Tuesday, August 16, 2016

Sfiato Wind Quintet performs . . .


Sfiato means to breathe or exhale in Italian. The Sfiato Wind Quintet was formed in 2014 in San Francisco. Currently, the quintet consists of Catherine Jennings on flute, Audrey Gore on oboe, Leah di Tullio on clarinet, Jeremiah Broom on bassoon, and Ryan Timmons on French horn. They will play a broad range of chamber music composed by musicians as varied as Haydn, Francaix, Hindemith, Piazzola, Ravel, Uhl, Jacob, Gershwin.
     Leah di Tullio was previously in a music group called The Bernal Hill Players and together they presented two world premieres by  Mexican composers Guillermo Galindo and Eduardo Gamboa inspired by neighborhoods of Mexico City. Sfiato Wind Quintet’s last performance at the Koret auditorium of Main Branch of San Francisco Public Library was very well attended and much appreciated by the audience who after the performance engaged the musicians in a lengthy Q&A session. 
    On Sunday, August 21st, the quintet will play pieces by Barber, Gershwin, Ibert, Danzi, Arrieu, Arnold and more. This promises to be an exciting afternoon. Don’t miss it!

Tuesday, August 2, 2016

San Francisco Neon: Survivors and Lost Icons

The Art, Music & Recreation Center is currently hosting an exhibit of images from the book San Francisco Neon: Survivors and Lost Icons through October 30, 2016.  These images taken by Al Barna and Randall Ann Homan were taken over a nearly 40 years period and document signage past and present.

Tom Downs' introduction provides an appreciation of what neon light does for a cityscape.  He recalls that fifty or more years ago, when neon was at its peak, the "collage effect" that it created within the night-scape.  Neon is especially effective in the fog-socked city like San Francisco where it creates a film noir-ish atmosphere.  In the book's "Neon Notes," Eric Lynxwiler writes that neon began to wane in the City in the 1970s as many locally owned shops shut down.

The endnotes of San Francisco Neon, written by Barna, Homan, Downs and Lynxwiler, provide addresses and background information for every image in the book.  The images in the exhibit also provide this background.  There is also a very helpful "Photo Index by Neighborhood."  The entries in this index are color coded to indicate whether a sign exists and continues to be illuminated, exists but the neon tubes are damaged or gone, or has been removed.

For a wider, historical context, Architecture of the Night: The Illuminated Building, by Dietrich Neumann, traces the evolution of light as a feature used to enhance a structure and as signage.  This became a feature beginning with the various World's Fairs beginning with Chicago in 1893. The first Neon sign appeared at the Grand Palais in Paris in 1910.  The first American Neon signage appeared in 1923 with the brand "Packard" illuminated at a Los Angeles Car dealership

Companies started advertising in San Francisco newspapers to install neon lights around 1929.  A search of the San Francisco Chronicle Historical database shows evidence of the growth in neon lighting in the City.

Advertisement from the San Francisco Chronicle April 5, 1929 

The rise of neon lighting also result in the jobs for those who created and fabricated oneon light, as well as the profession of neon light salesmen.

Want ad from the San Francisco Chronicle March 27, 1931

By the early 1930s, San Francisco's Chinatown must have been bathed in neon light.  A review of the 1933 film The Son Daughter, set in Chinatown, remarks that the of the film "The scene is not Grant Avenue today, but the Dupont street of the pre-Neon light era..." (San Francisco Chronicle (January 23, 1933)).  Downs, in his forward to San Francisco Neon, notes how many remnants of Chinatown's neon light era remain in signs that no longer work that are still attached to building above street level.

The images and the book San Francisco Neon perform the excellent of service of documenting elements of our City's past and present.  They also give us cause to notice our surroundings more carefully and appreciate these beautiful illuminations.


Bibliography:

Architecture of the Night: The Illuminated Building by Dietrich Neumann with essays by Kermit Swiler Champa, et al. (Prestel, c2002).

San Francisco Neon: Survivors and Lost Icons: Photographs 1976-2014 by Al Barna and Randall Ann Homan; foreword by Tom Downs ; neon notes by Erick Lynxwiler (Giant Orange Press, 2014).

