DOCSLIB.ORG

Université De Montréal Par Justin Bernard Faculté De Musique Thèse

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Université De Montréal Par Justin Bernard Faculté De Musique Thèse Université de Montréal Notes de programme. Une histoire, des pratiques et de nouveaux usages numériques par Justin Bernard Faculté de musique Thèse présentée en vue de l’obtention du grade de doctorat en musique, option musicologie Avril 2019 © Justin Bernard, 2019 RÉSUMÉ Depuis leur émergence au milieu du XIXe siècle, les notes de programme, contenant des informations parfois détaillées sur les œuvres qui s’apprêtent à être jouées, n’ont eu de cesse de s’adresser au public de concerts. Les besoins sont multiples, voire même divergents : donner des outils de compréhension intelligibles aux novices, qui découvrent la musique de compositeurs du passé ou de compositeurs actuels, et en même temps susciter la curiosité d’auditeurs déjà initiés, qui approfondissent ainsi leurs connaissances et leur culture personnelle. Il en va des notes de programme comme d’autres outils de vulgarisation musicale, partagés entre la volonté de rendre la musique classique accessible à tous et le devoir de rigueur musicologique auquel les connaisseurs sont en droit de s’attendre. Dans cette thèse, nous allions la théorie à la pratique. Outre les résultats d’une enquête réalisée en octobre 2017 dans le cadre de trois concerts produits par l’Orchestre symphonique de Montréal (ci-après, OSM) et qui porte notamment sur l’appréciation des notes de programme, nous présentons une série de courtes vidéos de vulgarisation que nous avons préparée pour l’OSM, au cours de la saison 2015-2016. La réalisation de ces nouveaux outils numériques s’appuie sur l’analyse d’un vaste corpus de notes de programme dont nous avons dégagé les tendances et les cas plus particuliers. Des résultats que nous avons obtenus, il ressort que le public de l’OSM, loin d’être homogène, est formé d’auditeurs aux attentes très diverses. Pour beaucoup, les notes de programme sont jugées adaptées à la situation du concert, mais elles génèrent aussi des réactions critiques : trop détaillées pour certains, ou bien pas assez approfondies pour d’autres. Bien qu’ils aient acquis des formations et des connaissances musicales diverses, les membres du public semblent du moins s’accorder sur leur intérêt pour la musique, expliquée par l’analyste. C’est à cet intérêt, correspondant aussi aux exigences de la discipline musicologique, que les notes de programme viennent répondre. La question reste de savoir comment décrire l’objet musical afin de répondre aux besoins de chacun. Dans cette thèse, nous cherchons à proposer une solution. MOTS-CLÉS : Notes de programme – Guides d’écoute – Vulgarisation – Médiation culturelle – Démocratisation – Élitisme – Culture – Éducation ii ABSTRACT Since their appearance in the mid-nineteenth century, program notes, sometimes containing detailed information on the works that are about to be performed, have continued to meet audiences needs during concerts. They respond to a wide range of needs: providing intelligible comprehension tools for laymen and laywomen, who discover the music of the past and of the present, while arousing the curiosity of well-accustomed listeners, who increase their knowledge and cultivation. This goes for program notes as well as other music appreciation tools, torn between the desire to make classical music accessible to all and, on the other hand, the rigorous approach to musicology that is expected from connoisseurs. In this thesis, we combine both theory and practice. In addition to an inquiry, conducted in October 2017 as part of three concert nights at the Orchestre symphonique de Montréal (hereafter, OSM) – an inquiry which gives us an idea of how program notes are regarded by concert audiences –, we will display a series of short open educational videos that we produced for the OSM, during the 2015-2016 season. The work necessary for these new digital tools is partly based on the analysis of a large body of former program notes from which we have identified a number of trends and specific cases. The results of the inquiry show that the OSM’s audience, far from being homogeneous, is made up of listeners who bear very different expectations. According to many, the program notes are considered appropriate for one’s concert experience. However, they may also spring critical reactions among concertgoers: either too detailed, tedious for some, or somewhat dull for others. Although audience members have different musical backgrounds and scales of knowledge, both novices and connoisseurs seem