CHARLES MUNCH Musical Director
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
AMERICAN HOCKEY COACHES ASSOCIATION Executive Director: Joe Bertagna — 7 Concord Street — Gloucester, MA 01930 — (781) 245-4177
AMERICAN HOCKEY COACHES ASSOCIATION Executive Director: Joe Bertagna — 7 Concord Street — Gloucester, MA 01930 — (781) 245-4177 For immediate release: Wednesday, April 10, 2013 Norm Bazin of UMass Lowell Named flexxCOACH/AHCA Men’s Division I Coach of the Year Will Receive Spencer Penrose Award at AHCA Convention on May 4 in Naples, FL For his efforts in leading UMass Lowell to its first NCAA Division I Men’s Ice Hockey “Frozen Four” appearance in school history, Norm Bazin has been chosen winner of the 2013 Spencer Penrose Award as Division I Men’s Ice Hockey flexxCOACH/AHCA Coach of the Year. He will receive his award on Saturday evening, May 4, during the American Hockey Coaches Association annual convention in Naples, FL. Entering Thursday afternoon’s semifinal contest vs. Yale, Bazin’s River Hawks have compiled an overall record of 28-10-2, capturing both the Hockey East regular season and tournament titles along the way. Lowell advanced to the Frozen Four by defeating Wisconsin (6-1) and New Hampshire (2-0) to win the NCAA Northeast Regional in Manchester, NH. The River Hawks enter the Frozen Four in Pittsburgh’s CONSOL Energy Center having won 14 of their last 15 games and seven in a row. On December 1, the UMass Lowell record stood at 4-7-1. Since that time, they have gone 24-3-1. Bazin has been chosen as the Hockey East Coach of the Year in both of his seasons at Lowell. This follows two years as the NESCAC Coach of the Year while he coached at Hamilton College. -
87 Gym Staff & Football Team Equipment Managers
WWWwww.rpiathletics.com.RPIATHLETICS.COM RENSSELAER QUICK FACTS & TABLE OF CONTENTS Location ..................................................................... Troy, NY 12180-3590 Founded .................................................................................................1824 2007 SCHEDULE Undergraduate Enrollment ..................................................................5,142 Sept. 8 ENDICOTT .........................................................1pm President .................................................................Dr. Shirley Ann Jackson Sept. 15 UTICA .................................................................1pm Acting Athletic Director ..........................................................Kevin Beattie Sept. 22 at Hobart*.................................................................1pm Athletic Department Phone .....................................................518-276-6685 Sept. 29 at Susquehanna* .................................................1:30pm Athletic Department Web Address ........................... www.rpiathletics.com Oct. 6 ST. LAWRENCE* ................................................1pm Colors .................................................................................Cherry & White Oct. 20 MERCHANT MARINE* .....................................1pm Nickname .......................................................................................Engineers Oct. 27 at WPI* .....................................................................2pm Home Field ................................................ -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
Henri Rabaud À L'opéra De Paris Sous L'ère Jacques Rouché (1915-1945)
Les colloques de l’Opéra Comique Henri Rabaud et son temps. Mai 2013 Sous la direction d’Alexandre DRATWICKI et Agnès TERRIER Henri Rabaud à l’Opéra de Paris sous l’ère Jacques Rouché (1915-1945) Claire PAOLACCI Premier Grand Prix de Rome en 1894, Henri Rabaud séjourne à la villa Médicis puis entame une brillante carrière de chef d’orchestre et de compositeur. En 1908, les nouveaux directeurs de l’Opéra de Paris, Lémistin Broussan et André Messager, le nomment premier chef d’orchestre du théâtre. Il obtient de grands succès mais leur successeur, Jacques Rouché, ne le reconduit pas à cette charge1. En revanche, même si ses ouvrages sont plus propres à être donnés à l’Opéra- Comique qu’à l’Opéra, Rouché crée, au cours de sa direction, trois de ses œuvres lyriques (La Fille de Roland (1922), Mârouf, savetier du Caire (1928) et Rolande et le mauvais garçon (1934)) et lui commande une musique symphonique pour accompagner le premier drame cinématographique projeté au Palais Garnier : Le Miracle des loups de Raymond Bernard (1924). Nous étudierons ces créations afin de saisir dans quelle mesure elles s’inscrivent dans la politique artistique de Jacques Rouché et quelle est la place particulière occupée par Henri Rabaud dans la programmation de l’Opéra de Paris entre 1915 et 1945. La Fille de Roland, drame lyrique patriotique Alors que sa prise de fonction est perturbée par le déclenchement de la Première Guerre mondiale, Jacques Rouché obtient l’autorisation de rouvrir l’Opéra. Il souhaite proposer une programmation très patriotique pour soutenir l’effort de guerre. -
