DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip ACADEMY OF MUSIC, PHILADELPHIA Twenty-third Season in Philadelpnia DR. KARL MUCK, Conductor •Programme of % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, MARCH 16, AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE MUSICAL ECHO CO., 1217 Chestnut Street, Philadelphia, Pa. Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. ~Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Ozerwonky, R. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Stnibe, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, PI. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. •Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn Bass Clarinet. Contra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz, O Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympany Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. MMHMbfefetatellrigto^ Hti)e <£f)ttJurtng Biuno Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S.A. Represented in Philadelphia by JOHN WANAMAKER, City Hall Square 4 BOStOn ACADEMY OF MUSIC, ™*»*™. Symphony § Twenty-seventh Season, 1907-1908. Orchestra Twenty-third Season in Philadelphia* Dr. KARL MUCK, Conductor. FIFTH AND LAST CONCERT, MONDAY EVENING, MARCH 16, AT 8. J 5 PRECISELY. PROGRAMME. " Beethoven . Symphony in F major, No. 6, Pastoral," Op. 68 I. Awakening of serene impressions on arriving in the country: Allegro, ma non troppo. II. Scene by the brook-side : Andante molto moto. III. Jolly gathering of country folk: Allegro. In tempo d' allegro. Thunder-storm; Tempest: Allegro. IV. Shepherds' song; Gladsome and thankful feelings after the storm: Allegretto. MacDowell . Orchestral Suite in E minor, No. 2, "Indian," Op. 48 I. Legend: Not fast; with much dignity and character. Twice as fast ; with decision. II. Love Song: Not fast; tenderly. III. In War Time: With rough vigor, almost savagely. IV. Dirge : Dirge-like, mournfully. V. Village Festival : Swift and light. Rimbky- Korsakoff . Caprice on Spanish Themes, Op. 34 rst me ' n Philadelphia I. Alborada. ^ ^ II. Variations. III. Alborada. IV. Scene and Gypsy Song. V. Fandango of the Asturias. There will be an intermission of ten minutes after the symphony. 5 There are 5,000 different parts in a single piano ; 10 different materials used, — <rvood, iron, felt, etc; 14 different 'woods,— ash, spruce, maple, etc* And it has taken 200 years to develop the instrument to its present perfection as represented by the HARDMAN PIANO It is evident that only the most expert knowledge and long experience are capable of combining these multi- tudinous elements so as to produce a truly artistic piano. For sixty-five years Hardman, Peck & Co. have been solving piano construction problems. Long enough to acquire expert knowledge and ripe experience; long enough to perfect the famous Hardman Tone, the exquisitely respon- sive touch, the beautiful cases ; long enough to demonstrate the remarkable durability of these vital qualities. Call at our warerooms or at the warerooms of any of our 'representatives, and verify these significant truths. All makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST HARDMAN, PECK & CO. 138 Fifth Avenue (corner 19th Street), New York 524 Fulton Street, Brooklyn. N.Y. Represented in Philadelphia by JAMES BELLAK'S SONS, 1129 Chestnut Street Improves Established with use 184.2 ^^^__ Symphony No. 6, in F major, "Pastoral/' Op. 68. Ludwig van Beethoven (Born at Bonn,— December 16, 1770; died at Vienna, March 26, 1827.) This symphony "Sinfonia pastorale"—was composed in the country round about Heiligenstadt in the summer of 1808. It was first per- formed at the Theater an der Wien, Vienna, December 22, 1808. The symphony was described on the programme as "A symphony entitled 'Recollections of Life in the Country/ in F major, No. 5" (sic). All the pieces performed were by Beethoven: an Aria, "Ah, perfido," sung by Josephine Kilitzky; Hymn with Latin text