Boston Symphony Orchestra Concert Programs, Season 96, 1976-1977

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 96, 1976-1977 SYMPHONY ORCHESTRA © 1976 New England Mutual Life Insurance Company, Boston. Subsidiary: NEL Equity Services Corporation, mutual funds; Affiliate: Loomis, Sayles & Company, Inc., investment counselors "MyNewEngland Life Agency? Downing &Desautels, ofcourse.Whyr Because Downing & Desautels know the ropes so well, especially in the areas of pensions, estate planning and mutual funds. To be on the safe side, call them at 542-0553 in Boston. Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Sixth Season 1976-77 The Trustees of the Boston Symphony Orchestra Inc Talcott M. Banks President Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer Vernon R. Alden Mrs. Harris Fahnestock Mrs. James H. Perkins Allen G. Barry David O. Ives Irving W. Rabb Mrs. John M. Bradley E. Morton Jennings, Jr. Paul C. Reardon Richard P. Chapman Edward M. Kennedy David Rockefeller Jr. Abram T. Collier Edward G. Murray Mrs. George Lee Sargent Nelson J. Darling, Jr. Albert L. Nickerson John Hoyt Stookey Archie C. Epps III Trustees Emeritus Harold D. Hodgkinson Henry A. Laughlin John T. Noonan Administration of the Boston Symphony Orchestra Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager Joseph M. Hobbs Dinah Daniels Director of Development Director of Promotion Richard C. White Anita R. Kurland Niklaus Wyss Assistant to the Manager Administrator of Youth Activities Advisor for the Music Director Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tangleivood Michael Steinberg Director of Publications Programs copyright © 1976 Boston Symphony Orchestra Inc. BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Sixth Season Thursday morning, 10 February at 11 SEIJI OZAWA, conductor VAUGHAN WILLIAMS The Lark Ascending Romance for violin and orchestra JOSEPH SILVERSTEIN TCHAIKOVSKY Symphony No. 5 in E minor, Opus 64 Andante — Allegro con anima Andante cantabile, con alcuna licenza Valse : Allegro moderato Finale: Andante maestoso — Allegro vivace — Moderato assai e molto maestoso — Presto This concert will end about 12 : 05. Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Sixth Season Thursday, 10 February at 8 : 30 gr-^ Friday, 11 February at 2 Saturday, 12 February at 8 : 30 Tuesday, 15 February at 8 : 30 in Veteran's Memorial Auditorium, Providence SEIJI OZAWA, conductor VAUGHAN WILLIAMS The Lark Ascending Romance for violin and orchestra JOSEPH SILVERSTEIN VIEUXTEMPS Violin Concerto No. 5 in A minor, Opus 37 Allegro non troppo Adagio Allegro con fuoco JOSEPH SILVERSTEIN INTERMISSION TCHAIKOVSKY Symphony No. 5 in E minor, Opus 64 Andante — Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato — Finale : Andante maestoso — Allegro vivace Moderato assai e molto maestoso — Presto Thursday's concert will end about 10: 20, Friday's about 3:50, and Saturday's and Tuesday's about 10:20. Portions of Saturday's concert are being recorded by WGBH-TV for telecast later. Occasional shots of the audience may be used. Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon. Baldwin piano Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Edward chair Vincent Mauricci A. Taft Roland Small BOSTON Earl Hedberg Matthew Ruggiero SYMPHONY Joseph Pietropaolo Robert Barnes ORCHESTRA Michael Zaretsky Contra bassoon SEIJl OZAWA Richard Plaster Music Director ^^W! Cellos Horns IP' Jules Eskin Philip R. Allen chair Charles Kavalovski Martin Hoherman Helen Sagoff Slosberg chair Mischa Nieland Charles Yancich Peter Gordon violins Jerome Patterson First David Ohanian Joseph Silverstein Robert Ripley Richard Mackey Concertmaster Luis Leguia Ralph Pottle Charles Munch chair Carol Procter Emanuel Borok Ronald Feldman Assistant Concertmaster Joel Moerschel Trumpets Homer Mclntyre chair Helen Jonathan Miller Armando Ghitalla Max Hobart Martha Babcock Andre Come Rolland Tapley Rolf Smedvig Roger Shermont Gerard Basses Goguen Max Winder William Rhein Harry Dickson Harold D. Hodgkinson chair Trombones Gottfried Wilfinger Joseph Hearne Ronald Barron Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski William Gibson Alfred Schneider John Barwicki Gerald Gelbloom Robert Olson Tuba Sird Raymond Lawrence Wolfe Chester Schmitz Ikuko Mizuno Henry Portnoi Cecylia Arzewski Timpani Amnon Levy Flutes Everett Firth Bo Youp Hwang Doriot Anthony Dwyer Sylvia Shippen Wells chair Walter Piston chair Second violins James Pappoutsakis Percussion Victor- Yampolsky Paul Fried Charles Smith Fahnestock chair Arthur Press Marylou Speaker Piccolo Assistant timpanist Michel Sasson Lois Schaefer Thomas Gauger Ronald Knudsen Frank Epstein Moss Leonard Oboes Vyacheslav Uritsky Ralph Gomberg Harps Laszlo Nagy Mildred B. Retnis chair Bernard Zighera Michael Vitale Ann Hobson Darlene Gray Wayne Rapier Ronald Wilkison Personnel Managers Harvey Seigel English Horn William Moyer Jerome Rosen Laurence Thorstenberg Harry Shapiro Sheila Fiekowsky Gerald Elias Clarinets Librarians Lefkowitz Ronan Harold Wright Victor Alpert Ann S.M. Banks chair William Shisler Violas Pasquale Cardillo Burton Fine Peter Hadcock Stage Manager Charles S. Dana chair E-flat clarinet Reuben Green Alfred Robison Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia Seiji Ozawa, Music Director Seiji Ozawa became Music Director of the the beginning of the 1965-66 season he Boston Symphony Orchestra in the fall became Music Director of the Toronto of 1973 and is the thirteenth conductor Symphony, a post he relinquished after to head the Orchestra since its founding four seasons to devote his time to study in 1881. and guest conducting. He was born in Hoten, Manchuria, in In 1970 Mr. Ozawa became Artistic 1935, and graduated from the Toho Director of the Berkshire Music Festival, School of Music in Tokyo with first and in December of that year he began prizes in composition and conducting. his inaugural season as Conductor and When he won first prize at the Inter- Music Director of the San Francisco national Competition of Conducting at Symphony Orchestra, titles he held con- Besancon, France, shortly after his gradu- currently with his position as Music ation, one of the judges of the competition Director of the Boston Symphony until was the late Charles Munch, then Music he resigned them in the spring of 1976. Director of the Boston Symphony, who (He will be Honorary Conductor in San invited him to .study at Tanglewood Francisco for the 1976-77 season). during the following summer. Mr. Ozawa's association with the Orchestra began during that session of the Berkshire Mr. Ozawa's recordings for Deutsche Music Center as a student of conducting Grammophon include Berlioz's Sym- in 1960. phonie fantastique, La damnation de Faust, and Romeo et Juliette (awarded a Beginning with the summer of 1964, Grand Prix du Disque). This spring, DG Mr. Ozawa was for five seasons Music will release the Ozawa/BSO recording of Director of the Ravinia Festival, and at Charles Ives's Fourth Symphony. The Board of Overseers of the Boston Symphony Orchestra Inc. David O. Ives. Chairman Hazen H. Aver, Vice Chairman Mrs. Arthur I. Strang, Secretary ! Charles F. Adams .Ve?:or. ?. r:sz:r? Richard P. Morse Mrs. Frank G. Allen Paul Fromm David G. Mugar Mrs. Richard Bennink Carlton P. Fuller Dr. Barbara W. Newell Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Stephen Paine David W. Bernstein Mrs. Thomas Gardiner Mrs. Priscilla Potter David Bird Mrs. John L. Grandin Harry Remis Gerhard B'.eicker. Bruce Harriman Mrs. Peter van S. Rice Mrs. Richard D. Hill Mrs. Samuel L. Rosenberry Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Jerome Rosenfeld Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt William A. Selke Mrs. Norman L. Cahners L.ecr.arc Karlar. Samuel L. Slosberg Levin H. Campbell, III Leon Kirchner Richard A. Smith Dr. George H.A. Clowes, Jr. N'rs arr.e5 ? Lawrer.ce Mrs. Edward S. Stimpson Arthur P. Contas Roderick MacDougall Mrs. Edward A. Taft The Hon. Silvio O. Conte John S. McLennan Mrs. Richard H. Thompson Robert Cushman Colman M. Mockler, Jr. Stokley P. Towles Michael J. Daly Mrs. Elting E. Morison D. Thomas Trigg Mrs. C. Russell Eddy Frank E. Morris Julius Vogel We'd like to give handicapped kids a free education. Yes, free. The Cotting School for Handicapped Children offers a 12-year academic program for physically and medically handicapped children with mentally normal capabilities. Included in school services are both vocational and college preparatory training, transportation to and from, medical and dental care, speech and physical therapy, social development, noon meal, testing, recrea- tion and summer camping. Without any cost whatsoever to parents. Right now, we have openings for handicapped children. Please pass the word. Call or write William J. Carmichael, Superintendent, The Cotting School for Handicapped Children, 241 St. Botolph St., Boston, Mass. 02115, 536-9632. (Formerly Industrial School for Crippled Children.) The Cotting School for Handicapped Children
Recommended publications
  • Elliott Carter Works List
    W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) ..................................................
    [Show full text]
  • Faculty Tuesdays Series Bassoon-O-Rama
    Faculty Tuesdays Series Bassoon-O-Rama Yoshi Ishikawa, bassoon Carlo Colombo, bassoon With: Peter Cooper, oboe Brenda Ishikawa, piano and harpsichord Bill Douglas, piano Jason Thompson, bass Austin Camerata Marisa Ishikawa, violin Matt Lammers, violin Conrad Sclar, viola Daniel Kopp, cello CU Bassoon Studio Michelle Chen Gyungsun Im Jay Million Kristina Nelson Ethan Shuler 7:30 p.m., Tuesday, Oct. 9, 2018 Grusin Music Hall Imig Music Building Program “Kaddisch” from Deux Mélodies Hébraïques Maurice Ravel (1875-1937) Pièce en forme de Habanera Maurice Ravel Carlo Colombo, bassoon Members of the Austin Camerata Concerto for oboe and bassoon in G Major, RV 545 Antonio Vivaldi I. Andante molto (1678-1741) II. Largo III. Allegro molto Yoshi Ishikawa, bassoon Peter Cooper, oboe Members of the Austin Camerata with Brenda Ishikawa, harpsichord Tango Suite for Two Guitars Astor Piazzolla II. Andante rubato, melancolico (1921-1992) arr. Fraser Jackson, for four bassoons Azure for four bassoons Bill Douglas Carlo Colombo, Gyungsun Im, Yoshi Ishikawa and Kristina Nelson, bassoon Pause Lyrical Intermezzo for violin, bassoon and piano (2010) Gernot Wolfgang I. The Autumn Wind II. A Single Fir Tree III. Flutes, Violins and Trumpets IV. Midnight Yoshi Ishikawa, bassoon Marisa Ishikawa, violin Brenda Ishikawa, piano Melodies after works of Marco Bordogni for bassoon and piano Jean François Barthélémy Cokken (1801-1875) Carlo Colombo, bassoon Brenda Ishikawa, piano Feast for Four Bassoons and Piano Bill Douglas Michelle Chen, Jay Million, Kristina Nelson and Ethan Schuller, bassoon John Sevy, percussion Bill Douglas, piano About the Performers Yoshiyuki Ishikawa, bassoon Yoshiyuki Ishikawa has appeared as a featured soloist and has presented masterclasses and workshops at the most prestigious events and schools of music in the United States, Europe, Asia and Oceania.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1992, Tanglewood
    LEWOOD I 77 2 g Tools ofExcellence In every discipline, outstanding performance springs from the combination of skill, vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1991-92 Trustees of the Boston Symphony Orchestra, Inc. Emeritus Nelson J. Darling, Jr., Chairman George H. Kidder, President J. P. Barger, Chairman Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Dean Freed Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Molly Millman James E Cleary Francis W Hatch Mrs. Robert B. Newman John F. Cogan,Jr. Julian T. Houston Peter C. Read Julian Cohen Mrs. BelaT. Kalman Richard A. Smith William M. Crozier, Jr. Mrs. George I. Kaplan Ray Stata Deborah B. Davis Harvey Chet Krentzman Nicholas T. Zervas Nina L. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 121, 2001-2002
    Bring your Steinway: With floor plans from 2,300 Phase One of this magnificent to over 5,000 square feet, property is 100% sold and you can bring your Concert occupied. Phase Two is now Grand to Longyear. being offered by Sotheby's Enjoy full-service, single- International Realty and floor condominium living at its Hammond Residential Real absolute finest, all harmoniously Estate. Priced from $1,500,000. located on an extraordinary eight-acre Call Hammond Real Estate at gated community atop prestigious (617) 731-4644, ext. 410. Fisher Hill. LONGYEAK at ^Jrisner Jiill BROOKLINE SOTHEBY'S IIIIIHillll» prophritesinc. International Realty REAL ESTAT Somethingfor any occasion.. r v.- rmffl&^*-%%& mi ^H :*-rff^„iS^ cw :' ;:-: <*HH"WCSkV ^H .1 *nt* M I l^B I 5*£$3&i BSS*8? ;' ?"^0-4> ..Vi f? i r^A*i J>- ! ; ^m^i $ DAVIE^yCOMPANY Sellers & Collectors of Beautiful Jewelry 232 Boylston Street, Chestnut Hill, MA 02467 617-969-6262 (Tel) 1-800-DAVIDCO 617-969-3434 (Fax) www.davidandcompany.com - . Every car has its moment. This one has thousands per second. f -»< H !,*•.'•". The new 3 Series. Pure drive, The New BMW 3 Series From $27,745* Test drive The Ultimate Driving Machine® bmwusa.com The Ultimate 1-800-334-4BI Driving Machine* at your authorized BMW center Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twenty-first Season, 2001-02 SALUTING SEUI OZAWA IN HIS FAREWELL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Deborah Davis Berman, Vice-Chairman Vincent M.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974
    BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 FRIDAY-SATURDAY 6 CAMBRIDGE 2 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K. ALLEN ROBERT H. GARDINER JOHN L. THORNDIKE Vice-President Vice-President Treasurer VERNON R. ALDEN MRS HARRIS FAHNESTOCK MRS JAMES H. PERKINS ALLEN G. BARRY HAROLD D. HODGKINSON IRVING W. RABB MRS JOHN M. BRADLEY E. MORTON JENNINGS JR PAUL C. REARDON RICHARD P. CHAPMAN EDWARD M. KENNEDY MRS GEORGE LEE SARGENT ABRAM T. COLLIER EDWARD G. MURRAY SIDNEY STONEMAN ARCHIE C. EPPS III JOHN T. NOONAN JOHN HOYT STOOKEY TRUSTEES EMERITUS HENRY B. CABOT HENRY A. LAUGHLIN PALFREY PERKINS FRANCIS W. HATCH EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager MARY H. SMITH JOHN H. CURTIS Concert Manager Public Relations Director FORRESTER C. SMITH DANIEL R. GUSTIN RICHARD C. WHITE Development Director Administrator of Assistant to Educational Affairs the Manager DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood HARRY NEVILLE Program Editor copyright © 1973 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS %ftduy .Or Furs labeled to show country of origin. BOSTON -CHESTNUT HILL'NORTHSHORE SHOPPING CENTER'SOUTH SHORE PLAZA' BURLINGTON MALL' WELLESLEY CONTENTS Program for November 9, 10 and 13 1973 287 Future programs Friday-Saturday series 327 Tuesday Cambridge series 329 Program notes Schoenberg- Violin concerto op. 36 by Michael Steinberg 289 A Reminiscence of the Premiere by Louis Krasner 295 Tchaikovsky -Symphony no.
    [Show full text]
  • 108-Oppens-Plays-Carter-Booklet.Pdf
    Ellliott Carter (b. 1908) 1 90+ (1994) (4:55) 2 Retrouvailles (2000) (1:38) 3 Night Fantasies (1980) (19:48) Producer & Engineer: Judith Sherman Engineering & Editing Assistant: Jeanne Velonis Two Diversions (1999) (7:28) Graphic Design: Melanie Germond 4 I. (4:03) 5 Cover Photo: Christian Steiner II. (3:21) Photo of Elliott Carter and Ursula Oppens (p. 3 & traycard): Malcolm Addey 6 Matribute* (2007) (2:05) Recorded February 4–8, 2008, at the American Academy of Arts and Letters, NYC OPPENS Piano Sonata (1945–46) (23:31) Steinway Piano 7 I. Maestoso; Legato scorrevole (10:22) PLAYS Publishers: 8 II. Andante (13:03) 90+, Retrouvailles, Two Diversions for Piano, Two Thoughts about Piano (Caténaires and CARTER Intermittences): Hendon Music, Inc Two Thoughts About the Piano (2005–06) (10:55) Night Fantasies: Associated Music Publishers 9 Intermittences (7:04) Matribute: Boosey & Hawkes, Inc. bk ELLIOTT Piano Sonata: Theodore Pressser Company Caténaires* (3:48) Total: (70:53) CARTER Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. AT 100 The Chicago Classical Recording Foundation’s activities are supported in part by contributions Ursula Oppens piano and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, *World Premiere Recording THE Negaunee Foundation, Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. COMPLETE Contributions to The Chicago Classical Recording Foundation may be made at PIANO www.cedillerecords.org or 773-989-2515.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 127, 2007-2008
    BOSTON SYMPHONY ORCHESTRA W BOSTON % James Levine, Music Director / SYMPHONY \ Bernard Haitink, Conductor Emeritus I ORCHKSTRA \ JAMES LEVINE Seiji Ozawa, Music Director Laureate Musk Director 127th Season, 2007-2008 CHAMBER TEA V Friday, April 11, at 2:30 Writ. COMMUNITY CONCERT VIII Sunday, April 13, at 3, at the Peabody Essex Museum in Salem This free concert is generously supported by The Lowell Institute. THOMAS MARTIN, clarinet RICHARD RANTI, bassoon DANIEL KATZEN, horn »KB SHEILA FIEKOWSKY, violin (Kl KB JULIANNE LEE, violin ROBERT BARNES, viola MICKEY KATZ, cello BENJAMIN LEVY, double bass SCHUBERT Octet in F, D.803, for clarinet, horn, bassoon, two violins, viola, cello, and double bass Adagio—Allegro Adagio ftf$S Allegro vivace; Trio Ill Andante 3aJ Menuetto: Allegretto; Trio Andante molto—Allegro mV Week 23 Franz Schubert (1797-1828) Octet in F, D.803, for clarinet, horn, bassoon, two violins, viola, cello, and double bass Schubert composed his Octet for winds and strings in February 1824 on a commission from Ferdinand, Count Troyer, who was a clarinetist in the musical establishment of Beethoven's friend and pupil Archduke Rudolph. Troyer evidently requested that Schubert model the work on Beethoven's famous Septet for winds and strings (Opus 20; composed 1799), which at that time was still the most popular of all of Beethoven's instrumental works, far outdistancing the symphonies and concertos. Schubert followed instructions, mimicking the older master's work so closely in I jm mm:'-*. ?wr fSm^BBm scoring, layout of movements, and musical character that this must have been obvious to everyone who heard the piece and they would have enjoyed it all the more for that very reason.
    [Show full text]
  • Composer Brochure
    CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time.
    [Show full text]
  • Current Trends in Treating the Palatal Air Leak
    sign in | contact us Members Only ABOUT US | MEMBERSHIP | THE CLARINET JOURNAL | CLARINETFEST® | COMPETITIONS | RESEARCH CENTER | ARCHIVES & LINKS Clarinet Anthology Current Trends in Treating the Palatal Air Leak (Stress Velopharyngeal Insufficiency) Previous ClarinetFest Presentations ClarinetFest® 2007 Electronic Archived Issues Dr. Chris Gibson Clarinet Journal Back Issues Associate Professor of Music Northwest Missouri State University Links Download PowerPoint Presentation Air leaking through the nose while playing the clarinet, or any wind instrument, is annoying, embarrassing and usually stressful. The noise can range from a mild hiss to a loud snort and can even be heard by the audience during a recital. The problem does not occur in a large number of players, but when it does, it can be career threatening. My interest in this topic developed because I spent many years struggling with the air leak, unable to find anyone who could help me control or eliminate it. During my doctoral studies, I was finally able to bring this problem under control, and I wrote my dissertation about five wind players with palatal air leaks. I am periodically contacted by individuals who have developed this air leak and are searching for solutions on the clarinet chat board. When I was contacted by a clarinet-playing physician experiencing the air leak, I was intrigued by her use of newer medical diagnostic procedures in her attempt to understand the problem, and began to explore recent advances in diagnosis and treatment. Unfortunately, there does not appear to have been a great deal of progress. And although there have been a couple of research projects related to this issue, the number of players who seek help for this leak is apparently very low, and so the number of subjects studied is very small.
    [Show full text]
  • Instruments in Music Therapy Practice: an Art-Based Research Community Engagement Project Alison G
    Lesley University DigitalCommons@Lesley Graduate School of Arts and Social Sciences Expressive Therapies Capstone Theses (GSASS) Spring 5-18-2019 Principal Instruments in Music Therapy Practice: An Art-Based Research Community Engagement Project Alison G. Dagger Lesley University, [email protected] Follow this and additional works at: https://digitalcommons.lesley.edu/expressive_theses Part of the Social and Behavioral Sciences Commons Recommended Citation Dagger, Alison G., "Principal Instruments in Music Therapy Practice: An Art-Based Research Community Engagement Project" (2019). Expressive Therapies Capstone Theses. 143. https://digitalcommons.lesley.edu/expressive_theses/143 This Thesis is brought to you for free and open access by the Graduate School of Arts and Social Sciences (GSASS) at DigitalCommons@Lesley. It has been accepted for inclusion in Expressive Therapies Capstone Theses by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected]. Running Header: PRINCIPAL INSTRUMENTS IN MUSIC THERAPY PRACTICE 1 Principal Instruments in Music Therapy Practice: An Art-Based Research Community Engagement Project Capstone Thesis Lesley University May 5th, 2019 Alison Dagger Specialization: Music Therapy Thesis Instructor: Meg Chang, EdD, BC-DMT Thesis Consultant: Michele Forinash, MT-BC, LMHC PRINCIPAL INSTRUMENTS IN MUSIC THERAPY PRACTICE 2 Abstract This community engagement project seeks to question established beliefs concerning the instruments used by music therapists in sessions through an exploration of their impact on therapist ability to interpersonally attune. In the field of music therapy, the competency instruments of piano, voice, guitar, and percussion are widely revered as the most beneficial for clients during active music making interventions. However, many music therapists come to the field with years of professional training on other instruments called principal instruments.
    [Show full text]
  • Rattle Opens Berlin Season with Lindberg
    QNotes 72 (23-9) 24/9/07 5:20 pm Page 2 Boosey & Hawkes Music Publishers Limited October 2007 2007/3 Carter Included in this issue: Rattle opens Berlin towards 2008 Chin Elliott Carter celebrates his 100th birthday on Munich premieres Alice 11 December 2008 and plans are in place in Wonderland opera season with Lindberg for international celebrations, featuring the most recently completed scores by this elder statesman among Magnus Lindberg’s new master. Adopting its title from the final “Again and again the huge orchestra releases American sunrise chorus of Schoenberg’s epic cantata bolts of energy… Lindberg’s sun does not smile orchestral work, Seht die mildly upon its worshippers. Instead, it fires up the composers. Major Gurrelieder, the work explores the tipping birthday events are Sonne, provided a dramatic point from late-Romanticism to modernism. music and lends it a lasting resplendence.” Berliner Morgenpost so far confirmed in Boston, New York, opening to the Berliner “…an extravagant and glittering piece on a grand London, Paris, Philharmoniker’s season. “Sharp as a knife – scale, full of bold gestures and big effects… The second movement ends with a solo cello cadenza Berlin, Cologne, a tour de force”Der Tagesspiegel Following the August premiere of Seht die so lengthy that it is almost a miniature concerto, a Amsterdam, Turin, Sonne, commissioned by the Stiftung mournful lament full of ethereal harmonics. The Basel, Vienna, “…a work that liberally mixes the exquisite colours third movement is the work’s darkest, opening in Lisbon, Porto and Berliner Philharmoniker in association with of the orchestra… and that in its luminescent the San Francisco Symphony, Simon Rattle the lower depths of the bass registers and rising Photo: Meredith Heuer Gothenburg.
    [Show full text]
  • On STAGE Series Carter and Beyond: Invention and Inspiration
    San Francisco Contemporary Music Players on STAGE Series Carter and Beyond: Invention and Inspiration CARTER CHODOS SCHROEDER OCT 20, 2018 Taube Atrium Theater San Francisco, CA This event is San Francisco Contemporary Music Players Adam Luftman, trumpet Chris Froh, percussion David Tanenbaum, guitar Hannah Addario-Berry, cello Hrabba Atladottir, violin Jeff Anderle, clarinet Karen Gottlieb, harp Kate Campbell, piano Kyle Bruckmann, oboe The San Francisco Contemporary Music Players (SFCMP), a 24-member ensemble Loren Mach, percussion of highly skilled musicians, performs innovative contemporary classical music Meena Bhasin, viola based out of the San Francisco Bay Area. Nanci Severance, viola Nick Woodbury, percussion SFCMP aims to nourish the creation and dissemination of new works through Peter Josheff, clarinet high-quality musical performances, commissions, education and community Peter Wahrhaftig, tuba outreach. SFCMP promotes the music of composers from across cultures Richard Worn, contrabass and stylistic traditions who are creating a vast and vital 21st-century musical language. SFCMP seeks to share these experiences with as many people as Roy Malan, violin possible, both in and outside of traditional concert settings. Sarah Rathke, oboe Stephen Harrison, cello SFCMP evolved out of Bring Your Own Pillow concerts started in 1971 by Susan Freier, violin Charles Boone. Three years later, it was incorporated by Jean-Louis LeRoux and Tod Brody, flute Marcella DeCray who became its directors. Across its history, SFCMP has been led William
    [Show full text]