Boston Symphony Orchestra Concert Programs, Season
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Le Saxophone: La Voix De La Musique Moderne an Honors
Le Saxophone: La Voix de La Musique Moderne An Honors Thesis by Nathan Bancroft Bogert Dr. George Wolfe Ball State University Muncie, Indiana April 2008 May 3, 2008 Co Abstract This project was designed to display the versatility of the concert saxophone. In order to accomplish this lofty goal, a very diverse selection of repertoire was chosen to reflect the capability of the saxophone to adapt to music of all different styles and time periods. The compositions ranged from the Baroque period to even a new composition written specifically for this occasion (written by BSU School of Music professor Jody Nagel). The recital was given on February 21, 2008 in Sursa Hall on the Ball State University campus. This project includes a recording of the performance; both original and compiled program notes, and an in-depth look into the preparation that went into this project from start to finish. Acknowledgements, I would like to thank Dr. George Wolfe for his continued support of my studies and his expert guidance. Dr. Wolfe has been an incredible mentor and has continued his legacy as a teacher of the highest caliber. I owe a great deal of my success to Dr. Wolfe as he has truly made countless indelible impressions on my individual artistry. I would like to thank Dr. James Ruebel of the Ball State Honors College for his dedication to Ball State University. His knowledge and teaching are invaluable, and his dedication to his students are tings that make him the outstanding educator that he is. I would like to thank the Ball State School of Music faculty for providing me with so many musical opportunities during my time at Ball State University. -
Manuel De Falla's Homenajes for Orchestra Ken Murray
Manuel de Falla's Homenajes for orchestra Ken Murray Manuel de Falla's Homenajes suite for or- accepted the offer hoping that conditions in Ar- chestra was written in Granada in 1938 and given gentina would be more conducive to work than in its first performance in Buenos Aires in 1939 war-tom Spain. So that he could present a new conducted by the composer. It was Falla's first work at these concerts, Falla worked steadily on major work since the Soneto a Co'rdoba for voice the Homenajes suite before leaving for Argentina. and harp (1927) and his first for full orchestra On the arrival of Falla and his sister Maria del since El sombrero de tres picos, first performed in Carmen in Buenos Aires on 18 October 1939 the 1919. In the intervening years Falla worked on suite was still not ~omplete.~After a period of Atldntida (1926-46), the unfinished work which revision and rehearsal, the suite was premiered on he called a scenic cantata. Falla died in 1946 and 18 ~ovember1939 at the Teatro Col6n in Buenos the Homenajes suite remains his last major original Aires. Falla and Maria del Carmen subsequently work. The suite consists of four previously remained in Argentina where Falla died on 14 composed pieces: Fanfare sobre el nombre de November 1946. Arbds (1933); orchestrations of the Homenaje 'Le Three factors may have motivated Falla to tombeau de Claude Debussy' (1920) for solo combine these four Homenajes into an orchestral guitar; Le tombeau de Paul Dukas (1935) for pi- suite. He may have assembled the suite in order to ano; and Pedrelliana (1938) which-wasconceived give a premiere performance in Argentina. -
Alfred Desenclos
FRENCH SAXOPHONE QUARTETS Dubois Pierné Françaix Desenclos Bozza Schmitt Kenari Quartet French Saxophone Quartets Dubois • Pierné • Françaix • Desenclos • Bozza • Schmitt Invented in Paris in 1846 by Belgian-born Adolphe Sax, conductor of the Concerts Colonne series in 1910, Alfred Desenclos (1912-71) had a comparatively late The Andante et Scherzo, composed in 1943, is the saxophone was readily embraced by French conducting the world première of Stravinsky’s ballet The start in music. During his teenage years he had to work to dedicated to the Paris Quartet. This enjoyable piece is composers who were first to champion the instrument Firebird on 25th June 1910 in Paris. support his family, but in his early twenties he studied the divided into two parts. A tenor solo starts