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City Lights Bookstore posted events
yesterday
Valerie Nieman posted a blog post

Mountain Words, Mountain Music

Appalachian poet, musician, and raconteur Kirk Judd has a new book and CD package out, "My People Was Music." I thought I'd share part of a Goodreads review I did of the book - I think members of The Read would enjoy this.There is no gussying-up here. This is the plain hard rock undergirding Appalachia. This is the sound of water rushing, the clawhammer banjo sound, the crack of a wedge as it splits that cross-grained stump of oak. Kirk Judd has been making poems for a long time, but like a…See More
Friday
Valerie Nieman posted an event
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Valerie Nieman at City Lights at City Lights Books

July 16, 2015 from 10:30am to 12pm
Coffee With the Poet - Valerie Nieman will read from and discuss her new poetry collection, "Hotel Worthy," poems of love, loss, and survival. See More
Friday
Gary Carter posted a blog post

New Story Published by Deep South Magazine: "Nothing But A House"

It's always an honor to have a new story selected and published, this time by Deep South Magazine -- which I recommend for its coverage of all things Southern and, in particular, its attention to Southern literary voices.Read the story here: "Nothing But A House" by Gary CarterComments are always welcome. Deep South Magazine actually has a unique comment section following each story.See More
Thursday
MARYROSE McWHIRTER updated their profile
Thursday
Rob Neufeld posted discussions
Thursday
Rob Neufeld posted discussions
Tuesday
City Lights Bookstore posted events
Mar 21
City Lights Bookstore posted events
Mar 18
Rob Neufeld posted a discussion

Monday's Lie by Jamie Mason

Asheville thriller writer Mason broods with the bestby Rob Neufeld             “Everything you need for measuring a person,” Dee Vess, the heroine and narrator of Jamie Mason’s novel, “Monday’s Lie,” reflects, “can be found in the nature of what he chooses to hide from everyone else.”            It’s a sign of how…See More
Mar 18
Lockie Hunter posted an event
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West End Poetry and Prose Reading Series March Reading at West End Bakery

March 14, 2015 from 7pm to 9pm
We are back for a new Spring session of our Poetry and Prose Reading Series! We hope you are able to join us again Saturday, March 14th, 7pm at the West End Bakery for a wonderful Free family-friendly evening of prose, poetry and storytelling from a group of fabulous local writers.This month we will be featuring: Tommy HaysCaroline Wilson Dalton Dayand Leah ShapiroHosted by Lockie Hunter and our friends at the West End Bakery Cathy Cleary and Krista Stearns.See More
Mar 11
Lockie Hunter posted photos
Mar 11
Sue Diehl posted an event
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William Forstchen discussing his Pillar to the Sky at Bell Library at Montreat College

March 24, 2015 from 3pm to 6pm
Dr. William Forstchen will be the guest author at the Montreat Community Book Club on March 24, 2015 at Bell Library, Montreat College at 3:00.  He will be discussing his novel Pillar to Sky Public is invited.See More
Mar 10
Rob Neufeld posted a discussion

Asheville Poetry Review 20th Anniversary Anthology--and event

Asheville Poetry Review produces 20-year anthologyby Rob Neufeld             The two most remarkable things about the Asheville Poetry Review have been its diversity and quality.  Yes, Asheville, you’ve got a poetry journal of special note here.            Now, 20 years after its locally born…See More
Mar 8
City Lights Bookstore posted an event
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Carolina McMullen Reading & Signing at City Lights Bookstore

March 14, 2015 from 3pm to 4:30pm
Carolina McMullen will read from her new novel Vicenta de Paul on Saturday, March 14th at 3:00 p.m. at City Lights Bookstore. As the first novel of her Not Here to Stay series, Vicenta de Paul tells of a baby who is abandoned by her young mother at an orphanage in Rota, Spain in 1914.  She is later adopted by a wealthy couple and raised in the peaceful coastal area of Rota, away from the busy city. Everything seems fine until her mother begins to suffer from depression.  Vicenta pulls through…See More
Mar 7
Patti Jensen posted an event

Murders, Moonshine & Mountaineers Book Discussion & Signing at The Market on Oak

March 21, 2015 from 11am to 12pm
The Market on Oak in Spruce Pine will host Allen Cook, author of Murders, Moonshine & Mountaineers: The Wildest County in America on Saturday, March 21, 2015 at 11A.M.Moonshine, Murder & Mountaineers recounts a time around the turn of the 19th century when moonshiners and desperadoes faced off against the law in epic battles that made national headlines. The book focuses on events from an area in western North Carolina that held the reputation as the wildest county in America (book has…See More
Mar 5

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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