written in church style, with chorus and solos; Pianoforte Concerto in G major, played by Beethoven; Grand Symphony in C minor, No. 6 (sic); Sanctus, with Latin text written in church style, with chorus and solos; Fantasie for pianoforte solo ; Fantasie for pianoforte, "into which the full orchestra enters little by little, and at the end the chorus joins in the Finale." The concert began at half-past six. We know nothing about the pecuniary result. * * * There was trouble about the choice of a soprano. Anna Pauline Milder,* the singer for whom Beethoven wrote the part of Fidelio, was chosen. Beethoven happened to meet Hauptmann, a jeweller, who was courting her, and in a strife of words called him "stupid ass!" Pauline Anna Milder was born at Constantinople, December 13, 1785. She died at Berlin, May 20 1838. The daughter of an Austrian courier, or, as some say, pastry cook to the Austrian embassador at Constantinople, and afterward interpreter to Prince Maurojeni, she had a most adventurous childhood. (The story is told at length in von Ledebur*s "Tonkunstler-Lexicon Berlin's.") Back in Austria, she studied three years with Sigismund Neukomm. Schikaneder heard her and brought her out in Vienna in 1803, as Juno in Susmayer*s " Der Spiegel von Arkadien." She soon became famous, and she was engaged at the court opera, where she created the part of Leonora in "Fidelio." In 1810 she married a jeweller, HauDtmann. She sang as guest at many opera houses and was offered brilliant engagements, and in 1816 she became a member of the Berlin Royal Opera House at a yearly salary of four thousand thalers and a vacation of three months. She retired with a pension in 1831, after having sung in three hundred and eighty operatic performances; she was also famous in Berlin as an oratorio singer. She appeared again in Berlin in 1834, but her voice was sadly worn, yet she sang as a guest in Copenhagen and St. Petersburg. Her funeral was conducted with pomp and ceremony, and it is said that the "Iphigenia in Tauris," "Alceste," and "Armide," her favorite operas, were put into her coffin, a favor she asked shortly before her death. NEW SONG CYCLES GEORGE H. CLUTSAM. Love Letters. Five Songs. 2 keys . Price, $1.00 net AMY WOODFORDE-FINDEN. Five Japanese Songs. 2 keys . Price, $1.00 net LIZA LEHMAN N. Golden Threshold. Quartette Cycle . Price, #1.50 net HERBERT G. LOVEDAY. Minstrel Songs from Scott's Rokeby. 2 keys Price, $1.00 net LANDON RONALD. Love Tokens. Six Songs. 2 keys . Price, $1.00 net 1. HUBERT S. RYAN. Six Elizabethan Aires. 2 keys . Price, $ 00 net GERRIT SMITH. Thistledown Price, I1.50 net REGINALD SOMERVILLE. Love Themes. Cycle of Three Songs. Price, $1.00 net ARTHUR SOMERVELL. James Lee's Wife. Song Cycle for Contralto Price, $1.50 net 1 BOOSEY & COMPANY, 9 East Seventeenth St., New YorK City — HEPPE A Jury of Tone Ex- perts CERTIFIES all Heppe Pianos If you were about to buy a piano and could get such well-known authorities on tone and acoustics as these to aid you in your selection, would you not feel assured of an artistic piano ? HUGH A. CLARKE, Musical Doctor, professor of music at the University of Pennsylvania. W. "W. GILCHRIST, Musical Doctor, teacher of voice and composition, conductor of the Mendelssohn Club and Harrisburg Choral. HENRY GORDON THUNDER, orchestral conductor and pianist, conductor of Phila- delphia Choral Society, organist of the Pan-American Exposition, Buffalo, 1901. WILLIAM STOLL, Jr., teacher piano and violin, conductor of the Germania Orchestra and the Beethoven String Quartette. SAMUEL L. HERRMANN, teacher piano and harmony, music director the Treble Clef, the Maennerchor, and the Manheim Clubs. The verdict of this distinguished jury is not embodied in a general opinion, but each individual piano is actually tested, and those found worthy receive a certificate which is sealed to the back of the piano and varnished over, so that neither figures nor facts can be changed.
