Boston Symphony Orchestra Concert Programs, Season 116, 1996-1997, Subscription, Volume 01
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100 Percent Americanism in the Concert Hall: the Minneapolis Symphony in the Great War
100 Percent Americanism in the Concert Hall: The Minneapolis Symphony in the Great War Michael J. Pfeifer In 1918 a Minnesota music critic assessed a Minneapolis Symphony concert warmly, noting that the orchestra’s recent “racial house-cleansing” – a purge of some of the orchestra’s German and Austrian-born musicians – had not com- promised the quality of the ensemble’s playing. While the critic believed that “like gasoline and whiskey, music and war really ought not to have anything in particular to do with each other”, he nonetheless judged it well worthwhile from a “standpoint of musical interest” to hear the orchestra “magnificently” perform the national anthems of the Allied nations that opened the concert. Earlier, at the beginning of the 1918–1919 season, members of the Minneapolis Symphony had been required to sign loyalty oaths to the United States, while a cellist had been compelled to leave the orchestra for a period because he sup- posedly had hung portraits of the Kaiser and his wife over his fireplace (these were actually pictures of “the deceased Austrian emperor Franz Josef and his wife”).1 While the Minneapolis Symphony and its Munich-born founder Emil Oberhoffer (1867–1933) did not encounter the extreme repercussions that led to the arrest, internment, and deportation of Karl Muck (1859–1940) and Ernst Kunwald (1868–1939), respectively the German and Austrian conductors of the Boston Symphony and the Cincinnati Symphony,2 a significant nativist, anti- German, backlash did mark the orchestra’s experience of the latter years of the Great War. The upper Midwestern state of Minnesota was substantially German in nativity and ancestry at the outbreak of the war, which may have mitigated some of the harshly jingoistic reaction that German symphonic * I am grateful to Frank Jacob and William H. -
Sunday Classics Season Comes to a Thrilling Close As the RSNO Take Edinburgh Audiences on an Incredible Journey Through the Solar System
Press release for immediate use Sunday Classics season comes to a thrilling close as the RSNO take Edinburgh audiences on an incredible journey through the solar system Sunday Classics: The Planets: An HD Odyssey, with the Royal Scottish National Orchestra 3:00pm, Sunday 16 June 2019 The Planets: An HD Odyssey Richard Strauss - Also sprach Zarathustra (opening) Johann Strauss II - The Blue Danube JS Bach (orch. Stokowski) - Toccata and Fugue in D minor Beethoven - Symphony No. 7 (second movement) Williams - Main theme from Star Wars Holst - The Planets (Left: RSNO onstage at Usher Hall. Right: Ben Palmer) Images available to download here Holst’s mystical masterpiece with stunning NASA images of our solar system: a spectacular Sunday Classics Season finale. Take an unforgettable journey to the furthest reaches of the cosmos. With the visionary music of Holst’s The Planets, together with stunning NASA images of our solar system’s planets in high definition on the big screen in the gorgeous surroundings of the Usher Hall. From the galvanising military rhythms of Mars to the eerie beauty of Venus; from the majestic power of Jupiter to the mystical visions of Neptune – The Planets is a spectacular tribute to pioneering science, and also a glimpse into the hidden mysteries of astrology, all conveyed in some of Holst’s most evocative music. Combined with real-life, large-screen NASA pictures of the planets’ uncanny natural beauties, it’s an overwhelmingly powerful experience. Holst’s magical masterpiece is performed by the exceptional musicians of the Royal Scottish National Orchestra, directed by exciting young British conductor Ben Palmer. -
ARSC Journal, Vol.21, No