to share a common interest in the music itself, which needs to be explained through means of analysis. This interest is being fulfilled by program notes, in line with the requirements of musicological research. The question remains: how can one describe a work of music in order to meet the needs of everyone? In this thesis, we try to find appropriate answers to this matter. KEYWORDS: Program notes – Listening guides – Popularization – Music appreciation – Open education – Public outreach – Elite culture – Cultivation iii TABLE DES MATIÈRES Résumé ii Abstract iii Table des matières iv Liste des figures vi Liste des tableaux viii Liste des sigles ix Remerciements x Introduction 1 1. Sujet et problématique 7 2. Revue de littérature 9 3. Cadre théorique et définitions des principaux termes du sujet 11 4. Méthodologie 26 5. Annonce de plan 28 I. Vers une démocratisation des concerts au XVIIIe siècle 29 1. Le Concert spirituel : vers un accès plus large à la musique instrumentale 31 2. Le Theater auf der Wieden : rejoindre un public de « toutes les classes » 35 3. Les concerts et entreprises musicales à Londres 41 II. L’essor de la musique instrumentale et de l’élitisme 48 1. L’intérêt pour la musique des grands maîtres à Vienne 48 2. Concerts par des musiciens et pour des musiciens 51 3. Le Gewandhaus de Leipzig et l’influence germanique 54 4. Deux publics, deux types d’écoute 60 III. Le XIXe siècle : sociétés de concerts à Paris et à Londres 65 1. Les Concerts du Conservatoire de Paris : canonisation et élitisme 69 2. Les Concerts populaires de Pasdeloup : démocratisation et canonisation 73 3. À Londres, élitisme et tentatives de vulgarisation 78 IV. Notes de programme : origines et raisons d’être 82 1. Des notes avant l’heure? Le cas de Berlioz 83 2. Le berceau londonien 89 3. La vulgarisation, ou comment descendre de la montagne du savoir 95 4. La vulgarisation, une promesse d’ascension intellectuelle 101 V. Développements et nouveaux formats jusqu’en 1950 104 1. Guides généralistes : l’exemple du guide de Kretzschmar 105 2. Les conférences, l’intervention orale du musicologue : de Fétis à Rolland 109 3. Causeries radiophoniques : l’exemple de Koechlin 116 4. Guides d’écoute et notes discographiques 122 iv VI. Études de cas, de 1880 à 1980 128 1. Méthodologie 129 2. La Symphonie no 5, selon Grove 133 3. La Symphonie no 5, selon Kreztschmar 142 4. Commentaires sur la Symphonie no 5, extraits du Guide du concert 153 5. Quelques notes extraites du recueil de Seaman 186 6. Notes extraites de la collection de programmes de concerts à l’OICRM 199 7. Tendances observables (1880-1980) 212 VII. Enquête de terrain auprès du public de l’OSM 219 1. Méthodologie 220 2. Analyse des résultats 221 3. Synthèse 246 VIII. Contexte actuel : divers exemples d’outils de vulgarisation 252 1. Méthodologie 255 2. Pionniers du mélange entre langages verbal et musical 258 3. Initiatives en Amérique du Nord et en Europe 265 a) Les modèles du genre 266 b) Les plus innovants 271 c) Les entreprenants 275 d) Autres exemples… 278 4. Synthèse 280 IX. Projet de capsules vidéo DPMQ-OSM (2015-2016) 284 1. Description du projet et du partenariat 285 2. Constitution de différents modèles 287 3. Choix de ligne éditoriale 293 4. Résultats des capsules et données recueillies sur Facebook 306 5. Étude de cas : Pelléas et Mélisande de Debussy 313 6. Re-contextualisation 322 Conclusion 324 Sources documentaires 332 Annexes xi v LISTE DES FIGURES 1 Deux premières pages de l’analyse thématique de Malherbe (page 13). 2 Détail du tableau Le Thé à l’anglaise (1766) d’Ollivier (page 30). 3 Emplacement du Freihaustheater et l’intérieur du théâtre (page 39). 4 Illustration d’une ambiance de concert dans Hush! (The Concert) (1875), tableau de James Tissot (page 80). Chapitre 6 (pages 158, 159, 160 et 176) 5 Page consacrée aux « études musicales analytiques » (Guide du concert). 6 Mise en page des sections « terminologie » et « études musicales analytiques » (idem). 7 Première page de la note du 29 octobre 1911 (idem). 8 Illustration des sections « analyse » et « historique », dans un long commentaire de février 1951 (idem). Chapitre 7 (pages 221 à 243) 9 Nombre d’années correspondant à l’ancienneté du public interrogé. 10 Nombre total de réponses selon la tranche d’âge. 11 Utilisation d’Internet comme source d’informations pour le public. 12 Variété des sources d’informations autres qu’Internet. 13 Sources d’informations sur l’histoire de la musique et des grands compositeurs. 14 Formation musicale des personnes interrogées. 15 Niveau de scolarité le plus élevé complété. 