Load more

Recommended publications
  • A Register of Music Performed in Concert, Nazareth, Pennsylvania from 1796 to 1845: an Annotated Edition of an American Moravian Document
    A register of music performed in concert, Nazareth, Pennsylvania from 1796 to 1845: an annotated edition of an American Moravian document Item Type text; Thesis-Reproduction (electronic) Authors Strauss, Barbara Jo, 1947- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 23:14:00 Link to Item http://hdl.handle.net/10150/347995 A REGISTER OF MUSIC PERFORMED IN CONCERT, NAZARETH., PENNSYLVANIA FROM 1796 TO 181+52 AN ANNOTATED EDITION OF AN AMERICAN.MORAVIAN DOCUMENT by Barbara Jo Strauss A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC WITH A MAJOR IN MUSIC HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 6 Copyright 1976 Barbara Jo Strauss STATEMENT BY AUTHOR This thesis has been submitted in partial fulfill­ ment of requirements for an advanced degree at The Univer­ sity of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate ac­ knowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu­ script in whole or in part may
    [Show full text]
  • Proquest Dissertations
    German Harmonielehren, 1800-1854: An annotated bibliography with discussion of the societal and technological factors in their development and publication Item Type text; Dissertation-Reproduction (electronic) Authors McGinnis, Julie Kay, 1959- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 06:39:23 Link to Item http://hdl.handle.net/10150/282202 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality^ of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Die Aktuelle Anwendungssituation in Deutschland Erschienener Orgellehrwerke
    Die aktuelle Anwendungssituation in Deutschland erschienener Orgellehrwerke Dissertation zur Erlangung des akademischen Grades Doktor der Philosophie Hochschule fur¨ Musik und Theater \Felix Mendelssohn Bartholdy" Leipzig Stefan Nusser Gutachter: Prof. Dr. Christoph Krummacher Prof. Dr. Ines Mainz Prof. Dr. Ewald Kooiman Tag der Disputation: 16. Januar 2008 Stefan Nusser: Die aktuelle Anwendungssituation in Deutschland erschienener Orgellehrwerke, Dis- sertation, Hochschule fur¨ Musik und Theater \Felix Mendelssohn Bartholdy" Leipzig, 16. Januar 2008 Inhaltsverzeichnis 1 Einleitung 1 1.1 Zur Forschungsmotivation fur¨ das vorliegende Dissertationsthema............1 1.2 Inhalt, Ziele und methodische Untersuchungsans¨atze...................2 2 Orgellehrwerke im Verlauf der Geschichte5 2.1 Einleitende Gedanken zur geschichtlichen Situation der Anwendung von Unterrichts- mitteln.............................................5 2.2 Die Bedeutung der Tasteninstrumente fur¨ die musikalische Unterweisung........5 2.3 Fundamentbucher¨ als fruheste¨ Schulwerke des Orgelspiels................7 2.4 Die Lehrmeister des Orgelspiels zur Zeit des Fruhbarock¨ .................9 2.5 Generalbass- und Kontrapunktstudien w¨ahrend der Barockzeit............. 11 2.6 Die Musikerfamilie Bach................................... 14 2.7 Des Meisters ganzheitlicher Unterricht in der Musik................... 15 2.8 Mangelhafte Organistenpraxis................................ 16 2.9 Elementarschulen halten Einzug in den Unterricht.................... 18 2.10 Orgelunterricht
    [Show full text]
  • Baroque and Classical Style in Selected Organ Works of The
    BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
    [Show full text]
  • Das Biberacher Orchester Im Spiegel Der Wirkungsgeschichte Von Justin Heinrich Knecht
    Das Biberacher Orchester im Spiegel der Wirkungsgeschichte von Justin Heinrich Knecht Aufsatz von Kulturdezernent Dr. Jörg Riedlbauer Die künstlerische Musikpflege wie auch das Theater gehörten bis zur Französischen Revolution und außerhalb Frankreichs noch bis in das 19. Jahrhundert hinein zum Dekor der feudal- aristokratischen Machtrepräsentation. Institutionalisierte Orchester, die von der Bürgerschaft getragen wurden, waren zu Zeiten des Heiligen Römischen Reiches Deutscher Nation noch in der Minderzahl. Instrumentalmusik für bürgerliche Kreise blieb meist auf Gebrauchsmusik ohne son- derlichen künstlerischen Anspruch beschränkt. Eigens geprobt wurde in der Regel nicht; es han- delte sich um ein vom Blatt-Spiel vor Zuhörern. Insoweit kommt den durch Zeitzeugen belegten „rigorosen Proben“ des Biberacher Musikdirektors Justin Heinrich Knecht besondere Bedeutung zu1. Die Professionalisierung des bürgerlichen Musiklebens setzte nämlich erst allmählich ein und wurde von höheren Kreisen in größeren Städten getragen. Meist waren es Ratsherren, Ärzte, An- wälte oder wohlhabende Kaufleute, die sich in den – konfessionell meist reformierten - Reichs- städten als Liebhaber der Musik zur gemeinsamen Ausübung der Tonkunst regelmäßig zusam- men fanden und, angeleitet vom Kantor oder einem anderen Sachverständigen, öffentlich spiel- ten, zuweilen auch unter Hinzuziehung von professionellen Musikern. Sie hoben sich damit von den örtlichen Gelegenheits-Musikanten ab, die in wechselvollen Ad hoc-Besetzungen mal hier, mal dort zu diversen Anlässen aufspielten. Hervorgegangen sind die Musizierfreundeskreise, die in zeitgenössischen Quellen in der Regel als „Collegium Musicum“ bezeichnet werden, aus der Spielpraxis des „Convivium Musicum“, bei dem ein Gastmahl im Mittelpunkt stand. Während der Mahlzeiten wurde mitunter durchaus erregt diskutiert, zwischen den Gängen – zur Entspannung - musiziert. Infolge des 30-Jährigen Krieges verebbte diese Tradition aus naheliegenden Gründen und wurde erst im 19.
