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 CARNEGIE HALL - - NEW YORK Twenty-second Season in New York DR. KARL MUCK, Conductor fnigrammra of % FIRST CONCERT THURSDAY EVENING, NOVEMBER 7 AT 8.15 PRECISELY AND THK FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 9 AT 2.30 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE 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 JOHN CHURCH COMPANY . 37 West 32d Street, New York 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. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. < Second Violins. • Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. t Violoncellos. Warnke, H. Nagel, R. Barth, C. Loefner, 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. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. 3 gs*s»aea&sBgiaeasB»^ Wht 11 Ot!) ttferin l^aito 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. fiBB8BBBMHSEBB3BBB§ii^BBSSBSSBBBBSS^B§SS^ Represented by JOHN WANAMAKER, Broadway and ioth Street NEW YORK, N.Y. Boston . CARNEGIE HALL, Symphony i y-y A Twenty-seventh Season, 1907-1908. \J I t'l ICS LI CL Twenty-second Season in New York. Dr. KARL MUCK, Conductor. FIRST CONCERT, THURSDAY EVENING, NOVEMBER 7, AT 8.15 PRECISELY. PROGRAMME. in Bruckner . Symphony D minor, No. 9 {Unfinished) I. Feierlich. II. Scherzo: Bewegt, lebhaft. Trio : Schnell. III. Adagio: Sehr langsam. Bach .... Suite No. 2, in B minor, for Flute and Strings (Hans von Bulow's Arrangement.) I. Overture: Largo; Allegro. II. Rondo: Allegretto espressivo. III. Sarabande: Andante. IV. Bourree I. and Bourree II. : Allegro molto. V. Polonaise with Double: Moderate VI. Minuet. VII. Badinerie: Presto. Solo Flute, Mr. Andre Maquarre. Beethoven Overture to "Leonora" No. 1 There will be an intermission of ten minates after the symphony* 5 There are 5,000 different parts in a single piano ; 10 different materials used, — <wood, iron, felt, etc; 14 different cwoods,—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 fit CO. 138 Fifth Avenue (corner 19th Street), New York Improves Established with use Symphony in D minor (Unfinished), No. 9 . Anton Bruckner (Born at Ansfelden, in Upper Austria, September 4, 1825; died at Vienna, October 11, 1896.) Ferdinand Lowe,* the editor of Bruckner's Unfinished Symphony, writes in a prefatory note to the score that it was the original intention of the composer to end the work with a purely orchestral Finale. This remark is in answer, no doubt, to the sorry jest of von Biilow that Bruckner's Ninth Symphony ''must end with a choral finale." The composer was hurt by this display of malice, nor did he see why he should apologize to admirers of Beethoven—of whom he was chief —for choosing the tonality of D minor for the chief theme of the svmphony. This tonality was his favorite. Bodily sufferings often obliged Bruckner to put aside his work, and death came before the Finale was shaped. Although sketches of this Finale are in existence, they are only faint indications of the composer's intentions. He is said to have remarked to friends that, if the three movements were performed after his death, his "Te Deum"f might be added as a Finale. The manuscript of the Ninth Symphony is in the Court Library at Vienna. We learn from it that the first movement was begun toward the end of April, 1891, and finished October 14, 1892. The Scherzo was completed on February 15, 1894, but the Trio was finished as early as February 27, 1893. The Adagio was completed October 31, 1894. The first performance was by the Vienna Academic Wagner Society and the Vienna Concert Society at Vienna, February 11, 1903. The conductor was Lowe, and as an act of piety Bruckner's "Te Deum" was performed as the Finale. The three movements were soon after- * Ferdinand Lowe, born at Vienna, February 19, 1865, was taught at the Vienna Conservatory of Music by Bruckner and Dachs. He taught the pianoforte and also chorus singing at the Conservatory. In 1897-98 he was conductor of the Kaim Orchestra at Munich. In 1898 he was called to Vienna to assist the Court Opera. He became in 1900 the conductor of the Gesellschafts concerts—he resigned this position in 1904 —and conductor of the Concert Society Orchestra. He has edited several works of Bruckner, and he was a great friend of Hugo Wolf. fBruckner's "Te Deum " was produced at Vienna in 1886. It was performed for the first time in the United States at St. Louis in December, 1891, on the occasion of the golden jubilee of Archbishop Kendrick. Joseph Otten conducted. It was performed at the Tenth Biennial Festival at Cincinnati, Theodore Thomas conductor, May 26, 1892. The first performance in Boston was by the Cecilia Society, Mr. Lang conductor, December 12,1905. The Worcester County Musical Association, Mr. W. Goodrich conductor, performed it September 28, 1905. 