Boston Symphony Orchestra Concert Programs, Season 105, 1985-1986

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 105, 1985-1986 Boston Symphony Orchestra SEIJI OZAWA, Music Director ORCI SEIJI OZ/ 1985-86 Out of the wood comes the perfect smoothness of the world's first barrel-blended 12 year-old ?ORTE Canadian whisky. ' >v. ^^^tf*^* "" : -- wl^Bg^" ; : Mrtrfljr.' i i" iT Barrel-Blending is the final process of blending selected whiskies as they are poured into oak barrels to marry prior to bottling. Imported in bottle by Hiram Walker Importers Inc., Detroit Ml © 1985. Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J.P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Frances W Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Administration of the Boston Symphony Orchestra, Inc. Thomas W Morris, General Manager Daniel R. Gustin, Assistant Manager Anne H. Parsons, Orchestra Manager ^F Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Theodore A. Vlahos, Director of Business Affairs Arlene Germain, Financial Analyst Marc Mandel, Publications Coordinator Charles Gilroy, Chief Accountant Richard Ortner, Administrator of Vera Gold, Assistant Director of Promotion Tanglewood Music Center Patricia Halligan, Personnel Administrator Robert A. Pihlcrantz, Properties Manager Nancy A. Kay, Director of Sales Charles Rawson, Manager of Box Office John M. Keenum, Director of Eric Sanders, Director of Corporate Foundation Support Development Nancy Knutsen, Production Manager Joyce M. Serwitz, Assistant Director Anita R. Kurland, Administrator of of Development Youth Activities Diane Greer Smart, Director of Volunteers Steven Ledbetter, Musicologist & Nancy E. Tanen, Media/Special Projects Program Annotator Administrator Programs copyright ®1985 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner SUBSCRIBE NOW TO THE 1985-86 SEASON! BOSTON SYMPHONY Chamber AT JORDAN tt .THE HIGHEST INTERNATIONAL LEVEL OF CHAMBER MUSIC PLAYING... THE BOSTON GLOBE THREE SUNDAYAFTERNOONS AT 3PM GILBERT KALISH, PIANIST SUNDAY with SANFORD SYLVAN, baritone Copland Sextet for clarinet, piano, and strings NOVEMBER 10 Mahler 'Songs of a Wayfarer' \\ II 1985 (arranged for chamber ensemble by Arnold Schoenberg) Riegger Concerto for piano and wind quintet, Op. 53 Brahms Trio in C for piano, violin, and cello, Op. 87 SUNDAY Haydn Trio in G for flute, cello, and piano, Hob. XV:25 JANUARY 12 LoefflerTwo Rhapsodies for oboe, viola, and piano Lieberson 'Accordance,' for eight players 1986 Mozart String Quintet in G minor, K.516 SUNDAY Mendelssohn Concert Piece in Ffor clarinet, bassoon, and piano, Op. 113 APRIL 6 Copland Quartet for piano and strings 1986 Boulez 'Derive,' for six players Schubert Quintet in A for piano and strings, D.667, 'Trout' NEW SUBSCRIBER FORM: There are still good seats available for the 1985/86 season. You may < I l become a subscriber by indicating your choice of location and price and by returning this form with a check payable to Boston Symphony to: New Subscriber, Symphony Hall, Boston, MA 02115. SUBSCRIPTION PRICES: $33.00, $25.00, $18.00. For further information, call (617) 266-1492. LOCATION PRICE NO.OFTICKETS TOTALS Name Address City .State Zip Code Day Phone Evening Phone. BSO Business & Professional Leadership Program Corporate support of the BSO has more than tripled in the past three years, with the result BSO that nearly 400 companies are contributing more than $1 million annually to the orches- tra. This has been accomplished through the activities of the BSO Business & Professional BSO Guests on WGBH-FM-89.7 Leadership Program, which was founded in 1980 by area executives in recognition of the The featured guests with Ron Delia Chiesa BSOs significant contribution to the corpo- during the intermissions of upcoming live rate community. The program is overseen by a Boston Symphony broadcasts will be committee including business leaders from BSO Artistic Administrator Costa Pilavachi companies throughout New England, making (1 and 2 November) and BSO clarinetist Peter it possible for businesses to participate in the Hadcock (15 and 16 November). In addition, life of the Boston Symphony Orchestra guest conductor Bernard Haitink is Robert J. through some of the most original and excit- Lurtsema's guest on Morning Pro Musica, ing programs of their kind in America: "Presi- Monday, 11 November at 11. dents at Pops," "A Company Christmas at Pops," the BSO Corporate Enrichment Pro- gram, leadership dinners held in Symphony Holiday Pops Information Hall, and special-event underwriting. Contri- butions for membership begin at $1,000. For BSO Friends and subscribers will receive further information on how your company or priority ticket information including dates professional partnership can join this pro- and prices for the 1985 Christmas Pops and gram, contact Eric Sanders or Sue Tomlin in New Year's Eve Gala concerts by mid- the BSO Corporate Development Office, (617) November. 