DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 58

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 58 Arafcntuj of fflitatr • Urooklgn Friday Evening, November 18 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn Boston Symphony Orchestra [Fifty-eighth Season, 1938-1939] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H. RESNIKOFF, V. Concert-master GUNDERSEN, R KASSMAN, N. CHERKASSKY, P. EISLER, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. P. KRIPS, LEIBOVICI, J. PINFIELD, C. LEVEEN, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, l. messina, s. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger, s. Violas LEFRANC, J. FOUREL, G. BERNARD, A. GROVER, H. WERNER, H. ARTIERES, L. CAUHAPE, J. VAN WYNBERGEN, C. AVIERINO, N. JACOB, R. GERHARDT, S. humphrey, g. Violoncellos FABRIZIO, E. BEDETTI, J. langendoen, j. chardon, y. stockbridge, C. ZIGHERA, A. tortelier, p. droeghmans, h. warnke, j. MARJOLLET, L. ZIMBLER, J. Basses KUNZE, M. LEMAIRE, J. FRANKEL, I. GIRARD, H. DELESCLUSE, F. VONDRAK, A. MOLEUX, G. JUHT, L. DUFRESNE, G. BARWICKI, J. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. POLATSCHEK, V. ALLARD, R. RATEAU, R. DEVERGIE, J. VALERIO, M. PANENKA, e. pappoutsakis, J- LUKATSKY, J. MAZZEO, R. LAUS, A. Eb Clarinet Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MIMART, P. PILLER, B. Horns Horns Trumpets Trombones VALKENIER, W. SINGER, J. MAGER, G. RAICHMAN, J. MACDONALD, W LANNOYE, M. LAFOSSE, M. HANSOTTE, L. SINGER, J. SHAPIRO, H. VOISIN, R. L. LILLEBACK, w. GEBHARDT, W. KEANEY, P. VOISIN, R. SMITH, V. Tuba Harps Timpani Percussion ADAM, E. ZIGHERA, B. SZULC, R. sternburg, s. CAUGHEY, E. polster, m. white, l. arcieri, e. Organ Piano Librarian SNOW, A. sanroma, J. ROGERS, L. J. Aratomg nf $tair • Snmklytt FIFTY-EIGHTH SEASON, 1938-1939 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor Concert Bulletin of the First Concert FRIDAY EVENING, November 18 with historical and descriptive notes by John N. Burk The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Ernest B. Dane President Henry B. Sawyer Vice-President Ernest B. Dane Treasurer Allston Burr M. A. De Wolfe Howe Henry B. Cabot Roger I. Lee Ernest B. Dane Richard C. Paine Alvan T. Fuller Henry B. Sawyer Jerome D. Greene Edward A. Taft N. Penrose Hallowell Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [1] vyuR concerts in Brooklyn, hon- ored and made possible by your at- tendance, have taken on the nature of an institution, now enriched by the traditions of many years; but it is a fact that financially they do not wholly pay for themselves. All who are interested in the Or- chestra and its success are cordially invited to enroll as Friends of the Orchestra. A check in any amount payable to the Boston Symphony Orchestra and mailed to E. B. Dane, Esquire, 6 Bea- con Street, Boston, will constitute your enrollment for the Season. Edward A. Taft Chairman, Friends of die Boston Symphony Orchestra [2] Aratomg nf Mxxmt • IBrooklgtt Boston Symphony Orchestra FIFTY-EIGHTH SEASON, 1938-1939 SERGE KOUSSEVITZKY, Conductor FIRST CONCERT FRIDAY EVENING, November 18 Programme Beethoven Symphony No. 2 in D major, Op. 36 I. Adagio molto; Allegro con brio II. Larghetto III. Scherzo (Allegro) IV. Allegro molto Copland "El Salon Mexico" INTERMISSION Dvorak Symphony No. 5, in E minor, "From the New World," Op. 95 I. Adagio; Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco STEINWAY PIANO [jl SYMPHONY NO. 2, IN D MAJOR, Op. 36 By Ludwig van Beethoven Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827 The Second Symphony, composed in 1802, was first performed April 5, 1803, at the Theater-an-der Wien in Vienna. Dedicated to Prince Carl Lichnowsky, the symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Looking down from the Kahlenberg "towards Vienna in the bright, j sweet springtime," Thayer found the countryside where Beethoven worked out so much of his greatest music indescribably lovely. "Con- spicuous are the villages, Dobling, hard by the city Nussdorfer line, and Heiligenstadt, divided from Dobling by a ridge of higher land in a deep gorge." Among these landmarks of Beethoven, now probably obliterated by population and habitation, there stood forth most not- ably the once idyllic Heiligenstadt, Beethoven's favorite haunt when music was in process of birth. At Heiligenstadt in 1802, almost simultaneously Beethoven ex- pressed himself in two startlingly different ways. In October he wrote the famous "Heiligenstadt testament," pouring out his grief at the full realization that his deafness was incurable, into