Sunday, July 24, 2016

Handbook of Instrumentation


 Orchestration and instrumentation are two inter-related musical skills.  Orchestration is the art of combining and balancing instruments and voices in ensembles large and small.  Instrumentation concerns the capabilities of the individual music components that make up these ensembles.

Andrew Stiller's Handbook of Instrumentation is an outstanding reference book on this subject.  In this handbook he covers all the instruments employed today in the major instrumental families (woodwinds, brass, percussion, strings and keyboards).  He also devotes space to the voice, electronics and to early music instruments.

His introduction as well as passages throughout the book are devoted to the physics and acoustics of these musical forces.  He often explains how sound is generated by each instrumentalist.  One particularly enlightening passage is his discussion of the voice, where he addresses the various registers and timbres and the acoustic properties of vowels. 

A discussion of a given instrument will typically detail the entire instrument family.  For instance, he provides illustrations and explanation for seven members of the clarinet family (the Ab, Eb, Bb, alto, bass, contra-alto and contrabass clarinets).  For each member he provides its written range, an understanding of how loudly and softly it can be played, an explanation of its transposition.  He also gives a sense of the instruments availability - the Bb clarinet is ubiquitous, the bass clarinet is common and the Ab clarinet is rare.

The section on percussion contains a very wide array from instruments -- from those of a classical orchestra, to the trap set, Latin percussion and mallet percussion.  He also describes the effect of the various sticks and mallets used on these instruments.

Every section has gives the instrument's "performance characteristics," fingering and trill charts and related tools, techniques or specialized notation.  At the end of the discussion of every instrument there are also musical examples that highlight the instrument.

The information in this book is aimed primarily at the student or professional composer or arranger.  It also serves as a handy reference for instrumentalists (and librarians) because of the fingering and trill charts included for every instrument.

Thursday, July 7, 2016

A Little about Logos



The Dewey numbers 740 – 749 are classified in Dewey-speak as “Drawing and decorative arts.” The drawing section spans 740 to 743.99. Hidden within the section, 741.6 are "graphic design, illustration and commercial art." This is one section for information about logos, but as with this title, Logo Life, one can also find the subject farther down the shelf in books with a call number of 741.67 (or 658, or 745.2...)

Logo life: life histories of 100 famous logos concentrates on the histories of 100 well known logos, showing the logo at its inception, and then depicting each new look. The contents page lists companies which will be familiar to most people.

 One of the more interesting histories is that of the Apple logo. In its first incarnation, the apple takes much less space. The intricate drawing shows an apple tree, with an apple illuminated, and a man sitting underneath. A quote from Wordsworth was used: “Newton…a mind forever voyaging through strange seas of thought…alone.” Besides being difficult to reproduce, the logo hardly looked “forward thinking.” For the second incarnation, Steve Jobs' only instruction was that it should not be “too cute." Robert Janoff created an apple and placed rainbow colors within it. The bite was taken out of the fruit to distinguish it from a cherry. The typeface used was Motter Tektura, considered very stylish at the time. The lower case “a” fit very snugly in the bite space. Contrary to popular folklore, the bite did not represent a “byte,” nor was it a biblical reference.



 One of the most famous brand logos - Coca Cola - was created by the founder’s bookkeeper, Frank Mason Robinson. The Spencerian typeface, was the most popular script during the late 1800s. Robinson thought that the double “C’s” would work well for advertising purposes. The logo was first registered in 1887, with black script, but was updated with red type meant to attract younger customers. The logo of the 1940’s has stayed unchanged over the years, though additional copy or graphics may be added for specific purposes.



The concept of shipping, figures prominently in the choice of imagery for Starbucks, since coffee is is always shipped to the US from faraway places. The founders were looking through shipping books from the 16th century when they found a woodblock of a two-tailed mermaid. They liked the image and hoped that their product would be as seductive as the siren.  The founders borrowed the name “Starbuck,” from a character in Moby Dick. When Il Giornale merged with Starbucks, the stars in the ring, and the dark green were taken from that logo.  The mermaid's breasts which had been exposed in the first logo, were covered with hair, though you could still see the belly button. Another change came in 1992, when the mermaid was given more of a close-up where the two tails were partially out of the picture. To celebrate the 40th anniversary, the name was removed, and the brand recognition became dependent on the (now green) image.