    [Show full text]
  • Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements
    NPk REMEMBRANCE OF THE FIFTIETH ANNIVERSARY OF THE DEDICATION OF THE MORAVIAN CHURCH AT LITITZ, PENNSYLVANIA, 13 AUGUST 1837; AN EDITION OF MORAVIAN MUSIC THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Richard T. Green, B.A. Denton, Texas August, 1988 Green, Richard T., Remembrance on the Fiftieth Anniversary of the Dedication of the Moravian Church at Lititz, Pennsylvania, 13 August 1837; an edition of NorAvian Musk. Master of Arts (Music-Voice),, August, 1988, 199pp. 2 tables, 10 Figures, bibliography, 53 titles. This thesis is a musical reconstruction of the primary services held on 13 August 1837, for the fiftieth anniversary of the dedication of the Moravian church at Lititz, Pennsylvania. The work includes general background on the Moravians and interprets information from contemporary sources to place the music in its accurate historical context. The edition of music comprises more than one half of the paper, and is taken from the original manuscript scores used. Included in the edition are five concerted anthems for choir and orchestra, and eighteen hymns from eighteenth- and early nineteenth-century Moravian tunebooks. The special texts come from an original set of orders of service. Copyright by Richard Thurmond Green 1988 iii ACKNOWLEDGMENTS Without the gracious assistance of the Moravian Music Foundation in Winston-Salem, North Carolina, the Moravian Archive at Bethlehem, Pennsylvania, and the Moravian Congregation at Lititz, Pennsylvania, this paper would have been only an unrealized desire. Director of the Moravian Music Foundation, Kiroly K6pe, granted permission for access to the manuscripts in Bethlehem.
    [Show full text]
  • Program Fall 2016
    Program Fall 2016 o Choral music – Bach vocal o Choral music – Monteverdi Anniversary 2017 o Choral music – Mozart, Telemann, Schütz et al. o Choral music – Arrangements for chamber orchestra o Choral music – Vocal scores XL. Reader-friendly large print o Carus Choir Coach. The study series on CD o Choral music – Contemporary choral music o Organ music o LIEDERPROJEKT: New series "Love songs" o Choral Music for Reformation Anniversary o carus music, the choir app Choral music – Bach vocal Johann Sebastian Bach (1685 – 1750) Up joyous raise your song Cantata for the 1st Sunday in Advent BWV 36 (German/English) Soli SATB, Coro SATB, 2 Obda, 2 Vl, Va, Bc / 30 min Klaus Hofmann performance material in prep. Bach's well-known church cantata "Schwingt freudig euch empor" BWV 36 (Up joyous raise your song), first heard in its final version on First Advent Sunday in 1731 at the Leipzig Nikolaikirche, can be traced back to a secular birthday cantata from 1725. The text is now revised to render the events of Advent - the rejoicing of the opening chorus, the loving veneration and the warm-hearted welcome of the three solo arias retained from the original cantata now all apply to the Messiah, who, as once in Jerusalem, should find a place in the hearts of the faithful. However, their unmistakeable Advent character derives from the fact that Bach contrasts the four "festive" settings from the secular cantata with three strophes from Luther's Advent chorale, "Nun komm, der Heiden Heiland," thus at the same time giving a voice to the Mystery of God made man.
