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|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|
|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|
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."
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.
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.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.
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.