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Powell M. Weaver new article content ... Powell McCollough Weaver, was an American composer and organist. Weaver was born in Clearfield, PA, on June 10, 1890, and died on December 22, 1951. He attended the Institute of Musical Art, New York City where he studied organ with Gaston M. Dethier (1875-1958), composition with Marjorie L. Goetschius, and piano with Carolyn Beebe. Weaver studied organ with Pietro Yon (1886-1943), in Rome, Italy and New York. While in Italy, he studied composition with Ottorino Respighi and organ with Remigio Renzi (1857-1938). Weaver was head of the music department at Ottawa University, organist and director of music at the First Baptist Church of Kansas City and at Temple B'nai Jehudah, Kansas City, Missouri.

Other pupils of Pietro Yon include Norman Dello Joio, Cole Porter, and George-Emile Tanquay. Pupils of Gaston Dethier include George-Emile Tanquay, Ray Lev, Marcelle Martin, and Carl McKinley. Notable pupils of Powell Weaver include Bethel Knoche.

Powell Weaver Powell Weaver was a composer, organist, pianist, and accompanist. b. Clearfield, Pa., June 10, 1890; d. Oakland, Calif., Dec. 22, 1951. ASCAP 1939. Educ: Clearfield High School; Institute of Musical Art, New York, three years; organ, Gaston M. Dethier (1875-1958); composition, Marjorie L. Goetschius; piano, Carolyn Beebe. Studied organ privately with Pietro Yon (1886-1943), two years, New York and Italy. Composi¬tion with Ottorino Respighi and organ with Remigio Renzi (1857-1938), Rome, Italy, two years. Organ recitals in Italy and America. Accom-panist and assisting artist in concert tours. Organist and director First Baptist Church, also Temple B'nai Jehudah, Kansas City, Missouri. Songs: "Moon-Marketing"; "The Ab¬bot of Deny"; "A Book of Verses"; "The Night Will Never Stay." For organ: The Squirrel; Bell Benedictus; The Cuckoo; Exultation (for organ and piano); Copper Country Sketches. Choral: "Spirit of God"; "O God, Our Help In Ages Past"; "Windy Weather." For o*ch..' The Vagabond, symph. poem; The Sand-Dune Cranes, ballet suite; Fugue for Strings. Also B'nai Jehudah Service for Sabbath Evening (eleven separate numbers). Address: Estate, c/o ASCAP. “Build Thee More Stately Mansions, O My Soul” for medium voice and piano published by Galaxy Music Corporation EC#1.1838 Moon Marketing and My Garden, both songs. “Exultation” for organ and piano. Pastorale on Once in David’s Royal City from Festival of Nine Lessons and Carols, St. John in the Wilderness (album).

Transcription for organ of Toccata by Pietro Domenico Paradies. Music Department head at Ottawa University, Ottawa, Kansas.

Powell Weaver studied in Rome as pupil of Ottorino Respighi and Goetschius (composition). Organ with Gaston M. Dethier (1875-1958) was a pupil of Guilmant, 1907-1945 faculty of Institute of Musical Art; Pietro Yon (1886-1943); and Remigio Renzi 1857-1938). Notable pupils of Pietro Yon include Norman Dello Joio. http://musicasacra.com/publications/caecilia/1937_08_caecilia.pdf http://www.traditionalmusic.co.uk/ The MacDowell Colony http://www.macdowellcolony.org/ Was he Jewish? In the 1940s, Heifetz—under the pseu¬do¬nym Jim Hoyl—wrote sev¬eral pop¬u¬lar songs with the lyri¬cist Mar¬jorie Goetschius. One, When You Make Love to Me (Don’t Make Believe), became a hit in 1946. Among those who recorded it were Bing Crosby, Dick Jur¬gens, Helen Ward, and Mar¬garet Whit¬ing, and the song was fea¬tured in the sound¬track to the 1949 movie, The Set-Up, directed by Robert Wise and star¬ring Robert Ryan. Also of interest are compositions by Marjorie Goetschius, including the manuscript version of a piece dedicated to Kramer, as well as sheet music for two popular songs, co-written with Jim Hoyl (Jascha Heifetz).

