DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 64,1944-1945

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 64,1944-1945 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-FOURTH SEASON, 1944-1945 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1945, BY BOSTON SYMPHONY ORCHESTRA, luc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Jerome D. Greene . President Henry B. Sawyer . Vice-President Henry B. Cabot . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee N. Penrose Hallowell Richard C. Paine Bentley W. Warren G. E. JUDD, Manager C. W. Spalding, Assistant Manager i 1357 ] ®#®#@@@®@®#®##@^>@@€>#®®@#@@##@^@###@ Time for Review? Are your plans for the ultimate distribu- tion of your property up-to-date? Changes in your family situation caused by deaths, births, or marriages, changes in the value of your assets, the need to meet future taxes . these are but a few of the factors that suggest a review of your will. We invite you and your attorney to make use of our experience in property manage- ment and settlement of estates by discuss- ing your program with our Trust Officers. PERSONAL TRUST DEPARTMENT The V^tional Shawmut Bank ^o Water Street^ Boston Member Federal Deposit Insurance Corporation Capital |io,ooo,ooo Surplus |2o,ooo,ooo ''^Outstanding Strength^' for lo8 Years SYMPHONIANA Memorial Concerts Exhibition MEMORIAL CONCERTS On the evening of April 12 the Boston Symphony Orchestra gave a concert in Philadelphia. At the news of the death of President Roosevelt, Dr. Koussevitzky changed the programme, performing Beethoven's "Eroica" Symphony. In Brooklyn on the following evening the Orchestra played, in the President's memory, the Sixth Symphony, "Pathe- tique," by Tchaikovsky and the Fifth Symphony by Beethoven. On Saturday the performances in Carnegie Hall in the afternoon and the broadcast in the evening were further memorials. The afternoon concert was thus de- scribed by Olin Downes in the "New York Times": The concert given by the Boston Sym- phony Orchestra under Dr. Koussevit- zky's leadership before a silent audience yesterday afternoon in Carnegie Hall was an unforgettable salutation to the passing of Franklin Delano Roosevelt. TRIANGLE It was an occasion that far transcended SILHOUETTE in its significance and atmosphere any- Shoulders soar into the thing that performances with exclusively news, wide as they can artistic objectives could have offered. make them, thus accent- Yet it was an achievement of the high- ing the tiny waistline. est art, and exemplification of the place Half belted grey mens- that sovereign artists should take in the wear flannel reefer life of the world today—by the side of sketched, or in black diag- the greatest statesmen and in humanity's onal velour. i cause. 139.90 Against black cloth at the rear of Misses' Sizes FOURTH FLOOR the stage hung an American flag. The performance of the national anthem was put forward from its customary place at the beginning of the program to the end, and Dr. Koussevitzky, from the stage, announced the music that GrVE NOW—GIVE MORE was to be played in observance of the KEEP YOUR RED passing of President Roosevelt. CROSS AT HIS SIDE The program, he explained, would begin with the first movement of i 1359 ] Shostakovitch's Eighth symphony, be- cause the composer intended this sym- phony as an expression of the tragedy and pain which humanity has undergone. Then would follow the first two move- 'blankets ments of the "Eroica" symphony of Beethoven, ending with the funeral march which will always rank as one Pure wool by North Star, white, of the greatest elegies in all music. rose dust, green, gold, or blue, And Dr. Koussevitzky asked the audi- ence to remember that "Beethoven dedi- and $16.95. 72 X 90, $13.95 cated this symphony 'to a great man.' We play it in memory of the greatest Baby Blankets: North Star 42 x man in the world." 60, baby blue, pink or white, Finally, with the assistance of the Harvard Glee Club, there was to be $6.95. given the first performance in this city of Randall Thompson's setting of words Wamsutta's, 48 x 66, baby blue, from the writings of Thomas Jefferson, pink or white, $9.50. written for observance of the 200th an- niversary of his birth, and singularly prophetic of the crisis of the present day. "blanket Qovers Dr. Koussevitzky asked for a moment of silence before the performances be- gan, and there was no applause at any Cotton crinkle crepe, printed or time during the concert, which had the atmosphere and character of a religious plain, single, $12.50. Double, observance. $14.50. Mr. Thompson has written a com- position of astonishing simplicity, ap- Satin Applique on Rayon Satin, propriateness and effect. He has pro- duced what amounts almost to a