company name	The Washington Post Company
company logo
company type	Public
traded as	S&P; 500 Component
foundation	August 4, 1947
location	Washington, D.C., U.S.
key people	Donald Graham(Chairman and CEO)Boisfeuillet Jones, Jr.(Vice Chairman)
industry	Mass media
products	NewspapersMagazinesEducational ServicesTelevisionCable televisionElectronic media
revenue	US$ 4.724 billion (2010)
operating income	US$ 547 million (2010)
net income	US$ 278 million (2010)
assets	US$ 5.158 billion (2010)
equity	US$ 2.814 billion (2010)
num employees	20,000 (2010)
owner	Graham family
homepage	}}

The Washington Post Company () is an American mass media company, best known for owning the newspaper for which it is named, ''The Washington Post''. The company also owns Kaplan, Inc., a leading international provider of educational and career services for individuals, schools, and businesses. In addition, the company owns The Slate Group, ''Express'', ''El Tiempo Latino'', The Gazette and Southern Maryland newspapers, ''The Herald'' (Everett, WA), Post-Newsweek Stations (Detroit, Houston, Miami, Orlando, San Antonio and Jacksonville), Cable ONE—a cable TV and Internet service provider with subscribers in midwestern, western, and southern states—and Avenue100 Media Solutions, an online lead generation provider. The company previously owned ''Newsweek'' and Newsweek.com, but sold the magazine in 2010 after years of financial losses.

The Washington Post Company history dates back to 1877, when the Post was first published. The Washington Post Company was incorporated in the District of Columbia in 1889, and remained a District of Columbia corporation until it changed its state of incorporation to Delaware in 2003. It is a public company, trading on the New York Stock Exchange under the ticker symbol WPO; it went public in 1971. It is headquartered in Washington, D.C.

Apart from the family of the late Eugene Meyer, Berkshire Hathaway is a substantial shareholder.

Education[link]

Kaplan, Inc. — Kaplan is one of the world's largest providers of educational services. Kaplan focuses on three areas: higher education, professional training, and test preparation.

Headquartered in New York City under the leadership of CEO Andrew Rosen, Kaplan had $2.3 billion in revenue in 2008. It is The Washington Post Company's fastest growing division and its largest revenue producer.

The Kaplan Higher Education unit had campuses where students defaulted on federal loans at rate of higher than 30 percent—more than three times the rate at private, nonprofit colleges—according to data released by the U.S. Department of Education. The high default rate may even trigger the loss of student aid under federal rules that take effect in 2012. When students default on their debt taxpayers are stuck with the bill and the students have their credit destroyed. Kaplan's marketing campaign targets especially veterans, single mothers and low-income students. According to the U.S. News & World Report, only 33 percent of Kaplan students graduate within six years.

StudentAdvisor.com - is the latest education resource launched by the Washington Post Company. StudentAdvisor.com is an education research (reviews written by students, alumni, and parents) and comparison destination (tools to download and compare multiple colleges) for students, parents, and lifetime learners.

Newspapers[link]

''The Washington Post''

''The Herald'' — Everett, Washington

''La Raza del Noroeste'' — Everett, Washington Spanish-language weekly covering the Puget Sound area

''Express'' — A free daily commuter paper in the Washington Metro Area.

''El Tiempo Latino''

The Gazette (35 weekly newspapers and a subscription-based state-wide weekend business and politics newspaper, in Maryland; plus military newspapers and suburban Maryland real estate guides)

Greater Washington Publishing

Washington Post Writers Group

Broadcasting[link]

The official name of the broadcast division, dating back to the 1970s, is Post-Newsweek Stations. Post-Newsweek stations is based in Detroit, Michigan and currently owns six VHF stations, all in the Top 50 markets. All the stations are branded under the "Local Mandate," which happens to be a station standardization adopted by Post-Newsweek. (Examples: KPRC is "Local 2" and WPLG is "Local 10".)

Post-Newsweek also owned two other television stations in the past. Both were at one time or another company flagships.

Cable[link]

Cable ONE — Phoenix, Arizona

Interactive[link]

The Slate Group

Avenue100 Media Solutions — A leading analytics-based performance marketing company.

See also [link]

Lists of corporate assets

References[link]

External links [link]

Category:Companies established in 1889 Washington Post Washington Post Washington Post Washington Post Washington Post Washington Post Category:Companies based in Washington, D.C.

fr:The Washington Post Company no:The Washington Post Company ro:The Washington Post Company zh:�盛頓郵報公�

Name	John Philip Sousa
Birth date	November 06, 1854
Death date	March 06, 1932
Birth place	Washington, D.C.
Death place	Reading, Pennsylvania
Placeofburial	Congressional Cemetery, Washington, D.C.
Placeofburial label	Place of burial
Nickname	The March King
Allegiance	United States of America
Branch	United States Marine CorpsUnited States Navy
Serviceyears	Marines: 1868–1875, 1880–1892; Navy: 1917–1918
Rank	Warrant Officer (Marines)Lieutenant Commander (Navy)
Commands	U.S. Marine Band, U.S. Navy Great Lakes Naval Station Band
Laterwork	}}

John Philip Sousa (; November 6, 1854 – March 6, 1932) was an American composer and conductor of the late Romantic era, known particularly for American military and patriotic marches. Because of his mastery of march composition, he is known as "The March King" or the "American March King" due to his British counterpart Kenneth J. Alford also being known as "The March King". Among his best known marches are "The Washington Post", "Semper Fidelis" (Official March of the United States Marine Corps), and "The Stars and Stripes Forever" (National March of the United States of America).

His father was Portuguese, and his mother of Bavarian ancestry. Sousa began his career playing violin and studying music theory and composition under John Esputa and George Felix Benkert. His father eventually enlisted him in the United States Marine Band as an apprentice in 1868. After departing the band in 1875, Sousa eventually learned to conduct. From 1880 until his death, Sousa began focusing exclusively on conducting and wrote marches during this time. He eventually rejoined the Marine Band and served there for 12 years as director. Upon leaving the Marine Band, Sousa organized his own band. He toured Europe and Australia and also developed the sousaphone, a large brass instrument similar to the tuba. On the outbreak of World War I, Sousa was commissioned as a Lieutenant Commander and led the Naval Reserve Band in Illinois. Following his tenure there, Sousa returned to conduct the Sousa Band until his death in 1932.

