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CARNEGIE HALL .... NEW YORK Thursday Evening, March 13, at 8.15 Saturday Afternoon, March 1 5, at 2.30 £*WHififl% >n\V"' y f/ BOSTON SYMPHONY ORCHESTRA INC. FORTY-THIRD SEASON J923-J924 PRoGRTWIE '4 '« — An Audience worth cultivating Because it reaches an audience of unusual potentiality, The Boston Symphony Orchestra Programme is a most effective media for a limited number of advertisers. This audience is composed of people of taste, culture and means. They are interested, essentially, in the better things of life. They can, and do, purchase generously — but discriminately. The BOSTON SYMPHONY ORCHESTRA Programme is mailed to the home of this audience. The descriptive notes by Mr. Philip Hale, foremost of critics, secures for the Programme a place among works of reference and gives to it an unusual permanence. Your advertising message will thus have many times the value generally attributed to publicity advertising. If your product — or service — will appeal to this discriminating audience Write for Rates Jiddress GARDNER and STORR L8fi MADISON AVI NEW YORK CITY Phone, Ashland 6280 CARNEGIE HALL NEW YORK Thirty-eighth Season in New York FORTY-THIRD SEASON, 1923-1924 INC. PIERRE MONTEUX, Conductor THURSDAY EVENING, MARCH 13, at 8.15 AND THE SATURDAY AFTERNOON, MARCH 15, at 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1924, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE ...... Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager l 2EETH0VCX, and ^\aturx Stttnvraj Collection bj^XC^T'-'h& STEINWAY THE INSTRUMENT OF THE IMMORTAL the 26th of March, 1827, died Liszt and Rubinstein, for Wagner, Berl ONLudwig van Beethoven, of whom and Gounod. And today, a still gre* it has been said that he was the Stcinway than these great men km greatest of all musicians. A generation responds to the touch of Paderew later was born the Stein way Piano, which Rachmaninoff and Hofmann. Such, is acknowledged to be the greatest of all fact, are the fortunes of time, that tod pianofortes. VX'hat a pity it is that the this Instrument of the Immorti greatest master could not himself haw- this piano, more perfect than a played ujjon the greatest instrument — Beethoven ever dreamed of, can be p that these two could not have been born scsscd and played and cherished not together! Though the Stcinway was de- by the few who are the masters of mu I'eethoven, it was here in time for but by the many who arc its lovers. Slrlmcay & Som and their dealer) have made it conveniently pamihlc for music /oiv r.i to ou)n a Steintt I 'met: $H75 and up, plu» freight at point* dutanl from New York- STEINWAY Qj SONS, Stcinway Hall, 109 E. 14th Street, New Y. Forty-third Season, 1923-1924 PIERRE MONTEUX, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Siegl, F. Kassman, N Cherkassky, P. Leveen, P. Mario tti, V. Thillois, F. Gorodetzky, L Kurth, R. Riedlinger, IT. Murray, J. Goldstein, S. Bryant, M. Knudsen, C. Stonestreet, J. Tapley, R. Del Sordo, R. Messina, S. Diamond, S. Erkelens, H. Seiniger, S. Vi OLAS. Fourel, G. Werner, H. Grover, H. Fiedler, A. Arti&res, L. Van Wynberger>,C. Shirley, P. Mullaly, J. Gerhardt, S. Kluge, M. Deane, G Zahn, F. Violoncellos. Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendcen, J. Schroeder, A. Barth, C. Stockbridge, C. Fabrizio, E. Marjollet, L. Basses. Kunze, M. Seydel, T. Ludwig, 0. Kelley, A. Girard, H. Keller, K. Gerhardt, G. Frankel, 1. Demetrides, L. Flutes Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Bladet, G. Lenom, C. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Vannini, A. Bettoney, F. Piccolo. English Hobns. Bass Clarinet. Contra-Bassoon. ' Battles, A. Mueller, F. Mimart, P. Piller, B. Speyer, L. Hoens. Hobns. Trumpets. Trombones. Wendler, G. Valkenier, W. Mager, G. Hampe, C. Schindler, G. Hain, F. Mann, J. Adam, E. Hess, M. Van Den Berg, C. Perret, G. Mausebach, A. Lorbeer, H. Gebhardt, W. Kloepfel, L. Kenrield, L. Schmeisser, K. Tuba. , Harps, Timpani. Percussion. Sidow, P. Holy, A. Ritter, i\. Ludwig, C. Zahn, F. Delcourt, L. Polster, M. Sternburg, S. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers. L. J. 3 P^ Midnight Sun Cruise A New Way to Europe Visiting Iceland North Gape Norwegian Fjords An; on the way to England or France vcm The Ra}nnond-Whitcomb annual Midnight Sun Cruise may be taken as the prelude to a summer in Europe, or as a complete 5 or 6 weeks' summer vacation voyage. On the "Franconia" The Cruise ship is the newest Cunard liner, ideally perfect for cruising, with wide decks, swimming pool, squash court, gymnasium and large staterooms (70 with connecting baths). Rates from New York to New York with return on any Cunard sailing (including "Aquitania," ''Mauretania," "Franconia" or "Berengaria"). $625 to $2100 without bath $1325 to #3850 with bath Sen d fo r the Cruise boo klet Europe Tours General Tours of Western Europe from Italy to Scotland, planned to provide the maximum of comfort and pleasure, leave frequently through the Spring and Summer. Automobile tours of England and Scotland Grand Tour of Switzerland Individual Travel Service For those who prefer to travel without escort >r on their own intinerary. This distinctive Raymond-Whitcomb feature i described in our "Guide to Winter Travel in America" and "( luide to European Travel." Send for them. Winter tours to California, Florida, Europe Raymond & Whitcomb Go. ill/' 11^ Fifth A\ enue, New York Cit) 