Boston Symphony Orchestra Concert Programs, Season 76, 1956
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Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
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. -
Boston Symphony Orchestra Concert Programs, Season 31
CONVENTION HALL . ROCHESTER Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Programme WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 29 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. -
Spring/Summer 2021 COURTESY of the NEW YORK PHILHARMONIC ARCHIVES COURTESY
News for Friends of Leonard Bernstein Spring/Summer 2021 COURTESY OF THE NEW YORK PHILHARMONIC ARCHIVES Bernstein and Stravinsky: Eternal Modernists 2 Bernstein & Stravinsky 8 Artful Learning 12 In Memoriam Inside... 4 New Sony Box Set 10 From the Archives 14 In the News 6 MTT & LB 11 Mahler Remastered 16 American Ballet Theatre Bernstein and Stravinsky: Eternal Modernists by Hannah Edgar captivated.1 For the eternally young Bernstein, The Rite of Spring would concert program is worth forever represent youth—its super- ince when did a virus ever slow Lenny a thousand words—though lative joys and sorrows, but also its Sdown? Seems like he’s all around us, Leonard Bernstein rarely supreme messiness. Working with the and busier than ever. The new boxed Aprepared one without inaugural 1987 Schleswig-Holstein set from Sony is a magnificent way to the other. Exactly a year after Igor Music Festival Orchestra Academy, commemorate the 50th anniversary Stravinsky’s death on April 6, 1971, Bernstein’s training ground for young of Stravinsky’s death, and to marvel at Bernstein led a televised memorial musicians, he kicked off the orches- Bernstein’s brilliant evocations of those concert with the London Symphony tra’s first rehearsal of the Rite with his seminal works. We’re particularly happy Orchestra, delivering an eloquent usual directness. “The Rite of Spring to share a delightful reminiscence from eulogy to the late composer as part of is about sex,” he declared, to titillated Michael Tilson Thomas, describing the the broadcast. Most telling, however, whispers. “Think of the times we all joy, and occasionally maddening hilarity, are the sounds that filled the Royal experience during adolescence, when of sharing a piano keyboard with the Albert Hall’s high dome that day. -
Composing Freedom: Elliott Carter's 'Self-Reinvention' and the Early
Composing Freedom: Elliott Carter’s ‘Self-Reinvention’ and the Early Cold War Daniel Guberman A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2012 Approved By, Brigid Cohen, chair Allen Anderson Annegret Fauser Mark Katz Severine Neff © 2012 Daniel Guberman ALL RIGHTS RESERVED ii ABSTRACT DANIEL GUBERMAN: Composing Freedom: Elliott Carter’s ‘Self-Reinvention’ and the Early Cold War (Under the direction of Brigid Cohen) In this dissertation I examine Elliott Carter’s development from the end of the Second World War through the 1960s arguing that he carefully constructed his postwar compositional identity for Cold War audiences on both sides of the Atlantic. The majority of studies of Carter’s music have focused on technical aspects of his methods, or roots of his thoughts in earlier philosophies. Making use of published writings, correspondence, recordings of lectures, compositional sketches, and a drafts of writings, this is one of the first studies to examine Carter’s music from the perspective of the contemporary cultural and political environment. In this Cold War environment Carter emerged as one of the most prominent composers in the United States and Europe. I argue that Carter’s success lay in part due to his extraordinary acumen for developing a public persona. And his presentation of his works resonated with the times, appealing simultaneously to concert audiences, government and private foundation agents, and music professionals including impresarios, performers and other composers. -
Volume 34, Number 07 (July 1916) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1916 Volume 34, Number 07 (July 1916) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 34, Number 07 (July 1916)." , (1916). https://digitalcommons.gardner-webb.edu/etude/626 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ----- Price 15 Cents 1 473 THE ETUDE PRESSER’S MUSICAL MAGAZINE CONTENTS FOR JULY 1916 World of Music . Success Guides.G. if. Grecnhalyh A Practice Hour of Pleasure.C. W. London Can You Pass This Examination .'. The Part the Piano Should Pla^. .J. K. MacDonald The Layman's Attitude T W.’ R. Bpaldint Teaching Use of Bass Clef.Russell Carter 482 The Effect of Mechanical Ins :s Upon Musical jojuucu Lion.(Symposium) Royal Performers on the Flute. The Real Meaning of Rhythm.. .Lerou B. Campbell A Useful Finger Exercise.Wilbur F. Unger Discouraging the Pupil.Edna J. Warren Can There Be Any Real New Music?... How Parents Can Help...Geo. -