Biography[link]

John Philip Sousa was born in Washington, D.C., on November 6, 1854, to John Antonio Sousa and Maria Elisabeth Trinkhaus. He was of Portuguese and Bavarian descent. Sousa started his music education by playing the violin as a pupil of John Esputa and George Felix Benkert (born 1831) for harmony and musical composition at the age of six. He was found to have absolute pitch. When Sousa reached the age of 13, his father, a trombonist in the Marine Band, enlisted his son in the United States Marine Corps as an apprentice to keep him from joining a circus band.

On December 30, 1879, Sousa married Jane van Middlesworth Bellis (1862–1944). They had three children together: John Philip, Jr. (April 1, 1881 – May 18, 1937), Jane Priscilla (August 7, 1882 – October 28, 1958), and Helen (January 21, 1887 – October 14, 1975). All are buried in the John Philip Sousa plot in the Congressional Cemetery. Wife Jane joined Daughters of the American Revolution (DAR) in 1907. Daughters Jane Priscilla and Helen Abert also joined DAR in 1907. Their Patriot was Adam Bellis.

Several years after serving his apprenticeship, Sousa joined a theatrical (pit) orchestra where he learned to conduct. He returned to the U.S. Marine Band as its head in 1880 and remained as its conductor until 1892. Sousa led "The President's Own" band under five presidents from Rutherford B. Hayes to Benjamin Harrison. Sousa's band played at two Inaugural Balls, those of James A. Garfield in 1881, and Benjamin Harrison in 1889.

Sousa organized his own band the year he left the Marine Band. The Sousa Band toured from 1892–1931, performing at 15,623 concerts. In 1900, his band represented the United States at the Paris Exposition before touring Europe. In Paris, the Sousa Band marched through the streets including the Champs-Élysées to the Arc de Triomphe – one of only eight parades the band marched in over its forty years. In 1911 they went to Australia and performed in Sydney and Melbourne (then the national capital).

The marching brass bass, or sousaphone, a modified helicon, was created by J. W. Pepper – a Philadelphia instrument maker who created the instrument in 1893 at Sousa’s request using several of his suggestions in its design. He wanted a tuba that could sound upward and over the band whether its player was seated or marching. The sousaphone was re-created in 1898 by C.G. Conn and this was the model that Sousa preferred to use.

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''~ John Philip Sousa~''US Postage, [[Postage stamps and postal history of the United States#Famous Americans Series of 1940|Issue of 1940]]Sousa lived in Sands Point, New York. A school (John Philip Sousa Elementary) and a band shell are named after him and there is also a memorial tree planted in nearby Port Washington. ''Wild Bank'', his seaside house on Hicks Lane, has been designated a National Historic Landmark, although it remains a private home and is not open to the public.

Sousa died of heart failure at the age of 77 on March 6, 1932, in his room at the Abraham Lincoln Hotel in Reading, Pennsylvania. He had conducted a rehearsal of "The Stars and Stripes Forever" the previous day with the Ringgold Band. He is buried in Washington, D.C.'s Congressional Cemetery.

Military service[link]

Sousa served in the U.S. Marine Corps, first from 1868 to 1875 as an apprentice musician, and then as the head of the Marine Band from 1880 to 1892; he was a Sergeant Major for most of his second period of Marine service and was a Warrant Officer at the time he resigned.

During World War I, he was commissioned a Lieutenant Commander in the U.S. Naval Reserve and led the Navy Band at the Great Lakes Naval Station near Chicago, Illinois. Being independently wealthy, he donated his entire naval salary minus one dollar a year to the Sailors' and Marines' Relief Fund. After returning to his own band at the end of the war, he continued to wear his naval uniform for most of his concerts and other public appearances.

Music[link]

Marches[link]

Sousa wrote 136 marches, published by the Sam Fox Publishing Company beginning in 1917 and continuing until his death. Some of his most popular and notable are:

"The Gladiator March" (1886)

"Semper Fidelis" (1888) (Official March of the United States Marine Corps)

"The Washington Post" (1889)

"The Thunderer" (1889)

"High School Cadets" (1890)

"The Liberty Bell" (1893) (credits theme for Monty Python's Flying Circus)

"Manhattan Beach March" (1893)

"King Cotton" (1895)

"Stars and Stripes Forever" (1896) (National March of the United States)

"El Capitan" (1896)

"Hands Across the Sea" (dedicated to the band of the Virginia Tech Corps of Cadets – the Highty-Tighties) (1899)

"Hail to the Spirit of Liberty" March (1900)

"Invincible Eagle" (1901) (Dedicated to Pan-American Buffalo Exposition)

"Fairest of the Fair" (1908)

"Glory of the Yankee Navy" (1909)

"U.S. Field Artillery" (1917) (Modified version The Army Goes Rolling Along is the official song of the U.S. Army)

"Who's Who in Navy Blue" (1920)

"The Gallant Seventh" (1922)

"Nobles of the Mystic Shrine" (1923)

"The Black Horse Troop" (1924)

"Pride of the Wolverines" (1926)

"Minnesota March" (1927)

"New Mexico March" (1928)

"Salvation Army March" (1930) (dedicated to The Salvation Army's 50th anniversary in the USA)

Sousa wrote marches for several American universities, including University of Illinois, University of Nebraska, Kansas State University, Marquette University, and University of Minnesota.

Operettas[link]

''The Smugglers'' (1882)

''Désirée'' (1883)

''The Queen of Hearts'' (1885), also known as ''Royalty and Roguery''

''El Capitan'' (1896)

''The Bride Elect'' (1897), libretto by Sousa.

''The Charlatan'' (1898), also known as ''The Mystical Miss'', lyrics by Sousa

''Chris and the Wonderful Lamp'' (1899)

''The Free Lance'' (1905)

''The American Maid'' (1909), also known as ''The Glass Blowers''.

These operettas which Gervase Hughes calls "notable" (1) also show a variety of French, Viennese and British influences. (In his younger days, Sousa made an orchestration of H.M.S. Pinafore and played the first violin on the American tour of Jacques Offenbach.) The music of these operettas is light and cheerful. ''The Glass Blowers'' and ''Desirée'' have had revivals, the latter having been released on CD like ''El Capitan'', the best known of them. ''El Capitan'' has been in production somewhere in the world ever since it was written and makes fun of false heroes. Still more outspoken against militarism is ''The Free Lance'', the story of two kingdoms becoming united, which found its way to Germany (as ''"Der Feldhauptmann")'' by the time the Berlin Wall came down.