Other books about logo design can be found here:

Designing B2B brands : lessons from Deloitte and 195,000 brand managers / Carlos Martinez Onaindia  and Brian Resnick.

How to design logos, symbols, and icons : 23 internationally renowned studios reveal how they develop trademarks for print and new media / Gregory Thomas


Logo Design Love : A Guide To Creating Iconic Brand Identities / from David Airey.

Logobook / by Ludovic Houplain ; Ed., Julius Wiedemann.

Masters of design : logos & identity : a collective of the world's most inspiring logo designers / Sean Adams.

Tuesday, June 14, 2016

Five Fabulous Women Artists of the 1800's - a slide lecture by Marlene Aron

On Tuesday, June 28th, local artist Marlene Aron will present slides of the beautiful and inspiring art of five women artists: Mary Cassatt, Berthe Morisot, Marie Bracquemond, Eva Gonzales, and Camille Claudel.

These artists exhibited their work in the Salon and the World Exposition in Paris, three of them showing their paintings alongside Pissarro, Degas, Renoir, and Monet in the very first Impressionist exhibitions in the early 1870's. They painted their family, children, friends, and lovers, along with scenes of gardens, forests, and landscapes. Take a journey through the artistry and lives of some of the movers and shakers of the Impressionist movement.

Tuesday, June 28th
6pm - 7:30pm 
Main Library
Latino/Hispanic Room (lower level)

Saturday, June 11, 2016

Fashion Archives from Proquest



We are very pleased to announce the addition of the Fashion Archives from Proquest to our list of full-text databases! With high-resolution color and article-level indexing, the online archives provide unprecedented historical coverage of leading fashion and women’s magazines.  The Fashion Archives collection includes:

The Harper's Bazaar Archive

A comprehensive, searchable archive of every page, advertisement, and cover of every issue of Harper's Bazaar from its first appearance in 1867 to the current month. Reproduced in high-resolution color page images and supported by fully searchable text and indexing, this resource provides access to a chronicle of 20th century American and international fashion, culture, and society, supporting researchers by offering a cultural lens into the modern era.
Coverage: 1867 - current

The Vogue Archive

A complete searchable archive of American Vogue, from the first issue in 1892 to the current month, reproduced in high-resolution color page images. Every page, advertisement, cover and fold-out has been included, with rich indexing enabling you to find images by garment type, designer and brand names. The Vogue Archive preserves the work of the world's greatest fashion designers, stylists and photographers and is a unique record of American and international fashion, culture and society from the dawn of the modern era to the present day. Coverage 1867 - current.


Women's Magazine Archive

An archival research resource comprising the full backfiles of leading women’s interest consumer magazines. Titles are scanned from cover to cover in high-resolution color and feature detailed article-level indexing. Coverage ranges from the late-19th century through to 2005 and these key primary sources permit the examination of the events, trends, and attitudes of this period. Among the research fields served by this material are gender studies, social history, economics/marketing, media, fashion, politics, and popular culture.  SOme titles included are Better Homes and Gardens, Ladies Home Journal and Redbook.

The Women's Wear Daily Archive

A comprehensive archive of Women’s Wear Daily, from the first issue in 1910 to material from within the last twelve months, reproduced in high-resolution images. Every page, article, advertisement and cover has been included, with searchable text and indexing. The Women’s Wear Daily Archive preserves one of the fashion industry's most influential reads. Key moments in the history of the industry, as well as major designers, brands, retailers and advertisers are all covered in this publication of record.


Also included in this collection is the Design and Applied Arts Index which is not full text.  We do however own many of the journals and books in print.

Design and Applied Arts Index (DAAI)

This database is the premier source of information for all aspects of design and crafts, from textiles and ceramics to vehicle design, advertising and sustainability. Covers journal articles, exhibition reviews and news items from 1973 to the present.
Coverage: 1973 - current

How to search:

Go to sfpl.org and hover over eLibrary then click on "Articles and Databases".  Choose "Topics" then click on "Art & Music".


