Recurring Thematic and Motivic Material in Gustav

Total Page:16

File Type:pdf, Size:1020Kb

Recurring Thematic and Motivic Material in Gustav 27A Atl(, RECURRING THEMATIC AND MOTIVIC MATERIAL IN GUSTAV MAHLER'S SYMPHONIES I -IX THESIS Presented to the Graduate Council of the North Texas State University in Partial RFulfillment of the Requirements For the Degree of MASTER OF ARTS By Richard D. DuPree, B.M. Denton, Texas August, 1970 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .* * - - - * - 0 * * - - 0 vi Chapter I. INTRODUCTION. ,* . 0 , , , . 0 ", " , 1 Cyclicism from Beethoven to Mahler 0 ,, , . , , II. SYMPHONY I. , 0 9 9 First Movement Blumine Second Movement Third Movement Fourth Movement III. SYMPHONY II - . - - - 9 9 9 9 . 35 First Movement Second Movement Third Movement Fourth Movement--'Ur1icht" Fifth Movement IV. SYMPHONY III - 0 -,. - 9 9 9 - . 59 First Movement Second Movement Third Movement Fourth.Movement Fifth Movement Sixth Movement 0 * . 9 .9 ... 80 V. SYMPHONY IV - a.o 0 # - 9 - 9 First Movement Second Movement Third Movement Fourth Movement iv Chapter Page ---0w ** . 96 VI. SYMPHONY V.* &--f &* a 0 0 First Movement Second Movement Third Movement Fourth Movement Fifth Movement VI I. SYMPHONY V I 0*0 - a * aa - - " " ** - . 115 First Movement Second Movement Third Movement Fourth Movement VIII. SYMPHONY VII. - - 0 oz op .0 .& .# .0 0 # # - . - a 136 First Movement Second Movement Third Movement Fourth Movement Fifth Movement IX. SYMPHONY VIII * * * * # 0* * . * . - 152 Part I Part II X. SYMPHONY IX - -* * * -t -* * -- -. * - * - 164 First Movement Second Movement Third Movement Fourth Movement XI. CONCLUSION. * 0 0 0 -0 0 0 0 . 0. 179 - - *0 t . *. .186 BIBLIOGRAPHY 0 * - - - * - * * - * V LIST OF ILLUSTRATIONS Figure Page 1. "Wenn mein Schatz Hochzeit macht," Lieder eines fahrenden Geselle., measures T s. 0. 0.. 12 2. "Ging heut' morgen Gber's Feld," Lieder eines fahrenden Gesellen, measures 204. 12 3. "Ging heut' morgen iUber's Feld," Lieder eines fahreaden Gesellen, measures 13 4. "Ging heut' morgen Uber's Feld," Lieder eines fahrenden Gesellen, measures 75-79. 13 5. "Ich hab' ein glihend Messer," Lieder eines fahrenden Gesellen, measures 18-19. , ," 14 6. "Ich hab' ein gluhend Messer," Lieder eines fahrenden Gesellen, measure34. 14 7. "Die zwei blauen Augen von meinem Schatz" Lieder eines fahrenden Gesellen, measures 40-44 - - - - - - - - - - - * . " . 15 8. Symphony I,Ifirst movement, measures 7-10 0 . is 9. first Symphony T , movement, measures 22-26. 16 10. phony I first movement, measures 30-32. 16 11., Symphony I, first movement, measures 40-41. 17 12. xSmphony first movement, measures 47-49.0 . 17 13. Symphony first movement, measures 165-w6 - * * W 9 9 * 0 * - - * W W. 18 1,4. Symphony , first movement, measures 208-18. - * . * 0-6. * * - - 9 9 w .- " . 18 first movement, measures Z10.'2 * 0 w 16. S$ymph,,ony ., first movement, measures - 0 * # . * 0. * . .W.* . S . 19 vi Figure Page 17. symphony Ilumine, measure 1. 22 18. Symphony I, Blumine, measures 4-13. 22 19. Der Trompeter von SaicKingen, measures 1-6 . 