DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 86, 1966

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 86, 1966 >,%* »-»v JHmsH '-^,—~i'6Ct-'/s& u. r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY 1/ HENRY LEE HIGGINSON TUESDAY EVENING "CAMBRIDGE" SERIES *4£&- » • 1 • 7// £&!£». >a»4 ^ >aU EIGHTY-SIXTH SEASON 1966-1967 - b "Erich Leinsdorfand the Mihtef SecKlv of Kcnaa chestra Boston Symphony9 who gav us the finest version of tht produce the Phyllis Cur Fifthf now first stereo Sixth..." recording in the Boston Syi This distinguished 2 LP, Qynagroove acclaim from , phony's Mahler series has received rousing critical Berg's LeVm, sung quarters. Coupled with this performance is recording rca Victor French by Phyllis Curtin. And along with Leinsdorf's @The most trusted name in sound T"k-. by Miss Curtin Mahler's Fifth is a performance -again sung excerpts from Berg's Wozzeck. EIGHTY-SIXTH SEASON, 1966-1967 1 CONCERT BULLETIN OF THE 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 Henry A. Laughlin Theodore P. Ferris Edward G. Murray Robert H. Gardiner John T. Noonan Francis W. Hatch Mrs. James H. Perkins Andrew Heiskell Sidney R. Rabb Harold D. Hodgkinson Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Sanford R. Sistare Harry J. Kraut Press and Publicity Assistant to the Manager Andrew Raeburn M Assistant to the Music Director SYMPHONY HALL BOSTON [3] This man is a dreadful lawyer In fact, he's no lawyer at all. But that didn't stop him from writing his own Will. (Why not save the legal fees? thought he.) The cost will be enormous. For example, when he dies, his estate will dwindle under taxes that a well-drawn Will can avoid. Worse — a good part of what's left after taxes, claims and settle- ment costs may well end up in the wrong hands. It's so easy to have your Will drawn by a lawyer . and so ex- pensive, so wasteful, so downright unfair to your heirs not to! See your lawyer about your Will. Keep it up to date. Maybe there will be a place for us in the picture, as executor or trustee. THE FIRST & OLD COLONY The First National Bank of Boston and Old Colony Trust Company [4] EIGHTY-SIXTH SEASON NINETEEN HUNDRED SIXTY-SIX-SIXTY-SEVEN First Program TUESDAY EVENING, October 18, at 8:30 o'clock Mahler Symphony No. 3, in D minor, with Women's Chorus and Contralto Solo I. Kraftig, entschieden (Vigorous, decisive) INTERMISSION II. Tempo di Menuetto: Sehr massig (Very moderately) III. Comodo; scherzando IV. Sehr langsam, misterioso (Slow, mysterious) (with Contralto solo) V. Lustig in Tempo und keck im Ausdruck (Lively in tempo and jaunty in expression) (with Chorus and Contralto solo) VI. Langsam, ruhevoll, empfunden (Slow, peaceful, expressive) NEW ENGLAND CONSERVATORY CHORUS Lorna Cooke deVaron, Conductor BOSTON BOYCHOIR John Oliver, Director Contralto Solo: SHIRLEY VERRETT BALDWIN PIANO RCA VICTOR RECORDS [5] SYMPHONY NO. 3 By Gustav Mahler Born in Kalischt, Bohemia, July 7, i860; died in Vienna, May 8, 1911 Mahler began his Third Symphony in 1895 and finished it in August of 1896. The first complete performance took place at the music festival given by the Krefeld Tonkunstler on June 9, 1902. The composer conducted. There followed other per- formances of the Symphony, in whole or in part, in central Europe. The first com- plete performance in America took place at a May Festival in Cincinnati, May 9, 1914, when Ernst Kunwald conducted. Willem Mengelberg, as conductor of the New York Philharmonic Society orchestra, performed the complete symphony at its concerts, February 28, 1922. Richard Burgin conducted the first movement only at the concerts of the Boston Symphony Orchestra March 19-20, 1943. The first complete performance of the Symphony in Boston was conducted by Mr. Burgin at the concerts of January 19-20, 1962. The score calls for these instruments: 4 flutes and 2 piccolos, 4 oboes and English horn, 3 clarinets, 2 E-flat clarinets and bass clarinet, 4 bassoons and contra-bassoon, 8 horns and post horn, 4 trumpets, 4 trombones and tuba, timpani, glockenspiel, tambourine tam-tam, small drum, bass drum, cymbals, triangle, 2 harps and strings. There is a contralto solo in the fourth movement and likewise a chorus of boys' and women's voices in the fifth. TV yTAHLER achieved a full performance of his Third Symphony seven -L * -* years after its completion — and with considerable difficulty. The admired conductor had not until that time won general recognition as a composer. His first two symphonies had been sporadically applauded but liberally picked to pieces. The Fourth had been pro- duced in Munich the year before