    [Show full text]
  • A Repertoire Guide to Composers Whose Anniversaries Fell in 2017
    COMPOSER ANNIVERSARIES IN 2017 John Collins, Worthing Editor’s note: the original version of this article appeared in NEMA Newsletter No. i/1. A shortened version of the article that follows here was published in British Clavichord Society Newsletter 67, February 2017. Copyright remains with the author, who is happy for excerpts to be used provided that the source is duly acknowledged. For permission to use the document in its entirety, please contact the author directly. There are several composers whose anniversaries can be commemorated in 2017, albeit some of the dates are not known for certain. Some of the composers listed here will need little or no introduction but there are also many less well-known names whose compositions are well worth exploring. No claim is made for completeness (some composers with only a very small number of surviving pieces have not been included), and there is no guarantee that every edition mentioned here is in print. There may well also be editions by other publishers, and it could be worth searching online booksellers for copies. Publishers’ catalogue numbers are given here where possible; websites are listed here. An increasing number of pieces, ranging from complete original publications or manuscripts (which present the usual problems of multiple clefs as well as original printers’ errors) to modern versions of complete or individual works, are to be found on various free-download sites, most notably IMSLP; however, the accuracy of some modern typesettings is highly questionable, and all should be treated with caution. Heinrich Isaac (c. 1450–1517). A leading Flemish contemporary of Josquin who left much vocal and also some instrumental music.
    [Show full text]
  • Tales of 1001 Pipes. for Mendelssohn's
    Tales of 1001 Pipes. For Mendelssohn’s organ lessons: The Wagner Organ at St. Mary’s Church, Berlin Michael Gailit ′ Prologue 4Octava Example 1 3′ Quinta For some, musicology can offer cap- 2′ Super-Octava 3 tivating moments. What has happened 1⁄5′ Tertia at a certain place during a certain time? 8′ Cornet V (c1–c3) Changes in organs remind us sometimes 2′ Mixtur IV 1 of CSI. Who really knew what was go- 1⁄3′ Cimbeln III ing on? The pastor might be not the best 8′ Trompete guess, and the lead has intelligent ways 4′ Clarin to tell everybody how to look at things— Oberwerk (II; CD–c3; 13 stops) 2556 pipes in an organ it’s not worth it, 16′ Quintaden with 1001 pipes you get even more! 8′ Principal 8′ Gedackt Wagner and St. Mary 8′ Quintaden Let us imagine a visit to St. Mary’s 4′ Octava Church in Berlin at the beginning of the 4′ Spitzfl öte 19th century. Our reason is the celebra- 2′ Super-Octava 1′ Flaschfl öt tion last year of the 200th anniversary 1 1⁄3′ Mixtur III of Felix Mendelssohn Bartholdy (1809– 1′ Cimbeln II 1847). During the period 1820–21, the ′ 8Krummhorn Example 2 ingenious multi-talent received organ 8′ Vox humana lessons at St. Mary’s and composed his 8′ Echo V (c1–c3) fi rst organ pieces. Mendelssohn’s organ teacher August Wilhelm Bach (1796– Brustwerk (III; CD–c3; 9 stops) 8′ Gedackt 1869)—not related to the Thuringian ′ family of musicians—had at his post in 4Principal 4′ Rohrfl öte St.
    [Show full text]
  • Frieder Bernius
    hänssler STREICHERAKADEMIE BOZEN CLA SSIC FRIEDER BERNIUS FELIX MENDELSSOHN BARTHOLDY SYMPHONIES 7 | 9 | 12 Felix Mendelssohn Bartholdy: mentalwerke geschaffen, gleichfalls als Sinfonien Komponier-Hausaufgaben schrieb der junge Men- Bezeichnung „Andante amorevole“ überschrieben. Sinfonien Nr. 7, 9, 12 betitelt. Die zehnte umfasst nur einen zweiteiligen delssohn seine frühen Sinfonien, die man dann spä- Ansonsten bricht sich hier das Genie Mendelssohns Es gibt manche Irritationen im Zusammenhang Satz, hinzu kommt eine 13., von der allerdings nur ter um der leichteren Unterscheidbarkeit und wegen schon mehrfach Bahn. Einiges deutet auf spätere mit Felix Mendelssohn. Die erste Irritation betrifft ein Satz – Grave-Allegro Molto – in c moll überliefert der Besetzung „Streichersinfonien“ nannte. Von der Meisterwerke wie die „Italienische“ Sinfonie hin, seinen korrekten Namen. Geboren wurde er am 3. ist. Diese Werke waren allerdings nicht zur Veröf- Achten schrieb er freilich auf Anregung Zelters auch es gibt Anklänge an das Streichquartett opus 44.1. Februar 1809 in Hamburg als Felix Mendelssohn, fentlichung, sondern buchstäblich für den Haus- eine Variante für großes Orchester inklusive je zwei Was aber besonders auffällt: Mendelssohn baut Sohn des angesehenen Bankiers Abraham Men- gebrauch gedacht. Dazu muss man wissen, dass Flöten, Oboen, Klarinetten, Fagotte, Hörner und immer wieder streng kontrapunktisch gearbeitete delssohn und dessen Frau Lea, geborene Salomon, der wie seine Schwester Fanny hochbegabte Felix Trompeten sowie Pauken. Dieses Orchester hatte Abschnitte ein: Die in der Sing-Akademie angereg- zudem als ein Enkel des berühmten Philosophen eine so privilegierte wie umfassende wie fördernde dann fast schon die Ausmaße des von Joseph Haydn te Beschäftigung mit Werken des großen Johann Moses Mendelssohn (1729-1786).