23 20. Symphony I, second movement, measures 1-4 . 24 21.o 2ymhony I second movement, I_, measures, 8-12. 24 22. yhonyI, second movement, measures 38-39 * . 25 23. SyPhoy second movement, measures 76-77 . 25 24. SMphhon I, third movement, measures 1-10 . * . 26 25. SyMhoy I, third movement, measures 19-23. 27 26. Symphony I, third movement, measures 38-42. 27 27. Symphony I, third movement, measures 45-49. 28 28. Symphony third movement, I, measures 60-62. 28 29. SymphonyI, third movement, measures 85-89. 29 30. Symphony , third movement, measures 124-31. * fout * moveme me-&asures . 30 31. Symphony fourth I, movement, measures 54-73 31 32. Symphony" I, fourth movement, measures 206-09. f r movement, .m.ea.sures . 32 33. Symphony I fourth movement, measures 32 34. hon ,Ifourth movement, measures S . S 32 35. S h I, fourth movement,# measures 33 36. S I fourth movement, measures - *- * w0-- 1- 0 *- 0- - - . 37. s I, fourth movement, measures -S. -.--- -.... 34 vi i Figure Page 38. SymphonyII, first movement , measure 5. 38 39. Phony I, first movement, measures 18-21 . 38 40. Symphony I, first movement, measures 28-30 . 38 41. Symhony I, first movement, measure 97 . * 39 42. SyMhon II, first movement, measures - - . 109- . *- - - - , * 39 43. SII, first movement, measures 9 9 0 0 0 . .w.. 39 44. 1, first movement, measures 0 0 0 . .S 40 45. II ,y2jhnfirst movement, measures 4 6 . S . 0 . .I . 40 46. y .phonyH, first movement, measure 206. 40 47. SII, first movement, measures ,&.*00- .# 0 * . 0. 041 . 5 .00 0 . 48. SI, first movement, measures 0 . 41 49. "Dies irae," Liber Usualis, p. 1810 . 0 42 - 50. Symphony I, second movement, measures 1-4. 43 51. Symphony II, second movement, measures 92-1005 H thr movement, measures . 43 52. Symp yII, third movement, measures 12-19 * - 0 - - 0 0 . 45 53. SHh I, third movement, measures 1 0 45 67- 0 0 0 0 0 0 0 0 54. Yukn I, third movement, measures0 -2-20 - 6 ** -9 - - *-6- 0 0 . 45 55. S I, third movement, measures . 46 56. TI, third movement, measures 0 5 0 . 0 * . 0 . 0 - - -T0 . 0 46 viii Fi g ire Page 57. Symphony I, fourth movement., measures 1-2. 47 58. SymphonyI , fourth movement, measures 3-7. 47 59. Symphony II, fourth movement, measures .0 37 4 *. 0 * * * , . 0 0 * , O. * 48 60. Sy n , fourth movement, measures ..... - - 0 6 0 . 0 0 0- 0 0 0 48 61. Symphony I, fifth movement, measures S Z8-29 * 51 62. Symphony H, fifth movement, measures 32-34 . 51 63. S Symphony H, fifth movement, measures, 43-47 * 51 64. Symphony I, fifth movement, measures S 57-58 .S * 52 S 65. Symphony yI, fifth movement, measures ,59-60 .S . 52 66. Symphony H, fifth movement, S measures 62-69 .S . 52 67. Symphony I, fifth movement, measures 69-73 53 68. Symphony H, fifth movement, measures 78-79 . 53 69. Sy1hony1I, fifth movement, measures 96-* - 0 0 .0 0 0 0 0 0 . 54 70. Beethoven:111, Piano Sonata in C Minor, . p. measures 2 T . .. 54 71. n II, fifth movement, measures . - - - - 0 - *. .0me. 54 72. SyHhonyII, fifth movement, measures W... 0 . -0 0 - 0 . * " a0 a . 0 . * 55 73. S >o II, fifth movement, measures 4 2. .2* 0 0 0 0 4 0 0 0 0 0 " a0 a 0 74. S I, fifth movement, measures . .0'0'0 * * *#1 0 * # ' l #1 . 