16 Occupation principale des répondants. Chapitre 8 (pages 267 à 277) 17 Capture d’écran du programme interactif (San Francisco Symphony). 18 Capture d'écran d’une vidéo sur iTunes U (London Symphony Orchestra). 19 Capture d’écran sur un détail d’une page Internet, sous l’onglet « CSO Concerts » (Chicago Symphony Orchestra). 20 Capture d’écran sur l’une des pages Internet du Concertgebouw. 21 Capture d’écran sur un détail de la page Internet consacrée à RCO Editions (Royal Concertgebouw Orchestra). 22 Capture d’écran sur un détail de la page officielle de Livenote (Philadelphia Orchestra). 23 Capture d’écran sur la page web du « BSO Media Center » (Boston Symphony Orchestra). 24 Capture d’écran sur un extrait de guide d'écoute (Philharmonie de Paris).
Load more

Recommended publications
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • A Place for Music: John Nash, Regent Street and the Philharmonic Society of London Leanne Langley
    A Place for Music: John Nash, Regent Street and the Philharmonic Society of London Leanne Langley On 6 February 1813 a bold and imaginative group of music professionals, thirty in number, established the Philharmonic Society of London. Many had competed directly against each other in the heady commercial environment of late eighteenth-century London – setting up orchestras, promoting concerts, performing and publishing music, selling instruments, teaching. Their avowed aim in the new century, radical enough, was to collaborate rather than compete, creating one select organization with an instrumental focus, self-governing and self- financed, that would put love of music above individual gain. Among their remarkable early rules were these: that low and high sectional positions be of equal rank in their orchestra and shared by rotation, that no Society member be paid for playing at the group’s concerts, that large musical works featuring a single soloist be forbidden at the concerts, and that the Soci- ety’s managers be democratically elected every year. Even the group’s chosen name stressed devotion to a harmonious body, coining an English usage – phil-harmonic – that would later mean simply ‘orchestra’ the world over. At the start it was agreed that the Society’s chief vehicle should be a single series of eight public instrumental concerts of the highest quality, mounted during the London season, February or March to June, each year. By cooperation among their fee-paying members, they hoped to achieve not only exciting performances but, crucially, artistic continuity and a steady momentum for fine music that had been impossible before, notably in the era of the high-profile Professional Concert of 1785-93 and rival Salomon-Haydn Concert of 1791-2, 1794 and Opera Concert of 1795.
    [Show full text]
  • The Pedagogical Legacy of Johann Nepomuk Hummel
    ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions.
    [Show full text]
  • George Polgreen Bridgetower (1779-1860)
    George Polgreen Bridgetower (1779-1860) BLACK EUROPEANS: A British Library Online Gallery feature by guest curator Mike Phillips George Augustus Polgreen Bridgetower was probably born on 29 February 1780 (though some authorities give 11 October 1778) at Biała in Poland. His father, who went by the names John Frederick or Friedrich de August Bridgetower, worked in the household of Prince Esterházy, and gave several different stories about his background (the favourite being that he was an African prince. He was also “supposed by friends” to be the son of an Indian princess). The name Bridgetower favours the speculation that he was from Barbados (capital: Bridgetown). George’s mother was a Polish woman referred to as Maria or Mary Ann. Prince Esterházy’s family seat was actually in the castle Esterháza in Hungary (now Austria), which possessed an opera house and a puppet theatre, and boasted the composer Joseph Haydn as Kappelmeister. If Bridgetower was a child prodigy, destiny also provided him with the best possible environment and training. He made his performing début as a violinist, aged nine or 10, at the Concert Spirituel in Paris in April 1789. The journal Le Mercure de France raved about his performance, concluding that “his talent is one of the best replies one can give to philosophers who wish to deprive people of his nation and his colour of the opportunity to distinguish themselves in the arts”. After Paris, the Bridgetowers, father and son, turn up next in Windsor. According to Mrs Papendiek, Queen Charlotte’s assistant keeper of the wardrobe - “In 1789 An African Prince of the name Bridgetower, came to Windsor with a view of introducing his son, a most possessing lad of ten years old, and a fine violin player.
