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The history of Oakley 1 Reply

Started by Rob Neufeld in Local History. Last reply by Sheilah Jastrzebski May 16.

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Bring Back the Game

BRING BACK THE GAME     Anna and I basically spent a month in Asheville, NC this summer. We returned to Georgia a few days ago, and while we were glad to get home, as we got out of the car, we were met with the suffocating heat that I still have not become acclimated to even though we have lived in Middle Georgia for over 30 years. Every plant in our backyard had dried up and only the belligerent squirrels had survived the summer’s inferno.      We had a great time in Asheville. We visited our…See More
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Amy Ammons Garza to Present Her Memoir at City Lights Bookstore

August 6, 2016 from 3pm to 4:30pm
Amy Garza will be presenting her new memoir, Appalachian Storyteller in a Feed Sack Dress, at City Lights Bookstore onSaturday, August 6th at 3 p.m. Follow Amy as she tells the story of her life as she lived it, each chapter being a story in itself. These are the compelling stories of a mountain girl who found the courage she needed in her life to listen and retell the stories of her family and heritage.  Amy Garza was born and raised in Western North Carolina, which leads her into her many…See More
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The history of Oakley

Oakley is a place with an unforgettable historyby Rob NeufeldAn earlier time PHOTO CAPTION: The Taylor family of Oakley: Jean, Virgil, Sadie Louise, and Dan, c. 1936.  Photo courtesy Dan Taylor.            “We had hobos come to our house, and my mother would never turn them away,” Dan Taylor says of his experience…See More
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FDR and the Haywood farmer, 1937

New Deal boosted Haywood sharecropper’s familyby Rob Neufeld PHOTO CAPTION: Dan Cochran poses with his family—his wife, Ila; Howard, Pansy, and Chester; and Peggy’s and Kaye’s mother, Mabel Jean—dressed in clothes provided by the photographer, c.1927.            Franklin Delano Roosevelt started going to Warm…See More
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William Ritter & Sarah Ogletree Fundraising Concert at City Lights Bookstore

July 16, 2016 from 6:30pm to 8pm
William Ritter and Sarah Ogletree will perform a fundraising acoustic concert at City Lights Bookstore on Saturday, July 16th at 6:30pm. Donations will be collected for a friend, Aaron Shapiro, to help raise money for a volunteer trip to Malawi to assist with the construction of a school. William Ritter and Sarah Ogletree have been playing traditional mountain music together in WNC for the past five years. Their self-titled CD is on sale in the bookstore and will be available during the…See More
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A Slice of Life: An Evening of Stories at Metro Wines

June 18, 2016 from 7:30pm to 9:30pm
Connie Regan-Blake is a nationally celebrated storyteller and workshop leader. Join us in this intimate setting (with plenty of parking) for an evening of stories as her storytelling and coaching students "Take the Stage!" You'll enjoy a variety of stories and storytelling styles with tellers Vixi Jil Glen, Christine Phillips Westfeldt, Martha Reed Johnson, Dottie Jean Kirk, Mikalena Zuckett, Lee Lyons and Hettie Barnes. Ticket price includes a glass of wine so 'come on down'! Tickets can be…See More
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Buncombe Chautauqua History Alive - Mark Twain, Amelia Earhart, Matthew Henson, Wernher von Braun at A-B Technical Community College, Ferguson Auditorium, 340 Victoria Rd, Asheville

June 20, 2016 at 7pm to June 23, 2016 at 7pm
Nationally acclaimed historical interpreters perform as four of American's Greatest Adventures.Laugh out loud with MARK TWAIN, the iconic world traveler and wily intellectual whose books inspired America’s spirit of adventure.Take to the skies with AMELIA EARHART, whose courage and plucky personality showed how women could soar beyond society's expectations.Race to the North Pole with MATTHEW HENSON, the intrepid African American explorer who co–discovered the North Pole.Blast into space with…See More
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The Asheville Symphony scores its 50th--looking back at its history

Symphony No. 50--The roots and genesis of the Asheville Symphony Orchestra

Brooklyn-born Aaron Copland won the Pulitzer Prize for Music in 1945 for his ballet, “Appalachian Spring.” Eighteen years earlier, Lamar Stringfield of Asheville had won a fellowship from the Pulitzer Prize jury for “the student of music in America who may be deemed the most talented and deserving.”