56. 75. Sy, fifth movement, measures T -w"f*"* a 0 0 o, a,0 * , w0 0 90 l 0 * 4 Z . .0 . 57 76. I, fifth movement, measures 00 0 * 0 . ... T . - F58 ix Figure Page 77. Symphony II,, fifth movement, measures 58 78. Symphony .II, first movement, measures 1-4. 60 79. A. Brahms: S'Mphgny L, fourth movement, measures 62-65. .* . 0 .. .- . B. "Ich hab' mich ergeben," tt chg. 60 Volkslied, p. 67, measures 1-4. 60 80. Symphony jUj first movement, measures 11-14 . - . 61 81. Symphony III first movement, measures 14-17 f . m .e e . .## * . 61 82. SyMphon II first movement, measure 27. 61 83. yM n II, first movement, measures 31-33 .-- * mo n.. .. , a . 61 84. Sypho L first movement, " S a 57-60 measures . mo ve - n a a . 62 85. SY.phony LII.,o first movement, 83-86 measures U .7 - - - - . * - . a . a 62 86. Sy phonyL III., first movement, 299-301 measures -a . * -a * .a 62 . a . a . ., . 87. SyMphonx III first movement, measure 337 63 88. Sphony X, , first movement, measures 502-03. - - - a - - a . .* . * . 63 89. SMhon LLL, first movement, 505-07 - measures . 63 90. Symphony IL, fourth movement, measures 321-34 a - a . a * . a . a a a a a 64 91. Symphony L, first movement, measure 550 64 4 a a 92. Symhon II_, first movement, measures 574-76, - . - - - . a a a . a a . 65 a " " a 93. Smhony _I, second movement, measures 1-4.. 65 x Figure Page 94. Symphony LI, second movement, measure 20 66 S . 95. Symphony II, second movement, measures 49-51 s o ov-ement measures*00.*. 66 . .6 96. SXmphXkny iii, second movement, measures 70-71 *.. 97. Symphony .LL., second movement, measures 89-80 67 . 98. SM hon La, second movement measure 79 67 . 99. Symphony II. second movement, measures 254-580 -.- 68 . 100. Symphony II, third movement, measures 1-2. 69 S S 101. SXmlhony I, third movement, measures 3-11. - -* # . * - -6*I.*.* * ... I 70 102. Symphony IL, third movement, measures . 6 256-63. - - thir movement, meaures. , 71 6 0 103. SyMphony III, third movement, measures 296-98-.& # i . movement, measure,4. * I 0 1 71 104. Symphony II, third movement, measures 433-34. - 72 105. Symhony jII, third movement, measures456 72 . 106. SYMhony II, fourth movement, measures - 73 107. m .LL, fourth 0 movement, measures '3 0 8-10. - 6 - * - - *-0 - . 73 108. SYmphony HIP, fourth movement, measures 11-12 - 74 109. Symphony LL, fourth movement, measures 32-33 - . 74 110. Symphony j.II, fourth movement, measure-s 106-08. - S S-S S- - - 0 -0 0 *. **0. 75 111. Symphony III,. fifth movement, measures 3-6. 75 112. 5mIonyLL, ICifth movement, measures o* q . 06 0 *0 6 20-21. & w * 6 76- xi Figure Page 113. Symphony III, fifth movement, measures s0ure 0 9. 76 114. Symphony fifth III, movement, measures " " 115. fifth . ." 1y4phonyk movement, measures 44'.-4 8 - *a's- - - * * . 09 l 0 *4 * 77 116. Symphony III, sixth movement, measures 1-4. 77 117. Symphony III, sixth movement, measures 8104 . 78 118. Symphony III, sixth movement, measures 4-4 : * # 0 W9 - 4 # 0 0 . I 78 119. Symphony III, s sixth movement, measures 2 Symhmny .0 * 0 0*0.W.