Sound Recording Reviews Wagner: Parsifal (excerpts). Berlin State Opera Chorus and Orchestra (a) Bayreuth Festival Chorus and Orchestra (b), cond. Karl Muck. Opal 837/8 (LP; mono). Prelude (a: December 11, 1927); Act 1-Transformation & Grail Scenes (b: July/ August, 1927); Act 2-Flower Maidens' Scene (b: July/August, 1927); Act 3 (a: with G. Pistor, C. Bronsgeest, L. Hofmann; slightly abridged; October 10-11and13-14, 1928). Karl Muck conducted Parsifal at every Bayreuth Festival from 1901 to 1930. His immediate predecessor was Franz Fischer, the Munich conductor who had alternated with Hermann Levi during the premiere season of 1882 under Wagner's own supervi sion. And Muck's retirement, soon after Cosima and Siegfried Wagner died, brought another changing of the guard; Wilhelm Furtwangler came to the Green Hill for the next festival, at which Parsifal was controversially assigned to Arturo Toscanini. It is difficult if not impossible to tell how far Muck's interpretation of Parsifal reflected traditions originating with Wagner himself. Muck's act-by-act timings from 1901 mostly fall within the range defined in 1882 by Levi and Fischer, but Act 1 was decidedly slower-1:56, compared with Levi's 1:47 and Fischer's 1:50. Muck's timing is closer to that of Felix Mottl, who had been a musical assistant in 1882, and of Hans Knappertsbusch in his first and slowest Bayreuth Parsifal. But in later summers Muck speeded up to the more "normal" timings of 1:50 and 1:47, and the extensive recordings he made in 1927-8, now republished by Opal, show that he could be not only "sehr langsam" but also "bewegt," according to the score's requirements. -
Boston Symphony Orchestra Concert Programs, Season 35,1915-1916, Trip
SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY ^\^><i Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor ITTr WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 23 AT 8.00 COPYRIGHT, 1916, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 1 €$ Yes, It's a Steinway ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to I you. and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." pw=a I»3 ^a STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, O. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet. H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Sulzen, H. -
A Festival of Fučík
SUPER AUDIO CD A Festival of Fučík Royal Scottish National Orchestra Neeme Järvi Lebrecht Music & Arts Photo Library Photo Music & Arts Lebrecht Julius Ernst Wilhelm Fučík Julius Ernst Wilhelm Fučík (1872 – 1916) Orchestral Works 1 Marinarella, Op. 215 (1908) 10:59 Concert Overture Allegro vivace – [ ] – Tempo I – Andante – Adagio – Tempo I – Allegro vivo – Più mosso – Tempo di Valse moderato alla Serenata – Tempo di Valse – Presto 2 Onkel Teddy, Op. 239 (1910) 4:53 (Uncle Teddy) Marche pittoresque Tempo di Marcia – Trio – Marcia da Capo al Fine 3 Donausagen, Op. 233 (1909) 10:18 (Danube Legends) Concert Waltz 3 Andantino – Allegretto con leggierezza – Tempo I – Più mosso – Tempo I – Tempo di Valse risoluto – 3:06 4 1 Tempo di Valse – 1:48 5 2 Con dolcezza – 1:52 6 3 [ ] – 1:25 7 Coda. [ ] – Allegretto con leggierezza – Tempo di Valse 2:08 8 Die lustigen Dorfschmiede, Op. 218 (1908) 2:34 (The Merry Blacksmiths) March Tempo di Marcia – Trio – [ ] 9 Der alte Brummbär, Op. 210 (1907)* 5:00 (The Old Grumbler) Polka comique Allegro furioso – Cadenza – Tempo di Polka (lentamente) – Più mosso – Trio. Meno mosso – A tempo (lentamente) – Più mosso – Meno mosso – Più mosso – Meno mosso – Più mosso – [Cadenza] – Più mosso 4 10 Einzug der Gladiatoren, Op. 68 (1899) 2:36 (Entry of the Gladiators) Concert March for Large Orchestra Tempo di Marcia – Trio – Grandioso, meno mosso, tempo trionfale 11 Miramare, Op. 247 (1912) 7:47 Concert Overture Allegro vivace – Andante – Adagio – Allegro vivace 12 Florentiner, Op. 214 (1907) 5:20 Grande marcia italiana Tempo di Marcia – Trio – [ ] 13 Winterstürme, Op. -
Téléchargez La Version