the Andante through ensemble and solo compositions. The French Pierné’s style is very French, moving with ease piano at the Conservatory in Roubaix and won the Prix de section and is followed by a gentle chorus with the other tradition, expertly demonstrated on this recording, pays between the light and playful to the more contemplative. Rome in 1942. He composed a large number of works, saxophones. The lyrical quality of the melodic solos homage to the élan, esprit and elegance delivered by this The Introduction et variations sur une ronde populaire which being mostly melodic and harmonic were often continues as the accompaniment becomes busier. The unique and versatile instrument. was composed in 1936 and dedicated to the Marcel Mule overlooked in the more experimental post-war period. second section is fast and lively, with staccato playing and Pierre Max Dubois (1930-95) was a French Quartet. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Gordon Lightfoot Gord's Gold Mp3, Flac, Wma
Gordon Lightfoot Gord's Gold mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Gord's Gold Country: Europe Style: Folk Rock MP3 version RAR size: 1722 mb FLAC version RAR size: 1774 mb WMA version RAR size: 1314 mb Rating: 4.4 Votes: 795 Other Formats: DXD MIDI AHX MP4 MPC AUD TTA Tracklist 1 I'm Not Sayin' / Ribbon Of Darkness 3:00 2 Song For A Winter's Night 2:58 3 Canadian Railroad Trilogy 7:02 4 Softly 2:36 5 For Lovin' Me / Did She Mention My Name 3:27 6 Steel Rail Blues 2:45 7 Wherefore And Why 2:42 8 Bitter Green 2:42 9 Early Morning Rain 3:14 10 Minstrel Of The Dawn 3:23 11 Sundown 3:32 12 Beautiful 3:20 13 Summer Side Of Life 4:02 14 Rainy Day People 2:46 15 Cotton Jenny 3:22 16 Don Quixote 3:38 17 Circle Of Steel 2:44 18 Old Dan's Records 3:02 19 If You Could Read My Mind 3:48 20 Cold On The Shoulder 2:59 21 Carefree Highway 3:41 Companies, etc. Copyright (c) – Warner Bros. Records Inc. Phonographic Copyright (p) – Warner Bros. Records Inc. Credits Engineer [Assistant] – Kenny Friesen* Engineer, Mixed By – Lee Herschberg Producer – Joe Wissert (tracks: 10, 13, 15, 19), Lenny Waronker (tracks: 1 to 12, 14, 16 to 21) Barcode and Other Identifiers Barcode: 0075992722520 Other versions Category Artist Title (Format) Label Category Country Year Gordon Gord's Gold (2xLP, Reprise 2RS 2237 2RS 2237 Canada 1975 Lightfoot Comp, Club) Records Gordon Gord's Gold (2xLP, FRM-2237 Friday Music FRM-2237 US 2014 Lightfoot Comp) Gordon Gord's Gold (Cass, Reprise J5 2237 J5 2237 US Unknown Lightfoot Comp, Club) -
June 28, 29 & 30, 2013
33rd annual music with roots 2013 June 28, 29 & 30, 2013 Welcome to the 33rd annual music with roots THE MISSION OF OLD SONGS, INC. FUNDING PROVIDED BY Old Songs, Inc. is a not-for-profit organization dedicated to keeping traditional This event is made possible with public funds from the New music and dance alive through the presentation of festivals, concerts, dances and York State Council on the Arts, with the support of Governor educational programs. Andrew Cuomo and the New York State Legislature. THANK YOU FOR YOUR SUPPORT SOUND SUPPORT Meadowlark Farms (flowers) • REM Printing • Michael Jarus • Andy’s Front Hall Specialized Audio/John Geritz, Ian Hamelin and crew, Altamont Fairgrounds • Terry & Donna Mutchler • Voorheesville Carpet Co. Euterpe Sound/Clyde Tyndale, Tim Parker, Kate Korolenko, Scott Petersen, Dave and Cyndi Reichard OUR ENVIRONMENT We are grateful to have such a lovely shaded place to have a festival. Please DOCUMENTATION use the RECYCLE barrels for all plastic, aluminum, and glass containers. Flatten Don Person, Bill Houston, Bill Spence, Hannah Spence cardboard and place it next to a barrel. Use TRASH BARRELS for refuse. PICK UP and Neil Parsons after the concerts. Ride your BICYCLES in the designated areas. Wear shoes, use sunscreen and drink lots of water. Smoke away from the seated audience. Thanks SPONSORS from all who share this place. Old Songs would like to thank the following businesses and individuals for SEATING/CHAIR POLICY their sponsorship of the 2013 Old Songs Festival: Seating at the Main Stage and in Areas 2, 3, 6, 7 and 8 is divided into low and high The Global Child - Chet & Karen Opalka Price Chopper sections. -
FLORENT SCHMITT Mélodies