Recommended publications
  • Hunter College Opera Association, 1946-1972
    The Hunter College Opera Association, 1946 - 1972 Finding Aid TABLE OF CONTENTS General Information 3 Historical Note 4 Scope and Content Note 5 Series Description 6 Container List 7 - 8 Cover image from the program of Xerxes performed in 1953. 2 GENERAL INFORMATION Accession Number: 94-10 Size: 1.3671 cu. ft. Provenance: Hunter College Opera Workshop / Hunter College Opera Association Restrictions: None. Location: Range 6 Section 3 Shelf 13 Archivist: Prof. Julio L. Hernandez-Delgado Assistant: Ms. Gretchen Opie Ms. Maria Enaboifo Date: August 1999 Revised: September 2013 3 HISTORICAL NOTE In 1952, The Hunter College Opera Association was established by Hunter College president George N. Shuster, Dr. Edward Davison, Professor Livingston Welch, and the Board of Higher Education of the City of New York. The purpose of the Opera Association was to facilitate the production of operas under the auspices of Hunter College and to create opportunities for talented young singers. The Opera Association was primarily responsible for selecting, organizing, raising funds, and publicizing pending productions by the Opera Workshop. The bulk of the funds raised derived from private donations and sponsorships. The funds provided scholarships for singers and allowed for the presentations of three to four operas per season. The Hunter College Opera Workshop was established on a modest basis in 1945 as a non-credit adult education program within the Hunter College School of General Studies by Fritz Stiedry, who had formerly conducted the Berlin State Opera House. He later became conductor at the Metropolitan Opera in New York City. Stiedry was succeeded by Josef Turnau who served under him and who gave the Workshop its initial momentum and laid solid foundations for its later growth and fruition.
    [Show full text]
  • Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
    Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet
    [Show full text]
  • Zemlinsky's the Chalk Circle: Artifice, Fairy-Tale and Humanity
    Zemlinsky's The Chalk Circle: Artifice, Fairy-tale and Humanity ROBERT BLACKBURN 1 Ich binfriedlos, ich bin durstig nachfernen Dingen. (I am restless. I am athirst for faraway things.) Tagore, Der Gartner I Zemlinsky, Lyric Symphony The life and work of the Austrian composer Alexander Zemlinsky (1871-1942) is better known than it used to be thanks to the passage of time, and the availability now of almost all his music on record. During his lifetime he became used to neglect and under-valuation, except from his most intimate circle. Arnold Schoenberg was his lifelong friend and brother in law, and it was Schoenberg, who, even during the years when his "reluctant revolution" of twentieth century modernism in music was attracting so much attention, never for a moment lost his admiration for and loyalty towards Alex, his much-loved teacher and colleague through so many trials. Now that the correspondence between them has been published I we can see the extent and detail of their relationship, their intense and consistent lifelong devotion, despite some disagreements. On Zernlinsky's side we are aware always that he felt Schoenberg was the greater genius, a unique pioneering figure. In the letters, he is always "lieber Schoenberg" 1. Alexander Zemlinsky (ed. and enlarged by Horst Weber), Briefwechsel mil Schoenberg, Webern, Berg und Schreker, Darmstadt Wissenschaftliche Buchhandlung, 1995. 94 Revista Musica, Silo Paulo, v. 9 e 10, pp. 93-119, 1998-1999 never Arnold. For Schoenberg, who always addressed him as "Heber Alex," Zemlinsky was someone he could, beyond all others, rely on for succour and support.
    [Show full text]
  • Schoenberg and Weill
    Schoenberg and Weill DAVID DREW UNTIL recently, there were only three sources to which students interested in the relationship-if any- between Weill and Schoenberg could safely be referred: Weill's published writings, 1 his music,2 and Schoenberg's gloss on a Feuilletonitem by Weill :'~ To these sources might be added a few scraps of more-or-less reliable hearsay. The first source remains the largest, and although it is no longer the most revealing, it serves an indispensable purpose. References to Schoenberg in Weill's contributions to the Berlin radio journal Der deutsche Rundfunk during the crucial years 1925-7 are quite numerous and uniformly positive, whether his subject be the. composer of Gurrelieder or of Pierrot Lunaire. 'Selbst seine Gegner', he wrote in the issue of 28 February 1926, 'mtissen in ihm die reinste, edelste KtinstlerpersonaliUit und die starkste Geistigkeit des heutigen Musiklebens anerkennen.' [Even his opponents have to recognise in him the purest and most noble artistic personality and the strongest mind in today's musicallife.J4 No such awe informs the handful of published references to Schoenberg that Weill permitted himselfin his Broadway years. Nevertheless, one trace of the early attitude survives in an inverted form: whereas the Weill ofFebruary 1926lauded a Schoenberg 'der einen Erfolg zu Lebzeiten fast als einen Ruckschritt seiner Kunst betrachtet' [who regards success in his own lifetime almost as a setback for his art], the Weill of 1940 declared that whereas he himself composed 'for today' and didn't 'give a damn for pos­ terity', Schoenberg wrote 'for a time 50 years after his death'.5 Merely attributed to Weill by the writer of a newspaper article - and indebted, perhaps, to a view of posterity already offered to the American public by Stravinsky - Weill's most celebra­ ted aperPJ fulfills a need but lacks a context.