    [Show full text]
  • Allgemeine Musikalische Zeitung (1798-1848) Répertoire International De La Presse Musicale ( Copyright © 2009 RIPM Consortium Ltd
    Introduction to: Ole Hass, Allgemeine musikalische Zeitung (1798-1848) Répertoire international de la presse musicale (www.ripm.org) Copyright © 2009 RIPM Consortium Ltd. Allgemeine musikalische Zeitung (1798-1848) The Allgemeine musikalische Zeitung [AMZ], created in 1798 by the publishing house Breitkopf & Härtel, appeared weekly, without interruption, from 3 October 1798 to 27 December 1848.1 At first, the publishing year begins in October, with fifty-two or fifty-three issues per year. An exception to this rule is Vol. 12 which begins in October 1809 and continues to the end of December 1810; for this reason it contains sixty-five issues. Beginning in 1811 the publishing year corresponds to the calendar year. The first forty-two volumes irregularly contain an advertising supplement, the Intelligenz-Blatt2 which appears between seven and twenty-seven times a year. Most of the AMZ’s issues contain eight pages printed in double-column format. The numbering is assigned to the columns rather than the pages, and numbering starts anew with each publishing year. There are between 832 and 904 columns in each of the first forty volumes (1060 columns for the extended Vol. 12), with the Intelligenz-Blatt columns numbered independently. The Intelligenz-Blatt is incorporated into the main journal beginning with Vol. 41; its column numbers vary between 864 and 1136. Other supplements include pieces of music (sometimes music examples for the articles or reviews) and illustrations. A portrait of a musical personality, starting with J. S. Bach, appears as a supplement with each volume, as well as a table of contents.3 An annotated index to the fifty-year run is presented in the journal in three installments, indexing the years 1798-1818, 1819-28 and 1829-48 respectively.
    [Show full text]
  • Season 2010 Season 2010-2011
    Season 20102010----20112011 The Philadelphia Orchestra Thursday, January 20, at 8:00 FriFriFriday,Fri day, January 212121,21 , at 222:002:00:00:00 Saturday, January 222222,22 , at 8:00 Alan Gilbert Conductor Richard Woodhams Oboe Lindberg EXPO First Philadelphia Orchestra performances—funded in part by a grant from the National Endowment for the Arts Rouse Oboe Concerto (in one movement) First Philadelphia Orchestra performances—funded in part by a grant from the National Endowment for the Arts Intermission Beethoven Symphony No. 6 in F major, Op. 68 (“Pastoral”) I. Allegro, ma non troppo (Awakening of cheerful feelings upon arriving in the country) II. Andante molto moto (Scene by the brook) III. Allegro—Presto (Merry gathering of peasants)— IV. Allegro (Tempest, storm)— V. Allegretto (Shepherds’ hymn—Happy and thankful feelings after the storm) This program runs approximately 1 hour, 35 minutes. Alan Gilbert became music director of the New York Philharmonic in September 2009, the first native New Yorker to hold that post. In the 2010–11 season he conducts the orchestra in a staged presentation of Janáček’s The Cunning Little Vixen, Mahler’s Fifth and Sixth symphonies and Kindertotenlieder, the New York premiere of Thomas Adès’s In Seven Days, Mendelssohn’s Elijah, the world premiere of Aaron Jay Kernis’s a Voice, a Messenger, the New York premiere of composer-in-residence Magnus Lindberg’s Kraft, and both programs in the orchestra’s new music series, CONTACT! Mr. Gilbert will also lead the orchestra in two tours of European music capitals, two performances at Carnegie Hall, and a free Memorial Day concert at the Cathedral Church of St.
    [Show full text]