Cellist, pianist, composer. Goetschius was born in Raymond, NH, September 23, 1915.

Pietro Yon Yon, Pietro Alessandro, composer, or¬ganist; b. Settimo-Vittone, Italy, Aug. 8, 1886; d. Huntington, N.Y., Nov. 22, 1943. ASCAP 1927. To U.S. 1907; citizen 1921. Educ.: Royal Cons, of Milan and Turin. Graduate Academy of St. Cecilia, Rome, with honors in piano, organ, and com-position respectively with Renzi, Bustini, and Sgambata. Substitute or¬ganist Vatican and Royal Church of Rome, 1905-06; organist-choirmaster church St. Francis-Xavier, New York 1908-26. Organist, musical directorSt. Patrick's Cathedral 1926 to death, having cooperated in design of new organ. Cavalier and officer of the Order of Crown ot Italy; made Knight of St. Sylvester by Pope Pius XI; honorary organist S.S. Basilica of St. Peter's, Vatican, Rome. Made fre¬quent appearances organ recitals U.S. and Europe. Guest appearances N.Y. Philh. under Toscanini. Works for organ: three Sonatas; Concerto Gregoriano; two Rhapsodies; twelve Divertimcnti. Piano works: Nena; Giandttia; Mountain Slopes; Alpine Nocturne; Rain. Songs: "Ave Maria"; "Gesu Bambino"; "O Faithful Cross"; "Christ Triumphant"; "They Call Him Jesus"; "Go, Happy Soul." Masses incl. Pro Defunctis, Solcmnis; Regina Pacis; many motets; and oratorio, The Triumph of St. Patrick. Address: Es¬tate, '< ASCAP.

Among some of hjs prominent pupils are Powell Weaver (Kansas City), Edgar Bowman (Pittsburgh), Robert Elmore (Philadelphia), Mary Downey (New York, Henry Seibert (New York), Eugene Phillips (Grand Rapids), Tracy Y. Cannon (Salt Lake City), Helen Knox Ferguson (Dallas), Helen Townsend (Buffalo), Franklin Coates (N.Y.City), Mrs. Dorothy Mulroney (Springfield, Mass.), Wilbur Chenowetch (Lincoln, Neb.), Allan Bucher (Peekskilt N. Y.), and Edward Rivetti, Assistant organist at St. Patrick's Cathedral, N. Y.

Gaston Dethier Dethier was born in Belgium abt 1876. Lived in Manhattan, New York, NY in 1920 with wife Marie, born abt 1879.

Marjorie Laura Goetschius Father was Percy B. Goetschius and mother, Pauline J. Goetschius. Goetschius, Marjorie, composer, author; b. Raymond, N.H., Sept. 23, 1915. ASCAP 1946. Educ.: began study of piano and ear-training at age of four with mother, concert pianist; public schools, Manchester, N.H.; Georgian Court College, where ac¬tive as solo pianist, cellist in orch.; composer of class song and editor of Year Book; Juilliard School of Music, piano, James Friskin; theory, Dr. Percy Goetschius (grandfather), Ber¬nard Wagenaar and Joseph Schil-linger; voice, Mme. Maria Stefany (grandmother). In radio as pianist and singer; acted lead in own dra¬matic show for two years. Background music and script for network pro¬grams. Works: piano: Sonata in B Minor; Theme and Variations; Scherzo in Thirds; Rondo; Berceuse; Poetique; Rhapsody in G; violin: Lament; Tango del Ensueno; Valse Burlesque; Nebuleuses; voice: Remi¬niscence. Songs: "I Dream of You (More Than You Dream I Do)"; "I'll Always Be With You"; "The Last Time I Saw You"; "Like a Leaf in the Wind"; "When You Make Love to Me (Don't Make Believe)"; "The Hora Swingcato"; "So Much in Love"; "You're Different"; "Can I Canoe You Up the River"; "Green Grass and Peaceful Pastures." Home: New York, N.Y. Address: c/o ASCAP.