Marches and waltzes have been derived from many of these stage-works. Sousa also composed the music for six operettas that were either unfinished or not produced: ''The Devils' Deputy'', ''Florine'', ''The Irish Dragoon'', ''Katherine'', ''The Victory'', and ''The Wolf''.

In addition, Sousa wrote a march based on themes from Gilbert and Sullivan's comic opera The Mikado, the elegant overture ''Our Flirtations'', a number of musical suites, etc. He also frequently added Sullivan opera overtures or other Sullivan pieces to his concerts. He is also widely quoted saying, "My religion lies in my composition."

Other writing, skills, and interests[link]

Sousa exhibited many talents aside from music. He wrote three novels – ''The Fifth String,'' ''Pipetown Sandy,'' and ''The Transit of Venus'' – as well as a full-length autobiography, ''Marching Along'' and a great number of articles and letters-to-the-editor on a variety of subjects.

As a trapshooter, he ranks as one of the all-time greats, and he is enshrined in the Trapshooting Hall of Fame. He even organized the first national trapshooting organization, a forerunner to today's Amateur Trapshooting Association. Sousa remained active in the fledgling ATA for some time after its formation. Some credit Sousa as the father of organized trapshooting in America. Sousa also wrote numerous articles about trapshooting.

Perhaps a quote from his Trapshooting Hall of Fame biography says it best: "Let me say that just about the sweetest music to me is when I call, ‘pull,’ the old gun barks, and the referee in perfect key announces, ‘dead’."

In his 1902 novel ''The Fifth String'' a young violinist makes a deal with the Devil for a magic violin with five strings. The strings can excite the emotions of Pity, Hope, Love and Joy – the fifth string is Death and can be played only once before causing the player's own death. He has a brilliant career, but cannot win the love of the woman he desires. At a final concert, he plays upon the death string.

In 1905, Sousa published the book ''Pipetown Sandy'', which included a satirical poem titled "The Feast of the Monkeys". The poem describes a lavish party attended by a variety of animals, but overshadowed by the King of Beasts, the lion…who allows the muttering guests the privilege of watching him eat the entire feast. At the end of his gluttony, the lion explains, "Come all rejoice, You’ve seen your monarch dine."

In 1920, he wrote another work called ''The Transit of Venus'', a 40,000-word story. It is about a group of misogynists called the Alimony Club who, as a way of temporarily escaping the society of women, embark on a sea voyage to observe the transit of Venus. The captain's niece, however, has stowed away on board and soon wins over the men.

Sousa held a very low opinion of the emerging and upstart recording industry. In a submission to a congressional hearing in 1906, he argued: :These talking machines are going to ruin the artistic development of music in this country. When I was a boy...in front of every house in the summer evenings, you would find young people together singing the songs of the day or old songs. Today you hear these infernal machines going night and day. We will not have a vocal cord left. The vocal cord will be eliminated by a process of evolution, as was the tail of man when he came from the ape.

Law professor Lawrence Lessig cited this passage to argue that in creating a system of copyrights in which control of music is in the hands of record labels, Sousa was essentially correct. Sousa also was credited with referring to records as "canned music," referring to the fact that cylinder records were sold in cans.

Sousa's antipathy to recording was such that he often refused to conduct his band if it was being recorded. Nevertheless, Sousa's band made numerous recordings, the earliest being issued on cylinders by several companies, followed by many recordings on discs by the Berliner Gramophone Company and its successor, the Victor Talking Machine Company (later RCA Victor). The Berliner recordings were conducted by Henry Higgins (one of Sousa's cornet soloists) and Arthur Pryor (Sousa's trombone soloist and assistant conductor), with Sousa quoted as saying, "I have never been in the gramophone company's office in my life." A handful of the Victor recordings were actually conducted by Sousa, but most were conducted by Pryor, Herbert L. Clarke, Edwin H. Clarke, or by four of Victor's most prolific house musicians: Walter B. Rogers (who had also been a cornet soloist with Sousa), Rosario Bourdon, Josef Pasternack, and Nathaniel Shilkret. Details of the Victor recordings are available in the external link below to the EDVR.

Sousa also appeared with his band in newsreels and on radio broadcasts (beginning with a 1929 nationwide broadcast on NBC). In 1999, Legacy Records released some of Sousa's historic recordings on CD.

In 1922, he accepted the invitation of the national chapter to become an honorary member of Kappa Kappa Psi, the national honorary band fraternity. Later, in 1925, he was initiated as an honorary member of Phi Mu Alpha Sinfonia, the national fraternity for men in music, by the fraternity's Alpha Xi chapter at the University of Illinois.

In 1952, 20th Century Fox honored Sousa in their Technicolor feature film ''Stars and Stripes Forever'' with Clifton Webb portraying the composer. Fox music director Alfred Newman arranged the music and conducted the studio orchestra for the soundtrack. It was loosely based on Sousa's memoirs, ''Marching Along''.

Sousa also wrote "A manual for trumpet and drum" an excellent booklet, published by the Ludwig drum company, with fine advice for the playing of the drum and trumpet. An early version of the trumpet solo to "Semper Fidelis" is included in this volume.

See also [link]

Academy of Music/Riviera Theatre

William Bell (tuba player)

Notes[link]

References[link]

75 years after death here, Sousa sells out the Abe – Reading Eagle Newspaper

''Congressional hearing'': in Copyright's Communication Policy by Professor Tim Woo, University of Virginia, May 2004 – Caution, 560k PDF.

John Philip Sousa was raised as a freemason at the Hiram-Takoma Lodge No.10 in the District of Washington

''A John Philip Sousa Bibliography-''

''Books/Collections''

J. P. Sousa Collection. Washington D.C.: Archives of the U.S. Marine Band, 2011.

The Sousa Archives and Center for American Music. University of Illinois at Urbana-Champaign, 2011.

Berger, Kenneth W. The March King and His Band : The Story of John Philip Sousa. New York: Exposition Press, 1957.

Bierley, Paul E. John Philip Sousa: A Descriptive Catalog of His Works. Urbana: University of Illinois Press, 1973.