choral blue or tea rose, single, $14.50. symphony in four movements, and one Double $16.50. which made a profound impression on the audience. Lace trimmed rayon crepe, tea His score is admirably proportioned, climaxed and carried through. It does rose, blue or white, single $19.50. not sag or falter in its progress. It is Double $24.50. written, vocally and practicably, at the same time that it uses the orchestra ad- mirably for coloristic and dramatic ef- fects. The exact unrhythmed texts are set with great skill and ingenuity in supplying musical patterns which have form in themselves while fitting like a glove the immortal words of Jefferson. The Trousseau House of Boston As old religious composers have done texts, Mr. Thompson 41B BDYLSTDN STREET with Latin so has shown his great knowledge and unfail- WELLESLEY " HYANNIS "' PALM. PKACH ing device in this procedure, which also [ 1360 1 — LAST WEEK Lopez-Rey di^tinaui^ksd <::hf2ani6.ri i/^aint£T Second showing in U. S.; first in Boston of this internationally famous artist. Lawrence Dame says : "A volley of Bravos and Oles, in fervent latin style, to Today's Art Gallery for bringing the works of Lucio Lopez- Rey to Newbury street. A magnificent technician and subtle colorist, this painter from the tortured soil of Spain com- bines the modern and the classical in an art sometimes realistic, often poetic to the point of rhapsody, always im- mensely stirring ... a truly stunning show." April 2—27 Today's Art Gallery 176 Newbury Street [ 1361 ] takes fully into account laws of dramatic sequence and contrast. And he has writ- ten music which can be sung and under- stood by great numbers of people, while standing on its feet as a work of art. It was with a thrill that yesterday's audience discovered one of the most convincingly American scores that this period has produced. Mr. Thompson has not written as a sensationalist or a patrioteer, but as a most thoughtful and modest artist, seeking for the right notes to communicate something, profoundly of his people, that was in his heart. His musical instinct and his honesty protected him from all the notes but the right ones. He has succeeded be- cause of this, being as man and musician farthest from the self-seeking and the tradition beloved high-pressure salesmanship that dis- figures too much of our native musical , , . the wedding ceremony activities of today. All rejoiced in his ac- complishment and the reassurance it amid candlelight gave them in a troubled hour. Here it should be said that no small part of the effect of his music was due and flowers to the splendid perfection of the Har- vard Glee Club in point of tone and . the bride radiant declamation, and its superb enunciation of the text. When Americans write and in gleaming satin sing music like that, we have something to expect. and lacy veil Afterward Dr. Koussevitzky again asked for silence, then played the na- tional anthem, which was sung by chorus . such weddings are and audience a few seconds prior to four o'clock, when the funeral ceremonies a tradition and at the Capitol began. a specialty at . EXHIBITION , Through the courtesy of the Museum of Modern Art in New York City, there is on view in the First Balcony Gallery a retrospective exhibition of the work of Lyonel Feininger. Included in the exhibition are oils, water colors, draw- ings, prints and comic strips, ranging in date from 1906 through 1944. Lyonel Feininger is one of the most distinguished of the older generation of 350 American artists and one of the few to achieve a truly international reputation. Boylston Born seventy-three years ago in New Street York City, Feininger lived in Germany Boston for half a century; yet his art remains strongly American, nourished but not dominated by external influences either at home or abroad. Despite a devotion [ 1362 ] STEINWAY THE INSTRUMENT of the IMMORTALS THESE NOTABLE ARTISTS APPEARING IN THE 1945-'46 CELEBRITY SERIES USE THE STEINWAY EXCLUSIVELY Rubinstein Hcifetz Serkin Kreisler Malcuzynski Smctcrlin The Steinway is the favorite Instrument of virtually every great artist and every great musical organization in America. In Massachusetts and New Hampshire new Steinways are sold only ^ M. STEINERT & SONS A New England Institution Sine* IttO 162 BOYLSTON STREET BOSTON JEROME F. MURPHY, Presidsnt Branches in Worcester and Springfield [ 1363 ] — to cubist forms, Feinlnger has always re- vealed a decided poetic preoccupation in his paintings. Feininger was born July 17, 1871, St. Mark's Place, New York City, the son of musicians. After a childhood and early youth spent principally in New York, he went to Germany to continue the study of music which he had begun THEY SAY at the age of nine with violin lessons from his father.