GOETSCHIUS, Percy Music pedagogue, composer and author; b. Paterson, N. J., Aug. 30, 1853; s. John Henry and Mary Ann (Berry) Goetschius; general ed'n chiefly self-acquired; musical ed'n at Royal Conservatory of Music, Stuttgart, Germany; Royal Wurttemberg prof., Germany, 1885, Mus. Doc. hon. causa, Syracuse Univ., 1892; m. Metz, Germany, June 15, 1889, Maria Stephany, one son: Percy Berry, b. 1890. Instr. and lecturer, Stuttgart Conservatory, 1876-1889; prof, of musical theory, piano and musical history, Syracuse (N. Y.) Univ., 189092; New England Conservatory, Boston, Mass., 1892-96; private instr. Boston, 18961905; prof, of musical theory and composition, Inst, of Musical Art, N. Y. City, since 1905. Author of text books; Material Used in Musical Compositions, 1SS2, revised 1889; Theory and Practice of Tone Relations, 1892; Homophonic Forms of Musical Composition, 1898; Models of Musical Forms, 1896; Exercises in Melody Writing, 191)0; Applied Counterpoint, 1902; Lessons in Music Form, 1904; Elementary Counterpoint. 1910; also Pianoforte Sonata, anthems, miscellaneous pianoforte compositions, orchestral and other works in manuscript. Address: 325 Central Park W., N. Y. City.

GOETSCHIUS, Percy, musical theorist and composer, was born at Paterson, N. J., Aug. 30, 1853, son of John Henry and Mary Ann (Berry) Goetschius. His first known ancestor was a pastor of Zurich, Switzerland, who in the middle of the seventeenth century emigrated to Holland and thence to America, settling in the vicinity of New York. Percy Goetschius received his early education in a private school of his native town. His musical training began in 1873, when he went to to Germany to study at the conservatory of music at Stuttgart, where he was graduated in 1878. Prior to his graduation he had become teacher of the English classes in harmony at the conservatory, and subsequently he had charge of all female classes, still later engaging in regular class work, in both languages, on the subjects of harniony, counterpoint, composition and, after 1885, musical history. In the latter year he received the title of royal professor from the king of ■\Vurtemberg. In 1886 he became musical editor of the (Stuttgart) "8chwabischer Merkur" and "Neues Tagblatt," and acted as correspondent for various other German musical periodicals. Prof. Goetschius returned to America in 1890, and during 1890-92 occupied the chair of musical theory, history and advanced pianoforte at Syracuse University, Syracuse, N. Y. This institution conferred upon him the honorary degree of Mus. Doc. In 1892. In the same year he accepted the post of professor of harmony, counterpoint, composition and musical history at the New England Conservatory of Music, Boston, Mass., also lecturing on various kindred subjects. He resigned in 1896 to engage in private teaching in the branches above named, simultaneously holding from 1897 the position of organist and choir-director of the First Parish Church, Brookline, Mass. Being invited to take charge of the department of theory and composition at the newly established Institute of Musical Art, under the direction of Frank Damrosch, he, In October, 1905, removed to New York city to accept this important post. Here Dr. Goetschius, together with several assistant teachers, gives Instruction in all branches of musical theory to scholars from all parts of the United States. His reputation as a musical theorist as well as an educator is international, and his writings upon the subject are regarded as authoritative, exhaustive and thoroughly practical. Among them may be mentioned: "The Material Used in Musical Composition" (1889), five editions; "The Theory and Practice of Tone-Relations" (1892), six editions; "Models of the Principal Musical Forms" (1894); "Syllabus of Musical History" (1895); "The Homophonic Forms of Musical Composition" (1898); "Exercises In Melody Writing" (1900); "Applied Counterpoint" (1902) "Lessons in Music Form" (1904); "Twelve Lessons In Harmony" (1904). These works are widely used In educational Institutions and by music students generally, and some of them have become standard textbooks on their several subjects. Dr. Goetschius has also done valuable educational work in editing and revising for pedagogic use Mendelssohn's "Pianoforte Works" (1906); Mendels sohn's "Songs Without Words" (1906); "Sonatinas of Clementi and Kuhlau" (1907), and a "Sonatina Album" (1907). His own published compositions Include a "Menuet" (1880); "Wedding March" (1882); "Two Concert Fugues" (1885); "Seven Character Pieces in Waltz Rhythm" (1888); "Revery" (1908); two "Mazurkas" (1908), and a "Sonata" (1908), all for pianoforte; "Chorale-Fantasie" (1908), and " Concert Fugue" (1908) for organ, besides a number of anthems, piano pieces, and a "Concert Piece" for pianoforte and violin. He has also composed a symphony, two overtures and an orchestral suite, besides numerous smaller works. Dr. Goetschius is a man of broad learning and an extraordinary power of analysis. Uncommonly successful as an educator, his passionate love for his art places him above the mere technician, and he has the faculty of imparting theories in an attractive manner and with a full appreciation of the beautiful and original, for the creation of which they serve as a foundation. He was married, first, at Stuttgart, Germany, July 29, 1889; and second, at Metz, Germany, June 14, 1899, to Maria C. C, daughter of Justizrath Apollinaris Stephany. He has one daughter and one son.