2010-11 WCHA Men's Season-In-Review
Western Collegiate Hockey Association Bruce M. McLeod Commissioner Carol LaBelle-Ehrhardt Assistant Commissioner of Operations Greg Shepherd Supervisor of Officials Administrative Office April 25, 2011 Western Collegiate Hockey Association 2211 S. Josephine Street, Room 302 Denver, CO 80210 2010-11 WCHA Men’s Season-in-Review p: 303 871-4491. f: 303 871-4770 email: [email protected] Minnesota Duluth Reigns as 2011 National Champions as WCHA Doug Spencer Marks Record 37th NCAA Men’s Team Title Since 1951 Associate Commissioner for Public Relations Bulldogs Capture Program’s First National Championship with Wins Over Notre Dame & Michigan Public Relations Office April 7 & 9 at Xcel Energy Center in Saint Paul; WCHA Now Owns Record 37 NCAA Div. 1 Titles Western Collegiate Hockey Association 559 D’Onofrio Drive, Ste. 103 Since 1951; North Dakota Claims WCHA Regular Season Championship and MacNaughton Cup; Madison, WI 53719-2096 Sioux Earn 2011 Red Baron WCHA Final Five Playoff Title, Broadmoor Trophy; North Dakota, p: 608 829-0100. f: 608 829-0200 Denver, Minnesota Duluth, Nebraska Omaha, Colorado College Earn NCAA Tournament Berths; email: [email protected] Sioux are NCAA Midwest Regional Champs, Bulldogs Earn NCAA East Regional Crown; Seven Home of a Record 36 Men’s WCHA Players Earn All-American Honors; Final 2010-11 Div. 1 Men’s National Polls Have UMD National Championship No. 1, UND No. 2/3, DU No. 7, CC No. 11, UNO No. 14; WCHA Teams Go 56-27-12 (.653) in Div. 1 Teams Since 1951 Non-Conference Play 1952, 1953, 1955, 1956, 1957, 1958, 1959, 1960, 1961, 1962, 1963, 1964, SAINT PAUL, Minn. -
Boston Symphony Orchestra Concert Programs, Season 25,1905-1906, Trip
ACADEMY OF MUSIC, PHILADELPHIA. BostonSympRony Qrctiestia WILHELM GERICKE, Conductor. Twenty-first Season in Philadelphia* PROGRAMME OF THE FIRST CONCERT MONDAY EVENING, NOVEMBER 6, AT 8. J 5 PRECISELY. Hale. With Historical and Descriptive Notes by Philip Published by C. A. ELLIS, Manager. l A PIANO FOR THE MUSICALLY INTELLIGENT classes, artists' pianos If Pianos divide into two and popular pianos. The proportion of the first class to the second class is precisely the proportion of cultivated music lovers to the rest of society. A piano, as much as a music library, is the index of the musical taste of its owner. are among the musically intelligent, the ^f If you PIANO is worth your study. You will appreciate the " theory and practice of its makers : Let us have an artist's piano ; therefore let us employ the sci- ence, secure the skill, use the materials, and de- vote the time necessary to this end. Then let us count the cost and regulate the -price." Tf In this case hearings not seeing, is believing. Let us send you a list of our branch houses and sales agents (located in all important cities), at whose warerooms our pianos may be heard. Boston, Mass., 492 Boylston Street New York, 139 Fifth Avenue Chicago, Wabash Avenue and Jackson Boulevard Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKE, Conductor First Viouns Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F Back, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. Kuntz, D. Hoffmann, J Fiedler, E. Mullaly, J. Moldauer, A. Strube, G. -
100 Percent Americanism in the Concert Hall: the Minneapolis Symphony in the Great War