sm14-9_Cover_NoUPC.qxd 5/26/09 11:40 PM Page 1 www.scena.org sm14-9_pXX_layout_ADS.qxd 5/26/09 6:02 PM Page 2 sm14-9_pXX_layout_ADS.qxd 5/26/09 6:02 PM Page 3 ESPRIT ZEN Marie-Nicole Lemieux Philippe Jaroussky 6 titres dans Rinaldo Alessandrini la collection et autres Esprit Les albums Esprit Baroque, Esprit Sacré, Esprit Mélancolique, Esprit Zen, Esprit Ibé- rique et Esprit Romantique réunissent des œuvres exceptionnelles interprétées avec 99 brio par Marie-Nicole Lemieux, Philippe 12 ch. Jaroussky, Rinaldo Alessandrini et plusieurs autres. EXCLUSIVITÉ ARCHAMBAULT ! THE BEST OF BEATLES BAROQUE, DIANE DUFRESNE CHANTE KURT WEILL ET FORESTARE NOUVEAUTÉ Les pop ATMA Classique : trois CD ATMA pour le prix d’un. Forestare avec Richard Desjardins, Diane Dufresne chante Kurt 99 Weill, et les plus grands succès de la sé- 16 rie Beatles Baroque avec Les Boréades. pour les Parfait pour l’été ! 3 CD 1499 1099 MARI KODAMA, KENT NAGANO NAREH ARGHAMANYAN BEETHOVEN LISZT, RACHMANINOV Piano Concertos Nos. 1 & 2 Sonates 99 DVD 9ch. Autres titres également en vente ITALY, SWITZERLAND : FRANCE : PARIS, BURGUNDY, SOUTHERN TYROL AND TICINO PROVENCE, LOIRE... Musique de Beethoven Musique de Chopin CD 1499 4999 v 21CD MAGDALENA KOZENÁ, BERGONZI, DOMINGO, VENICE BAROQUE ORCHESTRA SCOTTO, FRENI ET AUTRES VIVALDI Verdi : Great Operas from La Scala Opera & Oratorios Arias La culture du divertissement 15 MAGASINS s!RCHAMBAULTCAss 15 LIBRAIRIES SERVICE AUX INSTITUTIONS ET ENTREPRISESs!RCHAMBAULT SIECA AGRÉÉES sm14-9_p4_TOC 5/27/09 12:41 PM Page 4 RÉDACTEURS FONDATEURS -
Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip
INFANTRY HALL • PROVIDENCE Thirty-second Season, J9J2—X9J3 Dr. KARL MUCK, Conductor Programme of % THIRD CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, DECEMBER 31 AT 8.15 COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER — " After the Symphony Concert 9J a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. Sole Representative MRS. LUCY H. MILLER 28 GEORGE STREET - - PROVIDENCE, R.I. Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W. Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler, B. Marble, E. Hayne, E. Tischer-Zeitz, H Kurth, R. Grunberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H. Kluge, M. Van Wynbergen, C Gietzen, A. -
Celebrating Slatkin Booklet FINAL
Marie-Hélène Bernard St. Louis Symphony Orchestra President & CEO Dear Leonard, When you made your conducting debut with the St. Louis Symphony Orchestra in 1968, who could have imagined that we’d gather on the same stage 50 years later to celebrate a remarkable partnership – one that redefined what an American orchestra could – and continues – to be. What you built with the St. Louis Symphony Orchestra starting 50 years ago remains core to our mission. It’s the solid bedrock we’ve been building on for the past five decades: enriching lives through the power of music. Your years with the SLSO reshaped this orchestra, earning it the title of “America’s Orchestra.” You connected with our community – both here in St. Louis and on national and international stages. By taking this orchestra on the road, you introduced the SLSO and St. Louis to the world. You recorded with this orchestra more than any other SLSO music director, championing American composers and music of our time. Your passion for music education led to your founding of the St. Louis Symphony Youth Orchestra, which is the premiere experience for young musicians across our region. Next year, we will mark the Youth Orchestra’s golden anniversary and the thousands of lives it has impacted. We admire you for your remarkable spirit and talent and for your amazing vision and leadership. We are thrilled you have returned home to St. Louis and look forward to many years sharing special moments together. On behalf of the entire St. Louis Symphony Orchestra family, congratulations on the 50th anniversary of your SLSO debut. -
The Boston Symphony Orchestra Seiji Ozawa, Music Director & Conductor Peter Serkin, Piano
PETER LIEBERSON New World Records 80325 Piano Concerto The Boston Symphony Orchestra Seiji Ozawa, music director & conductor Peter Serkin, piano Peter Lieberson was born in New York City on October 25, 1946; he lives in Newton Center, Massachusetts, and is currently teaching at Harvard. His Piano Concerto is one of twelve works commissioned by the Boston Symphony Orchestra for its centennial in 1981. From the beginning the piano solo part was intended for Peter Serkin, who gave the first performance with Seiji Ozawa and the Boston Symphony Orchestra on April 21, 1983, in Symphony Hall, Boston. The youngest of the 12 composers commissioned by the Boston Symphony Orchestra for its centennial, Peter Lieberson grew up in a family where music was ubiquitous. Both his parents were important