Archives Scrapbooks

The image shows a page from a magazine or journal, dated March 30, 1957. The article on this page is titled "Boogie-Woogie for Organ."

The article discusses a performance by a young organist, Fernando Germani, who traveled from Madrid to Boston to teach music at Harvard University. The performance included six organ concertos, featuring renowned organists E. Power Biggs and Composer-Harpsichordist Daniel Pinkham. The concert took place at Harvard University's Busch-Reisinger Museum.

The article also describes the use of a new Dutch-built Flentrop tracker organ, which was built for concert purposes. The performance featured a piece called "Boogie-Woogie" by Pinkham, which was a smaller work on the program. The article notes that the audience enjoyed the piece, although some found it too playful. The concert also included more traditional organ pieces by composers like Bach and Buxtehude.

The article concludes by mentioning that the performance was part of a series of concerts featuring organ music.

The image shows a page from a newspaper clipping dated March 30, 1957. The article is titled "Boogie-Woogie for Organ."

Here are the details of the content:

1. Context:

   • The article discusses a musical performance that took place in the early 1950s at El Escorial, a monastery near Madrid, Spain.
   • Antonio Soler, a Spanish priest, was involved in teaching a young organist named Don Gabriel de Borbón.

2. Performance:

   • The performance featured a unique concert that combined a modern organist, E. Power Biggs, with a composition by a composer known for his boogie-woogie style.
   • The concert was held at the Harvard University’s Busch-Reisinger Museum, which provided a specially designed tracker organ, the only one of its kind in the United States for concert purposes.

3. Musical Style:

   • The organ piece utilized rapid trills and a style reminiscent of 18th-century organ music.
   • Biggs played the Flentrop organ, which was a unique blend of traditional and modern techniques, making the concert both engaging and innovative.

4. Audience Response:

   • The concert was described as an entertaining and lively event, with the audience enjoying the blend of traditional and contemporary musical elements.
   • The article describes the audience's laughter, which was considered infectious, and the overall lively and spirited atmosphere of the concert.

5. Notable Note:

   • The article mentions that the concert was a lively and entertaining experience, with the audience enjoying the unconventional and engaging musical performance.

Additionally, there's a small clipping or note at the bottom right corner mentioning Lydia Pinkham, a famous health advocate, and noting that she is the great-granddaughter of a patent medicinist.

The clipping is part of a larger book or magazine, indicated by the visible spine and page numbering.

The image shows an open book or magazine with an article from TIME dated March 30, 1959. The article is titled 'Boogie-Woogie for Organ' and discusses how Antonio Soler, a Spanish priest, composed a fugue for an infant. The article also mentions the first U.S. performance of this piece by Organist E. Power Biggs and Composer Lukas Foss, and the use of Harvard University's Busch-Reisinger Museum's tracker organ for the concert. The article describes the unique experience of the concert, where the audience enjoyed the unusual combination of classical and boogie-woogie music, and the organ's mechanical sounds added to the enjoyment. The piece was so lively that it reportedly made the audience laugh. The article concludes by calling the performance a 'kind of classical boogie-woogie.' At the bottom, there is a note mentioning that the great-grandson of Patient Medicinist Lydia Pinkham is involved.

The image shows an open page from a TIME magazine issue dated March 30, 1959. The article on the page is titled "Boogie-Woogie for Organ."

Here's a detailed summary of the content:

The article discusses a unique concert involving a tracker organ, an instrument that had only one counterpart in the U.S. specifically designed for concert purposes. The organ was originally built in the Netherlands in 1767 and was moved to the Busch-Reisinger Museum at Harvard University.

The concert featured performances by two organists, E. Power Biggs and Daniel Pinkham. They played a variety of pieces, including classical works by composers such as Antonio Soler and Gabriel Pierné.

Notably, the concert included a duet where the two organists played on the same organ simultaneously. This was achieved by one performer playing the main console while the other played a smaller, movable console that was temporarily attached to the main organ.

The highlight of the concert was an improvisation of a classical boogie-woogie piece, which delighted the audience, including Pinkham's children who laughed with joy.

The concert was part of a broader effort to showcase the capabilities of this rare and historic tracker organ.

The image shows an open book page from a newspaper clipping dated March 30, 1959. The article is titled "Boogie-Woogie for Organ" and is from TIME magazine. The article describes a concert that took place at the great monastery of El Escorial near Madrid, Spain, in the mid-1950s.

Key points of the article include:

1. Antonio Soler's Influence: The article starts by mentioning a Spanish priest named Antonio Soler, who used to teach music to the Infante of Spain, Don Gabriel de Borbón. For the Infante's further diversion, Soler composed a piece called "Fandango."

2. Modern Performance: The article notes that the first U.S. performance of this piece took place the previous week, performed by organist E. Power Biggs and composer Leonard Bernstein.

3. Concert Details: The concert was held at Harvard University’s Busch-Reisinger Museum. The organ used was a tracker organ, which is rare in the U.S. and avoids the breathy sonorities of electronically controlled organs. It was originally designed for concert purposes and is capable of producing rapid trills and runs reminiscent of 18th-century organ styles.

4. Performance Style: Biggs played the Fandango on the tracker organ, and the performance was noted for its lively and engaging style. The article humorously describes the audience's reaction, mentioning that the concert unfolded as a "gaily raucous" event, with the audience occasionally laughing, mimicking the organ sounds, and enjoying the infectious gaiety of the performance.

