Boston Symphony Orchestra Concert Programs, Season 119, 1999-2000
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S. -
ORCHESTRE DE LA SUISSE ROMANDE Director Titular: JONATHAN NOTT
A.7 ORCHESTRE DE LA SUISSE ROMANDE Director Titular: JONATHAN NOTT SERIE ARRIAGA 2016.2017 Auditorio Nacional Medio colaborador de Música A.7 ORCHESTRE DE LA SUISSE ROMANDE Fue fundada, en 1918, por Ernest Ansermet, que fue su Director hasta 1967. Está formada por 112 músicos permanentes. Sus actividades incluyen una serie de conciertos de abono, en Ginebra y Lausana, los conciertos sinfónicos oficiales de la ciudad de Ginebra, el Concierto Benéfico Anual de las Naciones Unidas y representaciones de ópera en el Grand Théâtre de Ginebra. Jonathan Nott ocupa el puesto de Director Titular, a partir de la temporada 2016-2017. Su Principal Director Invitado es el japonés Kazuki Yamada. Desde sus inicios y bajo el liderazgo de su fundador y de sus sucesores Paul Kletzki (1967-1970), Wolfgang Sawallisch (1970-1980), Horst Stein (1980-1985), Armin Jordan (1985-1997), Fabio Luisi (1997-2002), Pinchas Steinberg (2002- 2005), Marek Janowski (2005-2012) y Neeme Järvi (2012-2015), la orquesta ha contribuido activamente a la historia de la música a través del apoyo a compositores contemporáneos. Una de sus misiones más importantes es el apoyo a nueva música orquestal, especialmente de compositores suizos. Desde sus comienzos y en colaboración con la Televisión Suiza-Francesa sus conciertos llegan a un público de millones de personas en todo el mundo. Gracias a su estrecho trabajo con Decca, se realizaron legendarias grabaciones. El resto de los registros, para unos doce sellos diferentes, han recibido numerosos premios. Más recientemente, la orquesta ha desarrollado una privilegiada colaboración con PentaTone. Sus giras internacionales la han llevado a actuar en las principales salas de concierto de Europa (Berlín, Londres, Viena, Salzburgo, París, Madrid, Barcelona, Budapest y Ámsterdam), Asia (Tokio, Seúl, Beijing), así como en América (Boston, Nueva York, San Francisco, Washington, São Paulo, Buenos Aires y Montevideo). -
Routes and Roots FINAL TEXT.Indb
studying culture in context Examining the Irish connection in the southern American fiddle repertoire Paul Wells Excerpted from: Ón gCos go Cluas From Dancing to Listening Fiddle and Dance Studies from around the North Atlantic 5 Edited by Liz Doherty and Fintan Vallely First published in 2019 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN: 978-1-85752-073-6 About the author: Paul F. Wells plays North American and Irish traditional music on fiddle and flute. He is Director Emeritus of the Center for Popular Music (CPM) at Middle Tennessee State University. As first director of CPM, Wells guided every aspect of the Center’s development, including laying the intellectual foundations for its collections and programs, and building the collections. He has published and presented on many aspects of American folk and popular music, with traditional fiddle music always at the core of his work, and is a past- president of the Society for American Music. Copyright © 2019 the Elphinstone Institute and the contributors. While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 32 Examining the Irish connection in the southern American fiddle repertoire PAUL F. -
Zemlinsky's Mermaid
Zemlinsky’s Mermaid: a new critical edition Antony Beaumont One of the most fascinating works from the orchestral repertoire of the 20th century is being reborn. Antony Beaumont is working on a new critical edition and surprises us with an as yet unknown scene. In 1976, the orchestral score of an untitled piece by Zemlinsky came to light in a private Viennese collection. Four musicologists involved at that time in Zemlinsky research (Alfred Clayton, Peter Gülke, Keith Rooke and Horst Weber) independently identified it as Part I of The Mermaid, and confirmed that a folder in the Zemlinsky Collection at The Library of Congress contained the autograph score of the remaining two movements. Once the two manuscripts had been brought together and collated, the work was performed – for the first time in 75 years – by the Austrian Youth Orchestra conducted by Peter Gülke. Like all other early champions of The Mermaid, Gülke was obliged to conduct from a facsimile of the autograph score: a challenging task at the best of times, exacerbated in this instance by Zemlinsky’s diminutive handwriting, numerous erasures, corrections and other blemishes. These problems also affected the performing materials. Newly copied for the occasion, they have since been updated several times. It was announced that Gülke would prepare a new edition of the score, but the project came to nothing. As a stopgap, Universal Edition prepared a handwritten copyist’s score of Parts II and III. With regard to legibility, this score was a distinct improvement, but unfortunately it was marred by numerous errors and omissions. -