a document carefully sealed and labelled "to be read and executed after my death." Before this and after, working intensively, making long drafts and redrafts, he composed the serene and joyous Second Symphony. Writers have constantly wondered at the coincidence of the agonized "testament" and the carefree Symphony in D major. Perhaps it must be the expectation of perennial romanticism that a "secret sorrow" must at once find its voice in music. Beethoven at thirty-two had not yet reached the point of directly turning a misfortune to musical ac- count — if he ever reached such a point. He was then not quite ready to shake off the tradition of Haydn and Mozart, who had their own moments of misery, but to whom it would never have remotely oc- curred to allow depressed spirits to darken the bright surfaces of their symphonies. Beethoven found a way, soon after, to strike notes of poignant grief or of earth-shaking power such as music had never known. He found the way through the mighty conception of an imagi- nary hero — not through the degrading circumstance that the sweet strains of music were for him to be displaced by a painful humming and roaring, the humiliating thought that he was to be an object of ridicule before the world — a deaf musician. That terrible prospect might reasonably be expected to have driven him to take glad refuge in his powers of creation, to exult in the joyous freedom of a rampant [4] imagination, seizing upon those very delights of his art from which the domain of the senses was gradually shutting him out. And indeed it was so. Writing sadly to Dr. Wegeler of his infirmity, he added: "I live only in my music, and I have scarcely begun one thing when I start another. As I am now working, I am often engaged on three or four things at the same time." He composed with un- flagging industry in the summer of 1802. And while he made music of unruffled beauty, Beethoven maintained the even tenor of his outward life. Ferdinand Ries, who was very close to Beethoven at this time, has told the following touching incident: "The beginning of his hard hearing was a matter upon which he was so sensitive that one had to be careful not to make him feel his deficiency by loud speech. When he failed to understand a thing he generally attributed it to his absent-mindedness, to which, indeed, he was subject in a great degree. He lived much in the country, whither I went often to take a lesson from him. At times, at 8 o'clock in the morning after breakfast, he would say: 'Let us first take a short walk.' We went, and frequently did not return till 3 or 4 o'clock, after hav- ing made a meal in some village. On one of these wanderings Bee- thoven gave me the first striking proof of his loss of hearing, concern- ing which Stephan von Breuning had already spoken to me. I called his attention to a shepherd who was piping very agreeably in the woods on a flute made of a twig of elder. For half an hour Beethoven could hear nothing, and though I assured him that it was the same with me (which was not the case), he became extremely quiet and morose. When occasionally he seemed to be merry it was generally to the extreme of boisterousness; but this happened seldom." It may have been this pathetic episode of the shepherd's pipe which brought before Beethoven with a sudden vivid force the terrible dep- rivation of his dearest faculty. It may have precipitated the Heiligen- stadt paper, for in it he wrote: "What a humiliation when one stood beside me and heard a flute in the distance and I heard nothing, or someone heard the shepherd singing and again I heard nothing; such incidents brought me to the verge of despair. A little more, and I would have put an end to my life — only art it was that withheld me. Ah, it seemed impossible to leave the world until I had produced all I felt called upon to produce." To his more casual friends there could have been no suspicion of the crisis, the thoughts of suicide which were upon him at this time. He dined with them as usual, made music and joked with them, wrote peppery letters to his publishers, composed constantly. His serious attentions to Giulietta Guicciardi were then brought to an abrupt end, it is true, but it was known that this was not his first affair of the heart. Only after his death did the publication of the "Heiligenstadt [5] Testament" make known the hopeless and anguished mood oil Bee- thoven in 1802. This remarkable document was signed on October 6, and must have been written at the end of his summer's sojourn in the then idyllic district of Heiligenstadt.
