Music | ArtsBoston Calendar
If you would like to know more about Creative Connections and the artists and to visit our gift gallery at 56 Main Street (Rt 12) in Ashburnham, Massachusetts. nation, lived within the Freedom's Way National Heritage Area creating new ideas about relationships to Connect with the shared stories and places that are part of your own and neighboring of the Great Composers Meet at end of Swanson Road (known as Ashburnham piano—Ashburnham, MA. Jordan met McIver in at the Radcliffe Institute when they were both fellows. the world's most accomplished and original contemporary composers. University is dedicated to creating and sharing transformative ideas Connect. Want to stay informed about news and events at the Radcliffe Institute?.
His masses in D and F, vespers in B flat and G, two masses for children's voices, entitled, Mass of the Angel Guardian and Children's Festival Mass are standard works in Catholic churches throughout the country, and two choice vocal duets, Is Life Worth Living and Hope Abides Forever for concert or church purposes, together with a trio, Father in Heaven, have met with a cordial reception from singers who are on the lookout for something new and interesting.
Stearns's profession as a teacher of the piano and organ has led him to write some available compositions for these instruments and Glad Hours and Loving Hearts' Gavotte are among the most popular piano pieces. For the organ he has written two excellent books which organ students appreciate,  also an illustration for the organ, Contemplation  founded on the motto: Stearns' compositions are published by the White, Smith Music company, of Boston, and the above named are a few of the most prominent ones.
Stearns has given an apt expression of his love for his native town and a sensitive appreciation of its scenic attractions, in several musical compositions, suggested by, and dedicated to the mountains and lakes of the landscape. Stearns was born in Ashburnham, Mass. He went to Worcester to live inand made that city his home until During that time he taught music in Worcester and was organist and director of music in a number of Protestant churches.
He taught instrumental music at the Oread from to He was for many years one of the members of the Board of Government of the Worcester Festival. In he was one of the Conductors of the Festival, at which time a Mass composed by him was sung.
He has written many musical criticisms and reviews of musical work, and has also lectured on music. His musical compositions number many hundreds, his speciality being church music, written for both the Protestant and the Catholic church. Of special excellence among his choir pieces are the following: Of his compositions of secular music his Scenes from Nature: Six Musical Sketches is worthy of special mention. They have no children.
With Biographical Sketches, p.
- Ashburnham resident buys longtime gift shop
- Wadleigh Memorial Library
- Cassius Clement Stearns
She is described by Van Wagenen as a fine naturalist. He was a native of Yorkshire, England, came to Leicester inand through his activities in woolen manufacturing, was really the founder of Cherry Valley as a manufacturing village.
He was active in the Church at Rochdale, from which Reverend Mr. Blackaller was called, and died inleaving sons in Leicester to carry on his factories.
Shtrykov-Tanaka Clarinet-Piano Duo | Sunset Music and Arts
Under the leadership of William Reed Huntington All Saints installed a new organ in and established a choir inbut there is no mention in Shaw's book pp. In addition to Stearns and his brother-in-law, Addison A. His parents, although not professionals, taught music and were prominent members of the choir in the Congregational meeting house. The meeting house survives as the premises of the Ashburnham Historical Society, but was replaced by a new meeting house in the s.
His sister, Rebecca Hill Stearns, was a soprano and music teacher and married Capt. Walker see photowho was known as a fine clarionet player.
Stearns, when a lad, accurately played the bass viol. He played the bass viol in the Congregational Church before his stature would permit him to reach the strings, and Mr.
Miller, the chorister, made a cricket [foot stool] for him to stand upon. He afterward went to St. Paul's Church on Tremont St. In he removed to Burlington, N. Here he remained until the death of Bishop Doane, and in he removed to Hartford, Conn.
During the remainder of his life he was connected with St. John's, Trinity and other Churches, serving also as professor of music in Trinity College until — making an uninterrupted service with the Episcopal Church of over thirty years. He was an ardent admirer of a high order of Church music, and in the course of his life had collected an extensive library of Church and classical music.
Besides the organ, he gave instruction on other instruments. So much time was devoted to instruction that he did not progress in composition, though possessing talent in that direction.
Stearns were the conductors in ; and this year the time of the festivals was changed to the last week in September, and they have been held in September since that time. An interesting feature of the exercises this year was the performance of the Mass in D, under the direction of the composer, Mr.
Zerrahnwho served as conductor for thirty-two years, coming here in and resigning after the festival of If not, what were some of the struggles along the way? Before we had access to the old library building, living with a crowded houseful of grand pianos was a bit awkward, especially for hosting tour groups.
And moving pianos out of the house for concerts at the church was like the kind of puzzle, arranging numbers or letters in a frame — one or two pianos had to be moved aside or taken down to get another out past them.
Bringing up two kids in a house filled with grand pianos was interesting, too, especially with the thermostat kept at around 55 degrees in winter, to keep the humidity level up for the pianos. After the pianos were moved into the old library building, we had a brief struggle when a Town official took a dislike to us and threatened to break our lease and throw us out of the building.
He eventually left, and things settled down. All-in-all, things have gone pretty smoothly. Tell us about Historical Piano Concerts — what should we know?
We specialize in preserving an endangered species of music, and musical instrument. Other piano collections sometimes exhibit pianos for their visual beauty — ornately decorated cases; for their provenance — having belonged to some famous person; for their weird patent devices that never went into regular production; or just because someone donated the piano to them.
Some of our pianos are visually handsome, but that, or their previous ownership is not as important to us as their musical beauty. We have been told that our pianos are in better working condition, and sound more beautiful than pianos in other collections.
And of course, our pianos are to be played, not just looked at. We are proud that while some excellent musicians have always been eager to play here, more and more of them have heard about us from their colleagues, and are turning up at the Study Center with concert proposals. One virtuoso pianist from China, who received his music degrees in New York, will play his ninth concert here this fall.
He spent one whole day several years ago making a video about the Piano Collection, which was broadcast in six installments of his weekly show on China Public TV.
Meet Patricia and Edmund Michael Frederick of Historical Piano Concerts
His concert this season will be in conjunction with a recording session with an Viennese piano. So far, we have a dozen CDs by various pianists, and four more recording sessions scheduled this fall. Who else deserves credit in this story — who has played a meaningful role? I credit my father for teaching me by example how to publicize a classical music organization, do fundraising for it, and format attractive program booklets, brochures, etc.