266-1492. Art Exhibits in the Cabot-Cahners Room Planned Giving Seminars The Boston Symphony Orchestra is pleased to The Boston Symphony Orchestra is pleased announce that, for the twelfth season, various once again to offer a series of Planned Giving Boston-area galleries, museums, schools, and Seminars conducted by John Brown, noted non-profit artists' organizations will exhibit authority in the area of deferred gifts. Semi- their work in the Cabot-Cahners Room on the nars for the 1985-86 season will be held prior first-balcony level of Symphony Hall. On dis- to the BSO concerts on 25 October, 1 Novem- play through 28 October are works from the ber, 12 December, 23 January, 4 February, Pucker Safrai Gallery. Other organizations to 18 March, 11 April, and 18 April. For further be represented during the coming months are information please contact Joyce M. Serwitz, the Harris Brown Gallery (28 October- Assistant Director of Development, at 25 November), Boston Society of Architects 266-1492, ext. 132. (25 November-16 December), and Childs Gallery (16 December-13 January). Attention, Subscription Sharers! If you share a subscription, you may not be With Thanks receiving BSO news and information. To add your name to the mailing list, please send your We wish to give special thanks to the National name, address, and phone number, the series Endowment for the Arts and the Massachu- you attend, and the name of the person with setts Council on the Arts and Humanities for whom you share the subscription to: Subscrip- their continued support of the Boston Sym- tion Office, Symphony Hall, Boston, MA phony Orchestra. 02115. ! I '! I How to conduct yourself on Friday night. Aficionados of classical music can enjoy the Boston Symphony Orchestra every Friday night at 9 o'clock on WCRB 102. 5 FM. Sponsored in part by Honeywell. Honeywell BSO Members in Concert BSO members Cecylia Arzewski, violin, and Newton Symphony conductor and BSO Martha Babcock, cello, are soloists in the violinist Michel Sasson. Ronald Knudsen will Brahms Double Concerto with Max Hobart complete the program with the Mendelssohn and the North Shore Philharmonic on Sunday, Reformation Symphony and the Schumann 3 November at 7:30 p.m. at the Salem High Piano Concerto featuring soloist Russell School Auditorium. The program also includes Sherman. Subscriptions for the orchestra's Rossini's overture to Semiramide, Grieg's four-concert season are still available at $30; Peer Gynt Suite No. 2, and the world pre- single tickets are $8. For further information, miere, commissioned by the North Shore Phil- call 965-2555. harmonic, of Dennis Leclaire's Salem: 1692. Ronald Feldman conducts the Mystic Valley For ticket information, call 1-631-6513. Orchestra in Mozart's Symphony No. 36 The contemporary music ensemble Collage (Linz), Elgar's E minor Serenade for strings, begins its 1985-86 season with music of Ste- and the Berg Violin Concerto with BSO phen Albert, Christopher Rouse, Robert Selig, violinist Joel Smirnoff as soloist on Saturday, and Edward Cohen on Monday, 4 November at 16 November at 8 p.m. at Cary Hall in Lex- 8 p.m. at the Longy School of Music, 1 Pollen ington and on Sunday, 17 November at 8 p.m. Street in Cambridge. For complete program at Dwight Auditorium at Framingham State and ticket information, call 437-0231. College. Tickets are $6 and $4 in Lexington, Ronald Knudsen leads the Newton Sym- $8 and $5 in Framingham. The Mystic Valley phony Orchestra in the first concert of its 20th Orchestra offers several series of subscription Anniversary Season on Sunday, 10 November concerts in Cambridge, Lexington, and Fram- at 8 p.m. at Aquinas Junior College in New- ingham. For further information, call ton. The opening piece will be led by former 924-4939 after 12 noon. THE CANTATA SINGERS 1985/1986 Subscription Series David Hoose, Music Director JEPHTHA An oratorio by George Frideric Handel Wednesday, November 20, 7:30 p.m. Sanders Theatre at Harvard University CANTATAS & MOTETS OF J.S. BACH AND ANTON WEBERN Wednesday, March 5, 8:00 p.m. Sanders Theatre at Harvard University SCENES FROM GOETHE'S "FAUST" by Robert Schumann with the Harvard University Choir, John Ferris, Music Director Saturday, May 3, 8:00 p.m.