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 LEHMANN. 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 HUBERT S. RYAN. Six Elizabethan Aires. 2 keys . Price, $1 00 net GERRIT SMITH. Thistledown Price, $1.50 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 . — ; ward played in other German cities, as at Berlin by the Philharmonic, led by Nikisch, October 26, 1903 ; and they were performed at Munich for the third time in the season of 1 903-1 904. The first performance at a Philharmonic Concert in Vienna was on March 4, 1906 (Dr. Muck, conductor) The first performance in the United States was at Chicago by the Chicago Orchestra, Theodore Thomas conductor, February 20, 1904. The first performance in Boston was at a concert of the Boston Symphony Orchestra, April 2, 1904 (Mr. Gericke, conductor). The symphony is scored for three flutes, three oboes, three clarinets, two bassoons, double-bassoon, eight horns, three trumpets, three trom- bones, contrabass tuba, a set of three kettledrums, and strings. In the third movement the horns 5-8 are replaced by two tenor and two bass tubas. I. Feierlich (misterioso) , t) minor, 2-2. There is a departure in this movement from classic models, for the second grand division, the free fantasia, is practically omitted ; or it may be said that the free fantasia is blended with the recapitulation (the third grand division) in such a manner as to divide the movement into two grand divisions. Mr. Hubbard William Harris, of Chicago, prepared this synopsis of the form and its principal elements: "First part: Introduction; first theme (statement only—no devel- opment) ; second theme ; third theme ; fourth theme.
Load more

Recommended publications
  • Programme Scores 180627Da
    Symposium Richard Wagner and his successors in the Austro-German conducting tradition Friday/Saturday, 2/3 November 2018 Bern University of the Arts, Papiermühlestr. 13a/d A symposium of the Research Area Interpretation – Bern University of the Arts, in collaboration with the Royal Academy of Music, London www.hkb-interpretation.ch/annotated-scores Richard Wagner published the first major treatise on conducting and interpretation in 1869. His ideas on how to interpret the core Classical and early Romantic orchestral repertoire were declared the benchmark by subsequent generations of conductors, making him the originator of a conducting tradition by which those who came after him defined their art – starting with Wagner’s student Hans von Bülow and progressing from him to Arthur Nikisch, Felix Weingartner, Gustav Mahler, Richard Strauss, Wilhelm Furtwängler and beyond. This conference will bring together leading experts in the research field in question. A workshop and concert with an orchestra with students of the Bern University of the Arts, the Hochschule Luzern – Music and the Royal Academy of Music London, directed by Prof. Ray Holden from the project partner, the Royal Academy of Music, will offer a practical perspective on the interpretation history of the Classical repertoire. A symposium of the Research Area Interpretation – Bern University of the Arts, in collaboration with the Royal Academy of Music, London Head Research Area Interpretation: Martin Skamletz Responsible for the conference: Chris Walton Scientific collaborator: Daniel Allenbach Administration: Sabine Jud www.hkb.bfh.ch/interpretation www.hkb-interpretation.ch Funded by the Swiss National Science Foundation SNSF Media partner Symposium Richard Wagner and his successors Friday, 2 November 2018 HKB, Kammermusiksaal, Papiermühlestr.
    [Show full text]
  • THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
    Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13.