figures in the artistic world. His father, Goddard Lieberson, himself a trained composer, was perhaps best known as the most influential record-company executive in the artistic world. Peter's mother, under the stage name Vera Zorina, was a ballerina with the Ballets Russes de Monte Carlo and later with George Balanchine, before she became known as a specialist in spoken narration. Through a job at New York's classical music radio station WNCN, Lieberson came to know Aaron Copland and Virgil Thomson. But the crucial connection came when Copland invited Milton Babbitt to do a program. Until that time the major influence on Lieberson's music was Stravinsky. Now he began to study informally with Babbitt. At Babbitt's suggestion Lieberson chose Columbia when he decided to pursue graduate studies; there he worked with Charles Wuorinen (the third of his three principal teachers would be Donald Martino, with whom he studied at Brandeis University). -
CHARLES MUNCH Musical Director
'or..er goat ea 7tav • Excellent Food, Gracious Service in the Hendrick Hudson Candlelight Room • Your Favorite Cocktail or Highball in our New Hudson Room COMPLETE FACILITIES for WEDDING FESTIVITIES BANQUETS, PARTIES and All SOCIAL FUNCTIONS 712;05rrik, SOUVERIR PROGRflifi . IN WHICH is carried pertinent information on the event of the evening; insight in- to coming events, and a suggestion of the past More than three-quarters of a million dollars has been poured into the RPI Field House in order to make it the versatile structure it is today. The original shell was a former Navy warehouse in Davisville, Rhode Island. (Cover photo by Airs. George H. Lee) NOLO • MILLER • OFFSET • ROTARY • LETTERPRESS Printers of your Field House Program 7 GRAND ST. TROY, N.-Y. *-ta.t 9 AS 2-6650 LIVINGSTON W. HOUSTON President Rensselaer Polytechnic Institute The RPI FIELD HOUSE has in the last seven years of operation become a unique forum for thought and ex- pression in the Capital District. This is partially the result of great words and ideas voiced from the FIELD HOUSE stage by outstanding leaders in many diverse fields — ed- ucation, politics, religion, drama, and many more. It is also the result of cultural expression — enduring music performed by the major symphony orchestras of America and Europe, choral groups and artists. As such, the audi- torium has fulfilled the major objective laid down by the college, Rensselaer Polytechnic Institute, which brought it into being and operates it today to enrich the lives of the college family and the people of the large surrounding community. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Lynn Freeman Olson Collection Cassette
LYNN FREEMAN OLSON COLLECTION CASSETTE RECORDINGS LIST Beethoven 9 Symphonien Ouverturen (6 tape boxed set)- Karajan Berliner Philharmonikar Vivaldi: Two Concertos for Two Violins / Two Sonatas for Two Violins and Continuo - Aston Magna Vivaldi: Concerti E Sinfonie - I Solisti Veneti/Claudio Scimone Mahler: Symphony No. 10 - Philadelphia Orchestra / James Levine (2 cassettes) Mahler: Symphony So, 1 - London Philharmonic - Klaus Tennstedt Debussy: 3 Nocturnes Ravel: Pavane & Bolero - Moscow Radio Large Symphony Orchestra / Yevgeni Svetlanov Debussy: La Mer, Nocturnes - Cleveland Orchestra/ Lorin Maazel Rachmaninoff: Symphony No. 2 - Royal Philharmonic Orchestra / Yuri Temirkanov Rachmaninoff: Symphony Mo. 3 Shostakovich: Symphony No. 6 - London Symphony Orchestra / Andre Previn Rachmaninoff: Second Piano Concerto - Balakirev Islamey, Julius Katchen - London Symphony Orchestra / Sir Georg Solti Rachmaninoff: Piano Concerto No. 3 - Vladimir Ashkenazy - The London Symphony / Anatola Fistoulari Rachmaninoff: Piano Concertos 2 & 4 -Vladimir Ashkenazy - Concertgebouw Orchestra / Bernard Haitink Shostakovich: Symphony No. 11 ("1905") - Houston Symphony Orchestra / Leopold Stokowski Shostakovich: Symphony No. 6 / The Age of Gold (Ballet Suite) - Chicago Symphony / Leopold Stokowski Shostakovich: Symphony No. 7 ("Leningrad") - Bournemouth Symphony Orchestra / Paavo Berglund Shostakovich: Symphony No. 10 e minor Op, 93 - Austrian Broadcast Symphony Orchestra / Milan Horvat (2 cassette set) LYNN FREEMAN OLSON REFERENCE COLLECTION OF RECORDED SOUND