Recommended publications
  • A Dichterliebe by Robert Schumann
    ,A DICHTERLIEBE BY ROBERT SCHUMANN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Hubert Neil Davidson, B. M. Denton, Texas August, 1957 PREFACE The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 1+8) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and perform- ance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal lit.- erature of the Romantic period. An acquaintance with the life of the poet, Heinrich Heine, as well as the life of the composer of these songs and their relationship to each other contributes toward an understanding of the cycle. Each of the sixteen songs in the cycle is analyzed according to its most important characteristics, including text setting, general harmonic structure, important role of the accompaniment, expressive techniques, mood, tempo, rhythm, and dynamics. It is not the aim of this work to offer an extensive formal or harmonic analysis of this song cycle. iii TABLE OF CONTENTS Page PREFACE . iii LIST OF ILLUSTRATIONS.... ..... .v Chapter I. BACKGROUND OF THE DICHTERLIEBE . .1 Biographical Sketch of Robert Schumann The Life and Work of Heinrich Heine Robert Schumann's Relationship with Heinrich Heine History of Song Cycles up to and Past the Dichterliebe II. ANALYSIS OF THE DICHTERLIEBE . 18 I Im wundersch8ne Monat Mai II lus meinen Thranen spriessen III Die Rose, die Lilie, die Taube IV Wenn ich in!~deine Augen~seh1' V IhwiT miieine Seele tauchen VI Im Rhein, im heiligen Strome VII Ich rolle nicht VIII Und, ssten's die Blumen, die kleinen IX Das ist ein Fl8ten und Geigen x 'Tich das Liedchen~klingen XI Emn J17ling liebt ein Mdchen XII Am leuchtenden Sommemorgen XIII Ich hablimTTraum geweinet XIV llnHEhtlich im Traume seh' ich dich XV Aus alten Murchen Winkt es XVI Die alten b6sen Leider BIBLIOGRAPHY 0.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip
    INFANTRY HALL • PROVIDENCE Thirty-second Season, J9J2—X9J3 Dr. KARL MUCK, Conductor Programme of % THIRD CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, DECEMBER 31 AT 8.15 COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER — " After the Symphony Concert 9J a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. Sole Representative MRS. LUCY H. MILLER 28 GEORGE STREET - - PROVIDENCE, R.I. Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W. Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler, B. Marble, E. Hayne, E. Tischer-Zeitz, H Kurth, R. Grunberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H. Kluge, M. Van Wynbergen, C Gietzen, A.
