54 résultats
24523On a slip of paper 68 x 109 mm. Dated London March 27 1909. In black ink.<br/><br/>Slightly creased; right edge slightly frayed not affecting signature.<br/><br/>Together with a three-quarter length vintage photograph of Schumann-Heink by the White Studio in New York ca. 177 x 126 mm. "Between 1897 and 1901 Schumann-Heink took part in four consecutive Covent Garden seasons and became a regular member of the Metropolitan company for a similar period 1898-1903 returning subsequently for single seasons only. By then she had begun the series of popular and profitable cross-country American concert tours that occupied much of the rest of her long career. In 1909 she returned to Dresden to sing the part of Clytemnestra in the première of Elektra. Although she could sing and very well virtually anything her English and American stage career centred on Wagner; and it was as Erda that she bade farewell to the Metropolitan in 1932 still captivating the audience as the American critic Olin Downes wrote with 'knowledge and imagination embodied in the tone and in every syllable of the text she delivered so memorably'. These words well describe the effect vividly conveyed by her Erda and Waltraute recordings made less than three years before. Although largely unrepresentative of her serious repertory her many other recordings made over a period of 25 years give a splendid impression of her powers: of her opulent and flexible tones from low D to high B the amazing fullness and evenness of her shake her artistic conviction dramatic temperament and vivid enunciation. Among them should be mentioned the brindisi from Lucrezia Borgia several versions all good the prison scene from Le prophète 'Parto parto' from La clemenza di Tito and the duet with Caruso 'Ai nostri monti' from Il trovatore." Desmond Shawe-Taylor in Grove Music Online. unknown books
503610"God bless our U.S.A. Navy - Army - Aviator Boys! 'Mother' Ernestine Schumann Heink." New York November 11 1918. Oblong 12mo stiff card mounting traces on verso. Fine. Signed by Authors. F. Soft cover. paperback books
190023389London: Novello Ewer and Co 1900. Cloth. Near Fine. 2 v 162 2 ads pages. 8vo. Publisher's original pebbled cloth with copper/gilt title on front cover spine blank. Signature of Julia Houston West and her address on front pastedown. Stamp of Carl Profer on title page and note written at top "J.H.W. sang the Part of the Piri - first time given in Boston by the Parker Club at Chickering Hall". Otherwise clean internally. Binding sound. Cloth. The copy of Julia Houston West called by the The New England Magazine Volume 32 Boston's greatest oratorio singer. The Parker Club was an amateur vocalist association established by James Cutler Dunn Parker in 1864. Parker was also the organist for the Boston Handel and Haydn Society hymntime dot com. A brochure for the Handel and Haydn Society season of 1898/99 for the Paradise and the Peri laid in although not apparently Julia West's performance. Novello, Ewer and Co unknown books
190023390London: Novello Ewer and Co 1900. Cloth. Very Good. 2 v 162 2 ads pages. 8vo. Publisher's original black pebbled cloth blank. Front endpaper lacking. Paper label of conductor B.J. Lang on front cover and title page. All edges gilt. Cloth. Conductor B.J. Lang's copy. He conducted this work at The Cecilia in Boston March 31 1892 copy of program laid in. Manuscript notations sporatically throughout presumably in his hand. "Ever since its founding in 1876 The Boston Cecilia has enjoyed a history remarkable for its many fine conductors. The great B.J. Lang in his 33 years of leadership established a pattern of introducing new works to Boston audiences alongside standard repertoire. Many of those unknown pieces joined the canon—the Bach Mass in B Minor and Brahms Requiem to name but two. Among his novel ideas and new pieces now forgotten Lang had the audacity to program Bach for a Victorian audience whose taste ironically found "antique" music decidedly old-fashioned. The Cecilia as it was then known has long held a central place in the performing arts in this city. Antonin Dvo ák led the chorus in Boston's first performance of his Requiem in 1892. It premiered Beethoven's Missa Solemnis here and later sang it under Max Fiedler at the dedication of Symphony Hall in 1900. Commissioned by countryman Serge Koussevitsky Igor Stravinsky composed his Symphony of Psalms for the Boston Symphony when Cecilia in 1930 sang the choral part in the American premiere six days after its world debut in Switzerland. During those years Arthur Fiedler brought Cecilia through the Depression and World War II as the official chorus of the Boston Symphony. Under Koussevitzy this was a period of prominence if not independence." website of Boston Cecelia. Novello, Ewer and Co unknown books