Load more

Recommended publications
  • COPLAND, CHÁVEZ, and PAN-AMERICANISM by Candice
    Blurring the Border: Copland, Chávez, and Pan-Americanism Item Type text; Electronic Thesis Authors Sierra, Candice Priscilla 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 23:10:39 Link to Item http://hdl.handle.net/10150/634377 BLURRING THE BORDER: COPLAND, CHÁVEZ, AND PAN-AMERICANISM by Candice Priscilla Sierra ________________________________ Copyright © Candice Priscilla Sierra 2019 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2019 3 TABLE OF CONTENTS List of Musical Examples ……...……………………………………………………………… 4 Abstract………………...……………………………………………………………….……... 5 Introduction……………………………………………………………………………………. 6 Chapter 1: Setting the Stage: Similarities in Upbringing and Early Education……………… 11 Chapter 2: Pan-American Identity and the Departure From European Traditions…………... 22 Chapter 3: A Populist Approach to Politics, Music, and the Working Class……………....… 39 Chapter 4: Latin American Impressions: Folk Song, Mexicanidad, and Copland’s New Career Paths………………………………………………………….…. 53 Chapter 5: Musical Aesthetics and Comparisons…………………………………………...... 64 Conclusion……………………………………………………………………………………. 82 Bibliography………………………………………………………………………………….. 85 4 LIST OF MUSICAL EXAMPLES Example 1. Chávez, Sinfonía India (1935–1936), r17-1 to r18+3……………………………... 69 Example 2. Copland, Three Latin American Sketches: No. 3, Danza de Jalisco (1959–1972), r180+4 to r180+8……………………………………………………………………...... 70 Example 3. Chávez, Sinfonía India (1935–1936), r79-2 to r80+1……………………………..
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • Tender Land Study Guide
    AARON COPLAND’S INSPIRING AMERICAN OPERA THE TENDER LAND FRIDAY OCTOBER 13TH 7:00 PM SUNDAY OCTOBER 15TH 3:00 PM WILLSON AUDITORIUM Celebrating 4 Seasons Tickets available at Intermountainopera.org or 406-587-2889 TABLE OF CONTENTS Intermountain Opera Bozeman ……………………………………………...3 The Tender Land Characters and Synopsis…….………………….….…5 The Composer and Librettist…………………………………………….6 The Tender Land Background and Inspiration……………..…………..9 Historical Context and Timeline…………………………………….….13 Further Exploration……………………………………………….…..…20 !2 Intermountain Opera Bozeman In 1978, Verity Bostick, a young singer and assistant professor of music at Montana State University at Bozeman, sparked the interest of a well-known New York opera producer, Anthony Stivanello, with her desire to form the first Montana-based opera company. For the inaugural performance of Verdi’s La Traviata in the Spring of 1979, Mr. Stivanello agreed to donate sets, costumes and his services to the production. Gallatin Valley had its own resident opera star, Pablo Elvira, who was persuaded to share his talents. A leading baritone with the Metropolitan Opera and New York City Opera, he sang Germont in La Traviata. A full-fledged professional opera company in Bozeman, MT was born! With names like Elvira and Stivanello appearing, Montana suddenly caught the interest of Eastern opera circles. The prestigious opera magazine, Opera News, assigned a reporter to cover the advent of the Intermountain Opera Association’s first year. During the second season, the Association produced The Barber of Seville, starring Pablo Elvira, and brought three stars from New York to sing leading roles. Anthony Stivanello again furnished sets and costumes and directed the production.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Aaron Copland Night Thoughts: Homage to Ives 1972 8 Min for Piano Solo 9790051284085 Piano Availability: This Work Is Available from Boosey & Hawkes for the World