    [Show full text]
  • R Obert Schum Ann's Piano Concerto in AM Inor, Op. 54
    Order Number 0S0T795 Robert Schumann’s Piano Concerto in A Minor, op. 54: A stemmatic analysis of the sources Kang, Mahn-Hee, Ph.D. The Ohio State University, 1992 U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 ROBERT SCHUMANN S PIANO CONCERTO IN A MINOR, OP. 54: A STEMMATIC ANALYSIS OF THE SOURCES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Mahn-Hee Kang, B.M., M.M., M.M. The Ohio State University 1992 Dissertation Committee: Approved by Lois Rosow Charles Atkinson - Adviser Burdette Green School of Music Copyright by Mahn-Hee Kang 1992 In Memory of Malcolm Frager (1935-1991) 11 ACKNOWLEDGMENTS I would like to express my gratitude to the late Malcolm Frager, who not only enthusiastically encouraged me In my research but also gave me access to source materials that were otherwise unavailable or hard to find. He gave me an original exemplar of Carl Relnecke's edition of the concerto, and provided me with photocopies of Schumann's autograph manuscript, the wind parts from the first printed edition, and Clara Schumann's "Instructive edition." Mr. Frager. who was the first to publish information on the textual content of the autograph manuscript, made It possible for me to use his discoveries as a foundation for further research. I am deeply grateful to him for giving me this opportunity. I express sincere appreciation to my adviser Dr. Lois Rosow for her patience, understanding, guidance, and insight throughout the research.
    [Show full text]
  • Boston Symphony Orchestra Archives
    Boston Symphony Orchestra PERSONNEL F Perfection m Piano Makmcf 5 feet long THE <Ps.(#^>0 -6^rafxrRmn Quarter Grand Style V, m figured Makogany, price ^650 It IS out nve reet long and in Tonal Proportions a Masterpiece or piano building. It IS Cnickermg CT* Sons most recent triumpn, tke exponent of EIGHTY-SEVEN YEARS experience m artistic piano tuildmg, and tlie keir to all the qualities tkat tke name of its makers implies. CHICKERING &> SONS THIRTIETH SEASON, NINETEEN HUNDRED TEN AND ELEVEN FRIDAY AFTERNOON, OCTOBER 7, at 2.30 o'clock SATURDAY EVENING, OCTOBER 8, at 8 o'clock PROGRAMME In commemoration o{ the one hundredth anniversary of the birth of ROBERT SCHUMANN Born at Zwickau, June 8, 18 tO Schumann .... Overture to Byron's "Manfred," Op. 115 Schumann . Symphony in E-flat major, No. 3, "Rhenish," Op. 97 I. Lebhaft. II. Sehr massig. III. Nicht schnell. IV. Feierlich. V. Lebhaft. Schumann . Concerto for Violoncello with Orchestral Accompaniment in A minor. Op. 129 Nicht schnell.— Langsam.— Sehr lebhaft. Schumann . Overture to "Genoveva," Op. 81 SOLOIST Mr. ALWIN SCHROEDER There will be an intermission of ten minutes after the symphony The doors of the hall will be closed during the performance of each number on the prograinme. Those who wish to leave before the end of the concert are requested to do so in an interval be-- tween the numbers. city of Boston. Revised Regulation of August 5, 1898.— Chapter 3, relatinii to (he covering of the head In places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the headfarcoverlng which obstructs the view of the exhibition or performance in such place of any person seatetl in anyjseat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn.