by Weingartner. The Third was inevitably delayed a hearing by its difficulties, the large performing forces required, and its length. Mahler was anxious that his Symphony should be performed in full, and when a chance offered in the Rhenish GERTRUDE R. NISSENBAUM VIOLIN 34 TAPPAN STREET Tel. LOngwood 6-8348 BROOKLINE 46, MASSACHUSETTS KOBEBT GOMBEKG, Violinist Curtis Philadelphia Institute Orchestra Accepting Intermediate and Advanced Students • Coaching in Chamber Music For information write 143 Beaconsfield Road, Brookline Call LO 6-1332 [6] 1 |U Pirn & PmB mm Boston's~~Most Distinguished Gift Shop A New England landmark combining uniquely the finformality of a Country Store, the flavor of a Ship Chandler and the sophistication of London's Bond or Regent streets. PINE & PRINT gifts are exclusive but not extravagant. You'll find useful and attractive remembrances from historic Boston as well as imports ir impeccable taste from the world-over . PINE & PRINT is itself a major point-of-interest. You have not met the real Boston until you have discovered PINE & PRINT . HECE Hand-carved (wood) Nautical Figures l.ci the, vv.t&ivcjmtriiitghcrtfa from $12.00 n httmo our i;U: :<i:itmpfc,V¥hu «? am pv&.: ..utf gite gfaetly, .? «. :: :: We moke- nosmfe for jfttff ,r Historic Plaques * d«sy« « t rn< thy esf <w;co from $5.95 i« thw irt (jpmHin w (Plaque illustrated 1.95) ii< < to (W<l P|m WhcJfh'tii fflki !() p> ' • ; )J>, rim i?ivi:if <'4fc^xr ifi'f rit in I |)' I y«l > ( I , C-iifi.y ( - <.; ge i i Irei-t. YUM, Or YltiMk, also delights you with extensive arrays <^ M,i*h)!.>Y>rui«tv i ' < 'ijiJiii t wuoid of Aprons • Candy • Copper • Greeting • avr the** enjoy the hU-wn^odkhotftx: Cards • 'whb.hm andjreedam.and wa py<;^ tfwj Glassware Lamps • Mugs • Pewter • Placemats *< </*> <"<<<,</ - H,n< m> i <t tut the ;>>hj>' /;/? f • Prints • Sachets • Soaps • Stationery • Towels — .-. ,...PE4C£ ' all with imaginative Americana or Nautical motifs; i$M<a$M&i&&&&&^^ or with the charm and gayety of good continental design. CATALOG ISN'T ISSUED, AND WE DON'T SHIP . PINE & PRINT must be personally savored. And the savoring is unmitigated fun. There's no intrusion from us. Browsing is the pattern — with friendly help when you want help only. If shopping is on your agenda, you'll enjoy the experience at PINE & PRINT. Your choices will be made "^' : : o i^V: ' :; from hundreds of easily-carried and distinctive gifts. Frankly all quite irrestible! 601 Boylston Street (near the corner of Dartmouth St.) in Boston's Historic Copley Square* Totes Open Mon. thru Fri. 'til 9 p.m. * & Carryalls J?^ vast variety of Americana Sat. 'til 6 p.m. and other prints. 'British Men-of-War anchored on this site during the Revolution . years Totes from $3.95 before prestigious Back Bay was created. Carryalls from $5.95 The date but not the flavor has changed. town of Krefeld in 1902 he overrode the objection to the cost of prep- aration by offering to pay for the rehearsals out of his own pocket. He conducted the performance, but only after thirty rehearsals. The sym- phony was a definite success. The Third Symphony is in two parts, the first movement, which is by far the longest, comprising the first part. The second and third movements are in effect scherzos. In the fourth movement, slow and mysterious, a contralto sings the night wanderer's song from Nietzche's "Zarathustra," in which man's suffering is found transitory, his joy eternal. In the fifth movement, a chorus sings naive devotional verses from the medieval "Des Knaben Wunderhorn." Mahler had intro- duced a text from this poem into his Second and would again do so in his Fourth. He had intended to use an angel's text in a seventh move- ment to his Third Symphony, but wisely decided to end with six move- ments and used the projected finale, with soprano solo, for the Fourth. The slow movement, which thus ends the Third, a serene and tender adagio, is the most affecting of all, and the final pianissimo D major chord which he holds for thirty bars, as if reluctant to let his huge score pass into silence, shows one of his characteristic traits. When Mahler had composed his Third Symphony he had become cautious about divulging titles to explain his music. The titles which he gave out for the first performance, but eliminated from the pub- lished score, were: I - Introduction: Awakening of Pan; Summer enters; II - Minuet: What the flowers tell me; III - Scherzo: What the animals in the forest tell me; IV - Contralto solo; What man tells me; V - Women's Chorus, Boys' Chorus, Contralto: What the angels tell me; VI -Adagio: What love tells me.