Irish Bands of the 60S & 70S | Sample Answer
Irish Bands of the 60s & 70s | Sample answer Ceoltóiri Cualann was an Irish group formed by Sean O’Riada in 1961. O’Riada had the idea of forming Ceoltóiri Cualann following the success of a group he had put together to perform music for the play “The Song of the Anvil” in 1960. Ceoltóiri Cualann would be a group to play Irish traditional songs with accompaniment and traditional dance tunes and slow airs. All folk music recorded before that time had been highly orchestrated and done in a classical way. Another aim of O’Riada’s was to revitalise the work of harpist and composer Turlough O’Carolan. Ceoltóiri Cualann was launched during a festival in Dublin in 1960 at an event called Recaireacht an Riadaigh and was an immediate success in Dublin. The group mainly played the music of O’Carolan, sean nós style songs and Irish traditional tunes, and O’Riada introduced the bodhrán as a percussion instrument. Ceoltóiri Cualann had ceased playing with any regularity by 1969 but reunited to record “O’Riada” and “O’Riada Sa Gaiety” that year. “O’Riada Sa Gaiety” was not released until after O’Riada’s death in 1971. The members of Ceoltóiri Cualann, some of whom went on to form “The Chieftains” in 1963 were O’Riada (harpsichord and bodhrán), Martin Fay, John Kelly (both fiddle), Paddy Moloney (uilleann pipes), Michael Turbidy (flute), Sonny Brogan, Éamon de Buitléir (both accordian), Ronnie Mc Shane (bones), Peadar Mercer (bodhrán), Seán Ó Sé (tenor voice) and Darach Ó Cathain (sean nós singer. Some examples of their tunes are “O’ Carolan’s Concerto” and “Planxty Irwin”. -
Professor Niecks on Melodrama Author(S): Frederick Niecks Source: the Musical Times and Singing Class Circular, Vol
Professor Niecks on Melodrama Author(s): Frederick Niecks Source: The Musical Times and Singing Class Circular, Vol. 42, No. 696 (Feb. 1, 1901), pp. 96-97 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3366388 . Accessed: 21/12/2014 00:58 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Sun, 21 Dec 2014 00:58:46 AM All use subject to JSTOR Terms and Conditions L - g6 THE MUSICAL TIMES.-FEBRUARY I, I901. of any service is, of course, always undesirable. musical society as well as choir inspectorand con- But it is permissible to remind our young and ductor to the Church Choral Association for the enthusiastic present-day cathedral organists that the Archdeaconryof Coventry. In I898 he became rich store of music left to us by our old English church organistand masterof the choristersof Canterbury composers should not be passed by, even on Festival Cathedral,in succession to Dr. -
TEMPORADA 2017/18 Director Aclamado Por La Crítica Por La
TEMPORADA 2017/18 Edificio Foro de Somosaguas. Planta 1, oficina 26 Urbanización Pinar de Somosaguas, 89 bis 28223 Pozuelo de Alarcón - Madrid - España Tel.: +34 91 591 32 90 [email protected] | www.musiespana.com Facebook: Musiespana Twitter: @musiespana PINCHAS STEINBERG Director Aclamado por la crítica por la profundidad de sus interpretaciones musicales, Pinchas Steinberg es uno de los directores más destacados de la actualidad. Ha sido durante muchos años director habitual de los más prestigiosos teatros de ópera y salas de concierto de Europa y los Estados Unidos. Nacido en Israel, estudió violín con Joseph Gingold y Jascha Heifetz en los Estados Unidos y composición con Boris Blancher en Berlín. En 1974 hizo su debut como direc- tor de orquesta con RIAS Symphonie Orchester de Berlín. Este fue sólo el primero de una larga lista de compromisos con las más prestigiosas orquestas: Berliner Philhar- moniker, London Symphony Orchestra, Israel Philharmonic Orchestra, Gewandhaus Orchester (Leipzig), Philharmonia Orchestra (Londres), Orchestre National de France, Czech Philharmonic, Orchestra di Santa Cecilia (Roma), Münchner Philharmoniker, Ro- yal Stockholm Philharmonic Orchestra, Boston Symphony Orchestra, Orchestre de Pa- ris, NHK Symphony Orchestra (Tokyo), entre muchas otras. Pinchas Steinberg ha ostentado el cargo de Director Invitado Permanente de la Wie- ner Staatsoper, Director Titular de la Radio-Symphonieorchester Wien, Director Musi- cal de la Orchestre de la Suisse Romande en Ginebra y Director Titular de la Budapest Philharmonic Orchestra. Sus interpretaciones óperisticas le han llevado a dirigir en los teatros de ópera más importantes del mundo: ROH Covent Garden (Londres), Tea- tro alla Scala (Milán), Opéra Bastille (París), así como las óperas de Munich, Berlín, Roma, Madrid, Viena y San Francisco, entre otras. -
Scottish and Irish Elements of Appalachian Fiddle Music