Bierley, Paul E. John Philip Sousa: American Phenomenon. Miami, FL: Warner Bros. Publications, 2001.

Bierley, Paul E. The Incredible Band of John Philip Sousa. Urbana: University of Illinois Press, 2006.

Bierley, Paul E. The Works of John Philip Sousa. Columbus, OH: Integrity Press, 1984.

Delaplaine, Edward S. John Philip Sousa and the National Anthem. Frederick, MD: Great Southern Press, 1983.

Heslip, Malcolm. Nostalgic Happenings in the Three Bands of John Philip Sousa. Westerville, OH: Integrity Press, 1992.

Lingg, Ann M. John Philip Sousa. New York: Holt, 1954.

Newsom, Jon, ed. Perspectives on John Philip Sousa. Washington: Library of Congress, 1983.

Sousa, John Philip. Marching Along: Recollections of Men, Women and Music. Edited by Paul E. Bierley. Boston: Hale, Cushman & Flint, 1928, rev. 1994.

Sousa, John Philip. National, Patriotic and Typical Airs of All Lands. N.Y.: Da Capo Press, 1977.

Sousa, John Philip. Through the Year with Sousa: Excerpts from the Operas, Marches, Miscellaneous Compositions, Novels, Letters, Magazine Articles, Songs, Sayings and Rhymes of John Philip Sousa. New York: Thomas Y. Crowell &, 1910.

''Articles''

Bennett, Jeb. "John Philip Sousa: 100th Anniversary." Marine Corps Gazzette 64, no. 10 (1980): 31-34.

Bierley, Paul E. "Sousa: America's Greatest Composer?" Musical Journal 25, no. 1 (1967): 83-87.

Bierley, Paul E. "Sousa on Programming." Instrumentalist, December 1973.

Bierley, Paul E. "Sousa's Mystery March." Instrumentalist, February 1966.

Dvorak, Raymond F. "Recollections of Sousa's March Performances." School Musician, Director and Teacher, December 1969.

Evenson, Orville. "The March Style of Sousa." Instrumentalist, November 1954.

Fennell, Frederick. "Sousa: Still a Somebody." Instrumentalist, March 1982.

Gaydos, Jeff. "Stars and Stripes and Sousa Forever!" Bandwagon, June 1980.

Goldberg, Isaac. "Sousa." American Mercury 27 (1932): 193-200.

Goldman, Richard Franko. "John Philip Sousa." HiFi/Stereo Review 19, no. 1 (1967): 35-47.

Gordon, Marjorie M. "John Philip Sousa: A Centennial-Year Salute to the March King." Musical Journal 11, no. 11 (1954): 28-34.

Heney, John J. "On the Road with the Sousa Band." School Musician, Director and Teacher, 1976.

Howard, George S. "A New Era for Brass: Sousa's Role." Music Journal, January 1966.

Interavia, Lawrence. "Wind Band Scoring Practices of Gilmore and Sousa." Instrumentalist, March 1965.

Larson, Cedric. "John Philip Sousa as an Author." Etude, August 1941.

Mangrum, Mary Gailey. "I Remember Sousa." Instrumentalist 24, no. 5 (1969): 38-41.

Mangrum, Mary Gailey. "Sousa the Patriot." Instrumentalist 24, no. 6 (1970): 33-35.

Marek, George Richard. "John Philip Sousa." HiFi/Musical America 23, no. 11 (1973): 57-61.

Mathews, William Smith Babcock. "An Interview with John Philip Sousa." Music: A Monthly Magazine 9 (1896): 487-92.

Mayer, Francis N. "John Philip Sousa: His Instrumentation and Scoring." Music Educator's Journal, January 1960.

Peterson, O. A. "The Human Side of Sousa." Musical Messenger, May 1916.

Pleasants, Henry. "A Look at Sousa: Ormandy and Critics." International Herald Tribune (Paris Edition), December 1969.

"Sousa and His Mission." Music: A Monthly Magazine 16 (July 1899): 272-76.

"Sousa as He Is." Music: A Monthly Magazine 14 (May 1899).

"Sousa's New Marine Band." Musical Courier, November 9, 1892.

Stoddard, Hope. "Sousa: Symbol of an Era." International Musician, December 1948.

Thomson, Grace F. "Memories of the March King." Musical Journal 22, no. 5 (1964): 27-49.

Trimborn, Thomas J. "In the Footsteps of Sousa." Instrumentalist 35, no. 4 (1980): 10-13.

Wimbush, Roger. "Sousa at the "Proms"" Monthly Musical Record 68:238-40.

''Dissertations''

Bly, Leon Joseph. “The March in American Society.� Diss., University of Miami, 1977.

Bowie, Gordon W. “R. B. Hall and the Community Bands of Maine.� Diss., University of Maine, 1993.

Carpenter, Kenneth William. “A History of the United States Marine Band.� Diss., University of Iowa, 1971.

Church, Charles Fremont. “The Life and Influence of John Philip Sousa.� Diss., Ohio State University, 1942.

Darling, Matthew H. “A Study and Catalogue of the Solos Composed, Arranged, and Transcribed for Xylophone and Band by John Joseph Heney (1902-1978), Percussionist (1926-31) and Xylophone Soloist (1931) with the John Philip Sousa Band.� Diss., University of Arizona, 1998.

Hemberger, Glen J. “Selected Songs for Chamber Winds and Soprano: Rediscovering a Forgotten Repertoire of John Philip Sousa.� Diss., University of North Texas, 2001.

Hester, Michael E. “A Study of the Saxophone Soloists Performing with the John Philip Sousa Band, 1893-1930.� Diss., University of Arizona, 1995.

Jorgensen, Michael R. “John Philip Sousa's Operetta El Capitan: A Historical, Analytical, and Performance Guide.� Diss., Ball State University, 1995.

Korzun, Jonathan Nicholas. “The Orchestral Transcriptions for Band of John Philip Sousa: a Description and Analysis.� Diss., University of Illinois at Urbana-Champaign, 1994.

Kreitner, Mona Bulpitt. “'A Splendid Group of American Girls': The Women Who Sang with the Sousa Band.� Diss., University of Memphis, 2007.

Norton, Pauline Elizabeth Hosack. “March Music in Nineteenth Century America.� Diss., University of Michigan, 1983.

Stacy, William Barney. “John Philip Sousa and His Band Suites.� Diss., University of Colorado, 1973.