Load more

Recommended publications
  • Debussy's Pelléas Et Mélisande
    Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet.
    [Show full text]
  • Don Giovanni Was Made Possible by a Generous Gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon
    donWOLFGANG AMADEUS MOZARTgiovanni conductor Opera in two acts Fabio Luisi Libretto by Lorenzo Da Ponte production Michael Grandage Saturday, October 22, 2016 PM set and costume designer 1:00–4:30 Christopher Oram lighting designer Paule Constable choreographer Ben Wright revival stage director Louisa Muller The production of Don Giovanni was made possible by a generous gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon Additional funding was received from Jane and Jerry del Missier and Mr. and Mrs. Ezra K. Zilkha general manager Peter Gelb The revival of this production is made possible music director emeritus by a gift from Rolex James Levine principal conductor Fabio Luisi 2016–17 SEASON The 556th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S don giovanni conductor Fabio Luisi in order of vocal appearance leporello maset to Adam Plachetka Matthew Rose donna anna Hibla Gerzmava continuo David Heiss, cello don giovanni Howard Watkins*, Simon Keenlyside harpsichord the commendatore mandolin solo Kwangchul Youn Joyce Rasmussen Balint don ot tavio Paul Appleby* donna elvir a Malin Byström zerlina Serena Malfi Saturday, October 22, 2016, 1:00–4:30PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Global sponsorship of The Met: Live in HD is also provided by Bloomberg Philanthropies. Chorus Master Donald Palumbo Musical
    [Show full text]
  • The Billboard 1918-01-12
    MOTICC TO READER: Wheo joa llaMi raaiSiix this mvMtaa piMa • le BtUDp ao Um iMMiiaw hand aamr to any poatal amployta^ and It will '« placfd Ui (ha haoda bf our trldlen or aalkn at iha froiiL Na cJAN.12J9ie wrayplaf. Na addraaa.—A. 8. BURIXSON. Postmaatar-OancraL IF YOU SEE IT IN BILLYBOY-BANK ON IT I 2 X ti e Billboard JANUARY 12, 1918 AGENTS -THIS IS A — GOLD MIRE at $1: Oaiy It S«XN • Day M«ui 15.00 Otity PraOL FURNITURE Grand Rapid*, Mich New York Office, 28 £L R2d 3L srsi.$1.00 —SO you can jz:et tiurty ’Lgftn OnraMnidoB In dli(>1tT cm*. P«1I (<u at boot. <zia\ tnrhM K*ch trUcU tall dri* CORPORATIONS ORGANIZED atfm ala*. lUttll raluc. tS.SS; you aall for II.M; ttlc^'dlaraonds^^pme black andnd white engraved. Gross, >1U.75$10.75 a line on them. «»U you onlT 50*. THIVK OP ITI 11 ARTICLES IN NEW YORK, t$7.N FOR LESS THAN 8* EACH. Whan Ton ahow your ruatomcr thla torfwaia autflt, with panri* paildM Including complete outfit. Accounts ORIENTAL MFG. CO., 106 Wesleyan Ave., DepL 2, Providence, R.l. rorar, thr airaj of fln* tollat tooda (that alwara ap- collected everywhere. Call, write or paala to mlladr'a heart) will daaair her ere. and arhan at the end at rnitr aplel Tou itate the low prlca phone Suite 201, 1547 Broadway, at $1.0* for all thla. th* dollar U tout*, eran If ahe Gaiety Theatre Building. Telephone haa to hoimw, h«( or ateal It.