100 Percent Americanism in the Concert Hall: The Minneapolis Symphony in the Great War Michael J. Pfeifer In 1918 a Minnesota music critic assessed a Minneapolis Symphony concert warmly, noting that the orchestra’s recent “racial house-cleansing” – a purge of some of the orchestra’s German and Austrian-born musicians – had not com- promised the quality of the ensemble’s playing. While the critic believed that “like gasoline and whiskey, music and war really ought not to have anything in particular to do with each other”, he nonetheless judged it well worthwhile from a “standpoint of musical interest” to hear the orchestra “magnificently” perform the national anthems of the Allied nations that opened the concert. Earlier, at the beginning of the 1918–1919 season, members of the Minneapolis Symphony had been required to sign loyalty oaths to the United States, while a cellist had been compelled to leave the orchestra for a period because he sup- posedly had hung portraits of the Kaiser and his wife over his fireplace (these were actually pictures of “the deceased Austrian emperor Franz Josef and his wife”).1 While the Minneapolis Symphony and its Munich-born founder Emil Oberhoffer (1867–1933) did not encounter the extreme repercussions that led to the arrest, internment, and deportation of Karl Muck (1859–1940) and Ernst Kunwald (1868–1939), respectively the German and Austrian conductors of the Boston Symphony and the Cincinnati Symphony,2 a significant nativist, anti- German, backlash did mark the orchestra’s experience of the latter years of the Great War. The upper Midwestern state of Minnesota was substantially German in nativity and ancestry at the outbreak of the war, which may have mitigated some of the harshly jingoistic reaction that German symphonic * I am grateful to Frank Jacob and William H. -
Boston Symphony Orchestra Concert Programs, Season 18, 1898
INFANTRY HALL, PROVIDENCE. Boston Symphony Orchestra. Mr. WILHELM GERICKE, Conductor. Seventeenth Season in Providence. PROGRAMME OF THE FOURTH CONCERT WEDNESDAY EVENING, JANUARY 11, AT 8 SHARP. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. (1) Steinway & Sons, flanufacturers \ 1 A fV^T m \ ^Z Grand and of PIANOSK 1 /\ I ^ \^J^ Upright Beg to announce that they have been officially appointed by patents and diplomas, which are displayed for public inspection at their warerooms, manufacturers to His Majesty, NICOLAS II., THE CZAR OF RUSSIA. His Majesty, WILLIAM II., EMPEROR OF GERMANY and THE ROYAL COURT OF PRUSSIA. His Majesty, FRANZ JOSEPH, EMPEROR OF AUSTRIA and KINO OF HUNGARY. Her Majesty, VICTORIA, QUEEN OF GREAT BRITAIN. Their Royal Highnesses, THE PRINCE AND PRINCESS OF WALES, and THE DUKE OF EDINBURGH. His Majesty, OSCAR II., KING OF SWEDEN AND NORWAY. His Majesty, UMBERTO I., THE KING OF ITALY. Her Majesty, THE QUEEN OF SPAIN. His flajesty, Emperor William II. of Germany, on June 13, 1893, also bestowed on our Mr. William Steinway the order of The Red Eagle, III. Class, an honor never before granted to a manufacturer. The Royal Academy of St. Caecilia at Rome, Italy, founded by the celebrated composer Pales- trina in 1584, has elected Mr. "William Steinway an honorary member of that institution. The following is the translation of his diploma : — The Royal Academy of St. Concilia have, on account of his eminent merit in the domain of music, and in conformity to their Statutes, Article 12, solemnly decreed to receive William Steinway into the number of their honorary members. -
München, [30. Mai] 1. – 5. Juni 1908
415 Tonkünstlerfest (44. Jahresversammlung) München, [30. Mai] 1. – 5. Juni 1908 Festdirigenten: Felix Mottl, Alois Obrist, Ludwig Hess Festchor: Konzertgesellschaft für Chorgesang zu München Ens.: Kgl. Bayr. Hoforchester, Kgl. Württemberg. Hofkapelle 1. Aufführung: Opernvorstellung München, Künstlertheater der Ausstellung, Samstag, 30. Mai, 18:30 Uhr 1. Christoph Willibald Gluck: Die Maienkönigin, Schäferspiel 2. Hermann Bischoff: Das Tanzlegendchen, Tanzgedicht 2. Aufführung: Opernvorstellung München, Prinzregententheater, Montag, 1. Juni, 18:00 Uhr Friedrich Klose: Ilsebill, dramatische Sinfonie Text: Hugo Hofmann 3. Aufführung: Erstes Orchesterkonzert München, Kgl. Odeon, Dienstag, 2. Juni, 19:30 Uhr Ltg.: Alois Obrist Ens.: Kgl. Würtemberg. Hofkapelle Konzertflügel: Steinway & Sons, New York- Hamburg 1. Paul August von Klenau: Sinfonie für großes Orchester f- Moll (UA) 1. Adagio, Allegro maestoso 2. Adagio expressivo 3. Allegro scherzando, Allegro molto, Adagio 2. Ernest Schelling: Suite fantastique für Klavier und Sol.: Ernest Schelling (Kl.) Orchester 1. Allegro marziale 2. Scherzo 3. Intermezzo (Adagio) 4. Molto vivace 3. Max von Schillings: Glockenlieder, 4 Gesänge für Tenor Ltg.: Max von Schillings und Orchester op. 22 Sol.: Ludwig Hess (T) Text: Carl Spitteler: Glockenlieder ( ≡) Motto: Carl Spitteler ( ≡) 1. Die Frühglocke 2. Ein Bildchen 3. Die Nachzügler. Der Fein. Der Findig. Der Kündig 4. Mittagskönig und Glockenherzog 416 4. Jan Pieter Hendrik van Gilse: Erhebung, Sinfonie Nr. 3 für Sol.: Mientje van Lammen (S) eine hohe Sopranstimme und großes Orchester (UA) Text: aus dem Hohelied ( ≡) Motto: aus dem Hohelied ( ≡) 1. Langsam. Elegisch 2. Leidenschaftlich und heftig bewegt 3. Sehr langsam und schwermütig. Langsam, ruhig und ausdrucksvoll. Eine Sopranstimme: „Halt ein!“ 4. Lebhaft und sehr kräftig, stellenweise im Ausdruck eines übermütigen Walzers 5. -