Summers, C. Oland. “The Development of Original Band Scoring from Sousa to Husa.� Diss., Ball State University, 1986.

Warfield, Patrick. “"Salesman of Americanism, Globetrotter and Musician" the Nineteenth-century John Philip Sousa; 1854 - 1893.� Diss., Indiana University, 2003.

Whisler, John A. “The Songs of John Philip Sousa.� Diss., Memphis State University, 1975.

Wright, Maurice. “The Fifth String: an Opera in One Act.� Diss., Columbia University, 1989.

External links[link]

The Sousa Archives and Center for American Music – Provides research-oriented management of band-related collections, including a large portion of Sousa's manuscripts and personal papers, held for use by students, scholars, and performing musicians

The Works of John Philip Sousa – Marches in MIDI format; from The John Philip Sousa Home Page by David Lovrien, hosted by the Dallas Wind Symphony

MIDI sequences of piano transcriptions of compositions by Sousa

Harris, Neil: "John Philip Sousa and the Culture of Reassurance"

Fennell, Frederick: "The Sousa March: A Personal View"

* ''The Experiences of a Bandmaster'' – Project Gutenberg e-text of book by Sousa

* ''The Fifth String'' – (ditto)

(audio recordings)

The Feast of the Monkeys – the "nonsense verse" that Sousa wrote.

Sousa discography

Victor Records by Sousa's Band from the Encyclopedic Discography of Victor Recordings (EDVR)

Numerous Sousa photos

Free Brass Band version of Stars & Stripes Forever

;Historical recordings

Recordings by Sousa (archive.org)

Recordings by Sousa (Cylinder Preservation and Digitization Project)

Category:American composers Category:American conductors (music) Category:American tubists Category:American people of German descent Category:American people of Portuguese descent Category:Opera composers Category:People from Washington, D.C. Category:Music of Washington, D.C. Category:Burials at the Congressional Cemetery Category:1854 births Category:1932 deaths Category:Vaudeville performers Category:American military personnel of World War I Category:United States Navy officers Category:United States Marine Corps officers Category:Romantic composers Category:20th-century classical composers Category:Military musicians Category:Ragtime composers

ca:John Philip Sousa da:John Philip Sousa de:John Philip Sousa es:John Philip Sousa eo:John Philip Sousa fr:John Philip Sousa ko:ì¡´ 필립 수ì?? it:John Philip Sousa he:×’'ון פיליפ סוזה la:Ioannes Philippus Sousa nl:John Philip Sousa ja:ジョン・フィリップ・スーザ no:John Philip Sousa pl:John Sousa pt:John Philip Sousa ro:John Philip Sousa ru:Суза, Джон Филип sh:John Philip Sousa fi:John Philip Sousa sv:John Philip Sousa th:จอห์น ฟิลิป ซูซา zh:約翰·è?²åˆ©æ™®Â·è˜‡æ²™

John Phillip (April 19, 1817–1867) was a Victorian era painter best known for his portrayals of Spanish life. He was nicknamed "Spanish Phillip".

Born into a poor family in Aberdeen in Scotland, Phillip's artistic talent was recognised at an early age. His education at the Royal Academy of Arts was paid for by a wealthy patron. While at the academy Phillip became a member of The Clique a group of aspirant artists organised by Richard Dadd. The Clique considered themselves to be followers of Hogarth and Wilkie. Phillip's own career was to follow that of fellow-Scot Wilkie very closely, beginning with carefully detailed paintings depicting the lives of Scottish crofters, and moving on to much more broadly painted scenes of Spanish life influenced by Murillo and Velázquez.

Phillip's early works tended to depict pious Scots families, but in 1851, after he was advised to travel to southern Europe for his health he visited Spain. Thereafter he concentrated on Spanish subjects. The first of these, ''The Letter Writer, Seville'' indicated the influence of Pre-Raphaelitism, a movement he had previously opposed, along with most other members of The Clique, despite his friendship with Millais, one of its leaders. He was so influenced by his travels that he advised other artists to do the same. Some artists, such as Edwin Long, took this advice and were similarly inspired.

In the late 1850s and 1860s Phillip's style became much broader and more painterly, in line with Millais's late work. Phillip's two most important paintings in these years were ''The Early Career of Murillo'' (1864) and ''La Gloria'' (1865, National Gallery of Scotland). The first depicted the young Murillo drawing his art from Spanish street-life; the second portrayed a Spanish wake for a dead child.

Phillip married Richard Dadd's sister, but like her brother she became insane. Phillip died of a stroke while visiting William Powell Frith. Phillip's self-portrait, "The Evil Eye", commissioned by his close friend Patrick Allan-Fraser, is in Hospitalfield House in Arbroath along with portraits of other members of The Clique.

Category:1817 births Category:1867 deaths Category:Scottish painters

es:John Phillip

name	Joshua Bell
background	non_vocal_instrumentalist
birth date	December 09, 1967
origin	Bloomington, Indiana, United States
instrument	Violin
genre	Classical music
occupation	Violinist
years active	1980s–present
website
notable instruments	Gibson Stradivarius }}

Joshua David Bell (born December 9, 1967) is an American Grammy Award-winning violinist.

Childhood[link]

Bell was born in Bloomington, Indiana, United States, the son of a psychologist and a therapist. Bell's parents were Shirley and Alan P. Bell, Professor Emeritus of Indiana University, in Bloomington, and a former Kinsey researcher. His father is of Scottish descent, and his mother is Jewish (his maternal grandfather was born in Israel and his maternal grandmother was from Minsk). Bell told ''The Jewish Journal'', "I identify myself as being Jewish".

Bell began taking violin lessons at the age of four after his mother discovered that her son had taken rubber bands from around the house and stretched them across the handles of his dresser drawer to pluck out music he had heard her play on the piano. His parents got a scaled-to-size violin for their then five-year-old son and started giving him lessons. A bright student, Bell took to the instrument but lived an otherwise normal midwest Indiana life playing video games and excelling at sports, namely tennis and bowling, even placing in a national tennis tournament at the age of ten.