    [Show full text]
  • FGO Young Artist Jonathan G. Michie Awarded William Matheus Sullivan Musical Foundation Grant
    Media Contact: Justin Moss, [email protected] , 305-854-1643 ext. 1600 FGO Young Artist Jonathan G. Michie Awarded William Matheus Sullivan Musical Foundation Grant Miami, FL – December 5, 2010 – The William Matheus Sullivan Musical Foundation awarded ten $11,000 grants to young artists who auditioned for the Foundation in New York on November 14 & 15, 2010. Baritone Jonathan G. Michie, this year’s Isabel and Marvin Leibowitz Young Artist, was one of the winners. A native of New York, Mr. Michie is now in his second year as a member of Florida Grand Opera’s Young Artist Studio. Mr. Michie’s Sullivan Foundation award is named for Theodor Uppman, the famed baritone who was a longtime member of the Board of the Foundation. “I am deeply honored to be a Sullivan Foundation grant recipient, and especially grateful to receive the Theodor Uppman award. He is an artist I greatly admire, and whose work I hope to emulate. My training as a member of FGO’s Young Artist studio has been invaluable in furthering my career, and I look forward to an on-going relationship with the company over the years.” “This is one of the most prestigious awards for young singers in the country,” stated FGO General Director and C.E.O. Robert M. Heuer, “and we’re extremely proud of Jonathan, who is one of this year’s recipients. When he came to our Young Artist Studio last season, we all sensed that his was a very special talent, and he has made a terrific contribution to each of the productions he has been in.” Mr.
    [Show full text]
  • Carmel Music Society
    Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna
    [Show full text]
  • CHAN 9826 FRONT.Qxd 29/8/07 1:48 Pm Page 1
    CHAN 9826 FRONT.qxd 29/8/07 1:48 pm Page 1 CHAN 9826(3) CHANDOS CHAN 9826 BOOK.qxd 29/8/07 2:05 pm Page 2 Benjamin Britten (1913–1976) Photograph: Kurt Hutton Courtesy of Aldeburgh The Britten–Pears Library, Benjamin Britten working on ‘Billy Budd’ An opera in two acts Revised version 1961 Libretto by E.M. Forster and E. Crozier Adapted from the story by Herman Melville 3 CHAN 9826 BOOK.qxd 29/8/07 2:05 pm Page 4 Captain Vere, of the Indomitable ................................................................................Philip Langridge tenor COMPACT DISC ONE Time Page Billy Budd, able seaman ........................................................................................Simon Keenlyside baritone Prologue Claggart, the Master-at-Arms ..........................................................................................John Tomlinson bass 1 ‘I am an old man…’ 5:09 147 Mr Redburn , First Lieutenant ..............................................................................................Alan Opie baritone Vere Mr Flint, Sailing Master ........................................................................................Matthew Best bass-baritone Mr Ratcliffe , Second Lieutenant ..............................................................................................Alan Ewing bass Act I 44:43 31 Red Whiskers, an impressed man ................................................................................Francis Egerton tenor Donald, a sailor ..............................................................................................................Quentin
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN JANUARY-FEBRUARY, 1970 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORR1GAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL EL1HU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MELLEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Hartt College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDROP Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois We are delighted to announce the appointment of Dr. Jan Popper (UCLA) and Mr.