Stringfield, the committee noted, already had forty-one compositions to his credit, “many of which have been constructed by the use of folk music that has been preserved by the mountaineers of Western North Carolina.” The fellowship would yield his orchestral suite, “From the Southern Mountains.”


Stringfield was ahead of the curve.


“It is surprising that Stringfield’s name is not better known and his influence better acknowledged, in Appalachia at least,” wrote Douglas Nelson in his 1971 Chapel Hill dissertation, “The Life and Works of Lamar Stringfield (1897-1959).”


The Asheville Symphony acknowledges Stringfield as it opens its 50th anniversary season, September 18. Included with the program will be a book of memories, written by Arnold Wengrow from interviews with long-time participants.


Stringfield had been alive when the new Asheville Symphony had begun as an application for incorporation in 1958. By the time of its first concert in 1961, he was already two years dead.


The new organization took its name from the one that Stringfield had organized in 1927, when he had twenty-four musicians combine for a big, conducted sound. Five years later, he left to establish the North Carolina Symphony, the first state symphony in the country.


Stringfield’s historic achievements depended upon the development of great musicians, the presence of strong conductors, and an inclusion of contemporary orchestral music—principles that the current Asheville Symphony carries forward.


The roots of this movement rest in Asheville.


A local genius' raising


Stringfield and his bunch played instruments a lot when he was a boy here. During World War I, when he was twenty, he played cornet and flute for the North Carolina Regimental Band, composed mostly of boys from Western North Carolina.


“The bandsmen,” Nelson writes, “served also as first-aid litter bearers assigned to the Medical Corps with the duty of picking up the wounded.” Joseph DeNardo, Stringfield’s bandmaster, recalled in an Oct. 22, 1967 issue of the Asheville Citizen-Times that the band members had brought in casualties from the front in France at the rate of one every fifteen minutes.


It was during this period—when a release from horror was necessary—that Stringfield switched from cornet to flute, made remarkable progress in his playing, and began composing music.


He asked DeNardo, “If you take mountain music, would it be all right to put it into art song?”


Stringfield subsequently studied in Paris and conducted in New York. He won a prize for his flute and string quartet piece, “Indian Legend,” based on Cherokee themes. He performed Charles Griffes’ “Poem for Flute and Orchestra” at the Institute of Musical Art (now Julliard), featuring an American work for the first time in the school’s history.


To Asheville to start a symphony


On June 1, 1927, the announcement: “Come to the Plaza Theatre,” appeared on invitations from Stringfield for the first performance of the Asheville Symphony Orchestra. Among other things, he’d be conducting, “Mountain Song” from his suite, “From the Southern Mountains.”


Stringfield went on to pioneer many fields of musical endeavor: a folk institute, music therapy, collaborations with vocal mountain music, an amateur symphony orchestra, and a national symphony society. In 1942, he put his effort—seventy-six hours a week—toward ending World War II by working in an airplane factory.


The post-war period was Stringfield’s time of decline. He applied for teaching jobs, and was denied because he didn’t have a teaching degree. He continued to compose music, including songs for Hubert Hayes’ outdoor drama, “Thunderland,” but failed to get good income from it by promoting his song, “Daniel Boone,” as a pop single.


His health worsened. He began to feel hopeless about his influence. At the same time, the incorporation papers went in for “The Little Asheville Symphony Inc.” (“Little” was removed from the name in 1961.)


Stringfield died on January 21, 1959, and is buried in Riverside Cemetery.




The symphony’s rebirth involves personal stories


When John Bridges, 29-year-old theater and music enthusiast, returned home from New York City in 1956 and stepped off the train at the Asheville depot, he soon found himself in the midst of a renaissance.