    [Show full text]
  • UCL CMC Newsletter No.5
    UCL Chamber Music Club Newsletter No.5 October 2015 In this issue: Welcome to our newsletter Welcome to the fifth issue of the Chamber Mu- Cohorts of muses, sic Club Newsletter and its third year of pub- unaccompanied lication. We offer a variety of articles, from a composers and large survey of last season’s CMC concerts – now a ensembles – a view on the regular feature – to some reflections, informed sixty-third season - by both personal experience and scholarship, page 2 on the music of Sibelius and Nielsen (whose 150th anniversaries are celebrated in the first UCLU Music Society concert of our new season). In the wake of UC- concerts this term - Opera’s production last March of J.C. Bach’s page 8 Amadis de Gaule we have a brief review and two articles outlining the composer’s biogra- UCOpera’s production of phy and putting him in a wider context. The Amadis de Gaule, CMC concert last February based on ‘the fig- UCL Bloomsbury Theatre, ure 8’ has prompted an article discussing some 23-28 March 2015 - aspects of the topic ‘music and numbers’. Not page 9 least, our ‘meet the committee’ series continues with an interview with one of our newest and Meet the committee – youngest committee members, Jamie Parkin- Jamie Parkinson - son. page 9 We hope you enjoy reading the newslet- A biographical sketch of ter. We also hope that more of our readers Johann Christian Bach will become our writers! Our sixth issue is (1735-82): composer, scheduled for February 2016, and any material impresario, keyboard on musical matters – full-length articles (max- player and freemason - imum 3000 words), book or concert reviews – page 12 will be welcome.
    [Show full text]
  • The Bach Family There Has Never Been a Dynasty Like It! We Have
    The Bach Family There has never been a dynasty like it! We have Johann Sebastian Bach to thank for much of the Genealogy as well. In the region of Thuringia, the name of Bach was synonymous with music, but they were also a 'family' experiencing the ups and downs of 17th & 18th century life, from happy marriages and joyful family music-making in this devoutly Lutheran community to coping with infant mortality and dysfunctional behaviour. The Bach Family encountered the lot. In this page, we visit the lives of key members of this remarkable family, a family that was humble in its intent, served the community, were appropriately deferential to their various patrons or princes, and whose music lives on through our performances today. Joh. Seb. Bach's ancestors set the tone and musical direction, but this particular family member raised the bar higher in scale and invention. Sebastian taught his own sons too, plus many of the offspring of his relatives. His eldest sons Wilhelm Friedemann and Carl Philipp Emanuel certainly held their Father in high regard, but also wanted to plough their own furrow - not easy even then. Others either held church or court positions and one travelled first to Italy and then to Georgian London in order to ply his trade - Johann Christian Bach, the youngest son. The family's ancestry goes back to the late 16th/early 17th centuries to a certain Vitus (Veit) Bach (d.1619) who left his native Hungary and came to live in Wechmar, near Gotha in Thuringia. He was a baker by trade.
    [Show full text]
  • Antonín Kammell - a Bohemian Composer in 18Th Century England
    Antonín Kammell - A Bohemian Composer in 18th Century England Andrew Baker [email protected] 1 Thomas Gainsborough Portrait of a Musician, probably a portrait of Antonín Kammel (1730–84), c. 1768 Oil on canvas, 76 x 64 cm (30 x 25 in) (Private Collection) 2 INTRODUCTION I first came across the 18th century composer and violinist Antonín Kammell in 1983. I was investigating Thomas Anson, the developer of Shugborough Hall, Staffordshire - a landscape, which was, in his time, decorated with a mixture of exotic, mysterious, and authentically classical monuments. Anson seems to have gone out of his way to avoid leaving any evidence of his private life. Almost no personal documents have survived in the Staffordshire Archives. One very revealing relic is a poem by his friend Sir William Bagot, dated 25th April 1772. This was sent from Staffordshire to Thomas Anson in London just before Easter, when the London season ended and those who were able to escaped the city for the country. Bagot exhorts Anson to bring his closest friends with him when he returns to his country estate: Bring Attic Stuart, Indian Orme, Kammell unruffled by a storm Shall tune his softest strain… “Attic Stuart” was James “Athenian” Stuart, the architect who had built Thomas Anson’s London House at 15 St James Square, extended the house at Shugborough, and designed the various authentically Greek monuments in the landscape. “Indian Orme” was Robert Orme, historian of the East India Company. In 1983 I failed to identify “Kammell”, though I was intrigued that he was obviously a musician – someone who would “tune his softest strain” - simply because I misread the name as “Hammell.” It never struck me that the first letter could be a K.