    [Show full text]
  • The St. Petersburg String Quartet Alla Aranovskaya
    THE ST. PETERSBURG STRING QUARTET ALLA ARANOVSKAYA, VIOLIN BORIS VAYNER, VIOLA ALLA KROLEVICH, VIOLIN LEONID SHUKAEV, CELLO ASSISTING ARTIST: PETER KOLKAY, BASSOON SUNDAY, JULY 4, 2010 AT 3PM PROGRAM STRING QUARTET IN B FLAT MAJOR, Wolfgang Amadeus Mozart K. 458 "Hunt" (1784) (1756-1791) Allegro vivace assai Menuetto: Moderato Adagio Adagio assai This is the 13th performance of the Hunt Quartet at Music Mountain QUINTET FOR BASSOON & STRINGS, OPUS 14 (1997) Russell Platt (1965.....) Slow Movement Song Still Slow-Fast This is the Music Mountain premier of the Platt Bassoon Quintet INTERMISSION (Intermission Recital by Students of the St. Petersburg International Music Academy) STRING QUARTET IN C MINOR, Johannes Brahms OPUS 51 # 1 (1873) (1833-1897) Allegro Romanze: Poco Adagio Allegretto molto moderato e comodo Allegro This is the 25th performance of the C Minor Quartet at Music Mountain ********************* Please join us immediately after the concert in Music Mountain House for a Post Concert discussion with Peter Kolkay and others of the Bassoon and its place in Chamber Music. THE ARTISTS THE ST. PETERSBURG STRING QUARTET The St. Petersburg String Quartet is one of Music Mountain's favorite guests, having played here every year since 1995. The Quartet was formed at what was then the Leningrad Conservatory. They went on to win major honors both in the Soviet Union and abroad. For over 25 years, they have toured the United States, Europe (both East and West) and Asia. Their recordings have been nominated for Grammies and have won honors in Stereo Review and Gramophone as well as the WQXR/Chamber Music America prize for best CD of 2001.
    [Show full text]
  • The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
    The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours.
    [Show full text]
  • ¥T1 Id -'F- L~R~J Was That Performance of " Tannhauser" in 1863 Which, According ~.'Tkon"-"'1
    rro te above literally the lyric initial theme of the symphony arming for III. Scherzo: Sehr schnell (very fast), A minor, 3/ 4 thus with­ battle" : Trio: Etwas langsamer (a little slower), F major, 3/ 4 , two per­ IV_ Finale : B ~wegt, do ch nicht schnell (with motion but not fast), nat is here eJC..tof. E major, alla breve any emen­ "'t;" DOC" ,~::;; OG~LL ~ ~ ,----. t only the IVa; $; 4'3 3.7 IrS· k11 J pelr Sh'/Jd I p VIOl.1NS x: .. The symphony is scored for two each of flutes, oboes, clarinets, Late advan­ and bassoons, four horns, three trumpets, three trombones, two Ir'* fJrtD Iqr\J t"VI!t ~6IhJq;;j &J J I # tenor-tubas and two bass-tubas ("Wagner-Tuben"), contrabass­ not of the ) " \.....:...-. ,. > J Poco '" POc.O C.R.E5C.. tuba, timpani, and strings. climax. A only direct The launching of this melodic arrow by the bows of the violins lsic moves is sharpened by Bruckner's indication to play "with the point." Overture in G minor cribe or to The second subj ect is the simplest of simpl e ideas, transformed Few, if any, of the great composers were so late in maturing ;kn er here by the co mposer's mastery of orchestration into a chorale of utter as Bruckn er. The overture in G minor remains, if compared to ~me ntation genius. It may be nothing more than "an exercise in modulating any of the nine symphonies, a transitional if not a student produc­ i, pi::.::icato. cadences," technicall y speaking, but one that no student could tion.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects
    [Show full text]
  • From Page to Stage: Wagner As Regisseur
    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
    [Show full text]
  • The Diablo Regional Arts Association Presents the 2002-2003 Season
    The Diablo Regional Arts Association presents the 2002-2003 Season Program 1 Wei He, violin Naomi Kazama, violin Melissa Kleinbart, violin Nanci Severance, viola Barbara Andres, cello Susan Waller, flute Dorian Ho, piano Grace Presbyterian Church Sunday September 29, 2002 4pm Page 1 Wolfgang Amadeus Mozart String Quartet No. 18 in A Major (1754-1791) K.464 (1785) I Allegro II Menuetto III Andante IV Allegro Naomi Kazama, violin Melissa Kleinbart, violin Nanci Severance, viola Barbara Andres, cello Nino Rota Trio for Flute, Violin and Piano (1911-1979) (1958) I Allegro ma non troppo II Andante sostenuto III Allegro vivace con spirito Wei He, violin Susan Waller, flute Dorian Ho, piano Intermission astera (1916 – 1983) et No. 1 (1948) Johannes Brahms String Quartet in C Minor Op. 51, No. 1 (1833-1897) (1873) I Allegro II Romanze: Poco adagio III Allegretto molto moderato e comodo IV Allegro Melissa Kleinbart, violin Naomi Kazama, violin Nanci Severance, viola Barbara Andres, cello Page 2 Wolfgang Amadeus Mozart (1754-1791) String Quartet No. 18 in A Major, K. 464 (1785) Vienna, 16 February 1785 “On Saturday Herr Joseph Haydn and the two Baron Tinti visited us. The new quartets were played, but only the 3 new ones, which he has composed in addition to the other three, which we already have - it is true that they are a little easier (this has also been translated as “lighter,” rather than “easier”) but most excellently composed. Herr Haydn said to me: “I say to you before God, on my word of honor, your son is the greatest composer whom I know personally or by name; he has taste and the greatest skill in composition as well.