 














Each of these databases can be searched individually or concurrently.  By clicking on "Fashion Archive" you are taken to a search screen that limits the search to only the five databases listed above.  There is a basic search screen which is a keyword search and an Advanced Search screen that allows for more focused searching and results.



In the Advanced Search it is possible to limit to document type such as advertisement, catalog, correspondence, fiction, interview and many more.  The advanced search defaults to a keyword search but can be narrowed down to author, title, publication name, document text, etc.

An Advanced Search for "Hemline" and limited to Advertisement reveals this 1928 Lord and Taylor advertisement from Vogue:

Advertisement: Lord & taylor. (1928, Jan 01). Vogue, 71, 34. Retrieved from http://ezproxy.sfpl.org/login?url=http://search.proquest.com/docview/904318506?accountid=35117
Another search limiting to "Article" reveals over 3,000 results including this 1928 article in the "Styles for Smaller Women" section of Women's Wear Daily.

Styles for smaller women: Afternoon frocks retain uneven hemline for spring. (1928, Nov 26). Women’s Wear Daily, 37, 1. Retrieved from http://ezproxy.sfpl.org/login?url=http://search.proquest.com/docview/1653748519?accountid=35117




Wednesday, June 8, 2016

Giulio Minetti (1866-1958)

Giulio Minetti, image from the San Francisco Historical Photograph Collection

Giulio Minetti, a native of Turin, Italy, was born on November 22, 1866.  He emigrated to the United States in 1891, arriving in New York en route to San Francisco aboard the vessel La Normandie on January 12, 1891 (the ship's passenger list can be found at Ancestry.com).  It's not clear what brought him to San Francisco, but after a short time he became an active part of the City's music life.and quickly made an impression on San Francisco's musical life.

While in Europe he was reputed to have been a music school class-mate and a fellow member of the La Scala orchestra with Arturo Toscanini.  His earliest mention in the San Francisco Chronicle is as a participant in a April 1893 concert supporting the prima donna soprano Signora Virginia Ferrari (his aunt).  He made a positive impression at a September 22nd performance of Vieuxtemps' Fourth Violin Concerto at the Tivoli Theatre conducted by Adolph Bauer.  In October of that year he performed the same work on a Symphony Concert led by Adolph Bauer.  The Chronicle's unnamed critic noted the audience's appreciation:
The violinist, Giulio Minetti, went through [the Concerto's] endless difficulties in admirable style, and displayed a virtuoso quality that won him several enthusiastic recalls.
He continued to be a successful soloist in the City's concert halls which made inroads for him with the City's elite arts patrons.  At a November solo recital at Golden Gate Hall, he performed for a "distinctly fashionable [audience], San Francisco's leading society people being conspicuously numerous."

That is not to say that his ascendance in the music scene did not arouse some envy.  The Chronicle reported that Minetti got into a fracas with a fellow Italian-American, the pianist and composer Riccordo Lucchesi.  Lucchesi was also the San Francisco correspondent for the Gazzetta musicale di Milano, monthly musical magazine based in Milan, Italy.  The Chronicle reported him denigrating Minetti's skills as a classical musician, noting Lucchesi's assertion that "Minetti was a fourth-rate musician who had previously played in a beer saloon in Los Angeles."