    [Show full text]
  • Criticism of Beethoven's Pastoral Symphony in London And
    CRITICISM OF BEETHOVEN’S PASTORAL SYMPHONY IN LONDON AND BOSTON, 1819-1874: A FORUM FOR PUBLIC DISCUSSION OF MUSICAL TOPICS Amy Nicole Cooper, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS December 2011 APPROVED: Margaret Notley, Major Professor Mark McKnight, Committee Member Deanna Bush, Committee Member Eileen M. Hayes, Chair of the Division of Music History, Theory, and Ethnomusicology Lynn Eustis, Director of Graduate Studies James D. Meernik, Acting Dean of the Toulouse Graduate School Cooper, Amy Nicole. Criticism of Beethoven's Pastoral Symphony in London and Boston, 1819-1874: A Forum for Public Discussion of Musical Topics. Master of Music (Musicology), December 2011, 61 pp., 49 titles. Critics who discuss Beethoven’s Pastoral Symphony often write about aspects that run counter to their conception of what a symphony should be, such as this symphony’s static nature and its programmatic elements. In nineteenth-century Boston and London, criticism of the Pastoral Symphony reflects the opinions of a wide range of listeners, as critics variably adopted the views of the intellectual elite and general audience members. As a group, these critics acted as intermediaries between various realms of opinion regarding this piece. Their writing serves as a lens through which we can observe audiences’ acceptance of ideas common in contemporaneous musical thought, including the integrity of the artwork, the glorification of genius, and ideas about meaning in music. Copyright 2011 by Amy Nicole Cooper ii TABLE OF CONTENTS Page Chapters 1. INTRODUCTION .......................................................................................................................1 2. ISSUES OF LENGTH AND THE INTEGRITY OF THE WORK ..........................................12 3.
    [Show full text]
  • Joanne Cormac
    Joanne Cormac Between Beethoven and Mendelssohn: Biographical Constructions of Berlioz in the London Press In 1853 a writer for the London-based periodical, Fraser’s Magazine remarked that Berlioz’s ‘heroic temperament’ could be ‘read legibly in the noble style of his compositions. His own life forms to these works the most interesting accompaniment and commentary.’1 The linking of life and work in Berlioz’s case is nothing unusual. Indeed, Berlioz arguably encouraged it through his program notes blurring fiction and biography, his published autobiographical writing,2 and even in his music criticism; his personality vividly penetrated every page, and the writer himself regularly appeared as a protagonist.3 However, a particular set of circumstances unique to London meant that critics based in that city persistently used Berlioz’s biography to further their own agendas while also promoting his music. London critics were arguably more interested in Berlioz’s life and stories than in his compositions. Extracts from Berlioz’s writings were often reprinted in the London press, ensuring the public became familiar with the man, if not his work. The nature of the London musical press at this time, as a handful of self-interested people with specific axes to grind, is one of the reasons for the use of biography as a critical prism.4 In the hands of such individuals, biography was a valuable narrational weapon. Another reason, specific to Berlioz reception, was the absence of repeat expert performances in London leading to public familiarity with his 1 Although the author is not credited, it was likely Edward Holmes.
