Pianophilia

Scriabinoff, thanks for your efforts. I am envious of your Etude Magazine collection.

There is an online Etude collections (which members of Pianophilia had directed me too).... but I guess, it will not be as complete a collection as yours.

soh choon wee wrote:There is an online Etude collections (which members of Pianophilia had directed me too).... but I guess, it will not be as complete a collection as yours.

My collection so far (a recent habit) of these if FAR from complete, i have most years represented but many holes in those years, some are complete, some I miss entirely, some I have duplicate issues.... these were printed on pretty shoddy paper and many do/did not hold up well even when well cared for. I would be most interested in the online collections you speak of (I know a couple here or there) as some issues I fear are lost forever in hard copy at this point.

fleubis wrote:Scriabinoff, thanks for your efforts. I am envious of your Etude Magazine collection.

Dear Fleubis, you are most kind, I assure it is far from envy worthy, again just started this shin dig and I have a ways to go in plugging up many of the gaps, though I am proud of what I have amassed so far as there are a few gems (scarce issue wise) in there.

My issue has been the large page format these and other Presser albums of the period came in, they are horrible scanning fodder for standard flatbed units due to the limited frame/size imaging window. It can take several attempts per each page to get it 'just right', which has been my primary delay in getting these out (though at least that recent Bach transcription came out alright, the single page pieces are easier to manage of course). The process itself is murder on the more fragile issues, I have already had more than a couple covers completely separate on me just trying, which is why I stopped trying for the time being.

On the initial topic of Star Spangled banner paraphrases, for folks that don't already know of this one or have it, the kids at the Henselt library playground have this one, which seems like a better one all around over the Troyer
http://henseltlibrary.files.wordpress.c ... banner.pdf

There is always of course the fine Godwosky and Gottschalk's Union (my favorite of the lot) in IMSLP.

http://etudemagazine.com/gallery/Etude_ ... ?g2_page=4

This is the link provided by some members from PP.... sorry, I cannot remember who.

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Emil Borisovich Sernov wrote:Hello Members.
Where can I buy piano works of Vernon Duke(Vladimir Dukelsky)?
I saw pictures of his piano works published by Editions Russes de Musique.

Thank you.
Emil

I do not know of any solid in print sources, I have some stuff but all vintage/out of print work as part of my collection of concert paraphrases. Which I have attached. Please no re-uploads to other sites or postings. Let's leave this as a PP resource.

Thanks.
Scriabinoff.

1. * courtesy Grove
Duke, Vernon [Dukelsky, Vladimir Alexandrovich] (b Parfianovka, nr Pskov, 10 Oct 1903; d Santa Monica, CA, 16 Jan 1969).

American composer of Russian birth. He studied with Reyngol’d Glier (1916–19) and Marian Dombrovsky (1917–19) at the Kiev Conservatory and then fled the Revolution with his family, settling first in Constantinople (1920–21) and then in New York (1922). There he wrote a piano concerto for Artur Rubinstein. From 1924 he was in Paris and was commissioned by Serge Diaghilev to write Zéphr et Flore, a ballet based on his concerto, which was performed by the Ballets Russes at Monte Carlo and Paris in 1925. In London he wrote music for the stage (c1926–9) before returning to New York, where he studied orchestration with Joseph Schillinger (1934–5). He became an American citizen in 1936. In 1948 he founded the Society for Forgotten Music. His first successful popular song, ‘I’m only human after all’, was included in The Garrick Gaieties of 1930. At George Gershwin’s suggestion he adopted the pseudonym Vernon Duke for his popular songs and light music, continuing to use his Russian name for his other works until 1955. Duke developed two styles, one for his choral works, operas, ballets, and orchestral and chamber compositions, which were championed in the USA and Europe by Koussevitzky, and another for his revues, musicals and film scores, for which he was best known. His most successful work was the musical play Cabin in the Sky (1940), which was performed on Broadway by an all-black cast that included Ethel Waters and was choreographed by Balanchine. In many of his concert works Duke used a contrapuntal style; in his songs the melodic style is expansive, almost rhapsodic, and uses chromaticism and wide arpeggios. In addition to an autobiography, Passport to Paris (Boston, 1955), he wrote Listen Here!: a Critical Essay on Music Depreciation (New York, 1963) and Russian poetry published under his original name (Munich, 1962–8).

Bibliography
CBY 1941
N. Slonimsky: ‘Vladimir Dukelsky’, Melody Maker, iv/3 (1927), 37
D. Ewen: Popular American Composers (New York, 1962; suppl., 1972)
Obituary, New York Times (18 Jan 1969)
A. Wilder: American Popular Song: the Great Innovators, 1900–1950 (New York, 1972)
G. Bordman: The American Musical Theatre: a Chronicle (New York, 1978, 2/1992)
Ronald Byrnside/R
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Maurice Whitney 1909-1984 *courtesy Dale Underwood
Maurice Whitney received degrees from Ithaca College, and NYU. He attended Teachers College, Columbia University, the Westminster Choir School, and the New England Conservatory. Mr. Whitney was a performer, conductor, and an arranger of music for theater, and dance companies. He served as choir director and organist in churches, taught in public schools and colleges, and held positions of leadership for music education organizations. His works include theory and band texts, and scores for small instrumental ensembles, band, and choir. Maurice Whitney has received numerous professional honors, including a citation from Ithaca College for outstanding work in music education, the New York State Teacher of the Year Award, and an Honorary Doctorate from Elmira college

Scriabinoff edit - was quite the busy boy with Harms during the jazz song boom and Gershwin craze of the 40's. Did quite a number of fine/fun concert paraphrases and stage solo piano work arranging of many of the period's more popular tunes, (including quite a bit of Gershwin).
Personal Collection/Archive Scan

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Thanks Scriabinoff. Love this tune a lot!!

A question:

Why the word 'China' in China gates di John Adams?
Thank you.
R

Hi, Where can I order online piano sonatas no 1 and 2 of Virgil Thomson? I already have no 3 and 4 is on the way. Thanks for your help.