Load more

Recommended publications
  • The Pomegranate Cycle
    The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season
    // BOSTON T /?, SYMPHONY ORCHESTRA THURSDAY B SERIES EIGHTY-SEVENTH SEASON 1967-1968 wgm _«9M wsBt Exquisite Sound From the palace of ancient Egyp to the concert hal of our moder cities, the wondroi music of the harp hi compelled attentio from all peoples and a countries. Through th passage of time man changes have been mac in the original design. Tl early instruments shown i drawings on the tomb < Rameses II (1292-1225 B.C were richly decorated bv lacked the fore-pillar. Lato the "Kinner" developed by tl Hebrews took the form as m know it today. The pedal hai was invented about 1720 by Bavarian named Hochbrucker an through this ingenious device it b came possible to play in eight maj< and five minor scales complete. Tods the harp is an important and familij instrument providing the "Exquisi* Sound" and special effects so importai to modern orchestration and arrang ment. The certainty of change mak< necessary a continuous review of yoi insurance protection. We welcome tl opportunity of providing this service f< your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer PHILIP K. ALLEN E. MORTON JENNINGS JR ABRAM BERKOWITZ EDWARD M. KENNEDY THEODORE P.
    [Show full text]
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • Concert Program for October 22 and 23, 2009
    Concert Program for October 22 and 23, 2009 David Robertson, conductor Measha Brueggergosman, soprano Kate Lindsey, mezzo-soprano Paul Groves, tenor Jubilant Sykes, baritone Saint Louis Symphony Chorus Amy Kaiser, director Saint Louis Symphony IN UNISON® Chorus Robert Ray, director IVES The Unanswered Question (c. 1908) (1874-1954) BARBER Adagio for Strings (1936) (1910-1981) ROLLO DILWORTH Freedom’s Plow (2009) World Premiere (b. 1970) Saint Louis Symphony IN UNISON® Chorus Robert Ray, director Intermission TIPPETT A Child of Our Time (1939-41) (1905-1998) Part I Chorus: The world turns on its dark side The Argument: Man has measured the heavens Scena: Is evil then good? Now in each nation Chorus of the Oppressed: When shall the usurers’ city cease I have no money for my bread How can I cherish my man in such days A Spiritual: Steal away Part II Chorus: A star rises in mid-winter And a time came Double Chorus of Persecutors and Persecuted: Away with them! Where they could, they fled Chorus of the Self-righteous: We cannot have them in our Empire And the boy’s mother wrote a letter Scena: O my son! A Spiritual: Nobody knows the trouble I see Scena: The boy becomes desperate in his agony They took a terrible vengeance. The Terror: Burn down their houses! Men were ashamed of what was done A Spiritual of Anger: Go down, Moses The Boy sings in his Prison: My dreams are all shattered What have I done to you, my son? The dark forces rise like a flood A Spiritual: O, by and by Part III Chorus: The cold deepens The soul of man Scena: The words of wisdom are these General Ensemble: I would know my shadow and my light A Spiritual: Deep river Measha Brueggergosman, soprano Kate Lindsey, mezzo-soprano Paul Groves, tenor Jubilant Sykes, baritone Saint Louis Symphony Chorus Amy Kaiser, director Saint Louis Symphony IN UNISON® Chorus Robert Ray, director David Robertson is the Beofor Music Director and Conductor.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Stéphane Denève, Conductor Yefim Bronfman, Piano Clémentine
    Stéphane Denève, conductor Friday, February 15, 2019 at 8:00pm Yefim Bronfman, piano Saturday, February 16, 2019 at 8:00pm Clémentine Margaine, mezzo-soprano St. Louis Symphony Chorus Amy Kaiser, director PROKOFIEV Cinderella Suite (compiled by Stéphane Denève) (1940-1944) (1891-1953) Introduction Pas-de-chale Interrupted Departure Clock Scene - The Prince’s Variation Cinderella’s Arrival at the Ball - Grand Waltz Promenade - The Prince’s First Galop - The Father Amoroso - Cinderella’s Departure for the Ball - Midnight PROKOFIEV Piano Concerto No. 2 in G minor, op. 16 (1913) Andantino; Allegretto; Tempo I Scherzo: Vivace Intermezzo: Allegro moderato Finale: Allegro tempestoso Yefim Bronfman, piano INTERMISSION 23 PROKOFIEV Alexander Nevsky, op. 78 (1938) Russia under the Mongolian Yoke Song about Alexander Nevsky The Crusaders in Pskov Arise, ye Russian People The Battle on the Ice The Field of the Dead Alexander’s Entry into Pskov Clémentine Margaine, mezzo-soprano St. Louis Symphony Chorus Amy Kaiser, director ACKNOWLEDGMENTS The 2018/2019 Classical Series is presented by World Wide Technology and The Steward Family Foundation. Stéphane Denève is the Linda and Paul Lee Guest Artist. Yefim Bronfman is the Carolyn and Jay Henges Guest Artist. The concert of Friday, February 15, is underwritten in part by a generous gift from Sally S. Levy. The concert of Saturday, February 16, is underwritten in part by a generous gift from Ms. Jo Ann Taylor Kindle. The St. Louis Symphony Chorus is underwritten in part by the Richard E. Ashburner, Jr. Endowed Fund. The St. Louis Symphony Chorus is underwritten in part by the Edward Chase Garvey Memorial Foundation.