    [Show full text]
  • Emerson String Quartet Eugene Drucker, Violin ~ Philip Setzer, Violin Lawrence Dutton, Viola ~ Paul Watkins, Cello Saturday, March 28, 2020
    SANIBEL MUSIC FESTIVAL PROGRAM NOTES Emerson String Quartet Eugene Drucker, violin ~ Philip Setzer, violin Lawrence Dutton, viola ~ Paul Watkins, cello Saturday, March 28, 2020 ~ PROGRAM ~ Quartet in D major, Op. 71, No. 2 Joseph HAYDN (H. III:70) (1732-1809) Adagio — Allegro Adagio cantabile Menuetto: Allegro Finale: Allegretto Quartet in D major, K. 575 Wolfgang Amadeus MOZART “King of Prussia” (1756-1791) Allegretto Andante Menuetto: Allegretto Allegretto ~ INTERMISSION ~ Quartet E minor, Op. 59, No. 2, Ludwig van BEETHOVEN “Razumovsky” (1770-1827) Allegro Molto Adagio Allegretto Finale: Presto About Emerson String Quartet The Emerson String Quartet has maintained its stature as one of the world’s premier chamber music ensembles for over four decades. The Quartet has made more than thirty acclaimed recordings and been honored with nine Grammys® (including two for Best Classical Album), three Gramophone Awards, an Avery Fisher Prize, and Musical America’s “Ensemble of the Year.” The Emerson frequently collaborates with some of today’s most esteemed composers to premiere new works, keeping the string quartet art form alive and relevant, and has commissioned new works from such composers as Thomas Adés, Kaija Saariaho, Wolfgang Rihm, Mark- Anthony Turnage, and Edgar Meyer. The ensemble has also partnered with such stellar soloists as Reneé Fleming, Barbara Hannigan, Evgeny Kissin, Emanuel Ax, and Yefim Bronfman. During the 2018-2019 season, the Emerson performed its 40th season as Quartet-in- Residence at the Smithsonian Institution in Washington, D.C. and returned to the Chamber Music Society of Lincoln Center. The group’s other North American appearances included New York’s Alice Tully Hall, Library of Congress, Denver, Vancouver, Seattle, Houston, Indianapolis, Detroit, Yale School of Music, and University of Georgia, among many others.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 51,1931-1932, Subscription Series
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTY-FIRST SEASON, 1931-1932 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1a32, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. BENTLEY W. WARREN President ERNEST B. DANE Treasurer ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL WILLIAM PHILLIPS M. A. DE WOLFE HOWE EDWARD M. PICKMAN FREDERICK E. LOWELL HENRY B. SAWYER BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1241 THE PIAN O FO RTE ALTHOUGH the earliest mention of the pianoforte occurs in the rec- ords of the Este family, in the form of a letter from an instrument maker named Paliarino to Alfonso II, Duke of Modena, the ancestry of the in- strument includes the psaltery and dulcimer both of which are known to have been in use in Persia and Arabia centuries before they were brought to England by the Crusad- ers. To name all the ancestors of the pianoforte would be to present a long list of confusing French, Italian, German and English names; but there are several that it would be well to remember — the harpsichord, clavecin, spinet' and virginal. When the piano was equipped with improved action and softly padded hammers touch became a factor for the first time, and coupled with brilliant execution and the effects that performers already knew how to produce, set a new style in playing. Although the piano has not been a regular orchestral instrument since the days of Haydn it is often used to play a Concerto.
    [Show full text]
  • The Choral Anthems of Alice Mary Smith
    THE CHORAL ANTHEMS OF ALICE MARY SMITH: PERFORMANCE EDITIONS OF THREE ANTHEMS BY A WOMAN COMPOSER IN VICTORIAN ENGLAND A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY CHRISTOPHER E. ELLIS DR. ANDREW CROW - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA MAY, 2014 ACKNOWLEDGMENTS I would like to thank my lovely wife, Mandy, for her constant support during the entire doctoral program. Without her, I would have struggled to maintain my motivation to continue pursuing this degree. My two children, Camden and Anya, have also inspired me to press forward. The joy I see in their faces reminds me of the joy that I find in conducting choral music. I am truly grateful for my wonderful family. I would also like to thank all of the committee members. They each gave generously of their time to meet and guide me through the doctoral process. I would especially like to thank Dr. Crow, who kindly guided me through the steps of the dissertation process, providing insight, direction, and caution, all while pushing me to improve the final product. His advice as an instructor and mentor in matters of conducting and choral music, especially early in the degree program were greatly encouraging and instilled some needed confidence in me. Dr. Ester inspired me to be a better teacher, and proved to be an excellent model to follow as a college professor. I am more confident and effective as a teacher as a result of his teaching and advice. Dr. Karna’s friendliness and prompt communication first attracted me to the program at Ball State, and his flexibility allowed me to balance the course work and caring for my family.
    [Show full text]