![]() ![]() Classically trained violinists interested in the integration of popular styles of music (i.e., ragtime. Bolcom successfully integrates popular music into the classical idiom, constantly seeking to reconcile the divide between the two categories of music. William Bolcom’s Concerto in D for violin and orchestra (1983) is an important work in the twentieth-century violin repertoire. ("Spectacles & Concerts" 1922).įurther research by Konrad Nowakowski has uncovered two lists of performers joining the local artists' organization in Vienna, published in Das Podium of July 10 and August. Abbie Mitchell and the Gilmores are also pictured, but Buddie Gilmore is billed the same week at the Olympia. It appeared under this name at the Gaumont Palace "for Easter," probably from April 14 to 20. Wellmon (Rye 2009, 199n37, 217–218) may be that Cook did succeed in re-forming the orchestra in Paris. The solution to the mystery of the French language promotional flyer carrying portraits both of Will Marion Cook and H. ![]() Farley Graden's name is correctly spelled in this program and this is hence not the source of the "Grayden" misspelling otherwise consistent in Irish reportage. Given that William Taylor is again confirmed as the bones soloist, it is evident that he may also be the bones-playing drummer referred to in the Belfast Telegraph review. Unfortunately it is not known whether this was provided by the mysterious Frank Cook. On opening night, James Boucher had played "Ave Maria" with a cello obbligato. At Brighton it had been performed by Elmer Certain. "Old Black Joe," reported as a solo for Herbert Parker, has now been given to Charles Chivers. ![]() This was the orchestra's last engagement in Britain and the last under the original billing. The lack of relationship to the program quoted in reviews of the opening performance (Rye 2009, 216) is striking and perhaps suggests that this is the second week's program. The performance climaxed with William Taylor's bones solo on "Dear Old Virginia" and the Orchestra playing "My Mammy." Lieutenant E. Cook, the other new name, then performed a "Violincello Solo," Squire's "Meditation in C." Like Boucher's classical instrumental in the first half, this was encored, again with a lighter piece, "I'll Sing the Songs of Araby." Bert Marshall and William Taylor performed "Bright Eyes," followed by "Bonnie Lassie" by the Orchestra, and "Selections from Traditional Repertoire" by Quartette. The second half opened with "Whispering" and "Camp Meeting Blues" by the Orchestra, separated by "Old Black Joe" sung by Charles Chivers. The first half closed with "Southland Melodies" by Mrs. Burleigh with "Mammy's Little Coal Black Rose" as a medley, Harry Wellmon's "Jazz in the Harem" by the Orchestra, and another medley, "Li'l Gal" and "I Wish I Was a Child Again" by Farley B. King Reavis performing "Deep River" by H. This was followed by "Russian Rag" by the Orchestra, Mrs. Boucher's violin solo, František Alois Drdla's "Souvenir." The attendee has noted that Boucher played "Little Grey Home in the West" as an encore. Next came solos by Fred Archer ("Roll Jordan"), Bert Marshall ("Jessamine," with chorus), and James Ansley, a new name ("I Got a Robe"), after which the Orchestra played "Peter Gink." William Taylor performed "Jericho" followed by J. The anticipated program opened, as at Brighton, with Will Marion Cook's "Swing Along" by Orchestra and Chorus, followed by "Cuckoo Waltz" by the Orchestra. The copy of the program to hand has penciled annotations by its original owner, which inspires confidence that the advertised program was played. It also enables two new names to be added to the Roster (see below). The acquisition by Konrad Nowakowski of a program printed by Belfast News-Letter Ltd., relating to the Orchestra's engagement in Ireland's second city for two weeks from November 7, 1921, enables more detail to be given about the program there. ![]() The opportunity is here taken to present some of the most significant recent findings and also to correct a couple of the major errors and omissions that inevitably escaped the most conscientious editing and checking. As previously remarked (Rye 2009, 156), research such as this into the Southern Syncopated Orchestra has no realistic end, and new information continually emerges. ![]()
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