    Aaron Copland Night Thoughts: Homage to Ives 1972 8 min for piano solo 9790051284085 Piano Availability: This work is available from Boosey & Hawkes for the world Piano Fantasy 1955-57 31 min for piano Aaron Copland photo © Roman Freulich 9790051281732 Piano Availability: This work is available from Boosey & Hawkes for the world PIANO(S) Piano Sonata The Cat and the Mouse: Scherzo humoristique 1939-41 23 min 1920 3 min for piano 9790051280278 Piano for piano solo Availability: This work is available from Boosey & Hawkes for the world 9790051280827 Piano Piano Variations Availability: This work is available from Boosey & Hawkes for the world 1930 11 min Danza de Jalisco for piano solo 1959/67 4 min 9790051281794 Piano Availability: This work is available from Boosey & Hawkes for the world for two pianos 9790051271368 2 Pianos, 4 Hands El Salon Mexico Availability: This work is available from Boosey & Hawkes for the world Aaron Copland, arranged by Leonard Bernstein Four Piano Blues 1936 12 min 1947/34/48/26 8 min arranged for two pianos 9790051271030 2 Pianos, 4 Hands for solo piano 9790051240753 Piano Availability: This work is available from Boosey & Hawkes for the world Availability: This work is available from Boosey & Hawkes for the world El Salon Mexico Midsummer Nocturne Aaron Copland, arranged by Leonard Bernstein 1936 12 min 1947 2 min arranged for piano solo for piano solo 9790051280247 Piano 9790051282630 Piano Availability: This work is available from Boosey & Hawkes for the world Availability: This work is available from Boosey & Hawkes for the world PIANO(S) 1 PIANO(S) 1 Three Moods 1921 4 min for solo piano 9790051282753 Piano Availability: This work is available from Boosey & Hawkes for the world Two Piano Pieces 1982/3 5 min 'Midday Thoughts' and 'Proclamation' 9790051284382 Piano Availability: This work is available from Boosey & Hawkes for the world PIANO(S) 2 PIANO(S) 2.
    [Show full text]
  • The Study of Selected Twentieth-Century American Piano
    Graduate Theses, Dissertations, and Problem Reports 2006 The study of selected twentieth-century American piano compositions appropriate for use with freshman and sophomore college piano majors: Performance and pedagogical suggestions Li-Jung Lee West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Lee, Li-Jung, "The study of selected twentieth-century American piano compositions appropriate for use with freshman and sophomore college piano majors: Performance and pedagogical suggestions" (2006). Graduate Theses, Dissertations, and Problem Reports. 3457. https://researchrepository.wvu.edu/etd/3457 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Study of Selected Twentieth-Century American Piano Compositions Appropriate for Use with Freshman and Sophomore College Piano Majors: Performance and Pedagogical Suggestions Li-Jung Lee A Doctoral Research Project submitted to The College of Creative Arts at West Virginia University In partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger, D.M.A., Chair Connie Arrau Sturm, Ph.D.
    [Show full text]
  • Aaron Copland: Works for Piano 1926-1948 New World NW 277
    Aaron Copland: Works for Piano 1926-1948 New World NW 277 Virgil Thomson once said, “The way to write American music is simple. All you have to do is to be an American and then write any kind of music you wish.” Like most aphorisms, this one propounds a course of deceptive simplicity, for it replaces one question with another: “What kind of music do you wish to write?” In this context, “American music” is hardly an admissible reply. Around the turn of the century, most of America's professional composers of art music had completed their studies in Germany—and probably begun them with someone born in Germany or at least trained there (this was perfectly logical, a product of heavy German immigration into the United States and the strong musical traditions of the immigrants; there were simply more German musicians in this country than any other kind). These composers knew what kind of music they wanted to write, certainly. As Aaron Copland has described it: Their attitude was founded upon an admiration for the European art work and an identification with it that made the seeking out of any other art formula a kind of sacrilege. The challenge of the Continental art work was not: can we do better or can we also do something truly our own, but merely, can we do as well. But of course one never does “as well.” Meeting Brahms or Wagner on his own terms one is certain to come off second best. They loved the masterworks of Europe's mature culture not like creative personalities but like the schoolmasters that many of them became.