5. Ending: The article concludes with a light-hearted description of the audience's enjoyment, saying that the concert ended with a "surprised laugher" and a kind of classical boogie-woogie.

The clipping includes a small note at the bottom indicating that the article is related to Lydia Pinkham, specifically mentioning her as the great-grandson of Patent Medicinist Lydia Pinkham. This seems to be an annotation rather than part of the original article.

The image shows an open page from a book or a magazine, specifically dated March 30, 1959, based on the date written at the top right corner. The page contains an article titled "Boogie-Woogie for Organ."

The article describes a performance by a Spanish organist, Antonio Soler, who composed music in the mid-1700s. The piece was performed by Organist E. Power Biggs and Composer-Conductor William Lincer at the Busch-Reisinger Museum at Harvard University. The performance featured a tracker organ, a type that avoids electronic controls and produces a more authentic sound from the 18th century.

The text describes the concert as a unique blend of classical music and boogie-woogie, a genre of music that was popular in the mid-20th century. The organist played a "Fletrop" style, which is a kind of boogie-woogie, and the performance included a lively and engaging interaction between the musicians and the audience, with the organ occasionally moving to let other instruments play.

The article mentions that the audience was captivated by the performance, with one person even describing it as a "kind of classical boogie-woogie." There is a note at the bottom right corner indicating that Lydia Pinkham, a well-known patent medicine proprietor, is the great-grandson of the mentioned Antonio Soler. The page appears to be clipped from a larger publication, possibly a newspaper or magazine, and is held open with a binder clip.

The image portrays a single open page from a bound volume, which seems to be a scrapbook or a collection of documents. The left side of the page is blank except for some signs of wear and a green bookmark ribbon is visible at the binding edge. On the right side of the page affixed with adhesive, there is a clipped article with the headline "Boogie-Woogie for Organ."

The article is from "TIME" magazine, dated March 30, 1959. It discusses a musical performance in Madrid in memory of a renowned organist. The text is dense, and although the clipping's bottom edge is cut off, it appears to contain a narrative around a musical event incorporating boogie-woogie into a classical organ performance.

Additionally, there is handwriting in uppercase at the top of the right-side page, which reads "TIME MARCH 30,1959," likely indicating the source and date of the article. The rest of the page is off-white with visible signs of aging, like slight discoloration and there are multiple vertical creases on the article, suggesting it has been folded before being attached to the page.

The image shows an open book, likely a program or booklet, with handwritten annotations and printed text. The book appears to be from a concert or performance event, dated March 30, 1959, as indicated at the top of the right page.

Key Details:

1. Handwritten Annotations:

   • On the left page, there are handwritten markings and numbers:
     • The word "TIME" is written in large, bold letters near the top.
     • Below it, there are numbers "87" and "91", which may indicate timings or page numbers.
     • The letters "BLO" are written vertically along the left margin, possibly as a bookmark or reference.

2. Printed Text:

   • The right page contains a printed article or program note titled "Boogie-Woogie for Organ".
   • The text discusses a musical performance involving Daniel Pinkham, a composer and harpsichordist, who played a piece titled "Boogie-Woogie for Organ" at Harvard University's Busch-Reisinger Museum.
   • The article mentions the use of a Dutch-Built Fleurop tracker organ, noting its unique features, such as direct key-to-tongue action and its suitability for reproducing the rapid trills and runs of 18th-century organ styles.
   • The performance is described as a "gaily tri-lumined dialogue" between Pinkham and E. Power Biggs, another organist, with Biggs occasionally playing a smaller organ.
   • The audience's reaction is noted, with some being surprised or amused by the unconventional style of the piece, which is described as a "kind of classical boogie-woogie."

3. Design and Layout:

   • The book has a clean, formal layout typical of concert programs or archival documents.
   • The pages are thin and appear to be made of paper, with visible spine and binding at the left edge.
   • The text is typeset in a serif font, giving it a classic, formal appearance.

4. Contextual Clues:

   • The mention of Harvard University's Busch-Reisinger Museum suggests this is an academic or cultural event.
   • The reference to Daniel Pinkham and E. Power Biggs indicates a performance involving notable musicians of the time.
   • The article provides historical and technical context about the organ used and the performance style.

Overall Impression:

The image depicts a historical concert program or booklet from March 30, 1959, featuring a performance of "Boogie-Woogie for Organ" by Daniel Pinkham. The handwritten annotations suggest it may have been used for reference or personal notes during the event. The printed content offers insight into the performance, the musicians involved, and the unique organ used, reflecting a blend of classical and modern musical styles.

The image shows an open book with a page displaying an article from Time magazine. The page is dated March 30, 1959. The article is titled "Boogie-Woogie for Organ" and discusses the performance of organist Daniel Pinkham at the new Dutch-built tracker organ at Harvard University's Sanders Theatre Museum. The article describes the organ's unique design and how it allows for the performance of boogie-woogie music. The image also shows the book's spine, which is green and has the word "TIME" written on it.

A book is opened and placed on a gray surface. The book has a green cover with a white border, and the pages are white. The book is open to a page with the words "TIME" and "MARCH 30, 1959" written on it. There is a white piece of paper with black text on it. The text is about a boogie-woogie concert for the organ.