    [Show full text]
  • Kurt Weill Newsletter FALL 2013
    VOLUME 31 NUMBER 2 Kurt Weill Newsletter FALL 2013 FEATURES New Light on Weill: The David Drew Collection Kurt Weill on Broadway IN THIS ISSUE VOLUME 31 Kurt Weill Newsletter NUMBER 2 3 Editors’ Note FALL 2013 In the Wings - Upcoming Performances FEATURES ISSN 0899-6407 4 New Light on Weill: The David Drew Collection © 2013 Kurt Weill Foundation for Music 7 East 20th Street 13 Kurt Weill on Broadway New York, NY 10003-1106 Peter Filichia tel (212) 505-5240 fax (212) 353-9663 REVIEWS Performances Published twice a year, the Kurt Weill Newsletter features articles and reviews (books, performances, recordings) that center on Kurt Weill but take a broader 15 The Cradle Will Rock (Blitzstein) look at issues of twentieth-century music and theater. With a print run of 5,000 Encores! Off-Center copies, the Newsletter is distributed worldwide. Subscriptions are free. The editors John Mauceri welcome the submission of articles, reviews, and news items for inclusion in future issues. 16 The Firebrand of Florence Staatsoperette Dresden A variety of opinions are expressed in the Newsletter; they do not necessarily Gisela Maria Schubert represent the publisher’s official viewpoint. Letters to the editors are welcome ([email protected]). 17 Mahagonny Songspiel / Baden-Baden 1927 Gotham Chamber Opera Staff Michael Feingold Kate Chisholm and Dave Stein, Co-Editors Recordings Brady Sansone, Production and Circulation 18 Zaubernacht James Holmes Kurt Weill Foundation Trustees Kim H. Kowalke, President 19 Railroads on Parade Philip Getter, Senior Vice President and Treasurer Erica Scheinberg Guy Stern, Vice President Ed Harsh, Secretary 20 The Threepenny Opera from André Bishop Leonard Bernstein: Historical Recordings 1941–1961 Victoria Clark Howard Pollack Joanne Hubbard Cossa Susan Feder NEWS Corey Field James Holmes 21 Lotte Lenya Competition News Welz Kauffman Tazewell Thompson 22 Foundation News Trustees Emeriti Honorary Trustees Milton Coleman James Conlon Paul Epstein Stephen E.
    [Show full text]
  • KWE 1001 Protagonist Introduction
    Kurt Weill Edition, Ser. I, Vol. 1 Der Protagonist INTRODUCTION by Gunther Diehl and Giselher Schubert I. Introduction Gerhart Hauptmann he was the most performed German playwright between the world wars, with some forty premieres of his plays. This volume of the Kurt Weill Edition presents the full score of the one- His success, however, was overshadowed by serious financial problems act opera Der Protagonist, whose libretto was derived, with minimal alter- that led to his property being confiscated in 1918. Court proceedings fol- ation, from Georg Kaiser’s one-act play of the same name. The unusual lowed in 1920 (attended, incidentally, by the young Bertolt Brecht), and subtitle that Weill included on the title page of his holograph full score, Kaiser was sentenced to six months in prison for embezzlement. After his Ein Akt Oper von Georg Kaiser (more usual would have been Oper in einem release he settled in Grünheide, on the eastern border of Berlin, and also Akt), apparently came from Kaiser, who may have wished to identify his kept an apartment in Berlin-Charlottenburg that served as a literary meet- text as a libretto rather than a play.1 Hitherto the full score of this work ing place. In 1933, after the Nazis took power, Kaiser was banned from has been available only as rental material. The extant sources, which are publishing and performing his works; his plays were among the publica- described in detail in the Critical Report, transmit Der Protagonist in a tions burned by the Nazis on 10 May 1933. He managed to escape arrest variety of forms.