5))RAYM0ND-WHITC0MB Miss ^)TOURS 6 CRUISES@1 CARNEGIE HALL NEW YORK Thirty-eighth Season in New York Forty-third Season, 1923-1924 PIERRE MONTEUX, Conductor FOURTH CONCERT THURSDAY EVENING, MARCH 13 AT 8.15 Prelude to "Die Meistersinger von Nurnberg" A Siegfried Idyll ' Isolde's Narrative (Act I), "Tristan und Isolde' WAGNER Bacchanale (Act I, Scene I), "Tannhauser" PROGRAMME Ride of the Valkyries (Act III), "Die Walkure" Waldweben (Act II), "Siegfried" Briinnhilde's Immolation Scene and Close, "Gotterdammerung" SOLOIST MARGARET MATZENAUER There will be an intermission of ten minutes after the Bacchanale from "Tannhauser" 5 1 Prelude to "The Mastersingers of Nuremberg" Richard Wagner (Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) The Prelude to "Die Meistersinger von Niirnberg" was performed for the first time at Leipsic, November 1, 1862. At a concert orga- nized by Wendlin Weissheimer, opera conductor at Wiirzburg and Mayence, and composer, for the production of certain works, Wagner conducted this Prelude and the overture to "Tannhiiuser." The hall was nearly empty, but the Prelude was received with so much favor that it was immediately played a second time. The opera was first performed at Munich, June 21, 1868.* This Prelude is in reality a broadly developed overture in the classic form. It may be divided into four distinct parts, which are closely knit together. 1. An initial period, moderato, in the form of a march built on four chief themes, combined in various ways. The tonality of C major is well maintained. 2. A second period, in E major, of lyrical character, fully de- veloped, and in a way the centre of the composition. 3. An intermediate episode after the fashion of a scherzo, devel- oped from the initial theme, treated in diminution and in fugued style. 4. A revival of the lyric theme, combined this time simultane- ously with the two chief themes of the first period, which leads to a coda wherein the initial phrase is introduced in the manner of a stretto. The idea of the opera occurred to Wagner at Marienbad in 1S45, but the scenario then sketched differed widely from the one adopted. Wagner worked on the music at Biebrich in 1862. The Prelude is scored for piccolo, two flutes, two oboes, two clari- nets, two bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, triangle, cymbals, harp, and the usual strings. •\\ Siegfried [dyl" Richard Wagner (Bora ;it Leipsic, May 22, 1818; died :n Venice, February LS, i^ s -"- Cosima Liszt, daughter of Franz Liszt and the ( 'omtesse d'Agonlt, wsu& born ;it Bellagio, MmIv, <<n Christmas Day, L837. she was •The chief HiiiKorH »t tliiw lirnt perfoVUUUlCG at fh<> Koyal Court Theatre, Munich, s.-k-Iih were Betz, H/ihh ; HuuHcwoin, Pogner ; Bttlsel, Beckmesser ; Schlotser, David; Nacbbaor, Waltber ton Btoizintr ; MIhh Mniilnjjer, Eva; Mme. Diet, Magdalene. The firHt performance in tin- United stat<n wai mi the Metropolitan Opera House, New York, January 4, 1886; Bmll Fischer, Racbs; Joseph Staudigl, Pogner; Otto Kemllta, Beck- er: Krlmer, David; Albert Btrltt Walther ron Stoliing; Augnitc Kraon (Mth. Anton Seifii), Evn ; Marianne Brandt, Magdalene. 8 Boston c oymphony Orchestra VICTOR RECORDS There are dealers in Victor products everywhere and any of them will gladly play any of the Boston Symphony Orchestra records for you* Victrolas $25 to $1500 Victor Talking Machine Co. Camden NJ. HIS MASTER'S VOICE" BCO U B- "AT ©pr married to Hans von BfUow at Berlin, August IS, 1S57. They were divorced in the fall of 1SG9. Richard Wagner married Minna Planer, November 24, 1836, at Konigsberg. They separated in August, 1S61, and she died at Dresden, January 25, 1SG6. Wagner and Cosima Liszt, divorced wife of von Biilow, were married at Lucerne, Atignst 25, 1ST0.
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  • The Evolution of the Heldentenor

    The Evolution of the Heldentenor

    THE EVOLUTION OF THE HELDENTENOR : SIEGMUND, GRIMES, SAMSON, AND OTELLO by JAMES HENRY SEAY, III SUSAN CURTIS FLEMING, COMMITTEE CHAIR PAUL H. HOUGHTALING STEPHEN V. PELES LINDA PAGE CUMMINS AMANDA W. PENICK ELIZABETH S. AVERSA A DMA MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright James Henry Seay, III 2014 ALL RIGHTS RESERVED ABSTRACT The purpose of this manuscript is to set into context a recital which highlights the attributes of the Heldentenor. The recital was held on 11 March 2014 and was comprised of operatic excerpts from Wagner’s Die Walk üre (1870), Saints-Sa ëns’ Samson et Dalila (1877) , Britten’s Peter Grimes (1945), and Verdi’s Otello (1887). All four of these operas have become mainstays in the repertoire of the Heldentenor . The program from the recital appears in the appendix at the end of this manuscript, and the program includes translations of the operatic excerpts and the text of spoken introductions that were read as part of the recital. Since the mid-nineteenth century, the Heldentenor voice classification has played an integral role in popular opera theater. The origin of the Heldentenor classification can be traced back to the abrupt change in the performance practice of the upper register of the tenor voice with the now famous performance of the full-throated, chest high Cs in Rossini’s Guillame Tell sung by Gilbert-Louis Duprez (1806-1896) at the national opera in Paris in 1837.1 As the technique involving the upper register of the tenor voice changed, the vocal and dramatic demands placed on the voice type increased.