    [Show full text]
  • Das Brucknerhaus in Linz (Oberösterreich)
    Das Brucknerhaus in Linz (Oberösterreich) ©Kutzler+Wimmer+Stöllinger Lange schon, bevor das Konzerthaus tatsächlich gebaut wurde, stand bereits fest, wie es genannt wird: nach Anton Bruckner, dem bedeutendsten Komponisten Oberösterreichs. Das Brucknerhaus ist ein Konzert- und Veranstaltungshaus. Es wurde 1974 nach Plänen der finnischen Architekten Kaija und Heikki Sirén in Linz an der Donau gebaut und mit besonderem Bedacht auf hervorragende akustische Eigenschaften geplant. Das Brucknerhaus trug für den Komponisten viel zu seiner weltweiten Bekanntheit bei. Kurz nach der Eröffnung durch Herbert von Karajan und den Wiener Philharmonikern wurde das Musikfestival des Brucknerhauses, das Brucknerfest ins Leben gerufen, bei dem jedes Jahr hochkarätige internationale Künstler und Ensembles auftreten. Einige Daten zum Haus: Veranstaltungen pro Jahr: ca. 200 Eigenveranstaltungen: ca. 120 Gastveranstaltungen: ca. 80 Besucher: 180.000 Niveau: A1 Lernziel: über Musikvorlieben sprechen Fertigkeit: Sprechen Sozialform: Gruppenarbeit Welche Arten von Musik kennst du? Ergänze die Liste: Klassik, Schlager, Rock, … Welche Arten von Musik magst du, welche mögen deine Freunde? Welche Bands gefallen euch? Frag in deiner Gruppe und erzähle, welche Musik deine Freunde gerne hören. Verwende dabei folgende Wörter: mögen, gerne haben, lieben, gerne hören. Beispiel: Ich mag Jazz, Klara mag lieber Popmusik. Niveau: A2 Lernziel: Vergangenheitsformen ergänzen Fertigkeit: Lesen Sozialform: Gruppenarbeit Warum heißt das Brucknerhaus Brucknerhaus? Im folgenden Text fehlen einige Wörter. Du findest sie im Kasten. Setze die fehlenden Wörter in der richtigen Form ein und beachte die Zeitform. sterben werden gehören werden haben werden sein haben sein Joseph Anton Bruckner _wurde_ am 4. September 1824 in Ansfelden, Oberösterreich, geboren und ___________ am 11. Oktober 1896 in Wien. Er __________ ein österreichischer Komponist der Romantik sowie Orgelspieler und Musikpädagoge.