    [Show full text]
  • Dvarionas Vadim Gluzman Residentie Orkest Den Haag Neeme Järvi
    Erich Wolfgang Korngold © Korngold Family Estate KORNGOLD · DVARIONAS VADIM GLUZMAN RESIDENTIE ORKEST DEN HAAG NEEME JÄRVI Balys Dvarionas Photo kindly provided by the Lithuanian Music Information and Publishing Centre BIS-CD-1822 BIS-CD-1822_f-b.indd 1 10-05-17 10.55.23 KORNGOLD, Erich Wolfgang (1897–1957) Concerto in D major for Violin and Orchestra 24'59 Op. 35 (1945) (Schott) 1 I. Moderato nobile 9'08 2 II. Romance. Andante 8'39 3 III. Finale. Allegro assai vivace 6'59 DVARIONAS, Balys (1904–72) · 4 Pezzo elegiaco ‘Prie ežerelio’ (‘By the lake’) 5'18 (1946–47) for violin and orchestra (Karthause-Schmülling) Concerto in B minor for Violin and Orchestra 29'44 (1948) (Karthause-Schmülling) 5 I. Andante semplice – Allegro strepitoso 15'31 6 II. Andante molto sostenuto 8'36 7 III. Vivo 5'23 TT: 60'55 Vadim Gluzman violin Residentie Orkest Den Haag Neeme Järvi conductor 2 his programme features three works for violin and orchestra composed in the three years following the end of World War II, by two composers whose Tfates were very different. One is world-famous, at least for his film music – the other known, outside his native land, only to a few cognoscen ti; one was an exile from his homeland – the other an ‘internal exile’ within his homeland, his music celebrating his people’s national aspirations under a suc ces sion of over bear - ing foreign powers. But the two are united in their music’s heartfelt and unabashed romanticism. Erich Wolfgang Korngold’s early career resembles that of Mozart, with whom he shared one of his forenames.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 67, 1947-1948, Subscription
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SIXTY-SEVENTH SEASON, 1947-1948 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1948, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Lewis Perry N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager 1281 [ ] © © © © © © © © © © © © © © © Only © © © © © © you can © © © © © © decide © © © © © © © © © © © Whether your property is large or small, it rep- © © resents the security for your family's future. Its ulti- © © © © mate disposition is a matter of vital concern to those © © you love. © © © © To assist you in considering that future, the Shaw- © © mut Bank has a booklet: "Should I Make a Will?" © © It outlines facts that everyone with property should © © © © know, and explains the many services provided by © © this Bank as Executor and Trustee. © © © © Call at any of our 2 J convenient 'offices, write or telephone © © for our booklet: "Should I Make a Will?" © © © © © © © © © The V^tional © © © © © Shawmut Bank © © 40 Water Street^ Boston © © Member Federal Deposit Insurance Corporation © © Capital $10,000,000 Surplus $20,000,000 © "Outstanding Strength"for 112 Years © © [ 1282 ] ! SYMPHONIANA Can you score 1 The "Missa Solemnis" 00? Peabody Award for Broadcasts Honor to Chaliapin New England Opera Theatre Finale FASHION THE 'MISSA SOLEMNIS" QUIZ Instead of trying to describe the mighty Mass in D major, to be per- 1.