Lucchesi actually wrote the following (using the pseudonym R.A. Look):
Ai matinées orchestrali dati al Tivoli (specie di café-chantant) prese parte un nostro connazionale, il signor Giulio Minetti di Torino. Egli suonò il IV Concerto di Vieuxtemps, mostrando buona scuola e in qualche punto anche un certo grado di finitezza, poco riposo, non troppa sicura intonazione nelle note acute e non abbastanza robusta la cavata per sovrastare in un Tutti d’orchestra; parmi anche che la scelta del pezzo non fosse adeguata alle sue forze; infatti io non lasciai di lodare il Minetti in altra occasione appunto dopo averlo udito in pezzi di minor mole. In ogni modo quando si è costretti du suonare seralmente in orchestra facendo quel goffo tirocinio che il repertorio volgare dei vaudevilles e operette comiche richiede, non è possibile potere raggiungere le alte vette dell’arte.
[An orchestral matinee at the Tivoli (a sort of singing cafe) featured the participation of our countryman, Mr. Giulio Minetti of Turin. He played the Vieuxtemps Fourth Concerto, showing good training and in some passages even a certain degree of finish, repose, a not too sure intonation in the high notes, and not enough strength to prevail above the tutti orchestra. It also seems to me that the choice of the piece does not play to his strengths. In fact, I have not failed to praise Minetti on other occasions when I heard him playing pieces on a smaller scale. In any case when you are forced nightly to play in an orchestra making an awkward apprenticeship requiring the vulgar repertoire of vaudeville and comic operettas, you cannot reach the highest peaks of art.]
Nothing about any beer saloons, but Lucchesi does plenty of damning with faint praise.

Neither this criticism or the fisticuffs did anything to slow Minetti's ascent within San Francisco's classical music world.  Within a couple of years he became concert master of the old Tivoli Opera and of the San Francisco Symphony (a predecessor unrelated to the present day San Francisco Symphony active between 1896 and 1903).

Minetti was also active as a teacher.  He taught violin at Mills College from the late 1890s and maintained studios in San Francisco and Berkeley where he taught violin, voice and ensemble.  He also later taught at the California Conservatory of Music founded by Hermann Genss in 1907.

From 1906 he began directing orchestral concerts at the University of California in Berkeley.  He was the director of the San Francisco Orchestral Society.  He also formed a Società Filarmonica Orchestrale within San Francisco's Italian-American community.

source: Berkeley Daily Gazette (November 18, 1914), 7.

A 1907 newspaper column announcing of a 1907 performance of his work entitled "La caprice" also noted that Minetti had composed around 30 short pieces during the previous 15 years, and that music that he composed in Europe was familiar to audiences in Italy, France, Germany and Spain.  He said that he wrote "La caprice" during the ferry commute from his San Rafael home to San Francisco.  He was said to have lost many of his compositions during the 1906 Earthquake and Fire as well as a number of valuable violins.

One of his most important contributions to San Francisco's musical life was the formation of the Minetti String Quartet in 1896. At its onset, the quartet consisted of Minetti, 1st violin, Hans Koenig, 2nd violin, Andre Verdier, viola, and Arthur Weiss, 'cello.  This ensemble presented approximately a half dozen concerts a year for more that twenty years.

During the 1917 season, the Minetti String Quartet, Paul Whiteman (later famous as a big band leader) played viola along Minetti on 1st violin, William Laraia, 2nd violin and Arthur Weiss 'cello.  (11/6/1917).   Don Rayno's biography Paul Whiteman includes a publicity photograph of this iteration of the quartet.  This book also details the quartet's performances in 1917 and 1918.


Minetti is seated at the left; Paul Whiteman is standing behind him - image source: Center for Jazz Arts

Minetti was the second concert master (Theodore Thomas was the first) for the orchestra assembled for the Beethoven Festival of Music in August 1915.  Concurrent with the Panama-Pacific International Exposition, these programs also featured the unveiling of the Beethoven Statue in Golden Gate Park and marked the arrival of Alfred Hertz in San Francisco before taking over as the San Francisco Symphony's second conductor.

Hertz's choice as musical director was initially very controversial.  His predecessor, Henry Hadley, still had many supporters.  Additionally, because Hertz was a native of Germany, soon to be an opponent of the United States in the First World War, there was also innuendo about his loyalties.  Opponents of Hertz's appointment promoted a rival organization, The San Francisco People's Philharmonic, that competed with the San Francisco Symphony for musicians.  In 1916, Minetti, with the support of Hertz and the San Francisco Symphony Association, formed another rival ensemble, San Francisco People's Orchestra.  This organization was allowed to employ San Francisco Symphony musicians and was even given use of the Symphony library of orchestral parts (both of which were denied to the People's Philharmonic).