    [Show full text]
  • 021-Copland-Piano-Music-Romantic
    DDD Absolutely Digital CDR 90000 021 COPLAND PIANO MUSIC—ROMANTIC & MODERN 1-3 Sonata in G Major (1921) (22:00)* 1 I. Allegro maestoso (11:00) 2 II. Andante Cantabile (6:00) 3 III. Allegro Vivace (5:00) 4 Sonnet II (1919) (1:05) 5 Three Moods (1921) (4:30) 6 Scherzo Humoristique: The Cat and the Mouse (1920) (3:30) 7 Passacaglia (1922) (6:00) 8 Down A Country Lane (1962) (2:00) 9 Midsummer Nocturne (1947) (2:00) 10 Proclamation (1973) (2:00) 11 Midday Thoughts (1982) (2:00) 12-17 Piano Fantasy (1957) (29:20) 12 I. Slow— 13 II. Rubato— 14 III. Somewhat faster— 15 IV. Quite fast and rhythmic— 16 V. Suddenly fast— 17 VI. As at first Ramon Salvatore, piano *World Premiere Recording TT: (75:30) Ramon Salvatore and The Chicago Classical Recording Foundation wish to thank Joseph P. Salvatore, Jr., Nicole W. Williams, George M. Irwin and the Quincy, Illinois Foundation, Dr. James D. Compton, Dr. Morris Goodman, and WMFT Radio for their generous support of this project. We also thank The Copland Foundation, Boosey & Hawkes, Jacob Druckman, Vivian Perlis, Verna Fine, and Leo Smit for their assistance in obtaining permission to perform Copland’s unpublished Sonata in G Major. Aaron Copland Piano Music Notes by Phillip Ramey Sonata in G Major Although the French pedagogue Nadia Boulanger was by far Aaron Copland’s most important and influential teacher, his early private studies (1917-21) in harmony, counterpoint and composition with Rubin Goldmark in New York were also crucial. Goldmark was the nephew of Karl Goldmark, composer of the then-popular opera The Queen of Sheba, and had studied with Antonin Dvorák.
    [Show full text]
  • The Piano Tells a Story
    CLIBURN IN THE CLASSROOM® presents THE PIANO TELLS A STORY PROGRAM Robert Schumann “Catch Me if You Can” from Kinderszenen, Op. 15 Aaron Copland The Cat and the Mouse, Op. 1 Samuel Barber “Two-Step” from Souvenirs Béla Bartók Sonatina, First Movement, “Bagpipers” Alexander Scriabin Etude No. 3, Op. 42 (“Mosquito”) Claude Debussy General Lavine-eccentric TEKS CORRELATIONS Social Studies Strand 3.1 History. The student understands how individuals, events, and ideas have influenced the history of various communities. 2.2, 3.3 History. The student understands the concepts of time and chronology. 1 2.3 History. The student understands how various sources provide information about the past. 2.4 History. The student understands how historical figures and ordinary people helped to shape our community, state, and nation. 2.6, 3.5, 4.6 Geography. The student understands the concepts of location, distance, and direction on maps and globes. 2.15 Culture. The student understands the significance of works of art in the local community. 3.14 Culture. The student understands the importance of writers and artists to the cultural heritage of communities. 2.17, 3.16, 4.22 Social Studies Skills. The student applies critical thinking skills to organize and use information acquired. 2.18, 3.17, 4.23 Social Studies Skills. The student communicates effectively in written, oral, and visual forms. 2.19, 3.18, 4.24 Social Studies Skills. The student uses problem-solving and decision- making skills, working independently and with others in a variety of settings. Language Arts Strand 2.1, 3.1, 4.1 Listening/Speaking/Purposes.