The Interest of These Performances Lies First and Foremost
The interest of these performances lies first and foremost - not to mention finally and most importantly- in the tempos: in the way they are chosen, establi shed, and shrewdly modified by Fiedler in the course of performances which so interestingly live, move and have their being. There are other points of interest. The nature of the use of string portamentos: in the case of Fiedler and the Berlin Philharmonic, the selective and highly discriminating use of it. But it is tempo which is of paramount interest ... Richard Osborne, Gramophone, November 2000 (excetpt) Producer's Note Max Fiedler (1859 - 1939) is one of only two conductors with a direct link to Brahms to have recorded hi s works; the other is Felix Weingartner. Yet, as Christopher D yment pointed out in a pair of articl es published in Classical Record Collector a decade ago (Summer and Autumn, 2002), it would be an overstatement to call him a protCgC of the composer. Fiedler knew Brahms personally, and likely heard him conduct on a few occasions; however, it was as a follower of Hans von Bulow that Fiedler learned what he believed to be the authentic Brahms style, a highly subjective, rhythmically free approach that was at odds with the more restrained Classicism of Fritz Steinbach, who provided a model for the young Weingartner. Nevertheless, by early in the last century, Fiedler had earned the reputation in Germany as a Brahms specialist, and it was in that capacity that he made his only commercial records for Grammophon/ Polydor, all of which are presented here. -
ARSC Journal, Vol.21, No
Sound Recording Reviews Wagner: Parsifal (excerpts). Berlin State Opera Chorus and Orchestra (a) Bayreuth Festival Chorus and Orchestra (b), cond. Karl Muck. Opal 837/8 (LP; mono). Prelude (a: December 11, 1927); Act 1-Transformation & Grail Scenes (b: July/ August, 1927); Act 2-Flower Maidens' Scene (b: July/August, 1927); Act 3 (a: with G. Pistor, C. Bronsgeest, L. Hofmann; slightly abridged; October 10-11and13-14, 1928). Karl Muck conducted Parsifal at every Bayreuth Festival from 1901 to 1930. His immediate predecessor was Franz Fischer, the Munich conductor who had alternated with Hermann Levi during the premiere season of 1882 under Wagner's own supervi sion. And Muck's retirement, soon after Cosima and Siegfried Wagner died, brought another changing of the guard; Wilhelm Furtwangler came to the Green Hill for the next festival, at which Parsifal was controversially assigned to Arturo Toscanini. It is difficult if not impossible to tell how far Muck's interpretation of Parsifal reflected traditions originating with Wagner himself. Muck's act-by-act timings from 1901 mostly fall within the range defined in 1882 by Levi and Fischer, but Act 1 was decidedly slower-1:56, compared with Levi's 1:47 and Fischer's 1:50. Muck's timing is closer to that of Felix Mottl, who had been a musical assistant in 1882, and of Hans Knappertsbusch in his first and slowest Bayreuth Parsifal. But in later summers Muck speeded up to the more "normal" timings of 1:50 and 1:47, and the extensive recordings he made in 1927-8, now republished by Opal, show that he could be not only "sehr langsam" but also "bewegt," according to the score's requirements. -
Boston Symphony Orchestra Concert Programs, Season 35,1915-1916, Trip
SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY ^\^><i Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor ITTr WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 23 AT 8.00 COPYRIGHT, 1916, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 1 €$ Yes, It's a Steinway ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to I you. and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." pw=a I»3 ^a STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, O. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet. H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Sulzen, H.