed the first practical (but not very practical) steamboat; and Clyde Fitch, the enormously successful turn-of-the-century playwright. He was married to Anne Reeve on Aug 8 1611 in Bocking, Essex, England. 3765. Anne Reeve died after 1669 in Probably Hartford, Connecticut. Children were: 1882 i. Deputy Governor Thomas Fitch. ii. Elizabeth Fitch was born before Nov 7 1615 in Bocking, Essex, England. She died before Nov 11 1615 in Bocking, Essex, England. iii. John Fitch. iv. The Reverend James Fitch was born on Dec 24 1622 in Bocking, Essex, England. He died on Nov 18 1702 in Lebanon, Connecticut. v. Nathaniel Fitch was born on Dec 26 1623 in Bocking, Essex, England. He died in 1649 in England. vi. Jeremy Fitch was born on Aug 5 1625 in Bocking, Essex, England. He died in England. vii. Samuel Fitch was born on Nov 9 1626 in Bocking, Essex, England. He died in 1659 in Milford, Connecticut. viii. Joseph Fitch died after 1713. He was born in Bocking, Essex, England. ix. Mary Fitch was born in Mar 1629. x. Anne Fitch was born on Aug 6 1630 in Bocking, Essex, England. xi. Sara Fitch was born on Jul 24 1631 in Bocking, Essex, England.
3575	dbpedia	2	76	https://familypedia.fandom.com/wiki/Zachary_Fitch_(1590-1662)	en	Zachary Fitch (1590-1662)	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	[ "https://static.wikia.nocookie.net/genealogy/images/9/90/Male_Icon.svg/revision/latest/scale-to-width-down/18?cb=20090604073330", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.n...	[]	[]	[ "" ]	null	[ "Contributors to Familypedia" ]	2024-07-29T22:27:06+00:00	Zachary Fitch was born 25 January 1590 in St Albans, Hertfordshire, England to Hugh Fitch (1564-1620) and Anne Smith (1567-1638) and died 9 June 1662 Reading, Middlesex County, Massachusetts of unspecified causes. He married Mary Wallace (1602-1698) 7 June 1614 in Church of St Albans, St Albans...	en	/skins-ucp/mw139/common/favicon.ico	Familypedia	https://familypedia.fandom.com/wiki/Zachary_Fitch_(1590-1662)	I Zacrie Fitch Being weake in body but whole in minde and perfit in memory comitting my soule to God and my body to the earth As my last will and testiment do thus disspose of all my worldly Estate as Followeth First I dew give unto my deare and loving wife mary Fitch dureing hir naturall Life the best on halfe of all my housing within and without and all my orchard and my no homlote both undisposed of with all my housould goodes and two oxen and three cowes with all my Impullemens For Husbandry to hir disposeing duering her life aforesaid with eight akers of medow in the hundered aker medow and nine akers more of medow in the medow called bermedow on the hether side of my medow there Item I give to my sonn Joseph Fith aftr my wifes deses Eighteene poule wide of my lott nex to John Weson with on halfe of my thirty aker lot with Eight akers of medow in Reedimedow and five akers of medow in hundered akers with the on halfe of my medow in the towne medow Item I give unto Samuele Fitch my sonn my lot at bere hill with all my lot in the First divsident with five akers of medow In the hundred akers and Five akers more in Rock medow with Three akers more next to godman palferyes medow Item I do give unto Bennimen Fitc my son the on halfe of my therti aker lot with Eight akers of medow in bere medow with halfe my medow in the towne medow Item I do give unto John Fitch my Sonn Thirty pound to be paide him Ten pounds within on yeare after my desese and the Rest of it within to yeare after my wives deses Item I do give unto Jerimiah Fitch my sonn twenty pounds To be paide within on yeare after my deces ten pound f it And ten pound within on yere after my wives deces Item I dow give to Thomas Fitch my sonn twentie pounds to be so to Also I do make Benjemine Fitch my sonn my hole and sole Exesecutor of this my last will and testament to pay All theese legases and then to take unto him halfe selfe after my wives Deces all the rest of my Estate Both houses lands and goodes Also I do herby Bind him whosoeve marieth with my wife to put in good securiti befor he enter on hir estate to leve Att hir decese all hir estate as good as good [sic] as he finds it. And I desier and impower my to Sonnes Jeremiah and Tho Fitch to see thas my will fullfilled and do give unto them For their paines twenti shilings apeece all Further lands And medow due unto me I do give Ecoly unto my three sonns Joseph Benjamen and Sammeul Fitch For witnes to his will Nicholas Browne of Redding and John his sonn [verso] Uppon Better And Further Consideration I Zachery Fittc doe give unto My wife Mary Fittc: two heiffier calves the one A yearling caffe and the other a this years calfe and Further I doe give unto My wife Mary and to my Sonne Samuell Fittc a yearling colte beetweene them Further more whearas I have sayd one the Otherside of this paper that I have given to My wife Eighte Ackere of Meddow in he hundered Ackers And to My sonn Joseph And samuell Fittc five Ackers a peece After my wifes desease: butt now my minde and will is that after my wives decease my sonn Benjamin shall have two Akers of it and My Sonn Joseph and my Sonne Samuell shall have Eight Ackers a peece Further more my mind and will is that my Sonne Joseph and my sonn Benjamin shall (with the helpe of my sonne Samuell of his owne hand) build my sonne Samuell a house, uppon his Lott by Beare hill twenty fower foote Longe and Eighteen foot wide and twelve foot heigh in the stod and Cover itt and calbboard or board itt: and fence in the Lott att Bear hill with a good suffitient fens of five Rayles and Breake it al up att Leaste soe Mutch of it as is Capabell of Breaking up: By that Time that my Sonne Samuell comes to the Age of twenty two yeares Further more my mind and will is that my sonn John wesson shall have twelve pence payd hime within a year after my deasceas. further more I doe give unto my Daughter Sarah wesson five pounds In case her husband John wesson dey and soe Leave her a widdow further more My will is that if either of my sonnes dies without heires of their Bodies Lawfully Begotten: that then their portion shall Equally be devided amongste the Reste of my sonnes that shall be living. Datted this 3d of Maye 1662 witnese Robert Burnap & Thomas Parcker [no signature] [Endorsement] At a County Court held at Charlestown June 17, 1662, Robert Barnap and Thomas Parker appearing in Court attested on oath that this above written was declared by Zachary fitch, abov named deceased, to be his last Will and testament and that He was of Sound Judgment and memory when He so declared Himselfe.
