Podcast appearances and mentions of ernestine schumann heink

Finally, the first in my long-promised series on the contralto voice! The contralto is a rara avis in the today's opera and classical music scene, and yet back in the day, there seem to have been more of them before the public. And of course contraltos have always been a powerful presence on the popular music scene, whether in blues, disco, jazz, or as purveyors of the Great American Songbook. There is no way that I can cover all of the great (and near-great) contraltos in recorded history, but that doesn't mean I'm not going to try! Today's selections span a wide chronological range , even for this podcast: nearly 120 years, and include voices both fleet and monolithic (and sometimes both). We begin with a tribute to the late Polish coloratura contralto Ewa Podleś and along with way we hear the most famous contraltos like Kathleen Ferrier and Marian Anderson, and jazz and pop contraltos like Nina Simone and Cassandra Wilson. We also sample singers from the earlier twentieth century such as Ernestine Schumann-Heink, Cloe Elmo, Clara Butt, Eugenia Mantelli, Kerstin Thorborg, and Sigrid Onégin (about whom I spill some major tea!) Throughout the episode are sprinkled some of the most beautiful voices of any kind that I have ever heard: the Scottish Caroline Kaart, the Romanian Florica Cristofereanu, the Czech Věra Soukupová, the Dutch Aafje Heynis, the French Germaine Cernay, the British Norma Procter, and the Russian Valentina Levko. And if like me you have despaired of ever hearing another true contralto again in our lifetime, we hear in young Jasmin White cause for rejoicing. And if your favorites are not heard today, fear not, for this is the tip of the iceberg: many more great singers will follow when the series continues in two weeks. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Tessa shares about an investigation and some of the results collected at Pueblo, Colorado's oldest burial ground, Pioneer Cemetery. The photo for the cover picture is not my own. I found it on Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Pueblo_Colorado_Business_District_Flood_1921.JPG Author unknown This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or fewer.  You must also include a United States public domain tag to indicate why this work is in the public domain in the United States. Intro song, Bobby Mackey Pixabay: Let the Mystery Unfold Mysterious Celesta A Creepy Music Dead Silence A Piano With A Creepy Atmosphere For Scary Stories (Full Version) Spooky Choir My own recordings: Rain and thunderstorm Wiki media commons: Tuba - Dark_Dance_(ISRC_USUAN1100398).mp3 Kevin MacLeod https://creativecommons.org/licenses/by/3.0/ Circus music - The Circus Bee - Concert Band - United States Air Force Heritage of America Band.mp3 Composition: Henry Fillmore; Performance: United States Air Force Heritage of America Band, Concert Band; Recording: United States Air Force The author died in 1956, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 60 years or fewer. 30s music - Lieurance - Schumann-Heink - By the waters of Minnetonka (1926).ogg By the Waters of Minnetonka, composed by Thurlow Lieurance and sung by Ernestine Schumann-Heink. Lieurance - Schumann-Heink Public domain

Podcast episode about anti-fascist youth cultural movements in Nazi Germany before and during World War II. In particular we look at the German Edelweiss Pirates and Swing Kids, and in our patreon bonus episode we also speak about the French Zazous and the Austrian Schlurfs.Our podcast is brought to you by our patreon supporters. Our supporters fund our work, and in return get exclusive early access to podcast episodes, bonus episodes, free and discounted merchandise and other content. Join us or find out more at patreon.com/workingclasshistoryDespite years of indoctrination, young people in fascist Europe in the 1930s and 40s resisted the authoritarianism and conformism of Nazi rule. We hear from former Edelweiss Pirate Walter Mayer, and speak with historian Nick Heath about these little-known movements.E72.1: Zazous and Schlurfs, bonus episode – available exclusively for our patreon supportersAnti-fascist books and merchandise – Posters, clothing and merchandise using artwork by or inspired by the Edelweiss Pirates and other 1930s anti-fascists in Germany.See sources, more information and a transcript on the webpage for this episode here: https://workingclasshistory.com/podcast/72-edelweiss-pirates-swing-kids/.AcknowledgementsThanks to our patreon supporters for making this podcast possible. Special thanks to Jazz Hands and Jamison D. Saltsman.Episode graphic, mural of a group of Edelweiss Pirates in Cologne, courtesy wwwuppertal Flickr, CC by 2.0.Edited by Louise BarryThe theme music was Functionizin', by Fats Waller, courtesy of the Swiss Foundation and Wikimedia Commons.Also featured was Richard Wagner's Gerechter Gott, performed by Ernestine Schumann-Heink also courtesy of Wikimedia Commons.

Broadcast on radio from 1935 to 1953, Cavalcade of America was an anthology drama series that documented historical events, often through dramatization. In addition, it occasionally presented musicals, such as an adaptation of Show Boat, and condensed biographies of popular composers. It was later on television from 1952 to 1957. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.