    [Show full text]
  • Schumann-Journal Begründet 2012 Von Dr
    Schumann-Journal Begründet 2012 von Dr. Ingrid Bodsch Publikation des Schumann-Netzwerks / Schumann-Forums A Publication of the Schumann Network / Schumann Forum Herausgegeben im Auftrag der Projektleitung des Schumann-Netzwerks von Irmgard Knechtges-Obrecht Nr. 3 / Frühjahr 2014 Mit Unterstützung der Beauftragten der Bundesregierung für Kultur und Medien Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d.-nb.de abrufbar. Herausgegeben im Auftrag der Projektleitung des Schumann-Netzwerks (Ingrid Bodsch) von Irmgard Knechtges-Obrecht Redaktion Dr. Irmgard Knechtges-Obrecht Horbacher Straße 366A . D 52072 Aachen Tel.: 0049 (0) 2407 / 90 26 39 Fax: 0049 (0) 3212 / 1 02 12 55 E-Mail: [email protected] Satz und Lektorat Dr. Ingrid Bodsch und Dr. Sigrid Lange Bildredaktion, Bearbeitung und druckfertiges Layout Dr. Ingrid Bodsch Umschlaggestaltung: phVision, Christa Polch Druck: medienHaus Plump GmbH, Rheinbreitbach © Verlag StadtMuseum Bonn 2014 Alle Rechte, auch das des auszugsweisen Nachdruckes, der auszugsweisen oder vollständigen Wiedergabe, der Speicherung in Datenverarbeitungsan- lagen und der Übersetzung, vorbehalten. Printed in Germany by medienHaus Plump GmbH, Rheinbreitbach ISBN 978-3-931878-43-6 Verlag StadtMuseum Bonn . Stadt Bonn, Amt 41-5 . D 53103 Bonn Tel.: 0049 (0) 772094, Fax: 0049 (0) 774298 E-Mail: [email protected]
    [Show full text]
  • Tournament 17 Round 15 Tossups 1
    Tournament 17 Round 15 Tossups 1. Larry Layton was the only person prosecuted for this event. The man responsible for this event had previously been appointed by Mayor George Moscone as Chairman of the San Francisco Housing Authority. Leo Ryan became the only member of Congress to die in the line of duty when he was murdered prior to this event. The people who died in this event were (*) members of the People's Temple. For 10 points, name this 1978 event in Guyana in which 913 cult members drank cyanide-laced Flavor-Aid in a mass suicide. ANSWER: Jonestown massacre [or reasonable equivalents mentioningJonestown] 030-11-29-15102 2. When these entities are extremely weak, their strength is often measure using a device called a SQUID. NMR spectroscopy involves chemical shift when a sample is placed in one of these entities. A current that is perpendicular to one of those entities produces a potential difference known as the Hall Effect. According to Ampere’s law their strength is proportional to the electrical current. Their strength, which is a measured in a unit called (*) Teslas, can be determined using the Biot-Savart law. For 10 points, name this type of vector field caused by moving electric charges. ANSWER: magnetic fields 064-11-29-15103 3. The protagonist of this book becomes President of the Lions Club and is killed by Paul Lazzaro during a speech he gives in Chicago. Other characters in this book include the narrator’s friend Bernard V. O’Hare and Eliot Rosewater, who introduces the protagonist to the books of Kilgore Trout.
    [Show full text]
  • San Francisco Conservatory of Music Aug 18, 2021 Catalog Music And
    r_catalog San Francisco Conservatory of Music Aug 18, 2021 Catalog APP 100 Music for Dancers Music and dance are closely aligned in almost every cultural tradition and enjoy an especially close relationship in ballet, modern dance, opera and musical theater. In this course students will deepen their understanding of music and learn about significant works of music and dance through group viewing and listening sessions accompanied by lectures and discussions. This course will meet twice a month. Once a month students will attend a live or virtual performance by Bay Area arts partners including SFCM, SF Symphony, SF Opera, and CalPerformances. In a second session each month students will view a filmed work of music and dance. Evaluation will be based on attendance and active participation in these sessions. Session topics will include the work by choreographers Martha Graham, Katherine Dunham, George Balanchine, Alvin Ailey, Merce Cunningham, Mark Morris, and Cathy Marston and composers J. S. Bach, Felix Mendelssohn, Fanny Hensel, P. I. Tchaikovsky, Leonard Bernstein, John Cage, and Laurie Anderson. Credits: .50 APP 202 Vocal Physiology (2 hours, 2 credits) A study of the anatomy and physiology of the vocal instrument, including respiration, phonation, resonance, vowel acoustics and vocal hygiene. Voice classification, compilation of exercises, and teaching methods are introduced. Credits: 2.00 APP 203 Undergraduate Vocal Pedagogy (2 hours, 2 credits) This class offers practical applications of materials studied in Vocal Physiology. Students will be assigned to teach one private student for the semester and will maintain a lesson journal. Teaching will be monitored through in-class lesson demonstrations.