Bell studied as a boy first under Donna Bricht, widow of Indiana University music faculty member Walter Bricht. His second teacher was Mimi Zweig, and then he switched to the violinist and pedagogue Josef Gingold after Bell's parents assured Gingold that they were not interested in pushing their son in the study of the violin but simply wanted him to have the best teacher for his abilities. Satisfied that the boy was living a normal life, Gingold took Bell on as his student. By age 12, Bell was serious about the instrument, thanks in large part to Gingold's inspiration.

At the age of 14, Bell appeared as a soloist with the Philadelphia Orchestra conducted by Riccardo Muti. He studied the violin at the Indiana University Jacobs School of Music, while managing to graduate from Bloomington High School North in 1984, In 1989, Bell received an Artist Diploma in Violin Performance from Indiana University. His alma mater also honored him with a Distinguished Alumni Service Award only two years after his graduation. He has been named an "Indiana Living Legend" and received the Indiana Governor's Arts Award.

Career[link]

Bell made his Carnegie Hall debut in 1985 with the St. Louis Symphony. He has since performed with many of the world's major orchestras and conductors. As well as the standard concerto repertoire, Bell has performed new works. Nicholas Maw's violin concerto is dedicated to Bell, who premiered it in 1993 and won a Grammy Award for his recording of the piece. He performed the solo part on John Corigliano's Oscar-winning soundtrack for the film ''The Red Violin'' and was also featured in ''Ladies in Lavender''. Bell made an appearance in the movie ''Music of the Heart'', a story about the power of music, with other notable violinists.

Bell's instrument is a 300-year-old Stradivarius violin called the Gibson ex Huberman, which was made in 1713 during what is known as Antonio Stradivari's "Golden Era." This violin had been stolen twice from the previous owner, Bronisław Huberman; the last time the thief confessed to the act on his deathbed. Bell had held and played the violin, and its owner at the time jokingly told Bell that the violin could be his for four million dollars. Shortly thereafter, by chance, Bell came across the violin again and discovered it was about to be sold to a German industrialist to become part of a collection. According to Bell's website, Bell "was practically in tears." Bell then sold his previous violin, the Tom Tyler Stradivarius, for a little more than two million dollars and made the purchase of the Gibson ex Huberman for a little under the four million dollar asking price. As with his previous Stradivarius violin, Bell entrusts the upkeep of the Gibson ex Huberman to expert luthier Emmanuel Gradoux-Matt. His first recording made with the Gibson ex Huberman was ''Romance of the Violin'' (for Sony Classical Records) in 2003. Bell's most recent CD is called ''At Home With Friends'' and was released September 29, 2009. It features Bell playing with artists of varied musical backgrounds, such as Chris Botti, Kristin Chenoweth, Regina Spektor, and Sting.

Bell is an artistic partner for the Saint Paul Chamber Orchestra (starting in the 2004–2005 season) and a visiting professor at the Royal Academy of Music in London. He also serves on the artists selection committee for the Kennedy Center Honors and is an Adjunct Associate Professor at the Massachusetts Institute of Technology.

Bell was awarded the Avery Fisher Prize on April 10, 2007, at Lincoln Center in New York City. The prize is given once every few years to classical instrumentalists for outstanding achievement. On May 3, 2007, the Indiana University Jacobs School of Music announced that Bell had joined the faculty as a senior lecturer.

Bell collaborated with film composer Hans Zimmer by providing violin solos for the soundtrack of the 2009 film ''Angels & Demons'', based on Dan Brown's 2000 novel of the same name.

On May 26, 2011, Bell was named Music Director of the Academy of St Martin in the Fields.

Washington Post experiment[link]

In an experiment initiated by ''The Washington Post'' columnist Gene Weingarten, Bell donned a baseball cap and played as an incognito busker at the Metro subway station L'Enfant Plaza in Washington, D.C. on January 12, 2007. The experiment was videotaped on hidden camera; of the 1,097 people who passed by, only seven stopped to listen to him, and only one recognized him. For his nearly 45-minute performance, Bell collected $32.17 from 27 passersby (excluding $20 from the passerby who recognized him). The night before, he earned considerably more playing the same repertoire at a concert. Weingarten won the 2008 Pulitzer Prize for feature writing for his article on the experiment. ''The Washington Post'' posted the video on YouTube.

Personal life[link]

Bell resides in Gramercy Park, Manhattan.

Selected discography[link]

{|class="wikitable" |- !Year !Album !''Billboard'' Classical !Billboard 200 |- |1988 |''Bruch Mendelssohn Violin Concertos'', London Records | style="text-align:center;"|— | style="text-align:center;"|— |- |1989 |''Fauré Debussy Franck Violin Sonatas'' with Jean-Yves Thibaudet, Decca Records | style="text-align:center;"|— | style="text-align:center;"|— |- |1990 |''Presenting Joshua Bell'', Polygram Records | style="text-align:center;"|— | style="text-align:center;"|— |- |1991 |''Chausson Concerto, Ravel Piano Trio'', London Records | style="text-align:center;"|— | style="text-align:center;"|— |- |1992 |''Saint-Saëns: Violin Concerto #3 /Chausson: Poeme, London Records | style="text-align:center;"|— | style="text-align:center;"|— |- |1995 |''Prokofiev: Violin Concertos & Sonatas'', London Records | style="text-align:center;"|— | style="text-align:center;"|— |- |1995 |''Brahms /Schumann Violin Concertos'', London Records | style="text-align:center;"|— | style="text-align:center;"|— |- |1996 |''The Kreisler Album'', London Records | style="text-align:center;"|— | style="text-align:center;"|— |- |1997 |''Barber / Walton/ Bloch Violin Concertos'', Decca Records | style="text-align:center;"|— | style="text-align:center;"|— |- |1997 |''Shostakovich Piano Trio No. 2'', London Records | style="text-align:center;"|— | style="text-align:center;"|— |- |1999 |''Maw Violin Concertos'', Sony Classical | style="text-align:center;"|— | style="text-align:center;"|— |- |1999 |''Gershwin Fantasy'', Sony Classical | style="text-align:center;"|— | style="text-align:center;"|— |- |2000 |''Sibelius & Goldmark: Violin Concertos'', Sony Classical | style="text-align:center;"|— | style="text-align:center;"|— |- |2000 |''Short Trip Home'', with Edgar Meyer, Sam Bush, Mike Marshall, Sony Classical | style="text-align:center;"|7 | style="text-align:center;"|— |- |2001 |''Bernstein West Side Story Suite'', Sony Classical | style="text-align:center;"|3 | style="text-align:center;"|— |- |2002 |''Beethoven & Mendelssohn: Violin Concertos'', Sony Classical | style="text-align:center;"|18 | style="text-align:center;"|— |- |2004 |''Romance of the Violin'', Sony Classical | style="text-align:center;"|2 | style="text-align:center;"|176 |- |2005 |''Tchaikovsky: Violin Concerto, Op. 35; Melodie; Danse Russe from ''Swan Lake'' (Act III)'', Sony Classical | style="text-align:center;"|9 | style="text-align:center;"|— |- |2006 |''Voice of the Violin'', Sony | style="text-align:center;"|2 | style="text-align:center;"|— |- |2007 | ''Corigliano The Red Violin'', Sony | style="text-align:center;"|7 | style="text-align:center;"|— |- |2007 |''The Essential Joshua Bell'', Sony BMG Masterworks | style="text-align:center;"|19 | style="text-align:center;"|— |- |2008 |''Vivaldi: The Four Seasons'', Sony BMG Masterworks | style="text-align:center;"|1 | style="text-align:center;"|134 |- |2009 |''Bruch, Mendelssohn, Mozart Violin Concertos (reissues)'', Decca | style="text-align:center;"|9 | style="text-align:center;"|— |- |2009 |''The Best of Joshua Bell'', Sony BMG Masterworks | style="text-align:center;"|12 | style="text-align:center;"|— |- |2009 |''At Home with Friends'', Sony BMG Masterworks | style="text-align:center;"|1 | style="text-align:center;"|118 |- |2012 |''French Impressions'', Sony BMG Masterworks | style="text-align:center;"|2 | style="text-align:center;"|139