Musicians hungry for an orchestra were gathering in the basement of Beth Ha Tephila to perform what they could: suites and overtures. The funding drought of the 1930s and ‘40s had made Lamar Stringfield’s 1927 Asheville Symphony Orchestra a long ago idyll.


“The first concerts that I heard were dreadful,” Bridges recalls about the mid-50’s get-togethers. “But we said, ‘We’ve got to get it started.’… It was more like a club. We had to beg people in advance, ‘Please come,’ so we could have a few people in the audience.”


Within a short time, the growth of what would become the current Asheville Symphony started.


Margaret Ligon, head librarian at Pack Memorial Library, hired Bridges to direct programs from the newly renovated basement in the library on Pack Square. His friendships led him to Joe Vanderwart, a pianist; and Helen Sorton, who would become the nascent group’s executive director.


Vanderwart knew all the musicians. He played in ensembles in people’s homes as well with the infant orchestra in spaces provided by the synagogue, the Asheville Middle School, and the First Presbyterian Church.


Asheville was his second chance at being a music maestro.


Vanderwart's former life


In the 1930s, Vanderwart had made a living playing piano with groups in Bavarian living rooms. Then, in 1939, the Nazis notified the Jews in his town to report to a center.


“He knew what it meant,” Bridges says about his friend, “but he went anyway. When he got there, the man in uniform who was checking everybody in was one of the people he had played concerts for.”


Without showing any signs of recognizing Joe, the officer told him, “You’re not in the age group. Go quickly.” Joe left and hid until he could get passage to New York, where he made ends meet by selling vacuum cleaners.


Joe met Jeanette Goldberg in New York. In the 1950's, they moved to Asheville, where Joe was employed in the lumber business.


Helen Sorton


Helen Sorton, a string bass player, came to Asheville after having served as the publicity chairman of the Oratorio Singers of Charlotte. She established a regular schedule of what was at first called the Asheville Little Symphony. She persuaded city manager, Weldon Weir to give her an office in City Hall.


She initiated a fund-raising drive, which in turn compelled the symphony’s improvement. In 1961, the group hired Thomas Cousins, a composer and Brevard College instructor, to serve as the first continuing conductor. The word “little” was dropped from the symphony’s name.


The triumph, including the inaugural concert, Oct. 17, 1961, was the result of a new level of interest, organization, and funding in town. Talent had resided for a while.


Grace Potter Carroll, a pianist who had studied with Theodor Leschetizky, Paderewski’s teacher, taught select students in Asheville. Handel’s “Messiah” and the Rhododendron Parade involved large choruses and bands.


Frank Rutland, one of the symphony orchestra’s founders, took time off from his career as a chemist to play violin in small groups; and Jane McEntire, who worked for Hayes & Hopson Auto Supply, performed as a contralto.


At at least one of the small group performances, Lamar Stringfield, the genius of the earlier symphony, showed up. Arnold Wengrow, a symphony historian, has tracked down the diary of the then conductor, Sol Cohen, to the University of Illinois with the help of archivist Ryan Ross.


“The largest group yet,” Cohen wrote on Oct. 27, 1958 about that night’s rehearsal. “The little room upstairs in the Presbyterian Church completely filled. No Frank Rutland, no music, so I asked Lamar (Stringfield) to take over.”


When Stringfield left, Cohen took over. “I had to despite my resolution to quit,” he wrote.


“Well, it was rather a triumph,” he noted, “and Agnes (Whitman), who was there as acting concertmaster, was sweetness itself. Love apparently ruled, and I have never felt such a sense of power. Mozart g minor, Bach, all went with rhythmical precision and a dynamic force that was new to me. . . The whole evening was a revelation of harmony and joy.”


LEARN MORE

  • The Asheville Symphony, conducted by Daniel Meyer, opens its 2010-11 season — its 50th — on Sept. 18.
  • The symphony also performs at Asheville's Labor Day festivities, 7 p.m. Sept. 6, in Pack Square Park.
  • The Asheville Symphony's booklet, “Great Music Makes Great Memories: 50 Seasons of the Asheville Symphony,” will be published in October.
  • Visit www.ashevillesymphony.org or call 254-7046.

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