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Maudy Benz posted an event

Poetrio, 3pm Malaprops' Book Store August 3rd at Malaprops' Book Store and Cafe

August 3, 2014 from 3pm to 5pm
Join us for our monthly series of readings and signings by 3 poets at 3 pm! This month will feature Janice Moore Fuller (On the Bevel), Laurence Avery (Mountain Gravity), and Ron Moran (Tree in the Mind).Mountain Gravity celebrates the North Carolina Blue Ridge Mountains with poems that are erudite and accessible at once, and that describe the history of the mountains and the tangible experiences of immersing in the incomparable beauty one discovers there. Mountain Gravity, is the debut…See More
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City Lights Bookstore posted an event
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Appalachian Culture Through Song and Memoir at City Lights Bookstore

August 8, 2014 from 6:30pm to 8pm
Join us at City Lights Bookstore on Friday, August 8th at 6:30 p.m. as Jeremy Jones explores the culture and history of the Blue Ridge Mountains through song and reading. Performing old-time banjo tunes and reading excerpts from his book Bearwallow: A Personal History of a Mountain Homeland, he presents the sounds and stories of his native Appalachian mountains in a blending of personal narrative and folklore. In Bearwallow, his first book, Jones turns his attention to the complex and rich…See More
Saturday
Rob Neufeld posted a discussion

A Shelter of Others by Charles Dodd White

Mountain writer expresses a cry for countryby Rob Neufeld             There’s a scene in Charles Dodd White’s new novel, “A Shelter of Others,” in which a character topples twenty feet off a ledge in a national forest and is saved by some kind of “solid bulk” that interrupts his fall.            He has landed on a…See More
Thursday
Michael Davenport replied to Rob Neufeld's discussion Q&A about Asheville water system and the current state initiative
"Nicely done, and informative. I look forward to part 2."
Jul 18
City Lights Bookstore posted events
Jul 17
City Lights Bookstore posted events
Jul 12
Rob Neufeld posted a discussion

Behind the Beautiful Forevers by Katherine Boo

Life among the poorest is eye-openerby Rob Neufeld             Enlightened and sobered by Katherine Boo’s account of political amorality and human behavior in “Behind the Beautiful Forevers: Life, Death, and Hope in a Mumbai Undercity,” I was also amazed by her narrative achievement.            The book is…See More
Jul 7
City Lights Bookstore posted events
Jul 5
Dave Turner posted a blog post

Does anyone need a good proofreader?

My company, Dave Turner Creative, has just Dave Turner Creative has formed a new partnership with expert proofreader Rebecca Lang. Here are her credentials, experience and specialties:http://daveturnercreative.com/proofreadingAll the best,Dave Turner, author of Billy Ray's…See More
Jul 2
Rob Neufeld posted a discussion

Book discussions in WNC, July 2014

WNC BOOK DISCUSSION CALENDAR, JULY 2014Tuesday, July 1WILD BOOK CLUB: The WILD Book Club discusses “The Interestings” by Meg Wolitzer at the Battery Park Book Exchange, 1 Page Ave., Asheville, 7 p.m. Call 254-6734.BOOK DISCUSSION: “A Tale for the Time Being” by Ruth Ozeki is the subject of a book discussion at the Weaverville…See More
Jun 28
City Lights Bookstore posted events
Jun 28
City Lights Bookstore posted events
Jun 21
Kathryn Hall posted a blog post

Summer issue of GreenPrints is out!

The summer issue of GreenPrints is out! You probably know it's published right there in Fairview by Pat Stone, former longtime gardening editor of Mother Earth News! He's graciously included an excerpt of one of my favorite stories from my book Plant Whatever Brings You Joy: Blessed Wisdom from the Garden, which I do hope you will enjoy! He's also going to be making the book available on his site, soon! Thank you, Pat Stone! …See More
Jun 20
Sharon Gruber posted an event

Screening of "Stark Love" filmed in NC in 1929 at A-B Tech Ferguson Auditorium

June 21, 2014 from 2pm to 4pm
The movie, filmed in 1929 in Graham County NC, accompanies the Asheville History Center's "Hillbilly Land" exhibition.See More
Jun 19

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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