    [Show full text]
  • Benjamin Britten El Matrlmonio Secreto E Domenico Cimarosa Manon • Juies Massenet La Dolores • Tomés Bretón Siegfried E Richard Wagner ---Mann81"Dm&A
    ----- ~ran \!teatro bel 1Ltreo (!Empresa:jfuan ~.fjamtas jiarcelona m:rmporaba be (!&pera 1974 ~ 75 Falstaff e Gíuseppe Verdi Anna Solana e Gaetano Donizetti Otello • Gluseppe Verdi Don Pasquale • Gaetano Donizetti La Gioconda e Amilcare Ponchielli Gulllermo Tell • Gioacchino Rossini La forza del destino • Giuseppe Verdi La juive • Jacob Fromenthal Halevy Tosca • Giacomo Puccini Carmen • Geor~es Bizet I vesprl slciliani e Gtuseppe Verdi Macbeth • Gluseppe Verdi Don Juan e Wolfgang A. Mozart Elektra e Richard Strauss Fidello e Ludwig van Beethoven Billy Budd • Benjamin Britten El matrlmonio secreto e Domenico Cimarosa Manon • Juies Massenet La Dolores • Tomés Bretón Siegfried e Richard Wagner ---Mann81"dM&A.,. unMartini., .. es mas Film y Crema Rcvitalízantes Antiarrugas Porquc en materia de seducción. lo mas difícil no es seducir, sino permancccr. UnJ ptqUC"II.\ •t~loiJ.t IUIIIO al ntlmulo. Anrlarru~ po.rquc ofo urw. tr.t ~YC k oli"!'!·' anae el rcuu~n la apr¡trkJOn ck I~ llrniJU. HavPiet et pe-fo, ) de rt~rut .e .\ltntc u,_e4 concrlbu)cndo a b rcM\'IIC:~ dc 1.1,_, llmenat~"liJ.l. Sin tP'bMtto. tam.t.' ha etI uJa,. tldo u11rd tan bcll:t can f'tlfUC10f'l U Crema. .lttvh111imnte • HubhaPd Entonctt, ¿p.)r qu~ no u•ulr An1 l11rru¡:n ff' un.1 crema dc noc:hc, tléndolo?. l bnlcl lt u\!ol:l~rd À)tt lc l1¡ctra. f6cll de apllc-~&r, qwc 6 ofr\"Cet it<l" ptoducl04 a propladot PI''" lnmcdhu:.mcncc ab&orbldJ U~ ttd • El fïlnfRcvh:.llt.. ,mc :7f!¡~ Sc! ltlll.a J e l.lCrtm:.
    [Show full text]
  • View of the Contributions Cincinnatians Under Government Surveillance As an "Enemy Alien." Made in Europe and at Home
    Winter 1998 Over There, Over Here: Cincinnatians and the Great War 13 Over There, Over Here: Cincinnatians and the Great War Peggy Brierton, The war's effects reached beyond the William J. Smith and fields of France to Main Street, USA. Suddenly a per- Steven L. Wright son of "foreign" origin became suspect, and the cher- ished American right, freedom of speech, came under attack. Some of the worst reactions against German- Staff and volunteers from the Americans, German sympathizers and German cul- Collections and Research Division curated an exhib- ture occurred in Cincinnati. it in the Library commemorating the eightieth The Cincinnati School Board stopped anniversary of the end of World War I.1 Sponsored by teaching German in elementary schools. German lan- the Disabled American Veterans, Southwest Ohio guage books were banned from the public library. Chapter — American Civil Liberties Union and Taft, Ernst Kunwald, a native of Austria and music director Stettinius &) Hollister LLP, the exhibit offered a of the Cincinnati Symphony Orchestra (CSO), was broad overview of the contributions Cincinnatians under government surveillance as an "enemy alien." made in Europe and at home. After being forced to resign from the CSO, he was Archival materials used in "Over There, interned at Fort Oglethorpe, Georgia. Numerous Over Here" came from the manuscript holdings of "Germanic" names of streets and businesses were the Historical Society Library. Some collections were "anglicized." German Street became English Street, donated decades ago while others were given as Bremen became Republic, and Berlin became recently as 1996.1 Woodrow. German National Bank was renamed The meaning of World War I is more sig- Lincoln National Bank.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1983, Tanglewood
    . ^ 5^^ mar9 E^ ^"l^Hifi imSSii^*^^ ' •H-.-..-. 1 '1 i 1^ «^^«i»^^^m^ ^ "^^^^^. Llii:^^^ %^?W. ^ltm-''^4 j;4W»HH|K,tf.''if :**.. .^l^^- ^-?«^g?^5?,^^^^ _ '^ ** '.' *^*'^V^ - 1 jV^^ii 5 '|>5|. * .««8W!g^4sMi^^ -\.J1L Majestic pine lined drives, rambling elegant mfenor h^^, meandering lawns and gardens, velvet green mountain *4%ta! canoeing ponds and Laurel Lake. Two -hundred acres of the and present tastefully mingled. Afulfillment of every vacation delight . executive conference fancy . and elegant home dream. A choice for a day ... a month . a year. Savor the cuisine, entertainment in the lounges, horseback, sleigh, and carriage rides, health spa, tennis, swimming, fishing, skiing, golf The great estate tradition is at your fingertips, and we await you graciously with information on how to be part of the Foxhollow experience. Foxhollow . an tver growing select family. Offerings in: Vacation Homes, Time- Shared Villas, Conference Center. Route 7, Lenox, Massachusetts 01240 413-637-2000 Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu J. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland Mrs. Norman L. Cahners Albert L. Nickerson Mrs. George Lee Sargent George H.A.