    [Show full text]
  • Science & Technology
    ROBERT SCHUMANN: taken that same day Herald of a ‘New Poetic Age.’ to an asylum, where By John Daverio. Oxford University Press. he died two years 624 pp. $45 later. Eccentric, Although he gave us such indisputably great dark, and often re- works as his Piano Quintet (1842) and Cello petitive, the compo- Concerto (1850), few composers have been sitions dating from subject to as many unfounded charges as has this period have Robert Schumann (1810–56). Scholars claim been dismissed as that he was unable to orchestrate, that he the products of a de- couldn’t handle larger musical forms, and that caying intelligence. his later pieces, composed when he was suffer- But Daverio finds in ing from mental illness, are gloomy failures them “a heightened devoid of the freshness and lyricism found in intensity of expression” and an inventiveness his earlier work. presaging the music of Anton Bruckner, Max The shade of the German romanticist Reger, and Arnold Schönberg. Daverio insists may now rest more easily, thanks to this that the economical use of thematic material authoritative new biography. To defend and masterful handling of form in pieces such Schumann’s skill in orchestration, Daverio, as the Fourth Symphony (1851), the Faust a musicologist at Boston University, shows overture, and the Violin Concerto (1853) how the rich programmatic content of such could have come only from an artist “in full works as Scenes from Goethe’s Faust (1844- command of his or her rational powers.” 53) is conveyed through inventive instru- What Daverio fails to note is that perform- mental combinations.
    [Show full text]
  • Rebecca Dirichlet's Development of the Complex Domain
    EIR Feature THE MUSICAL SOUL OF SCIENTIFIC CREATIVITY Rebecca Dirichlet’s Development of the Complex Domain by David Shavin The famous American philosopher Yogi Berra, whose day job was as a catcher for the New York Yankees, once analyzed the key to the intricacies of hitting a baseball: “It’s 90% half-mental.” Surprisingly enough, it is a complex domain that combines the visual mapping of the incoming base- ball with the required inverse, curved arc of the bat’s trajectory. Whether or not Yogi had in mind the drawing at the end of Carl Gauss’s 1799 “Funda- mental Theorem of Algebra,” Yogi’s maxim holds. Gauss re-organized his own mind, along the lines of the non-visible geometry of the complex domain at the core of causality expressed in the material world. It was, to say the least, 90% half-mental! Gauss’s most distinguished followers, Lejeune Dirichlet and his student Bernhard Riemann, further developed this power of the mind, to embody the causal features of the non-visible complex domain.1 Rigorous and fruit- ful analysis proceeded, but not as dictated by numbers. The reality of the so-called subjective processes of the mind (and not so-called hard particles of reality), conveying a rigorous causality, was now primary: Mathematics had been taught how to sing. In the early 1950s, another famous American philosopher, Lyndon La- Rouche (who never played catcher for the Yankees) worked intensively upon Riemann’s contributions to causality in developing what is now 1. See Lyndon LaRouche’s “Leibniz from Riemann’s Standpoint,” at http://www.schiller institute.org/fid_91-96/963A_lieb_rieman.html; “The Ontological Matter: The Substance of Ten- sors,” at http://www.larouchepub.com/lar/2009/3622tensors_ontological.html; and Bruce Direc- tor’s “Bernard Riemann’s ‘Dirichlet’s Principle’ “ at http://www.schillerinstitute.org/fid_02- 06/2004/044_riemann_dirichlet.html 30 Feature EIR June 4, 2010 vestigating the undeniably subjective qual- ity of science, but a subjectivity in the com- municable, social form of the works of Bach, Mozart and Beethoven.
