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Appendix B. Lineage of Pressler’s Piano Teachers

William Brown Indiana University Press ePub

The following outline illustrates a more complete lineage of Pressler’s musical ancestry than the chart found in Appendix A. Thus we can see that influences coming from Germany, Austria, Italy, France, Hungary, Poland, Russia, Israel, and many other countries became part of Pressler’s musical background and influence.

  I. Kitzl

 II. Rossi

III. Eliahu Rudiakov

A. Max Pauer

1. Ernst Pauer

a) Franz Xaver Mozart

(1) Franz Xaver Niemetschek

(2) Sigismund Ritter von Neukomm

(a) Franz Xaver Weissauer

(b) Michael Haydn

(c) Franz Joseph Haydn

(3) Andreas Steicher

(4) Johann Nepomuk Hummel

(a) Wolfgang Amadeus Mozart

(b) Franz Joseph Haydn

(5) Antonio Salieri

(6) Georg Joseph Vogler

(a) Giovanni Battista Martini

(i) Angelo Predieri

(ii) Giovanni Antonio Ricieri

(iii) Francesco Antonio Pistacchi

(b) Francesco Antonio Vallotti

(i) Ignazio Donati

(7) Johann Georg Albrechtsberger

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15 Carnegie Hall Recitals

Harvey Phillips Indiana University Press ePub


Carnegie Hall Recitals

FOR SEVERAL YEARS, some of my colleagues, both composers and performers, suggested that I do a Carnegie Hall recital. I resisted the temptation because I felt my teacher, William J. Bell, should present one first. In 1961, Roger Bobo, a tubist wunderkind, on his graduation from the Eastman School of Music, presented the first solo tuba recital in New York City’s Carnegie Hall. I was unable to attend Roger’s concert but I know it was excellent from our mutual friend Alec Wilder. Alec not only attended the concert but wrote “Encore for Tuba” especially for Roger Bobo’s recital. William Bell passed away on August 7, 1971, without ever having performed a solo recital in Carnegie Hall.

I did not get around to performing a solo tuba recital until January 1975. That month, I presented five recitals in nine days in Carnegie Recital Hall, sponsored by the Carnegie Hall Corporation. My purpose in doing five recitals was to illustrate the growing repertoire and acceptance of the tuba as a solo instrument. A number of colleagues assisted the performances, but none of the professional players, with whom I worked consistently, would accept payment. Preparation for the nine days consumed sixty-seven hours of rehearsal, some in Boston. One started at midnight with the New York Saxophone Quartet; it was the only time everybody could get together. One was in Bloomington with IU School of Music Dean Charles Webb, who was my piano accompanist on one of the five recitals.

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3. Disposition

Estelle R. Jorgensen Indiana University Press ePub




People tend to act in particular ways almost habitually, unconsciously, or naturally. Thinking holistically about a teacher’s disposition is important, but it is also crucial to consider some of the specific dispositions that are needed for teaching. By the word disposition, I mean the tendency to act or be in a particular way. In this chapter, I reflect on those that I see as crucial to a teacher’s life and work: namely, tact, compassion, patience, enthusiasm, and integrity. We may show these dispositions in various ways and our differing personalities may predispose us to acquire or possess some of them more naturally than others. Still, irrespective of our natural proclivities and the particular ways in which we reveal them, it is important to cultivate and nurture these dispositions if we are to cope and thrive as teachers.

Dispositions are located at the nexus of our ideas, beliefs, attitudes, commitments, and values and the phenomenal world in which we act.1 They are not only rooted in intellectual assent or intention but evidenced in practical ways. Their presence is demonstrated by what we do and the impact our actions have on others rather than by what we say or intend to do. This is so because of discontinuities between intentions and the realities of how our actions affect others. Since we work with others as music teachers, we need to be concerned primarily with how our actions affect these others in the phenomenal world. Although we may intuitively recognize dispositions when we see them enacted, it is also possible that we may be mistaken and misinterpret what we see and hear. Such ambiguities and possible misinterpretations arise out of the unexpected, unintended, and even undesirable results of our actions and misinterpretations of our best intentions by others in the face of our own and others’ imperfect and limited knowledge.

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7 At the Hub of an International Network

Geoffrey Burgess Indiana University Press ePub

During the 1970s, research on historical woodwinds intensified. Von Huene found himself at the center of innovation and occasionally embroiled in debate. He gave illustrated talks on the history of flutes around the country at colleges, conferences, chapter meetings of the American Recorder Society, and for radio broadcasts. In Boston he contributed to WGBH’s German Hour with a talk titled “Die Blockflöte, Gestern und Heute.” In October 1970 he attended the Long Island Recorder Festival organized by Eugene Reichenthal, where Edgar Hunt, on his first tour of the United States, was also an invited guest. Three years later von Huene spoke at the symposium convened by Alan Curtis at the University of California, Berkeley, titled “Modern Makers of Old Musical Instruments.” Other panelists included Donald Warnock, the lute and viol maker; John Shortridge, who spoke on harpsichords; and Wilson Powell, who discussed violin restoration. Museums, collectors, and manufacturers called on his expertise. In addition to the Museum of Fine Arts (MFA), Stearns, and Dayton Miller Collections, private collectors including Guy Oldham in England and Robert Willoughby, in Oberlin, Ohio, invited von Huene to carry out restorations and advise on the preservation of their collections. For Shelley Gruskin he made an alternate headjoint for an original August Grenser boxwood flute and repaired an ivory flute by J. Beukers using walrus tusk.

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3 - Brookmeyer and Kenton's Initial Offer

Chris Smith, John Mosca and John Riley University of North Texas Press ePub

In 1951, Mel once again persuaded Beneke to hire another one of his friends, this time on piano. Bob Brookmeyer, a young pianist and valve trombonist from Kansas City, joined Mel and Buddy Clark in the rhythm section. Mel recalled his first meeting with Brookmeyer and how he eventually got him on the Beneke Band:

Bobby and I met in 1949, in Chicago. I was playing drums with Ray Anthony; now this is before Anthony was really very well known, he was just starting to go out. The band was more or less a Les Brown type of band, not quite as good, but it was close. And Brookmeyer was playing piano with the Orrin Tucker Band, that's what he was doing.

Bob and I met at a jam session at a little club called the High Note in Chicago. Also that night we met up with Al Cohn, Tiny Kahn, Frank Rosolino, they were all working in Chicago at the time. And we were with two commercial dance bands, Brookmeyer with the extreme commercial band, and he was down there with his valve trombone. We are the same age, in fact I am older than Bobby six or seven months. So we were both around nineteen years old then and met at that session. It was one of those things where we liked each other, liked the way each other played and we became fast friends.

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