    [Show full text]
  • Mahler-Werfel Papers Ms
    Mahler-Werfel papers Ms. Coll. 575 Finding aid prepared by Violet Lutz. Last updated on June 23, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2006 Mahler-Werfel papers Table of Contents Summary Information....................................................................................................................................4 Biography/History..........................................................................................................................................5 Scope and Contents..................................................................................................................................... 34 Administrative Information......................................................................................................................... 40 Controlled Access Headings........................................................................................................................41 Other Finding Aids......................................................................................................................................42 Collection Inventory.................................................................................................................................... 43 Correspondence to and from Alma Mahler, Franz Werfel, and Adolf Klarmann.................................43 Correspondence between Alma Mahler and Franz Werfel...................................................................45 Writings by Alma
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 97, 1977
    BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA A1//J-/C Director Wa . TRUST BANKING. A s>inphony in financial planning. Conducted by Boston Safe Deposit and Trust Company Decisions which affect personal financial goals are often best made in concert with a professional advisor However, some situations require consultation with a number of professionals skilled in different areas of financial management. Real estate advisors. Tax consultants. Estate planners. Investment managers. To assist people with these needs, our venerable Boston banking institution has developed a new banking concept which integrates all of these professional services into a single program. The program is called trust banking. Orchestrated by Roger Dane, Vice President, 722-7022, for a modest fee. DIRECTORS HansH. Estin George W. Phillips C. Vincent Vappi Vernon R. Alden Vice Chairman, North Executive Vice President, Vappi & Chairman, Executive American Management President Company, Inc. Committee Corporation George Putnam JepthaH. Wade Nathan H. Garrick, Jr. Partner, Choate, Hall Dwight L. Allison, Jr. Chairman, Putnam Vice Chairman of the Chairman of the Board Management & Stewart Board David C. Crockett Companv, Inc. William W. Wolbach Donald Hurley Deput\- to the Chairman J. John E. Rogerson Vice Chairman Partner, Goodwin, of the Board of Trustees Partner, Hutchins & of the Board Procter Hoar and to the General & Wheeler Honorary Director Director, Massachusetts Robert Mainer Henry E. Russell Sidney R. Rabb General Hospital Senior Vice President, President Chairman, The Stop & The Boston Company, Inc. F. Stanton Deland, Jr. Mrs. George L. Sargent Shop Companies, Partner, Sherburne, Inc. Director of Various Powers & Needham William F. Morton Corporations Director of Various Charles W.
    [Show full text]
  • Notes on the Program by Ken Meltzer Suite from Appalachian Spring
    Notes on the Program by Ken Meltzer Suite from Appalachian Spring (1945) Aaron Copland was born in Brooklyn, New York, on November 14, 1900, and died in Tarrytown, New York, on December 2, 1990. The first performance of the ballet, Appalachian Spring, took place at the Library of Congress in Washington, D.C., on October 30, 1944. The premiere of Appalachian Spring, Suite from the Ballet, occurred in Carnegie Hall in New York City on October 4, 1945, with Artur Rodzinski conducting the New York Philharmonic. The first performance of this work by the Charlotte Symphony took place on March 8 & 9, 1967 with Richard Cormier conducting at Ovens Auditorium. The eighth and most recent performance set took place on September 11 & 12, 2009 with Larry Rachleff conducting in the Belk Theater of the Blumenthal Performing Arts Center. In 1943, the legendary American dancer and choreographer Martha Graham accepted a commission to stage new works for the Festival of the Elizabeth Sprague Coolidge Foundation, held at the Library of Congress in Washington, DC. For that event, Graham, in turn, commissioned music by three prominent contemporary composers—Paul Hindemith, Darius Milhaud, and Aaron Copland. It was Graham who chose the title for Copland's piece—Appalachian Spring, taken from the heading of a poem by Hart Crane. Copland began work on the score in June of 1943. Because of various delays, the premiere of Appalachian Spring (as well as of the Hindemith and Milhaud ballets) did not occur until October 30, 1944. Graham and Eric Hawkins danced the principal roles. Copland scored the original ballet for a chamber group of thirteen instruments.