Synopsis April 29th fell on Sunday in the year 1906, and readers of The New York Times photogravure supplement were able to view scenes of the terrible destruction in San Francisco that followed the great earthquake that struck that city just 11 days before. The paper was filled with accounts of the suffering caused by the quake, and undoubtedly, many New Yorkers asked themselves what they could do to help. The New York musical community provided one answer by quickly arranging a number of benefit concerts. The largest of these occurred on today's date that year at New York's Hippodrome, and was organized by the popular composer Victor Herbert, who conducted his orchestra with Metropolitan Opera singer Ernestine Schumann-Heink as a featured soloist. The vast Hippodrome was completely sold out, with standing-room-only tickets filling the aisles. Seven thousand dollars were raised, which by today's standards seems a rather modest sum, but by 1906 standards was impressive enough to make newspaper headlines. Perhaps New York musicians and their audiences felt a personal affinity with the quake victims, as their own Metropolitan Opera Company, including its star tenor Enrico Caruso, was on tour in San Francisco when the quake struck on April 18th, and, as the Times reported, the Met's touring orchestral musicians, almost without exception, lost their instruments. That bit of news must have struck a special chord with Victor Herbert. In 1886, both he and his wife had come to America from Europe to join the Metropolitan Opera – he as an orchestral cellist, and she as a soprano soloist. Music Played in Today's Program Victor Herbert (1859–1924) — Cello Concerto No. 1 (Lynn Harrell, cello; St. Martin's Academy; Sir Neville Marriner, cond.) London 417 672

Theme music: Gruber/Mohr, 'Stille Nacht', sung by Ernestine Schumann-Heink; Tchaikovsky, 'Trepak', Ballet Francaise Symphony Orchestra. Hosted on Acast. See acast.com/privacy for more information.

In preparation for the upcoming holiday, this week I offer a cross-section of art songs and arrangements of folk songs, not only from Germany, which is the epicenter of the Christmas Lied, but also France, Norway, the United States, Finland, England, and Spain The performers, recorded between 1927 and 2010, include Ernestine Schumann-Heink, Régine Crespin, Hermann Prey, Claudia Muzio, Elly Ameling, Marian Anderson, Ian Partridge, Karl Erb, Wolfgang Anheisser, Jan DeGaetani, Jorma Hynninen, Bernarda Fink, Olaf Bär, Susan Dunn, Kathleen Ferrier, and Bernard Kruysen, among many others, in songs by composers including, in part, Johannes Brahms, Joaquín Nin, Hugo Wolf, Peter Warlock, Claude Debussy, Charles Ives, and Paul Hindemith. The episode features several performances by my teacher, the esteemed accompanist John Wustman, who on Christmas Day celebrates his 90th birthday. Links to my 2019 Christmas episodes: Episode 13: Christmas with the Tenors (including everyone from Fritz Wunderlich to Georges Thill to Roland Hayes): www:countermelodypodcast.com/episode-13-christmas-with-the-tenors Episode 14: Christmas Potpourri (including my choices for the six most depressing pop Christmas songs ever!):  www.countermelodypodcast.com/episode-14-christmas-potpourri-ii-hard-try Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available, including a new extra episode further exploring today’s topic.

Iniciamos una serie de programas dedicados, con motivo del centenario de su nacimiento, a la contralto inglesa Kathleen Ferrier, desparecida en 1953. No es la primera vez que visita Ars canendi; ni será la última ya que fue una de las más grandes voces y uno de los mayores talentos musicales de la historia. Hoy, tras un breve preludio en el que escuchamos a dos contraltos anteriores, Ernestine Schumann-Heink y Maria Olczewska, y al barítono Roy Henderson, profesor de nuestra protagonista, ésta nos canta tres fragmentos de Orfeo ed Euridice de Gluck, el final de La canción de la tierra de Mahler en la histórica versión dirigida por Bruno Walter, el lied Ganymed de Schubert y la canción popular The keel row. Histórico de emisiones: 28/10/2012 Escuchar audio

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger's new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America's entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger's new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America's entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

A collection of songs by Edvard Grieg.(Announced).The soloists include: Kirsten Flagstad, Birgit Nilsson, Ernestine Schumann-Heink, Lucy Isabelle Marsh, Povla Frijsh, Lauritz Melchior,Jussi Bjoerling, Helen Traubel, and Richard Crooks.(67 min.)

Here are 21 great artists of the past,all on commercial recordings. Isincerely hope you enjoy them and will "turn on" to some of theless familiar voices: Emma Calve(pictured), Rosa Ponselle, Mafalda Favero, Tito Schipa,Beniamino Gigli, Ernestine Schumann-Heink, Alfred Piccaver,Erna Berger, Tiana Lemnitz, Selma Kurz, Gilda Dalla Rizza,Lauritz Melchior, Bernardo de Muro, Adamo Didur, Lawrence Tibbett,Titta Ruffo, Heinrich Schlusnus, John McCormack,Emmy Destinn,Luisa Tetrazzini,Frances Alda.                                         (79 minutes) ...and a special note of thanks for your wonderful responses to these,my  "labors of love." Our average audience is now over 900!!!!

The first in a series of selections by famous mezzos/contraltos: Ernestine Schumann-Heink, Conchita Supervia(in photo), Sigrid Onegin, Clara Butt, Zara Dolukhanova, Claudia Novikova, Kathleen Ferrier. New! To subscribe to this podcast using iTunes, just click on the button below: