DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 73, 1953-1954

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 73, 1953-1954 BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SEVENTY-THIRD SEASON I 953~ I 954 Sanders Theatre, Cambridge \&faward University] Boston Symphony Orchestra (Seventy-third Season, 1953-1954) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Sherman Walt Concert-master Jean Cauhap£ Ernst Panenka Alfred Krips Fugen Leliner Theodore Brewster George Zazofsky Albeit Bernard Rolland Tapley Georges Fourel Contra - Bassoon Norbert Lauga George Humphrey Richard Plaster Vladimir Resnikofl Jerome Lipson Harry Dickson Louis Artieres Horns Gottfried Wilfinger Robert Karol James Stagliano Einar Hansen Reuben Green Harry Shapiro Joseph Leibovici Bernard Kadinoff Harold Meek Emil Kornsand Vincent Mauricci Paul Keaney Roger Shermont Walter Macdonald Carlos Pinfield Violoncellos Osbourne McConathy Paul Fedorovsky Samuel Mayes Minot Beale Alfred Zighera Trumpets Herman Silberman Jacobus Langendoen Roger Voisin Stanley Benson Mischa Nieland Marcel La fosse Leo Panasevich Karl Zeise Armando Ghitalla Gerard Goguen Sheldon Rotenberg Josef Zimbler Fredy Ostrovsky Bernard Parronchi Leon Marjollet Trombones Clarence Knudson Martin Hoherman Jacob Raichman Pierre Mayer Louis Berger William Moyer Manuel Zung Kauko Kahila Samuel Diamond Flutes Josef Orosz Victor Manusevitch Doriot Anthony James Nagy James Pappoutsakii Tuba Leon Gorodetzky Phillip Kaplan K. Vinal Smith Raphael Del Sordo Melvin Bryant Piccolo Harps George Madsen Lloyd Stonestreet Bernard Zighem Saverio Messina Oboes Olivia Luetcke William Waterhouse Ralph Gomberg William Marshall Jean Devergie Timpani Leonard Moss John Holmes Roman Szulc Charles Smith Basses English Horn Georges Moleux Louis Speyer Willis Page Percussion Ludwig Juht Clarinets Harold Farberman Irving Frankel Gino Cioffi Everett Firth Henry Freeman Manuel Valerio Harold Thompson Henry Portnoi Pasquale Cardillo E\> Clarinet Gaston Dufresne Librarians Henri Girard Bass Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Victor Alpert, Ast't Sanders Theatre, Cambridge {Jfarvard University] SEVENTY-THIRD SEASON, 1953-1954 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Fourth Concert TUESDAY EVENING, February 16 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 Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Lewis Perry N. Penrose Hallowell Edward A. Taft Francis W. Hatch Raymond S. Wilkins Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [1] A Report To Friends, New and Old &&s After eight weeks of the campaign to secure funds to maintain the Boston Symphony Orchestra, a total of 3200 persons and business firms, of whom 800 are making their first contributions, have been enrolled as Friends. Contributions have ranged from 25^ to $5,000, totalling $14 0,000 of the $250,000 required. At this point in the campaign the Orchestra may consider itself fortunate in having supporters so numerous, so loyal, and so generous. But there remains $1 10,000 to be raised. If you have not yet sent your contribution, you are urged to do so now. &*syd Checks should be payable to the Boston Symphony Orches- tra and sent to Richard C. Paine, Esq., Treasurer, Symphony Hall, Boston 15. Such gifts are deductible under the Federal Income Tax Law. r & i . Sanders Theatre, Cambridge [Shfarvard University^ Boston Symphony Orchestra SEVENTY-THIRD SEASON, 1953-1954 CHARLES MUNCH, Music Director FOURTH CONCERT TUESDAY EVENING, February 16 Program RICHARD BURGIN, Conductor Bach Brandenburg Concerto No. 3, in G major, for Strings I. Allegro moderato II. Allegro Mahler Adagio from the Tenth Symphony INTERMISSION Sibelius Symphony No. 2, in D major, Op. 43 I. Allegretto II. Tempo andante ma rubato III. Vivacissimo; Lento e suave IV. Finale: Allegro moderato The Friday and Saturday concerts are broadcast each week from Station WGBH (FM) BALDWIN PIANO RCA VICTOR RECORDS [3] Greatest achievement SYMPHONIANA in home music in 28 years... CONTRIBUTORS From various business firms which have contributed to the Boston Sym- phony Orchestra, the following para- graphs, taken from letters, are quoted: "In response to your letter of De- cember 18, we are very conscious of the advantages of maintaining the Boston Symphony Orchestra, both to the com- munity and to the cultural life of all the inhabitants of New England, and therefore we are pleased to enclose our check, which we hope will be of as- sistance to your campaign." —The Bettinger Corporation, Waltham, Mass. "We are pleased to enclose a check for the Symphony Fund called to our attention. Although ordinarily we con- fine ourselves to the Rockland area in the new the matter of Company contributions, in this particular instance we are de- parting from our usual policy, as we RCA should like very much to make at least VICTOR a small donation toward this very worth- while drive." — E. T. Wright & Co., Inc., HIGH FIDELITY Rockland, Mass. 44 BEQUESTS Victroia phonograph For financial stability this Orchestra is greatly indebted to those who have Victor and New RCA made bequests for its support. High Fidelity Records Its well-wishers include members of the Orchestra itself. The following let- ter has been received: Now, enjoy thrilling high fidelity... continuing interest in the Orches- u "A inperson"realism...withRCAVictor's tra and its financial welfare has been new high fidelity phonograph. shown by a former member who retired This remarkably sensitive instrument some years ago. Mr. Karl Rissland, who was a first violinist for over twenty-five brings you the overtones in music, years, donated $1,000 to be held in trust the extremely high and low frequen- by Massachusetts Hospital Life Com- cies you've probably never heard pany as trustee of the Massachusetts before. You'll hear the difference Life Fund. Mr. Rissland, who is now over hopes add to this immediately when you play New 80, to fund dur- ing his lifetime. Upon his death the Victor High Fidelity records, spe- RCA principal will be paid to the Orchestra." cially produced to give you maximum sound definition. OPEN REHEARSAL Hear this new dimension in sound Berlioz' "The Damnation of Faust," ...at your RCA Victor dealer's. to be conducted by Charles Munch in Symphony Hall next Friday Afternoon Suggested Eastern list price, subject to change. and Saturday Evening, the Choruses *^b from Harvard and Radcliffe assisting, rcaMctor may be heard by non-subscribers. The Tmks. ® DIVISION OF RADIO CORP. OF AMERICA final Rehearsal in Symphony Hall next Thursday Evening at 7 :30 will be open to the public (Admission $2.00). [4] CONCERTO, G MAJOR, NO. 3 (of the Brandenburg Set) for Three Violins, Three Violas, Three Violoncellos, with Bass by the Cembalo By Johann Sebastian Bach Born at Eisenach on March 21, 1685; died at Leipzig on July 28, 1750 Bach presented his six "Brandenburg" Concertos to the Margraf of Brandenburg in 1721. The first performance by this Orchestra of the Third Concerto was on March 8, 1907. Its last performance here was March 31, 1950. The set of Brandenburg concertos can be looked upon as an experi- ment in various instrumental combinations. Of the six this one, like the last, is written for strings only. It is unique among them in having no intervening slow movement to bring the customary contrast between the two allegros.* The original title runs "Concerto jzo a tre Violini, tre Viole, e tre Violoncelli col Basso per il Cembalo," but the score definitely gives a place to the basses, usually doubling the 'cellos, whereby the "cem- balo" becomes merely a reinforcing instrument, unessential in the gen- eral balance. Bach thus divides his forces into three complete and equal string orchestras. At times, as in the first exposition, the three parts for each kind of instrument are in unison, making an ensemble of only three distinct voices (though the players themselves are distrib- uted) , giving a special sense of integration and solidity. At times the three parts (for violins, violas, or 'cellos) are at variance, giving an infinite diversity and richness in contrapuntal imitation. Using brief rhythmic figures, Bach establishes and sustains an astonishing vitality in their varied manipulation. "The two movements," writes J. A. Fuller-Maitland, "make up a composition that is surely without a rival as the expression of a frank and fearless joy, a joy from which everyday mirth is not excluded and which yet is well fitted for a tribute of spiritual exultation." Philip Spitta speaks of the first move- ment as "instinct with life and genius." He draws the attention to a particular passage (from the 78th bar) which he considers "as fine as anything in the whole realm of German instrumental music; the chief subject is given out in the second violin part, the first violin then starts an entirely new subject which next appears in the second violins, drawing in more and more instruments, and is at last taken up by the third violin and the third viola, and given out weightily * Bach used the first movement as an instrumental introduction ("Concerto") to his Cantata 174 ("Ich liebe den hochsten von ganzen Gemiithe") for Alto, Tenor, Bass, and Orchestra. To the string parts, unchanged, he added 2 corni da caccia, 2 oboes and tenor oboe ("Taille"), the wind parts sometimes doubling, sometimes adding to the notation. [5] on their G strings; this is the signal for a flood of sound to be set free from all sides, in the swirl of which all polyphony is drowned for several bars. There is no adagio in regular form. Two long-held chords alone release the imagination for a moment, and then begins the concluding movement, a true concerto finale in 12-8 time." [copyrighted] ADAGIO FROM THE TENTH SYMPHONY (Posthumous) By Gustav Mahler Born in Kalischt, Bohemia, July 7, i860; died in Vienna, May 18, 1911 Mahler left at his death sketches, partly realized in full score, of a Tenth Sym- phony.
Load more

Recommended publications
  • BOSTON UNIVERSITY COLLEGE of FINE ARTS Dissertation MERRI FRANQUIN and HIS CONTRIBUTION to the ART of TRUMPET PLAYING by GEOFFRE
    BOSTON UNIVERSITY COLLEGE OF FINE ARTS Dissertation MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING by GEOFFREY SHAMU A.B. cum laude, Harvard College, 1994 M.M., Boston University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2009 © Copyright by GEOFFREY SHAMU 2009 Approved by First Reader Thomas Peattie, Ph.D. Assistant Professor of Music Second Reader David Kopp, Ph.D. Associate Professor of Music Third Reader Terry Everson, M.M. Associate Professor of Music To the memory of Pierre Thibaud and Roger Voisin iv ACKNOWLEDGEMENTS Completion of this work would not have been possible without the support of my family and friends—particularly Laura; my parents; Margaret and Caroline; Howard and Ann; Jonathan and Françoise; Aaron, Catherine, and Caroline; Renaud; les Davids; Carine, Leeanna, John, Tyler, and Sara. I would also like to thank my Readers—Professor Peattie for his invaluable direction, patience, and close reading of the manuscript; Professor Kopp, especially for his advice to consider the method book and its organization carefully; and Professor Everson for his teaching, support and advocacy over the years, and encouraging me to write this dissertation. Finally, I would like to acknowledge the generosity of the Voisin family, who granted interviews, access to the documents of René Voisin, and the use of Roger Voisin’s antique Franquin-system C/D trumpet; Veronique Lavedan and Enoch & Compagnie; and Mme. Courtois, who opened her archive of Franquin family documents to me. v MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING (Order No.
    [Show full text]
  • Lutheran Summer Music Festival Student Recital
    Lutheran Summer Music Festival 1998 Student Recital Kresge Recital Hall Humanities Building Augustana College Sioux Falls, South Dakota Friday, July 17, 11:30 a.m. Program Concerto for Trumpet in E-Flat Major Joseph Haydn (1732-1809) arr. A. Goeyens II. Andante Nick Miller, trumpet Genevieve Feiwen Lee, piano Largo and Presto Benedetto Marcello (1686-1739) arr. Donald C. Little Matt Brunoehler, tuba Genevieve Feiwen Lee, piano Praeludium and Allegro Fritz Kreisler (1875-1962) Beth Schoening, violin Rick Andrews, piano Concerto in B-Flat Major Alexander Grigori Harat’ unyan’ (b. 1920) ed. Roger Voisin Mary Stoneback, trumpet Rick Andrews, piano Six Poems after Heine, Op. 31 Edward MacDowell (1860-1908) II. Scotch Poem Elizabeth Westerman, piano Arabesque II Claude Debussy (1862-1918) Ellie Steffen, piano Variations on “The Carnival of Venice” Jean-Baptiste Arban (1825-1889) arr. Donald Hunsberger Sarah Stoneback, trumpet Genevieve Feiwen Lee, piano *R RR RK OK RK OK We ask that all members of the audience refrain from photographing or recording the performance. A high-fidelity recording of this performance may be ordered. You are invited to attend the next events of Lutheran Summer Music 1 998: Student Recitals Kresge Recital Hall, Humanities Room 173, or Chapel of Reconciliation Augustana College Friday, July 17, 1:00 P-m., 2:30 p.m., 5:30 p.m. Chamber Strings Kresge Recital Hall Humanities Building Augustana College Friday, July 17, 4:00 p.m. Festival Band Concert Jeschke Fine Arts Center Auditorium University of Sioux Falls Sioux Falls, South Dakota Friday, July 17, 8:00 p.m. This concert is the twenty-sixth event of the seventeenth season of Lutheran Summer Music Lutheran Summer Music Festival 1998 Student Recital Room 173 Humanities Building Augustana College Sioux Falls, South Dakota Friday, July 17, 11:30 a.m.
    [Show full text]
  • Toscanini in Stereo a Report on RCA's "Electronic Reprocessing"
    Toscanini in Stereo a report on RCA's "electronic reprocessing" MARCH ERS 60 CENTS FOR STEREO FANS! Three immortal recordings by Arturo Toscanini and the NBC Symphony have been given new tonal beauty and realism by means of a new RCA Victor engineering development, Electronic Stereo characteristics electronically, Reprocessing ( ESR ) . As a result of this technique, which creates stereo the Toscanini masterpieces emerge more moving, more impressive than ever before. With rigid supervision, all the artistic values have been scrupulously preserved. The performances are musically unaffected, but enhanced by the added spaciousness of ESR. Hear these historic Toscanini ESR albums at your dealer's soon. They cost no more than the original Toscanini monaural albums, which are still available. Note: ESR is for stereo phonographs only. A T ACTOR records, on the 33, newest idea in lei RACRO Or AMERICA Ask your dealer about Compact /1 CORPORATION M..00I sun.) . ., VINO .IMCMitmt Menem ILLCr sí1.10 ttitis I,M MT,oMC Mc0001.4 M , mi1MM MCRtmM M nm Simniind MOMSOMMC M Dvoìtk . Rn.psthI SYMPHONY Reemergáy Ravel RRntun. of Rome Plue. of Rome "FROM THE NEW WORLD" Pictures at an Exhibition TOSCANINI ARTURO TOSCANINI Toscanini NBC Symphony Orchestra Arturo It's all Empire -from the remarkable 208 belt- driven 3 -speed turntable -so quiet that only the sound of the music distinguishes between the turntable at rest and the turntable in motion ... to the famed Empire 98 transcription arm, so perfectly balanced that it will track a record with stylus forces well below those recommended by cartridge manufacturers. A. handsome matching walnut base is pro- vided.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962
    I ! w>- I A| JjL, ill ^2y „, j V - -IvV % :>-. ^"; -""~^S> r BOSTON f % SYMPHONY if ORCHESTRA ' A / FOUNDED IN 1881 BY ,<# HENRY LEE HIGGINSON jf% / \M6r \W f - • -• 4 /rsL^i/Wlllwfi'r* ' "^ ///?£? Hinull _ & ws»~^ ^W^-^x ~ :" ~ '--'' '...<- '}/ - 41^.-.. C-- y - --. f — ^ . X. «8sS> J EIGHTY-FIRST SEASON 1961-1962 '$,.*» LENOX, MASSACHUSETTS TANGLEWOOD 1962 The Boston Symphony Orchestra CHARLES MUNCH, Music Director The Berkshire Festival Twenty-fifth Season CHARLES MUNCH, Conductor 8 Weeks, Beginning July 6 The Berkshire Music Center Twentieth Season CHARLES MUNCH, Director For full information, address T. D. Perry, Jr., Manager, Symphony Hall, Boston, Mass. EIGHTY-FIRST SEASON, 1961-1962 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 Talcott M. Banks Vice-President Richard C. Paine Treasurer Theodore P. Ferris John T. Noonan Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft Palfrey Perkins Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [3] Boston Symphony Orchestra (Eighty-first Season, 1961-1962) CHARLES
    [Show full text]
  • Britten Curriculum Upload
    Young Person’s Guide to the Orchestra Concept by Daniel Meyer Curriculum Designed by Steven Weiser and the Erie Philharmonic Education Committee Table of Contents 1. Pre-Tests • Grades K-2 all lessons combined • Lesson 1 (Grades 3+) • Lesson 2 (Grades 3+) • Lesson 3 (Grades 3+) 2. CD Track Listing and Listening Guide for Teachers 3. Map of the Orchestra 4. History of the Erie Philharmonic 5. Lesson 1 • Lesson Plan • Orchestra Map Exploration • Identifying Instruments 6. Lesson 2 • Lesson Plan • Sound Exploring • Young Person’s Guide to the Orchestra 7. Game Break • Maze - Grades K-2, 3+ • Word Search - Grades K-2, 3+ • Coloring - all Grades 8. Brief History of the Warner Theatre 9. Lesson 3 • Musical Characteristics SPONSORED BY 10. What to Expect at the Concert 11. Post-Tests • Grades K-2 all lessons combined • Lesson 1 (Grades 3+) • Lesson 2 (Grades 3+) • Lesson 3 (Grades 3+) Pre-Test (Grades K-2) Name ______________________ 1. Can you name an instrument from the orchestra? 2. Can you name one of the families of the orchestra? 3. Can you name an instrument that has strings? 4. Can you name an instrument that is made of brass? Pre-Test Lesson 1 (Grades 3+) Name ______________________ 1. Can you list the 4 families of a symphony orchestra? 1. 2. 3. 4. 2. Can you name these instruments? ______________ ______________ _________________ 3. Is this instrument from the Brass or Woodwind family? _______________________________ 4. Is this instrument from the Percussion or String family? ____________________________ 5. What does a string player use to create a sound on their instrument? ____________________________________________________ 6.
    [Show full text]
  • 2005-2006 Brass Ensemble
    LYNN UNIVERSITY CONSERVATORY OF MUSIC 2006 PROGRAM I ~--- --- ~ .YNN UNIVERSITY BRASS ENSEMBLE Dr. Jon Robertson, (MARC REESE, DIRECTOR Dean ~unday, April 09, at 7:30 p.m. Welcome to the 2005-2006 season. This being my lA..marnick-Goldstein Concert Hall first year as dean of the conservatory, I greet the ~ynn University, Boca Roton season with unabated enthusiasm and excitement. The talented musicians and extraordinary performing faculty at Lynn represent the future of the performing fold, Blue and Bright.. ............................... Jam~~-S t~~~~nson arts, and you, the patrons, pave the road to their 1 artistic success through your presence and generosity. I Chung Park, conductor This community engagement is in keeping with the I Conservatory of Music's mission: to provide high­ [sonata St. Mark .........................................Tomaso Albinoni quality professional performance education for gifted I Grave (1671-1751) young musicians and set a superior standard for I music performance worldwide. i Allegro I THE ANNUAL FUND 'I Andante A gift to the Annual Fund can be designated for Vivace ,i scholarships, various studios, special concerts or to I the General Conservatory Fund. !Canzon septimi toni No. 2 ............................ Giovanni Gabrieli (1557-1612) ADOPT-A-STUDENT You may select from the conservatory's promising young musicians and provide for his or her future [Impromptus ............................................ .James Stephenson through the Conservatory Scholarship Fund. You (b. 1969) will enjoy the concert even more when your student performs. A gift of $25,000 adopts a student for one year. A gift of $100,000 pays for an education. I. Allegro energico II. Rubato ESTATE GIFT III.
    [Show full text]
  • THE 2016/2017 80TH ANNIVERSARY SEASON MAY 21, 2017 San Antonio Brass Program
    THE 2016/2017 80TH ANNIVERSARY SEASON MAY 21, 2017 San Antonio Brass Program Tielman Susato La Mourisque 1510-1570 arranged by Sterling Proctor Divine Mystery Giovanni Gabrieli Canzona per sonare No. 2 1554-1612 Johann Christoph Pezel Sonata 22 1639-1694 Johann Sebastian Bach Arioso 1685-1750 Johann Sebastian Bach Contrapunctus IX 1685-1750 Ludwig Maurer Three Pieces 1789-1878 Intermission Scott Joplin The Entertainer 1867-1917 Lew Pollack That’s a Plenty 1895-1946 José Padilla El Relicario 1889-1960 George Gershwin Summertime 1898-1937 Leonard Bernstein Somewhere 1918-1990 Manning Sherwin A Nightingale Sang in Berkeley Square 1902-1974 arranged by John Carroll Plight of the Bumblebee arranged by Lee Hipp Light Cavalry Medley Wilke Renwick encore: Dance 1921-2014 San Antonio Brass Biography The San Antonio Brass is a 501(c)3 not-for-prot organi- zation. Donations supporting the artistic and educational activities of the San Antonio Brass can be sent to: San Antonio Brass, Inc. San Antonio Brass P.O. Box 2552 South Texas's Premier Brass Ensemble! San Antonio, TX 78299 Comprised of some of the nest brass players in Texas, including the princi- pal brass of the San Antonio Symphony, the San Antonio Brass has been South Texas's premier brass ensemble for over 30 years. Since its founding in 1982, the SAB has contributed to the cultural life of San Antonio, Bexar County and the state of Texas through its performances and educational programs. Dana Cullen Lee Hipp Steve Peterson John Carroll Mike Bucalo San Antonio Brass Biography John Carroll, principal trumpet John obtained a B.M.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958
    r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SEVENTY-SEVENTH SEASON !957-!958 Sanders Theatre, Cambridge [harvard University] 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 Albert Bernard George Zazofsky Roll and Tapley George Humphrey Contra-Bassoon Norbert Lauga Jerome Lipson Richard Plaster Vladimir Resnikoff Robert Karol Horns Harry Dickson Reuben Green Gottfried Wilfinger Bernard Kadinoff James Stagliano Vincent Charles Yancich Einar Hansen Mauricci Joseph Leibovici John Fiasca Harry Shapiro Harold Meek Emil Kornsand Earl Hedberg 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 Andre 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 Kabila Victor Manusevitch Robert Ripley 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
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 75, 1955-1956
    -^ BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HI 1955 1956 SEASON Sanders Theatre, Cambridge \^hrvard University] Boston Symphony Orchestra (Seventy-fifth Season, 1955-1956) 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 George Zazofsky Albert Bernard Contra-Bassoon Roll and Tap ley George Humphrey Richard Plaster Norbert Lauga Jerome Lipson Vladimir Resnikoff Robert Karol Horns Harry Dickson Reuben Green James Stagliano Gottfried Wilfinger Bernard Kadinoff Charles Yancich Einar Hansen Vincent Mauricci Harry Shapiro Joseph Leibovici John Fiasca Harold Meek Emil Kornsand Violoncellos Paul Keaney Roger Shermont Osbourne McConath^ Samuel Mayes Minot Beale Alfred Zighera Herman Silberman Trumpets Jacobus Langendoen Stanley Benson Roger Voisin Mischa Nieland Marcel Leo Panasevich Lafosse Karl Zeise Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Trombones Clarence Knudson Leon Marjollet Pierre Mayer Martin Hoherman William Gibson Manuel Zung Louis Berger William Moyer Kauko Kabila Samuel Diamond Richard Kapuscinski Josef Orosz Victor Manusevitch Robert Ripley Nagy James Flutes Tuba Melvin Bryant Doriot Anthony Dwyer K. Vinal Smith Lloyd Stonestreet James Pappoutsakis Saverio Messina Phillip Kaplan Harps William Waterhouse Bernard Zighera Piccoi,o William Marshall Olivia Luetcke Leonard Moss George
    [Show full text]
  • Roger Voisin Memorial Trumpet Competition 2020
    Roger z~a LYNN VoISm UNIVERSITY Memorial Trumpet Competition Roger Voisin Memorial Trumpet Competition Jan. 9 and 10, 2020 I Keith C. and Elaine Johnson Wold Performing Arts Center Roger's rules --:- - --~ ~-:;: - -_.._. -- - ~--- ; -- _.. - .- --­ - - ~ -- -=---...= - - ....,$ . -: ~ - .. - ____ _..... .; ..=-- .- • I . Be on time. 2. Be in time. 3. Be in tune. 4. Practice (your etudes). 5. Prepare (your performances). 6. When in doubt, play louder. 7. Learn solf8ge (sight-singing and ear training). 8. Play, teach, coach, conduct, learn , mentor. 9. Serve music! (Don 't let it serve you.) Pass La Torche! This poster was created for printing in t11e 2007 International Trumpet Guild (ITG) Conference Program The Voisin Tribute event was held at the University of Massachusetts in Amherst, Massachusetts, on May 30 , 2007. The ITG Conference host was Eric Berlin. This was the last official function that Mr. Voisin attended before his passing on Feb. 13, 2008. These rules are one of his many legacies that he passed on to the trumpet community and especially to all of his students. Please visit the tribute website at voisinenterprises.com (music section). 2 Roger Voisin (1918-2008) Among the most influential trumpet of the concerts, I was sitting talking performers and teachers of the with the conductor Arthur Fiedler 20th century, Roger Voisin joined and the first trumpet of the Boston the Boston Symphony Orchestra Pops, Roger Voisin. Suddenly, Roger as assistant principal trumpet in Voisin asked me why I didn't write a 1935 at age 17 and became principal trumpet solo for him to play with the trumpet in 1950.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 68, 1948-1949
    BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HI -"'"M'C SIXTY-EIGHTH SEASON 1948-1949 Tuesday Evening Series Boston Symphony Orchestra [Sixty-eighth Season, 1948-1949] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL VlOUNS Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhap£ Ernst Panenka Alfred Krips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Rolland Taplcy Albert Bernard Contra-Bassoon Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey Horns Paul Cherkassky Louis Artieres Harry Dubbs Charles Van Wynbergen Willem Valkeniei James Stagliano Vladimir Resnikoff Hans Werner Principals Joseph Leibovici Jerome Lipson Harry Shapiro Siegfried Gerhardt Einar Hansen Harold Meek Daniel Eisler Violoncellos Paul Keaney Norman Carol Walter Macdonald Carlos Pinfield Samuel Mayes Osbourne McConathy Alfred Zighera Paul Fedorovsky Harry Dickson Jacobus Langendoen Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmans Roger Voisin Karl Zeise Clarence Knudson Principals Pierre Mayer Josef Zimbler Marcel Lafosse Manuel Zung Bernard Parronchi Harry Herforth Samuel Diamond Enrico Fabrizio Renl Voisin Leon Marjollet Victor Manusevitch Trombones James Nagy Flutes Jacob Raichman Leon Gorodetzky Georges Laurent Lucien Hansotte Raphael Del Sordo James Pappoutsakis John Coffey Melvin Bryant Phillip Kaplan Josef Orosz John Murray Lloyd Stonestreet Piccolo Tuba Henri Erkelens George Madsen Vinal Smith Saverio Messina Herman Silberman
    [Show full text]
  • Boston Symphony Orchestra Archives
    thirteen 98th SEASON BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director EXPERIENCE THE 19™CENTURY One of the gifts of the 19th century (along with Tchaikovsky, Tolstoi, others) was the ritual of the "family silver." It was in those elegant times when bringing out the "family silver" came to mean a profound or joyous occasion was at THE ONE hand, one that called for something beyond the ordinary. CONCESS A few of the more hallowed rituals that evolved over the genera- TO MODEF FOR THE tions are shown below. Next time you take out the Smirnoff Silver (it SILVER traces directly back to the original formula) observe the jewel-like DRINK* flash of icy-cold Silver pouring into your glass. Smooth, with a unique YOUR 90.4 proof. Prepare to taste history. FREEfi TAKES 1 PLACE C THF NORTH El WINTER F CHILLING BOTTLE AN GLASSES k X FREEZING SILVER PLUS A THIRD OF A TURN ON THE PEPPER MILL AND YOU SHOULD BE ABLE TO COUNT THE GRAINS THOROUC-->fc_OT & 3NEBLAO )LIVE CHILL CHILL EVEN FURTHER WITH ONEOUNCEOF ~ ^NoilrM V ANNOUNCING RUNE FURNITURE'S ©GREAT WINTEROF 79 SALE Sale now in progress. BOSTON 81 Arlington St. 426-1500 Mon - Sat 930 am - 5:30 pm; Wed 930 am - 830 pm NATICK 323 Speen St. 655-2200 Mon - Fri 930 am - 8:30 pm. Sat 930 am - 530 pm PAINE© HH BSO CHAMBER MUSIC PRELUDES PERNODmade possible by I fi N€W S€RI€S OF PR€-SVMPHONV I CHRMB6R MUSIC RND DINN€RS RVflllflBl€ TO BSO SUBSCRIB€RS 6 PM Concerts (Followed by Dinners at 7 pm) FEBRUARY 1,3 Schubert String Trio #2 Hindemith String Trio #2 FEBRUARY 22, 24 Beethoven Serenade, op.
    [Show full text]