    [Show full text]
  • Arnold Schoenberg in Los Angeles Author(S): Dorothy Lamb Crawford Source: the Musical Quarterly, Vol
    Arnold Schoenberg in Los Angeles Author(s): Dorothy Lamb Crawford Source: The Musical Quarterly, Vol. 86, No. 1 (Spring, 2002), pp. 6-48 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3601001 . Accessed: 21/06/2013 09:59 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly. http://www.jstor.org This content downloaded from 193.50.140.116 on Fri, 21 Jun 2013 09:59:33 AM All use subject to JSTOR Terms and Conditions American Musics Arnold Schoenberg in Los Angeles DorothyLamb Crawford I only teach the whole of the art ... As a composerI must believe in inspirationrather than in mechanics. -Arnold Schoenberg ArnoldSchoenberg had just turned sixty when he madethe suddende- cisionin mid-September1934 to leavethe EastCoast for California. He hadheld the mostprestigious post in his fieldin Germany,but he wrote his friendsthat in LosAngeles he faced"a completely blank page, so far as my musicis concerned."1The previousOctober he hadbeen abruptly notifiedby
    [Show full text]
  • Short Report
    COLLECTION FINDING AID Dame Joan Sutherland (1926-2010) and Richard Bonynge (1930+ ) Performing Arts Programs and Ephemera (PROMPT) Australian Collection Development The Sutherland/Bonynge file in the Library’s PROMPT collection documents the extensive and intertwined Australian and overseas careers of opera singer Joan Sutherland, and orchestral conductor Richard Bonynge. This husband and wife team of musicians helped the career of the other by frequently performing together, her usually as principal singer under his baton. It was Bonynge who discovered Sutherland’s ability to sing the great bel canto roles and to this end he researched and conducted the operatic repertoire which most suited his wife’s unique coloratura voice. Content Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance by Sutherland/Bonynge. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for these artists are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. For a list of Joan Sutherland’s performances to 31 December 1990, please refer to Richard Bonynge’s A prima donna's progress : the autobiography of Joan Sutherland. Access The Sutherland/Bonynge PROMPT files may be accessed through the Library’s Petherick Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn2657303.
    [Show full text]
  • Joseph Haydn, Symphonies Geraint Jones (1917-1998) a Prize-Winning Student at the Royal Academy of Music, Jones Was a Son of the Church
    HAYDN SYMPHONIES CC 9119 HAYDN SYMPHONIES Joseph Haydn, Symphonies Geraint Jones (1917-1998) A prize-winning student at the Royal Academy of Music, Jones was a son of the Church. The Baroque, especially Bach, Handel, Mozart and Gluck, drew his creative fire to which he coupled a dedication to authenticity of style. These were his obsessions as conductor and keyboardist. It was in this latter capacity that he figured strongly Recordings from in Dame Myra Hess's National Gallery wartime concerts. His second wife was violinist Winifred Roberts and with her he gave numerous concerts. Roberts was the leader of the Geraint Jones The Itter Broadcast Collection, 1952-1960 Orchestra. Jones took Stephen Bishop under his wing and together they gave all of Mozart's piano concertos across several seasons at the Queen Elizabeth Hall. A committed yeoman of BBC broadcasts of concert and studio performances given festivals he, in the 1970s and 1980s, steered a number including Lake District, Salisbury and Manchester. Musical training and his loyalty to musical values were further imparted to by 11 orchestras and 19 conductors generations of student at the RAM where he was a Professor (1961-88). He died in London. All the recordings presented here were made ‘off-air’ using a state-of-the-art tape Harry Newstone (1921-2006) Newstone was born in Winnipeg, Manitoba. His name machine. Subsequently they were archived on disc acetates – the tapes themselves being is little known now. To all intents and purposes he set out as a virtuoso harmonica player but erased and reused. The performance of Symphony 103, conducted by Harry Newstone, after four years of studying with Herbert Howells and Robert Simpson (with whom he was to is the only one for which the original tape survives.
    [Show full text]