Winthrop Sergeant, future author and musical writer for the New Yorker, Time and Life magazines, recalled being able to study violin with Minetti at this time by assisting "with odd jobs around the studio, copying and marking sheet music..."  Minetti discovered that the 10 year old Sargeant had composed a work for orchestra and programmed it with the young composer conducting the San Francisco People's Orchestra.

Giulio Minetti, image from the San Francisco Historical Photograph Collection

In the fall of 1916, Minetti began a short stint as the principal 2nd violinist and orchestra manager for the San Francisco Symphony, holding both these roles from 1916 to 1918 (while Paul Whiteman performed in the viola section).  He returned as principal 2nd violinist only for the years 1918 to 1920.  As orchestra manager he was involved in negotiating contracts with the musicians of the orchestra.

His personal life went through a few twists and turns.  In 1902, his aunt Virginia Ferrari had to explain to the San Francisco Chronicle how her nephew had fallen "under the influence" of a Mrs. Adelaide Lloyd-Smith. He had formed an attachment to her as a vocal student and used his quartet to accompany her performances.  Minetti aided Mrs. Lloyd-Smith in evading an order to testify in a trial and gave her money.  She ultimately was arrested, trial and acquitted of "obtaining money under false pretenses" in Seattle.

In the coming years he settled down.  He married Eleanor de Fremery in Oakland, June 9, 1912.  Her ancestors came to California in 1849 and her father was the founder of the San Francisco Savings Union.  They lived at on 2615 California Street and had a country home in San Anselmo.

After his marriage he remained active.  He had a School of Violin and Ensemble at his house.  He also formed the Minetti Student orchestra that rehearsed at the California Club at 1750 Clay Street.  When the Commonwealth Club formed an orchestra in 1931, they selected Minetti to conduct.  He was also a member of the Bohemian Club for 47 years.

In the 1930s he formed the San Francisco Sinfonietta Orchestra (ca. 1933) employing twenty musicians from the San Francisco Symphony.  This organization presented a few San Francisco premieres of contemporary music such as On Wenlock Edge and The Lark Ascending by Ralph Vaughan Williams, Jacques Ibert's Divertissement for small orchestra, and, notably, Edgard Varèse's Offrandes.

According to sculptor Raimondo Puccinelli, a group of San Francisco's "most noted citizens" unsuccessfully petitioned Pierre Monteux, conductor of the San Francisco Symphony, to perform Varèse's music.  Puccinelli recalled:
However the petition did do a service: Varèse met, at this time, an elderly Italian director, Giulio Minetti, who was acquainted with the petition. He became very interested. Minetti, a modest, hard working musician, had really never gone beyond the “usual” repertoire. However, he decided to place an important Varèse work on his next programme. And so on February 15th, 1938 his Sinfonietta performed “Offrandes” at the San Francisco Community Playhouse.

Varèse and Minetti worked hard together as Minetti was not a “modern”…However, with Varèse’s guidance during the rehearsals he managed to do a marvelous job. Result: sensational. The theatre was sold out. the whole audience stood up and clapped and clapped: a real standing ovation. “Encore” and “Bis” were shouted until Minetti finally gave in and gave a repetition of a large section of the work. And thus San Francisco was spared the shame of having completely turned down Varèse.
Minetti also remained active in the Italian community.  He led concerts for San Francisco's Leonardo Da Vinci Society.  He often participated in benefit concerts for the Italian-American community.  He was a charter member of the Il Cenacolo Club.  

Though unsung in music histories, Giulio Minetti was a central figure in San Francisco's Music Life for more than sixty years.  He was continuously active as soloist, orchestral musician, chamber musician, conductor and educator.  Minetti died on March 31, 1958 at the age of 91.


He also contributed to the score collection of the San Francisco Public Library.  We have works of music signed by him as well as orchestral parts stamped with the name of his ensemble.


Bibliography

[Note: The San Francisco Chronicle articles can be found in the San Francisco Chronicle Historical database available to San Francisco Public Library card holders]


"About," The Leonardo Da Vinci Society [webpage].