    [Show full text]
  • Mario and Ruth Chamlee Collection, 1911-1977 ARS.0003ARS.0003
    http://oac.cdlib.org/findaid/ark:/13030/kt6q2nd5vt No online items Guide to the Mario and Ruth Chamlee Collection, 1911-1977 ARS.0003ARS.0003 Finding aid prepared by Andrea Castillo. Archive of Recorded Sound 2006 [email protected] URL: http://library.stanford.edu/ars Guide to the Mario and Ruth ARS.0003 1 Chamlee Collection, 1911-1977 ARS.0003ARS.0003 Language of Material: English Contributing Institution: Archive of Recorded Sound Title: Mario and Ruth Chamlee Collection Identifier/Call Number: ARS.0003 Physical Description: 22 Linear Feet22 box(es) Date (inclusive): 1911-1977 Scope and Contents note Includes correspondence dealing with the Metropolitan Opera Regional Auditions; personal papers which consist of promotional documents, and biographical and/or pedagogical writings; newspaper and magazine clippings; 22 annotated scores; 7 programs; opera snakes; about 350 photographs; 12 scrapbooks; 285 transcription discs, 3 test pressings, 49 commercial discs, 19 reel to reel tapes and 1 cassette. Biographical/Historical note Mario Chamlee (1892-1966), tenor, was born in Los Angeles, May 29, 1892. His original name was Archer Cholmondeley. He first studied voice with Achille Alberti in Los Angeles, and later with Sibella and Dellera in New York. He made his debut in his native city in 1916 as Edgardo in Lucia di Lammermoor. A year later Mr. Chamlee went on tour with the Aborn Opera Company where he sang with soprano Ruth Miller who in 1919 became his wife. With his two-year military service, during World War I, his singing career came practically to a total halt. Upon his return to the US in 1919, however, Mr.
    [Show full text]
  • Pittsburgh Concert Programs at Carnegie Library of Pittsburgh
    Use Command F (⌘F) or CTRL + F to search this document ORGANIZATION DATE YEAR PROGRAM VENUE LOCATION John H. Mellor 11/27/1855 1855 Soiree by the pupils of Mrs. Ernest Piano warerooMs Music of John H. Mellor DepartMent: Pittsburgh Music Archive, #41 Protestant Episcopal Church of 12/29/1856 1856 Concert of Sacred Music Lafayette Hall Music East Liberty DepartMent: Pittsburgh Music Archive, #46 St. Andrew’s Church 1858 1858 Festival Concert by choral society at St. St. Andrew’s Music Andrew’s Church Church DepartMent: Pittsburgh Music Archive, #46 Lafayette Hall 2/9/1858 1858 Soiree Musicale in Lafayette Hall Lafayette Hall Music DepartMent: Pittsburgh Music Archive, #46 2/21/1859 1859 Mlle. PiccoloMini Music DepartMent: Pittsburgh Music Archive, #46 Grand Concert 186- 1860 The Grand Vocal & InstruMental concert of unknown Music the world-faMed Vienna Lady Orchestra DepartMent: Pittsburgh Concert PrograMs, v. 4 Presbyterian Church, East 5/20/186- 1860 Concert in the Presbyterian Church, East Presbyterian Churc Music Liberty Liberty, Charles C. Mellor, conductor h, East Liberty DepartMent: Pittsburgh Music Archive, #41 St. Peter’s Church 6/18/1860 1860 Oratorios - benefit perforMance for St. Peter’s Church Music purchase of organ for St. Mark’s Church in on Grant Street DepartMent: East BirMinghaM Pittsburgh Music Archive, #46 Returned Soldier Boys 1863 1863 Three PrograMs ChathaM and Wylie Music Ministrels Ave. DepartMent: Pittsburgh Concert PrograMs, v. 1 Green FaMily Minstrels 12/11/1865 1865 Benefit PrograM AcadeMy of Music Music DepartMent: Pittsburgh Concert PrograMs, v. 1 St. John's Choir 12/30/1865 1865 Benefit PrograM BirMinghaM Town Music Hall, South Side DepartMent: Pittsburgh Concert PrograMs, v.
    [Show full text]