FLORENT SCHMITT Mélodies Sybille Diethelm soprano Annina Haug mezzo-soprano Nino Aurelio Gmünder tenor René Perler bass-baritone Fabienne Romer piano Edward Rushton piano Florent Schmitt (1870–1958) Chansons à quatre voix, Op. 39 (1905) Quatre Poèmes de Ronsard, Op. 100 (1942) 1. Véhémente [1:22] 19. Si… [2:36] Mélodies 2. Nostalgique [2:01] 20. Privilèges [1:42] 3. Naïve [2:51] 21. Ses deux yeux [2:49] 4. Boréale [1:26] 22. Le soir qu’Amour [3:02] 5. Tendre [4:12] 1–6, 11–13 & 23–25 Sybille Diethelm soprano 6. Marale [1:48] Trois Chants, Op. 98 (1943) Annina Haug mezzo soprano 1–6 & 17–18 23. Elle était venue [5:13] Nino Aurelio Gmünder tenor 1–10 & 19–22 Quatre Lieds, Op. 45 (1912) 24. La citerne des mille René Perler bass-baritone 1–6 & 14–16 7. Où vivre? [1:32] colonnes – Yéré Batan [6:07] Fabienne Romer piano 1–10, 17–18 & 23–25 8. Evocaon [1:38] 25. La tortue et le 1–6, 11–16 & 19–22 9. Fleurs décloses [2:23] lièvre – Fable [4:06] Edward Rushton piano 10. Ils ont tué trois petes filles [2:51] Kérob-Shal, Op. 67 (1924) Total playing me [72:33] 11. Octroi [3:55] 12. Star [2:16] 13. Vendredi XIII [3:38] All world premiere recordings apart Trois Mélodies, Op. 4 (1895) from Op. 98, Op. 100 & Op. 4, No. 2 14. Lied [3:11] 15. Il pleure dans mon coeur [2:57] 16. Fils de la Vierge [2:44] Deux Chansons, Op. -
Wilson Poffenberger, Saxophone
KRANNERT CENTER DEBUT ARTIST: WILSON POFFENBERGER, SAXOPHONE CASEY GENE DIERLAM, PIANO Sunday, April 14, 2019, at 3pm Foellinger Great Hall PROGRAM KRANNERT CENTER DEBUT ARTIST: WILSON POFFENBERGER, SAXOPHONE Casey Gene Dierlam, piano Maurice Ravel Ma Mère L’Oye (“Mother Goose”) (1875-1937) Pavane de la Belle au bois dormant (arr. by Wilson Poffenberger) Petit Poucet Laideronnette, Impératrice des Pagodes Les entretiens de la Belle et de la Bête Le jardin férique Florent Schmitt Légende, Op. 66 (1870-1958) Gabriel Fauré Après un rêve, Op. 7, No. 1 (1845-1924) (arr. by Wilson Poffenberger) 20-minute intermission Johann Sebastian Bach Partita No. 2 in D Minor for Solo Violin, BWV 1004 (1685-1750) Allemande (arr. by Wilson Poffenberger) Edison Denisov Sonate (1929-1996) Allegro Lento Allegro moderato Fernande Decruck Sonate en Ut# (1896-1954) Trés modéré, espressif Noël Fileuse Nocturne et Final 2 THE ACT OF GIVING OF ACT THE THANK YOU FOR SPONSORING THIS PERFORMANCE With deep gratitude, Krannert Center thanks all 2018-19 Patron Sponsors and Corporate and Community Sponsors, and all those who have invested in Krannert Center. Please view their names later in this program and join us in thanking them for their support. This event is supported by: * TERRY & BARBARA ENGLAND LOUISE ALLEN Four Previous Sponsorships Twelve Previous Sponsorships * NADINE FERGUSON ANONYMOUS Nine Previous Sponsorships Four Previous Sponsorships *PHOTO CREDIT: ILLINI STUDIO HELP SUPPORT THE FUTURE OF THE ARTS. BECOME A KRANNERT CENTER SPONSOR BY CONTACTING OUR ADVANCEMENT TEAM TODAY: KrannertCenter.com/Give • [email protected] • 217.333.1629 3 PROGRAM NOTES The art of transcription is celebrated by Wilson The first of the five pieces, “Pavane de la Belle Poffenberger’s demanding work for this program. -
A Village Romeo and Juliet the Song of the High Hills Irmelin Prelude
110982-83bk Delius 14/6/04 11:00 am Page 8 Also available on Naxos Great Conductors • Beecham ADD 8.110982-83 DELIUS A Village Romeo and Juliet The Song of the High Hills Irmelin Prelude Dowling • Sharp • Ritchie Soames • Bond • Dyer Royal Philharmonic Orchestra Sir Thomas Beecham Naxos Radio (Recorded 1946–1952) Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia Accessible Anywhere, Anytime • Near-CD Quality www.naxosradio.com 2 CDs 8.110982-83 8 110982-83bk Delius 14/6/04 11:00 am Page 2 Frederick Delius (1862-1934) 5 Koanga: Final Scene 9:07 Royal Philharmonic Orchestra • Sir Thomas Beecham (1879-1961) (Royal Philharmonic Orchestra and Chorus) Recorded on 26th January, 1951 Delians and Beecham enthusiasts will probably annotation, frequently content with just the notes. A Matrix Nos. CAX 11022-3, 11023-2B continue for ever to debate the relative merits of the score of a work by Delius marked by Beecham, First issued on Columbia LX 1502 earlier recordings made by the conductor in the 1930s, however, tells a different story, instantly revealing a mostly with the London Philharmonic Orchestra, in