|}

Soundtrack Albums[link]

''Flowers of War Original Motion Picture Soundtrack'', 2012: Joshua Bell, solo violin

''Angels & Demons Original Motion Picture Soundtrack'', 2009

: Joshua Bell, solo violin

: Music composed by Hans Zimmer

''Defiance Original Motion Picture Soundtrack, 2008

''Ladies in Lavender Original Motion Picture Soundtrack'', 2005: Joshua Bell, solo violin

''Iris Original Motion Picture Soundtrack'', 2001: Joshua Bell, solo violin

''The Red Violin Joshua Bell, solo Violin

References[link]

External links[link]

"Bell Man", by Mandy Katz; in-depth profile in ''moment'' magazine

Interview on ''The Diane Rehm Show'' radio program

Recording of Bell's performance in L'Enfant Plaza.

Bach & friends Documentary

Classical Archives Interview

Category:1967 births Category:Academics of the Royal Academy of Music Category:American classical violinists Category:Columbia Records artists Category:Grammy Award winners Category:Jacobs School of Music alumni Category:Jacobs School of Music faculty Category:Jewish American musicians Category:Jewish classical musicians Category:Jewish violinists Category:Living people Category:Musicians from Indiana Category:People from Bloomington, Indiana Category:Honorary Members of the Royal Academy of Music Category:Performing arts pages with videographic documentation

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name	André Rieu
background	non_vocal_instrumentalist
birth name	André Léon Marie Nicolas Rieu
birth date	October 01, 1949
origin	Maastricht, Netherlands
instrument	Violin
genre	Waltz
occupation	Conductor, violinist
years active	1978–present
label	Denon Records , Philips
website	www.andrerieu.com
notable instruments	Stradivarius violin (1667) }}

André Léon Marie Nicolas Rieu (born 1 October 1949) is a Dutch violinist, conductor, and composer best known for creating the waltz-playing Johann Strauss Orchestra.

Early life and studies [link]

The name Rieu is of French Huguenot origin. He began studying violin at the age of five. His father, of the same name, was conductor of the Maastricht Symphony Orchestra. From a very young age he developed a fascination with orchestra. He studied violin at the Conservatoire Royal in Liège and at the Conservatorium Maastricht, (1968–1973). His teachers included Jo Juda and Herman Krebbers. From 1974 to 1977, he attended the Music Academy in Brussels, studying with André Gertler, getting his degree "Premier Prix" from the Brussels Royal Conservatory.

Career [link]

At University he performed the ''Gold And Silver Waltz'' by Franz Lehár. Encouraged by the audience reaction he decided to pursue the waltz form. Rieu formed the Maastricht Salon Orchestra and performed as a violinist with the Limburg Symphony Orchestra. In 1987, he created the Johann Strauss Orchestra and his own production company. Since then, his melodramatic stage performances and rock-star demeanor have for some been associated with a revival of the waltz music category. André Rieu plays a 1667 Stradivarius violin.

In April 2009 (Dublin)/June 2009 (UK), he made a cameo appearance as himself on "Ramsay Street" in the long-running Australian soap opera ''Neighbours''.

Johann Strauss Orchestra [link]

The Orchestra began in 1998 with 21 members but now performs with between 80 and 150 musicians. At the time the Orchestra first toured Europe, there emerged a renewed interest in waltz music. The revival began in the Netherlands and was ignited by their recording of the ''Second Waltz'' from Shostakovich's ''Jazz Suites''. As a result, Rieu became known as the waltz King.

Rieu and his orchestra have performed throughout Europe, in North America, and Japan. Winning a number of awards including two World Music Awards, their recordings have gone gold and platinum in many countries, including 8-times Platinum in the Netherlands. In September 2007 Rieu performed in Australia for the first time solo, without his Orchestra at the Eastland shopping centre in the Melbourne suburb of Ringwood playing "My Way" and "Waltzing Matilda"—and the next day appeared at Sydney's Arena Cove, Warringah Mashopping with the same set. Rieu and orchestra returned to Australia in November as part of his world tour. Rieu and his orchestra played 3 concerts at Melbourne's Telstra Dome from 13–15 November and continued their tour throughout Perth, Sydney, Brisbane and Adelaide, through to December 2008. The concert theme is 'A Romantic Vienna Night' and the set comprises a life-size reproduction of the Viennese imperial Schönbrunn Palace, complete with 2 ice-skating rinks, 2 Fountains, and a ballroom dance floor situated above and behind the Orchestra. Rieu's largest concert attendance to date in Australia was 38,000 on Saturday 15 November in Melbourne. The Perth concert did not feature the replica of the Viennese Palace as it was stated in the press because it would not fit into the front doors of Subiaco Oval.