    [Show full text]
  • Aaron Copland Success and Critical Acclaim
    to the Pulitzer Prize-winning _Appalachian_ _Spring_ found both popular Aaron Copland success and critical acclaim. His decision to 'say it in the simplest possible terms' alienated some of his peers, who saw in it a repudiation of musical progress -- theirs and his own. But many who had been drawn to Copland's music through his use of familiar melodies were in turn perplexed by his use, beginning in the mid-1950's, of an individualized 12-tone compositional technique. His orchestral works _Connotations_ (1962) and _Inscape_ (1967) stand as perhaps the definitive statements of his mature, 'difficult' style. Copland never ceased to be an emissary and advocate of new music. In 1951, he became the first American composer to hold the position of Norton Aaron Copland photo © Roman Freulich Professor of Poetics at Harvard University; his lectures there were published as _Music and Imagination._ For 25 years he was a leading member of the An introduction to the music of Aaron Copland faculty at the Berkshire Music Center (Tanglewood). Throughout his career, he nurtured the careers of others, including Leonard Bernstein, Carlos Aaron Copland's name is, for many, synonymous with American music. It was Chavez, Toru Takemitsu, and David Del Tredici. He took up conducting while his pioneering achievement to break free from Europe and create a concert in his fifties, becoming a persuasive interpreter of his own music; he music that is recognizably, characteristically American. At the same time, he continued to conduct in concerts, on the radio, and on television until he was was able to stamp his music with a compositional personality so vivid as to 83.
    [Show full text]
  • Aaron Copland Collection [Finding Aid]. Library of Congress. [PDF
    Aaron Copland Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Contact information: http://hdl.loc.gov/loc.music/ perform.contact Finding Aid encoded by Library of Congress Music Division, 2005 Finding aid URL: http://hdl.loc.gov/loc.music/ eadmus.mu002006 Latest revision: 2011 January Collection Summary Title: Aaron Copland Collection Span Dates: 1841-1991 Bulk Dates: (bulk 1911-1990) Call No.: ML31.C7 Creator: Copland, Aaron, 1900- Extent: around 400,000 items; 564 boxes; 306 linear feet Language: Collection material in English Repository: Music Division, Library of Congress, Washington, D.C. Abstract: The Aaron Copland Collection consists of published and unpublished music by Copland and other composers, correspondence, writings, biographical material, datebooks, journals, professional papers including legal and financial material, photographs, awards, art work, and books. Of particular interest is the correspondence with Nadia Boulanger, which extent over 50 years, and with his long-time friend, Harold Clurman. Other significant correspondents are Leonard Bernstein, Paul Bowles, Benjamin Britten, Carlos Chávez, David Diamond, Roy Harris, Charles Ives, Claire Reis, Arnold Schoenberg, Roger Sessions, and Virgil Thomsom. The photographic collection of Copland's friend and confidant Victor Kraft, a professional photographer, forms part of the collection. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Bernstein, Leonard, 1918-1990--Correspondence. Boulanger, Nadia--Correspondence. Bowles, Paul, 1910-1999--Correspondence.
    [Show full text]
  • Pandiatonicism in Three Ballets by Aaron Copland
    /t)! PANDIATONICISM IN THREE BALLETS BY AARON COPLAND TTESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF USIC By Kenny L. Adams, B. M, E. Denton, Texas December, 1972 Adams, Kenny L., Pandiatonicism in Three Ballets ,b_ Aaron Copland. Master of Music (Theory), December, 1972, 86 pp., 5 tables, bibliography, 45 titles. The term "pandiatonicism" first appeared in 1937 in Nich- olas Slonimsky's Music Since 1900, and was used to describe an important twentieth-century harmonic device. Writers dealing with this subject are in general agreement with Slonimsky's basic definition of pandiatonicism--"the technique of free use of all seven notes of the diatonic scale in melodic, harmonic and contrapuntal combinations . ." However, they are in disagreement as to its exact nature and function in such areas as tonality, tertian structure, and harmonic function. In Billy he Kid (1938), Rodeo (1942), and Appalachian Sprin (1944), Copland uses varied compositional devices in the construction of many of his pandiatonic passages. The purpose of this study is to identify these devices, to illustrate Cop-. land's methods of using these devices, and to tabulate the fre- quency with which they are used. The ostinato is used more frequently than any of the other devices used by Copland in his pandiatonic writing. The device can at various times be found in the bass, treble, or middle ranges of the orchestra. The diatonic scale, either ascending or descending, is often used for its unifying qualities in certain pandiatonic passages.
    [Show full text]