3575	dbpedia	1	0	https://en.wikipedia.org/wiki/Samuel_Fitch	en	Samuel Fitch	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2014-05-30T17:51:07+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Samuel_Fitch	American politician Samuel Fitch (July 1701 – 1787) was a member of the House of Representatives of the Colony of Connecticut from Norwalk in the sessions of May 1736, October 1741, May and October 1742, May 1743, May and October 1744, May and October 1745, May and October 1746, May and October 1747, May 1748, May and October 1750, May 1751, May and October 1752, October 1753, May 1754, October 1760, May 1761. He was the son of Thomas Fitch III (1675–1731), and brother of Governor Thomas Fitch.[3][6] He was a New England King's Commissioner, and a large land proprietor. He inherited the tract of land which adjoins the harbor to the east of Gregory Point.[3] On May 27, 1743, he was named auditor of the colonial treasury.[7] References [edit]
3575	dbpedia	0	59	http://famousamericans.net/masonfitchcogswell/	en	Mason Fitch Cogswell			[ "http://www.evisum.com/img/home/shim.gif", "http://images.virtualology.com/usa2day/usathot.gif", "http://www.evisum.com/img/home/shim.gif", "http://1.bp.blogspot.com/-TOWgktg-DrU/VdxnsNGxVVI/AAAAAAAAMwg/e71Lzpb3F0k/s1600/Art%2Bof%2BTodd%2BFredericksen%2Bbanner.jpg", "http://images.virtualology.com/eff/left....	[ "https://www.youtube.com/embed/hhdwJspiz9U", "https://www.youtube.com/embed/5s-YdvukLmI" ]	[]	[ "" ]	null	[]	null	Mason Fitch Cogswell				null	Appleton's Cyclopedia of American Biography, edited by James Grant Wilson, John Fiske and Stanley L. Klos. Six volumes, New York: D. Appleton and Company, 1887-1889 and 1999. Virtualology.com warns that these 19th Century biographies contain errors and bias. We rely on volunteers to edit the historic biographies on a continual basis. If you would like to edit this biographyplease submit a rewritten biography in text form . If acceptable, the new biography will be published above the 19th Century Appleton's Cyclopedia Biography citing the volunteer editor Virtual American Biographies Over 30,000 personalities with thousands of 19th Century illustrations, signatures, and exceptional life stories. Virtualology.com welcomes editing and additions to the biographies. To become this site's editor or a contributor Click Here or e-mail Virtualology here. A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Mason Fitch Cogswell COGSWELL, Mason Fitch, physician, born in Canterbury, Connecticut, 28 September, 1761 ; died in Hartford, Connecticut, 10 December, 1830. His mother died while he was young, and he was adopted by Samuel Huntington, president of the Continental congress and governor of Connecticut, who sent him to Yale, where he was graduated in 1780 as valedictorian 680 COGSWELL COHEN of his class, and its youngest member. He studied with his brother James, a surgeon in the Revolutionary army, at the soldiers' hospital in New York, and became one of the most distinguished surgeons in the country. He married Mary Austin Ledyard, and settled in Hartford, Connecticut He was the first to introduce in the United States the operation of removing a cataract from the eye, and also the first to tie the carotid artery (1803). His daughter, Alice, became deaf and dumb from severe illness at an early age, and her father's attention was thus called to the possibility of educating deaf-mutes. Mainly through his influence the first deaf-and-dumb asylum in the country, that at Hartford, was established in 1820, and Alice became its first pupil. He was also one of the founders of the Connecticut retreat for the insane at Hartford. He was for ten years president of the Connecticut medical society, one of the last survivors of the "old school," and persisted in wearing knee-breeches and silk stockings, which he held to be the only proper dress for a gentleman.--His son, Mason Fitch, physician, born in Hartford, Connecticut, 10 November, 1807; died in Albany, New York, 21 January, 1865, was graduated at Yale in 1829, studied medicine, and became a leading physician in Albany. He served as assistant surgeon and surgeon in the volunteer army of the United States during the civil war. In 1847 he married Lydia, daughter of the Rev. John M. Bradford, a direct descendant from Governor Bradford, of Plymouth colony. She died in 1872. Edited Appletons Encyclopedia, Copyright © 2001 VirtualologyTM Start your search on Mason Fitch Cogswell. Unauthorized Site: This site and its contents are not affiliated, connected, associated with or authorized by the individual, family, friends, or trademarked entities utilizing any part or the subject's entire name. Any official or affiliated sites that are related to this subject will be hyper linked below upon submission and Evisum, Inc. review.