He records both DVD and CD repertoire at his own recording studios in Maastricht in a wide range of classical music as well as popular and folk music plus music from well-known soundtracks and musical theatre. His lively orchestral presentations, in tandem with incessant marketing, have attracted worldwide audiences to this subgenre of classical music.

Some of his orchestra's performances have been broadcast in the United Kingdom and the United States on the PBS television network such as the 2003 airing of ''Andre Rieu Live in Dublin'', filmed in Dublin, Ireland, and 2005's ''André Rieu Live in Tuscany'' filmed in the Piazza Della Repubblica in the village of Cortona in Tuscany.

Reception [link]

Eamon Kelly writing in ''The Australian'' newspaper, in an article that discusses the controversy that Rieu engenders, said: "He depicts his critics as members of a stuffy musical elite with narrow aesthetic tastes, yet regularly demeans in interviews music that is not to his taste and classical musicians who choose not to perform in his manner."

Of Rieu's popularity and the debate in the media over criticism of him, Eamon Kelly says: "It is disappointing to see professional journalists indulging in cheap, inaccurate stereotypes to dismiss criticism of Rieu." But he goes on to add: "Equally misguided are those who cursorily dismiss Rieu. Rieu's live and recorded performances have brought joy to millions of people. Few in his audiences are regular classical music attendees and it could be seen as promising that, via Rieu, they are listening to standards of the classical canon. The fact that Rieu's focus is on highly accessible, enjoyable repertoire is not an argument against his musical credentials."

Eamon Kelly further adds, after hearing the orchestra perform, that there is "no cause" for Rieu's boast his orchestra was "superior to the many other orchestras that specialise in ... Viennese and popular classical repertoire." Additionally, he found that in musical terms "the performance did not surpass playing standards in Australia's major symphony orchestras". He did add that the "oboist, Arthur Cordewener, provided the most impressive musical performance with a sublime introduction to an otherwise unremarkable performance of [Ravel's] ''Boléro''."

David Templeton, writing in the magazine ''All Things Strings'' says:

Ironically, it is Rieu’s own success that has earned him a horse-drawn carriage full of criticism, a pot-shot laden backlash aimed chiefly at the calculated emotionalism and theatrical flourishes of his performances, which, according to many, only cheapen the classical-music experience. Classical radio stations avoid his music as they might avoid a leper in the mall, though—let’s just say it plain and clear—Rieu is a superb violinist.

Chris Boyd, a critic writing for Melbourne's ''Herald Sun'' newspaper, finds that he could not give a general criticism of the playing of Rieu, as, except for "a clean and lyrical solo in ''Waltzing Matilda''", his main stage function was apparently "blarney and delegation". However, Boyd also comments that the quality of the artists that Rieu works with is "extraordinary". Boyd assesses the low points of the concert as the "Three Tenors-style" rendition of "Nessun dorma" which he finds was an "abomination", while saying the concert's highlights included "a sugar-shock sweet rendition" of "O mio babbino caro" as well as Strauss's ''Emperor Waltz'' and ''Blue Danube'', Clarke's ''Trumpet Voluntary'' and the ''Boléro''.

Personal life [link]

He is married to Marjorie, who works with him full-time as production manager, and has two sons, Marc and Pierre. He speaks (in order of fluency) Dutch, English, German, French, Italian and Spanish.

Honours [link]

Knight of the Order of the Netherlands Lion (Netherlands, 2002)

Honorary Medal of the Province of Limburg (Netherlands, 2009)

Knight of the Ordre des Arts et des Lettres (France, 2009)

== Selected discography == {| |valign="top"|

''And the Waltz Goes On'' (2011)

''Moonlight Serenade'' (2011) – Australian Albums: No.17

''You Raise Me Up – Songs for Mum'' (2010) – Australian Albums: No.8

''Forever Vienna'' (2009) – UK: #2, IRE: No.4

''The Best of André Rieu'' (2009) – Australian Albums: No.23

''Masterpieces'' (2009) – Australian Albums: No.9

''You'll Never Walk Alone'' (2009) – Australian Albums: No.2

''I Lost My Heart in Heidelberg'' (2009) – with the Berlin Comedian Harmonists

''Live in Australia'' (2008) – Australian Albums: No.14

''Waltzing Matilda'' (2008) – Australian Albums: No.1

''The 100 Most Beautiful Melodies'' (2008) – Australian Albums: No.2

''Live in Dresden: the Wedding at the Opera'' (2008)

''In Wonderland'' (2007)

''Live in Vienna'' (2007)

''Auf Schönbrunn'' (2006)

''New York Memories'' (2006)

''Songs from My Heart'' (2005)

''Christmas Around the World'' (2005)

''Live in Tuscany'' (2004)

''The Flying Dutchman'' (2004)

''New Year's Eve in Vienna'' (2003)

''André Rieu at the Movies'' (2003)

|valign="top"|

''Live in Dublin'' (2003)

''Romantic Paradise'' (2003)

''Maastricht Salon Orkest – Serenata'' (2003)

''Love Around the World'' (2002)

''Dreaming'' (2002)

''Live at the Royal Albert Hall'' (2001)

''Musik zum Träumen'' (2001)

''La Vie est belle'' (2000)

''Fiesta!'' (1999)

''100 Years of Strauss'' (1999)

''Romantic Moments'' (1998)

''Waltzes'' (1998, re-edited in November 1999)

''The Christmas I Love'' (1997)

''The Vienna I Love'' (1997)

''In Concert'' (1996)

''Strauss Gala'' (1995)

''D'n blauwen aovond'' (1995)

''Hieringe biete 1 & 2'' (1995)

''Strauss & Co'' (1994)

''Hieringe biete'' (1993)

''Merry Christmas'' (1992)

''Romeo and Juliet Love Theme''

|}

References [link]

External links [link]

André Rieu (official website)

Official André Rieu Facebook page

André Rieu on Twitter

Official André Rieu YouTube Channel

André Rieu's Official Australian website

André Rieu (C Music TV Biography)

The Magic of Andre Rieu

Category:1949 births Category:Living people Category:Dutch classical violinists Category:Dutch conductors (music) Category:Maastricht Academy of Music alumni Category:People from Maastricht Category:People of Huguenot descent Category:Chevaliers of the Ordre des Arts et des Lettres Category:Dutch people of French descent

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