Armsby, Leonora Wood, "The San Francisco Symphony Orchestra: First Decade," California Historical Society Quarterly Vol. 25, No. 3 (Sep., 1946), pp. 229-254. [available in JStor]

California Composers: Biographical Notes, compiled by Jessica M. Fredricks (California Federation of Music Clubs, 1934).

Catalog of Mills College and Seminary (Carruth & Carruth Printers, 1899).

"Eleanor Minetti Services," San Francisco Examiner (May 27, 1967).

First Performances (Music Department, San Francisco Public Library, n.d.).

"Footlight Flashes," San Francisco Chronicle (April 16, 1893), 3.

Frankenstein, Alfred, "Sinfonietta Honors Varese Songs," San Francisco Chronicle (February 16, 1938), 7.

Fried, Alexander, "Minetti Conducts Little Symphony in Novel Numbers," San Francisco Examiner (December 2, 1937).

Henderson, Victor, "A Musical Pilgrimage," Sunset (April 1907), 561-565.

Gibbs, Jason, "'The Best Music at the Lowest Price': People's Music in San Francisco," MLA/NCC Newsletter 17/1 (Fall 2002), 5-10.

"Gossip about Musical People," Pacific Coast Musical Review vol. 40, no. 20 (August 13, 1921), p. 8.

"Hurt His Whiskers: A Lively Mill Between Two Musicians," San Francisco Chronicle (December 6, 1893).

"A Listing of All the Musicians of the San Francisco Symphony Orchestra from its Founding in 1911," The Stokowski Legacy [webpage].

Look, R.A., “San Francisco, 23 Settembre 1893,” Gazzetta Musicale di Milano 48/42 (15 Ottobre 1893), 698.

"Maestro Giulio Minetti Dies at 91," San Francisco Chronicle (April 1, 1958), 17.

Mason, Redfern, "Commonwealth Club's Members form Orchestra," San Francisco Examiner (May 18, 1931).

"The Minetti Concert," San Francisco Chronicle (November 26, 1893), 3.

"Minetti Concert Next Friday," Oakland Tribune (April 2, 1911), 5

"The Minetti Quartet," Town Talk (January 25, 1908), 25.

"A Modern Experiment," Center for Jazz Arts (February 2005).

"Music Lovers to have Treat: Compositions written by Minetti will be Heard in Berkeley," Oakland Tribune (April 16, 1907), 8.

"Musical Treat Assured: Series of Musical Concerts are to be Given in Berkeley," Oakland Tribune (January 29, 1906), 8.

"Mysterious Woman of San Rafael is Identified as Mrs. Adelaide Lloyd Smith," San Francisco Chronicle (December 26, 1902), 10.

Thomas Nunan, "New San Francisco People's Orchestra Helped by Hertz," Musical America (May 6, 1916), 58.

Thomas Nunan, "San Francisco Philharmonic to Continue Its Campaign," Musical America (August 19, 1916), 27.

Thomas Nunan, "San Francisco's Social Set Takes Interest in People's Philharmonic," Musical America (July 27, 1916), 37.

"Pacific Coast Musical Notes," Christian Science Monitor (February 26, 1916), 17.

Rayno, Don, Paul Whiteman: Pioneer in American Music, volume 1 1890-1930 (The Scarecrow Press, 2003).

Puccinelli, Raimondo, "Raimondo Puccinelli's recollections of Edgar Varèse in San Francisco," SK Stiftung Kultur [webpage]

"San Francisco (California), 7 marzo," Gazzetta musicale di Milano (27 marzo 1902), 193.

Sargeant, Winthrop, In Spite of Myself (New York: Doubleday & Company, 1970).

"Sinfonietta Launches New Enterprise," San Francisco Chronicle (September 11, 1932), D3.

"Singer Who will be Heard Here Soon is Greet by Throngs on Tour," Oakland Tribune (October 28, 1917), 10.

"The Symphony Concert: Bauer's Last Programme of the Summer Season," San Francisco Chronicle (September 23, 1893), 7.

"Young Native Will Lead Orchestra: Ten-Year-Old Boy Writes Symphony," San Francisco Chronicle (May 11, 1916), p. 1.