    [Show full text]
  • Vespers 2020 Music Guide
    MILLIKIN UNIVERSITY® 2 0 2 0 ALL IS BRIGHT MUSIC GUIDE VESPERS MEANS ‘EVENING’ AND IS ONE OF THE SEVEN CANONICAL HOURS OF PRAYER. MILLIKIN UNIVERSITY | SCHOOL OF MUSIC BELL CAROL (2017 All Choirs) William Mathias “AlltheBellsonEarthShallRing”wastheVespersthemeinMathias’compositionwastheperfect openingTheprocessionendeavorstorevealtoaudiencemembersthatbellsaregiftssounds(musicifyou will)oeredtothemangerIndeedtheremainderoftheprogramdisplayedbellsinbothcelebratoryand reflectivemomentsThepiecewascomposedforSirDavidWillcocksthechoirmasterwhobroughtsomuch attentiontotheLessonsandCarolsofKing’sCollegeCambridge ALLELUIA(2018 University Choir) Fredrik Sixten “SingAlleluia”wasthethemeofVespersinandSixten’sreflectivesettingcameearlyintheprogram givingthiswordusuallyconsideredfestiveinmoodasenseofadventhope LAUDATE DOMINUM (2015 Millikin Women) Gyöngyösi Levente LaudateDominumhasservedmanycomposersinincludingMozartwhouseditinhiswellknownSolemn VespersContemporaryHungariancomposerGyöngyösicombinesanincessantmantraonasinglenotewith complexrhythmsforthissettingofPs(“OPraisetheLordallyenations”)Harmonicdensityincreasesand joinstherhythmicdrivetothefinalAlleluiawheretheadditionofatambourineaddsafinalcelebratorynote MAGNIFICAT(2017 Collegiate Chorale) Bryan Kelly EvensongtheAnglicanversionofVespersalwaysincludesasettingoftheMagnificatEventhough thisiscomposedforEnglishearsBryanKelly’senthusiasmforLatinAmericanmusicisclearlyevident inthissettingfromthes GLORIA PATRIMAGNIFICAT (2019 All Choirs) John Rutter ThefinalmovementofRutter’sMagnificatgathersmanyofthework’sthemesintoatriumphantfinale
    [Show full text]
  • Music Director Riccardo Muti Leads Two Programs to Conclude the Chicago Symphony Orchestra's 125Th Season
    For Immediate Release: Press Contacts: June 2, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] MUSIC DIRECTOR RICCARDO MUTI LEADS TWO PROGRAMS TO CONCLUDE THE CHICAGO SYMPHONY ORCHESTRA’S 125TH SEASON June 16–26, 2016 Muti Leads Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto with Julia Fischer as Soloist (June 16–21) Muti Leads an All-Bruckner Program including the Symphony No. 9 and Te Deum featuring the Chicago Symphony Chorus and Soloists (June 23–26) CHICAGO—Music Director Riccardo Muti returns in June to lead the Chicago Symphony Orchestra in two programs to conclude the 125th season (June 16–26). Throughout the 2015/16 season, Muti and the Orchestra have honored the ensemble’s distinguished history with performances of works that received either their world or U.S. premieres from the CSO. The final season program includes two of these works—Bruckner’s Symphony No. 9, which was given its U.S. premiere by the CSO in 1904, and his choral masterwork, Te Deum, which was given its U.S. premiere by the CSO in 1892. Both premieres were led by the CSO’s first music director, Theodore Thomas. Muti opens his June residency with the CSO with a program (June 16–21) that includes Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto with Julia Fischer as soloist. Originally composed as chamber music, Brahms later adapted his Serenade No. 1 for full orchestra, offering a preview of the rich compositional style that would emerge in his four symphonies. The six-movement work is filled with lyrical wind and string passages, as well as exuberant writing in the allegro and scherzo movements.
    [Show full text]
  • The 20 Crucial Compositions of Anton Bruckner Alonso Delarte Published by Alonso Delarte at Smashwords Copyright 2010 Alonso Delarte
    The 20 Crucial Compositions of Anton Bruckner Alonso Delarte Published by Alonso Delarte at Smashwords Copyright 2010 Alonso Delarte Smashwords Edition, License Notes This eBook is licensed for your personal enjoyment only. This eBook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you're reading this book and did not purchase it, or it was not purchased for your use only, then please return to Smashwords.com and purchase your own copy. Thank you for respecting the hard work of this author. 11. Symphony No. 6 in A major (1879) Repertoire formation is a funny business. Musical merit is one factor, certainly, but often not the only factor or even the most important one. With any composer, there are pieces which are rarely heard, yet when they are heard, people wonder why they have never heard it before, since they are such good pieces of music. And so, with Bruckner, it is somewhat of a puzzlement that the Sixth Symphony is so rarely heard despite being so well-done and so fascinating, whereas the Fourth Symphony, with its various flaws and problems, is one of Bruckner's most popular. Various reasons are given for this, such as that Bruckner was trying too hard to pare down his conception to a smaller scale, or the predominance of the Bruckner rhythm (2 + 3 or 3 + 2 in the time-space of 2 + 2) in the first movement in overlapping triplets of different note values.
    [Show full text]