    [Show full text]
  • Operaharmony
    #OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too .
    [Show full text]
  • Le Corsaire Overture, Op. 21
    Any time Joshua Bell makes an appearance, it’s guaranteed to be impressive! I can’t wait to hear him perform the monumental Brahms Violin Concerto alongside some fireworks for the orchestra. It’s a don’t-miss evening! EMILY GLOVER, NCS VIOLIN Le Corsaire Overture, Op. 21 HECTOR BERLIOZ BORN December 11, 1803, in Côte-Saint-André, France; died March 8, 1869, in Paris PREMIERE Composed 1844, revised before 1852; first performance January 19, 1845, in Paris, conducted by the composer OVERVIEW The Random House Dictionary defines “corsair” both as “a pirate” and as “a ship used for piracy.” Berlioz encountered one of the former on a wild, stormy sea voyage in 1831 from Marseilles to Livorno, on his way to install himself in Rome as winner of the Prix de Rome. The grizzled old buccaneer claimed to be a Venetian seaman who had piloted the ship of Lord Byron during the poet’s adventures in the Adriatic and the Greek archipelago, and his fantastic tales helped the young composer keep his mind off the danger aboard the tossing vessel. They landed safely, but the experience of that storm and the image of Lord Byron painted by the corsair stayed with him. When Berlioz arrived in Rome, he immersed himself in Byron’s poem The Corsair, reading much of it in, of all places, St. Peter’s Basilica. “During the fierce summer heat I spent whole days there ... drinking in that burning poetry,” he wrote in his Memoirs. It was also at that time that word reached him that his fiancée in Paris, Camile Moke, had thrown him over in favor of another suitor.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 72
    BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY SEVENTY-SECOND SEASON I 95 2 " I 953 Tuesday Evening Series BAYARD TUCKERMAN, J«. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON. Ja. HERBERT SEARS TUCKERMAN OBRION, RUSSELL & CO Insurance of Every Description "A Good Reputation Does Not Just Happen — It Must Be Earned.*' 108 Water Street Los Angeles, California Boston, Mass. 3275 Wilshire Blvd. Telephone Lafayette 3-S700 Dunkirk 8-3S16 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SEVENTY^SECOND SEASON, 1952-1953 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burr The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [«] 4* 4» * * * * * 4 UNTROUBLED 4* * + * * * * * PASSAGE * * The Living Trust 4* * * * It is an odd contradiction that financial success sometimes brings * less, rather than more, personal freedom to enjoy it. Instead of un- 4* 4* troubled passage, there is often the difficult job of steering invest- 4* * ments through more and more complex channels. * 4» For this reason, a steadily increasing number of substantial men * and women are turning to the Living Trust. * 4* 4* The man or woman who has acquired capital which he or she wishes to invest for income, yet lacks either the necessary time or * 4* knowledge .
    [Show full text]
  • Amalie Joachim's 1892 American Tour
    Volume XXXV, Number 1 Spring 2017 Amalie Joachim’s 1892 American Tour By the 1890s, American audiences had grown accustomed to the tours of major European artists, and the successes of Jenny Lind and Anton Rubinstein created high expectations for the performers who came after them. Amalie Joachim toured from March to May of 1892, during the same months as Paderewski, Edward Lloyd, and George and Lillian Henschel.1 Although scholars have explored the tours of artists such as Hans von Bülow and Rubinstein, Joachim’s tour has gone largely unnoticed. Beatrix Borchard, Joachim’s biographer, has used privately held family letters to chronicle some of Joachim’s own responses to the tour, as well as a sampling of the reviews of the performer’s New York appearances. She does not provide complete details of Joachim’s itinerary, however, or performances outside of New York. Although Borchard notes that Villa Whitney White traveled with Joachim and that the two performed duets, she did not realize that White was an American student of Joachim who significantly influenced the tour.2 The women’s activities, however, can be traced through reviews and advertisements in newspapers and music journals, as well as brief descriptions in college yearbooks. These sources include the places Joachim performed, her repertoire, and descriptions of the condition of her voice and health. Most of Joachim’s performances were in and around Boston. During some of her time in this city, she stayed with her Amalie Joachim, portrait given to Clara Kathleen Rogers. friend, the former opera singer Clara Kathleen Rogers.
    [Show full text]