most sympathetically engaged music editor at work. comparison with those of the 1940s and 1950s Pulse, dynamics, phrasing, expressive nuance and All recordings made in Studio 1, Abbey Road, London recorded with handpicked players of the Royal articulation, together with an acute sensitivity to Transfers & Production: David Lennick Philharmonic Orchestra. Following these two major constantly changing orchestral balance, are annotated Digital Noise Reduction: K&A Productions Ltd. periods of activity, the famous EMI stereo remakes with painstaking practical detail to compliment what Original recordings from the collections of David Lennick, Douglas Lloyd and Claude G. -
Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SEVENTY-SEVENTH SEASON I 957- I 958 Carnegie Hall, New York Boston Symphony Orchestra (Seventy-seventh Season, 1957-1958) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster Albeit Bernard George Zazofsky Rolland Tapley George Humphrey Contra-Bassoon Norbert Lauga Jerome Lipson Richard Plaster Vladimir Resnikoff Robert Karol Reuben Horns Harry Dickson Green Gottfried Wilfinger Bernard Kadinoff James Stagliano Vincent Charles Yancich Einar Hansen Mauricci Joseph Leibovici John Fiasca Harry Shapiro Earl Hedberg Harold Meek Emil Kornsand Paul Keaney Roger Shermont Violoncellos Osbourne McConathy Minot Beale Samuel Mayes Herman Silberman Alfred Zighera Trumpets Stanley Benson Jacobus Langendoen Leo Panasevich Roger Voisin Mischa Nieland Andr6 Come Sheldon Rotenberg Karl Zeise Armando Ghitalla Fredy Ostrovsky Josef Zimbler Gerard Goguen Clarence Knudson Bernard Parronchi Trombones Pierre Mayer Martin Hoherman Manuel Zung Louis Berger William Gibson Samuel Diamond Richard Kapuscinski William Moyer Kauko Kahila Victor Robert Ripley Manusevitch Josef Orosz James Nagy Winifred Winograd Melvin Bryant Flutes Tuba Lloyd Stonestreet Doriot Anthony Dwyer K. Vinal Smith Saverio Messina James Pappoutsakis William Waterhouse Phillip Kaplan Harps William Marshall Bernard Zighera Leonard Moss Piccolo George Madsen -
Boston Symphony Orchestra Concert Programs, Season 76, 1956-1957, Subscription
SYMPHONY HALL, BOSTON Telephone, Commonwealth 6-1492 ' SEVENTY-SIXTH SEASON, 1956-1957 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1957, BY BOSTON SYMPHONY ORCHESTRA, IflC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks, Jr. E. Morton Jennings, Jr. Theodore P. Ferris Michael T. Kelleher Alvan T. Fuller Palfrey Perkins Francis W. Hatch Charles H. Stockton Harold D. Hodgkinson Edward A. Taft C. D. Jackson Raymond S. Wilkins • Oliver Wolcott . TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe 1 j N. Penrose Hallowell Lewis Perry Thomas D. Perry, Jr., Manager G. W. Rector | Assistant J. J. Brosnahan, Assistant Treasurer N. S. Shirk Managers Rosario Mazzeo, Personnel Manager [1285] - » . THE LIVING TRUST How It Benefits You, Your Family, Your Estate Unsettled conditions . new inventions . political changes . interest rates and taxes, today make the complicated field of in- vestments more and more a province for specialists. Because of this, more and more men and women, with capital to invest and estates to manage, are turning to the Living Trust. WHAT IT IS The Living Trust is a Trust which you establish to go into effect during your lifetime, as part of your overall estate plan, and for the purpose of receiving professional management for a specified portion of your property. It can be arranged for the benefit of yourself, members of your family, or other individuals or charities —and can be large or small. -
Boston Symphony Orchestra Concert Programs, Season 77, 1957
fa' mi i 4 f 1 BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON X 'Wll Kim/i/ f) H SEVENTY-SEVENTH SEASON 1 957" I 958 Tuesday Evening Series BAYARD TUCKERMAN, JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT S. TUCKERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mass. LA layette 3-5700 SEV ENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer * Talcott M. Banks E. Morton Jennings, Jr. Theodore P. Ferris Michael T. Kelleher Alvan T. Fuller Palfrey Perkins Francis W. Hatch Charles H. Stockton Harold D. Hodgkinson Raymond S. Wilkins C. D. Jackson Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. Perry, Jr., Manager Norman S.