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 3-1995 Scottish and Irish Elements of Appalachian Fiddle Music Matthew S. Emmick Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Emmick, Matthew S., "Scottish and Irish Elements of Appalachian Fiddle Music" (1995). Undergraduate Honors Thesis Collection. 21. https://digitalcommons.butler.edu/ugtheses/21 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER UNIVERSITY HONORS PROGRAM Honors Thesis Certification Matthew S. Emmick Applicant (Name as It Is to appear on dtplomo) Scottish and Irish Elements of Appalachian Fiddle M'-Isic Thesis title _ May, 1995 lnter'lded date of commencemenf _ Read and approved by: ' -4~, <~ /~.~~ Thesis adviser(s)/ /,J _ 3-,;13- [.> Date / / - ( /'--/----- --",,-..- Commltte~ ;'h~"'h=j.R C~.16b Honors t-,\- t'- ~/ Flrst~ ~ Date Second Reader Date Accepied and certified: JU).adr/tJ, _ 2111c<vt) Director DiJe For Honors Program use: Level of Honors conferred: University Magna Cum Laude Departmental Honors in Music and High Honors in Spanish Scottish and Irish Elements of Appalachian Fiddle Music A Thesis Presented to the Departmt!nt of Music Jordan College of Fine Arts and The Committee on Honors Butler University In Partial Fulfillment of the Requirements for Graduation Honors Matthew S. Emmick March, 24, 1995 -l _ -- -"-".,---. -
Iolanta Bluebeard's Castle
iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
Mannheim Le 12 Nov:Bre Mon Trés Cher Pére!2 1778 I Arrived Here Well
0504.1 MOZART TO HIS FATHER, SALZBURG Mannheim le 12 Nov:bre Mon Trés cher Pére!2 1778 I arrived here well on the 6th and surprised all my good friends in a pleasant way; – praise and thanks be to God that I am once again in my beloved Mannheim! [5] I assure you that you would say the same if you were here; I am lodging with Mad:me Cannabich3 – who, along with her family and all good friends, was almost beside herself for joy when she saw me again; – we have not finished talking yet, for she is telling me all the stories and changes that have happened my absence; – [10] I have not yet eaten at home the whole time I have been here – for it is full-blooded, this fighting over me; in a word; as I love Mannheim, Mannheim loves me; – And I do not know for sure, I believe I will yet in the end be taken on4 here! – here, not in Munich; for the Elector5 would, I believe, <be very glad to have his residence in Manheim again>, [15] since he will not possibly be able <to put up> with the <crudities> of the <Bavarian gentlemen> for long! – You know that the Mannheim troupe6 is in Munich? – there they have already whistled the 2 leading actresses, Mad:me Toscani7 and Mad:me Urban,8 off the stage, and there was so much noise that <the Elector himself> leaned out of his <box> and said sh– – [20] but after no-one allowed themselves to be put off by that, he sent someone down, – but <Count Seau9>, after he said to some officers they should not make so much noise, <the Elector> didn’t like to see it, received this answer; – <it was with their good money that they got in> there and <they are not taking orders from anyone> – yet what a fool I am! [25] You will long since have heard this from our – ;10 Now here comes something; – perhaps I can earn 40 louis d’or11 here! – Admittedly I must stay here 6 weeks – or 2 months at the most; – Seiler’s troupe12 is here – who will already be known to you by renomè;13 – Herr von Dallberg14 is their director; – this man 1 This letter contains passages in "family code"; these are marked with angle brackets < >. -
The Inventory of the Deborah Voigt Collection #1700
The Inventory of the Deborah Voigt Collection #1700 Howard Gotlieb Archival Research Center Voigt, Deborah #1700 6/29/05 Preliminary Listing I. Subject Files. Box 1 A Chronological files; includes printed material, photographs, memorabilia, professional material, other items. 1. 1987-1988. [F. 1] a. Mar. 1987; newsletters of The Riverside Opera Association, Verdi=s AUn Ballo in Maschera@ (role of Amelia). b. Apr. 1987; program from Honolulu Symphony (DV on p. 23). c. Nov. 1987; program of recital at Thorne Hall. d. Jan. 1988; program of Schwabacher Debut Recitals and review clippings from the San Francisco Examiner and an unknown newspaper. e. Mar. 1988; programs re: DeMunt=s ALa Monnaie@ and R. Strauss=s AElektra@ (role of Fünfte Magd). f. Apr. 1988; magazine of The Minnesota Orchestra Showcase, program for R. Wagner=s ADas Rheingold@ (role of Wellgunde; DV on pp. 19, 21), and review clippings from the Star Tribune and the St. Paul Pioneer Press Dispatch. g. Sep. - Oct. 1988; programs re: Opera Company of Philadelphia and the International Voice Competition (finalist competition 3; DV on p. 18), and newspaper clippings. 2. 1989. [F. 2] a. DV=s itineraries. (i) For Jan. 4 - Feb. 9, TS. (ii) For the Johann Strauss Orchestra on Vienna, Jan. 5 - Jan. 30, TS, 7 p. b. Items re: California State, Fullerton recital. (i) Copy of Daily Star Progress clipping, 2/10/89. (ii) Compendium of California State, Fullerton, 2/13/89. (iii) Newspaper clipping, preview, n.d. (iv) Orange County Register preview, 2/25/89. (v) Recital flyer, 2/25/89. (vi) Recital program, program notes, 2/25/89.