Creston, Paul, composer, teacher, or¬ganist, director; b. New York, N.Y., Oct. 10, 1906. ASCAP 1945. Educ: in piano with G. Aldo Randegger and Gaston Dethier; organ with Pietro Yon; self-taught in harmony, counter¬point, composition, and orchestration. Studies and researches on acoustics, music-therapy, Gregorian Chant, seventeenth- and eighteenth-century music, evolution of harmony, history, and science of piano technique, psy¬chology and philosophy of music. Awarded Guggenheim Fellowship, 1938-39; Citation of Merit from Na¬tional Assoc, for American Composers and Conductors 1941 and 1943; Music Award American Acad, of Arts and Letters. Teacher piano and composition, organist St. Malachy's Church, New York. Musical director radio network programs. Member of National Assoc, for American Com¬posers and Conductors, The Bohe¬mians. Works: Concertino (comm. by Frederick Petrides); A Rumor for Orch. (comm. by C.B.S.); Fantasy for piano and orch. (comm. by High School of Music and Art); Symphony No. 1 (won New York Music Critics' Award); Frontiers for orch. (comm. by Andre Kostelanetz); Dawn Mood for orch. (comm. by Paul Whiteman); Poem for Harp and Orch. (comm. by Alice M. Ditson Fund); Zanoni for band (comm. by G. Schirmer, Inc.); Symphony No. 2 (Federation of Music Clubs Citation); Fantasy for trombone and orch. (comm. by Al¬fred Wallenstein); Two Choric Dances for full or chamber orch. (Music Library Assoc. Award); Con-certo for piano and orch. (comm. by Viola D. Malkin); Symphony No. 3 (comm. by Worcester Music Festi¬val); Concerto for two pianos (comm.

Compositions Songs: "Moon-Marketing"; "The Ab¬bot of Deny"; "A Book of Verses"; "The Night Will Never Stay." For organ: The Squirrel; Bell Benedictus; The Cuckoo; Exultation (for organ and piano); Copper Country Sketches. Choral: "Spirit of God"; "O God, Our Help In Ages Past"; "Windy Weather." For o*ch..' The Vagabond, symph. poem; The Sand-Dune Cranes, ballet suite; Fugue for Strings. Also B'nai Jehudah Service for Sabbath Evening (eleven separate numbers).