    [Show full text]
  • Schumann's Orchestration for Das Paradies Und Die Peri and Szenen
    Schumann’s Orchestration for Das Paradies und die Peri and Szenen aus Goethes Faust Laura Tunbridge Laura Tunbridge is senior lecturer in music at the University of Manchester, UK. She is the author of Schumann's Late Style (Cambridge, 2007) and The Song Cycle (Cambridge, 2011), and co-editor of Rethinking Schumann (Oxford, 2010). [email protected] ecent “historically informed” per- R formances of Robert Schumann’s symphonic works have made a strong case for re-evaluating one of the most contentious aspects of his music: the quality of its orchestration.1 So far, less attention has been paid to the orches- tration of the choral works, although some of them have also benefi ted from the lighter touch of recordings by John El- iot Gardiner and the Orchestre Révolutionnaire et Romantique or Philippe Herreweghe and the Orchestre des Champs Elysées. However, in the scores of Schumann’s Das Paradies und die Peri, Der Rose Pilgerfahrt, Szenen aus Goethes Faust, the four choral ballades. and the Mass and Requiem, we can fi nd multiple examples of inventive and delicate orchestral writing within the Romantic tradition of Carl Maria von Weber, Felix Mendelssohn, and even, to a degree, Hector Berlioz. As can be seen in Table 1, throughout his career, Schumann wrote for a standard classical orches- tra with paired woodwinds, paired horns and trumpets, three trombones, timpani, and fi ve- part strings. The bass end was sometimes bolstered by ophicleide (Das Paradies und die Peri) or its descendant the tuba (the choral ballades). Extra instruments—piccolo, harp or triangle—were included for particular illustra- tive effects.
    [Show full text]
  • Robert Schumann's Part-Songs for Men's Chorus and a Detailed Analysis of Fü F Gesä Ge
    ROBERT SCHUMANN'S PART-SONGS FOR MEN'S CHORUS AND A DETAILED ANALYSIS OF FÜF GESÄGE (JAGDLIEDER), OPUS 137 D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University by Timothy David Sarsany, B.M., M.M. Graduate Program in Music The Ohio State University 2010 Document Committee: Professor Hilary Apfelstadt, Advisor Professor Arved Ashby Professor Russel Mikkelson Professor Robert Ward Copyright by Timothy David Sarsany 2010 ABSTRACT In 1840, Schumann turned to the voice after writing much for piano in the previous decade. As editor of the eue Zeitschrift für Musik , a journal launched in 1834, Schumann was aware of the rise of male choirs in Germany. Male song at the time was a part of his social scene at night in the pubs, so Schumann took it upon himself to tackle the new challenge of writing for male voices. The result was a body of works comprising 26 part-songs. This document is intended for conductors and scholars interested in discovering Schumann's lesser known works for male chorus in hopes that conductors will choose to include them in their chorus' repertoire. This document includes discussions of the 26 part-songs for men's chorus. It also contains a detailed discussion, including translations, and pronunciation guides of the Fünf Gesänge (Jagdlieder) , op. 137, which were included as part of a lecture-recital presented on May 22, 2010, featuring The Ohio State University Men's Glee Club and players from the OSU Horn Studio.
    [Show full text]
  • Robert Schumann: Life and Death of a Musician Ebook
    ROBERT SCHUMANN: LIFE AND DEATH OF A MUSICIAN PDF, EPUB, EBOOK John Worthen | 496 pages | 18 May 2010 | Yale University Press | 9780300163988 | English | New Haven, United States Robert Schumann: Life and Death of a Musician PDF Book Len rated it really liked it Jun 14, After Robert's death, Clara continued her career as a concert pianist, which supported the family. Therefore Worthen makes a concerted effort to read Schumann's life forwards, and gives a new appraisal to the details of his correspondence, diaries, musical career, etc. This is an excellent and provocative biography that is sure to spark fierce debate among musicians and psychologists. He never surpassed the searching beauty of the slow movements Nos. Death Paperback Books. You could not be signed in. Schonberg , in his The Great Conductors : "The great composer was impossible on the platform Open Preview See a Problem? Piano Concerto in A minor, Op. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. There were definitely some fascinating gems, and the overall picture was worthwhile, but it wasn't a page turner, and unless this subject is your specialty, you might find the depth a little overwhelming and perhaps unnecessary. Fantasie C major , Op. Apr 20, Bob Williams rated it really liked it. He also began to seriously study piano with Friedrick Wieck, a well-known piano teacher. Even though he often disregarded the principles of musical composition, he created works regarded as admirable for his age. Buy at Local Store Enter your zip code below to purchase from an indie close to you.
    [Show full text]