Boston Symphony Orchestra Concert Programs, Season 43,1923-1924, Trip
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. -
Boston Symphony Orchestra Concert Programs, Season 85, 1965
I K , 4 ^.^-M&i^s.V ^OOte. y/ /j L. r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY // /f HENRY LEE HIGGINSON TUESDAY EVENING CAMBRIDGE" SERIES S • 1 4 *««/] X'SS :.''% < S^^*$>5^ %v.' r?^ =~-y~ ~*«»0/ '-<-» "»» /^ Sir' C»S. —.'""' f\ EIGHTY-FIFTH SEASON 1965-1966 The Boston Symphony BEETHOVEN "EROICA SYMPHONY BOSTON SYMPHONY ORCH. |! under Leinsdorf ERICH LEINSDORF "There is a daring quality in Beethoven that should never be lost" says Leinsdorf with particular reference to the great Third Symphony . the " Eroica". There is also a daring, prophetic quality in Mahler's First Symphony, though in a very different idiom. Leinsdorf and the Boston Symphony give each of these works performances characterized by profound understanding and sonic beauty. Hear them in Dynagroove sound on RCA Victor Red Seal albums. RCA Victor* @The most trusted name in sound ! EIGHTY-FIFTH SEASON, 1965-1966 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot • President Talcott M. Banks • Vice-President John L. Thorndike • Treasurer Abram Berkowitz E. Morton Jennings, Jr. Theodore P. Ferris Henry A. Laughlin Robert H. Gardiner Edward G. Murray Francis W. Hatch John T. Noonan Andrew Heiskell Mrs. James H. Perkins Harold D. Hodgkinson Sidney R. Rabb Raymond S. Wilkins TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Thomas D. Perry, Jr., Manager S. Shirk Norman James J. Brosnahan Assistant Manager Business Administrator Rosario Mazzeo Harry J. Kraut Orchestra Personnel Manager Assistant to the Manager Sanford R. -
Clubs and Shared Interest Groups Directory
CLUBS AND SHARED INTEREST GROUPS DIRECTORY CONTENTS HAA STAFF P. 2 HAA EXECUTIVE COMMITTEE P. 5 INDIVIDUAL SCHOOL ALUMNI ASSOCIATIONS P. 7 HAA DIRECTORS FOR CLUBS AND SIGS P. 8 SHARED INTEREST GROUPS P. 14 HARVARD CLUBS (BY REGION) P. 16 DEGREE ABBREVIATION KEY P. 26 *AN ASTERISK INDICATES CONTACT INFORMATION THAT MAY NOT BE CURRENT, AS UPDATED INFORMATION WAS NOT RECEIVED. HARVARD ALUMNI ASSOCIATION STAFF OFFICE OF THE EXECUTIVE DIRECTOR John P. Reardon, Jr. (617) 495-5327 Executive Director [email protected] Philip W. Lovejoy (617) 496-3431 Deputy Executive Director [email protected] John-Patrick Riley (617) 495-5733 Staff Assistant [email protected] ALUMNI EDUCATION (800) 422-1636 Trearty Bartley (617) 384-7802 Director [email protected] Steve Holmgren (617) 496-0803 Assistant Director, Travel Programs [email protected] Roberta Paglia (617) 495-1093 Assistant Director, Alumni College [email protected] Suzanna Lansing (617) 495-4160 Coordinator, Alumni Education [email protected] (617) 384-7827 Staff Assistant, Alumni College/Travel BOARD OF DIRECTORS Rachel Lamson (617) 495-5805 Director [email protected] Andrea Cohn (617) 496-8644 Assistant Director, Research [email protected] Kate (Lussier) Freed (617) 496-0765 Coordinator [email protected] CLUBS AND SHARED INTEREST GROUPS (800) 654-6494 Jennifer Flynn (617) 495-5194 Director [email protected] Sara Aske (617) 495-6173 Associate Director [email protected] Lauren Brodsky (617) 496-0493 Associate Director -
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. -
Copyright by Brian James Watson 2005
Copyright by Brian James Watson 2005 The Treatise Committee for Brian James Watson certifies that this is the approved version of the following treatise: Wagner’s Heldentenors: Uncovering the Myths Committee: K. M. Knittel, Supervisor William Lewis, Co-Supervisor Rose A. Taylor Michael C. Tusa John Weinstock Darlene Wiley Wagner’s Heldentenors: Uncovering the Myths by Brian James Watson, B.A., M.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin August 2005 Acknowledgements This treatise would not have been possible without the assistance and encouragement of several people whom I would like to thank. First and foremost, I would like to thank Dr. K. M. Knittel for her careful supervision. Her advice and guidance helped shape this project and I am very grateful for her participation. I would also like to thank my co-supervisor, William Lewis, whose encouragement has been instrumental to my academic career. His singing helped stir my interest in Heldentenors. I am also grateful for the support of Darlene Wiley. Without her, my knowledge of vocal pedagogy would be quite limited. Rose Taylor should also be thanked for her positive attitude and encouragement. The other members of my committee should also be recognized. I want to thank Dr. Michael C. Tusa, for his participation on this committee and for his assistance in finding sources, and Dr. John Weinstock, for being a part of this committee. I would be remiss if I did not also thank my family, primarily my father for his understanding and sympathy. -
N E W S L E T T
Harvard University Department of M usic MUSICnewsletter Vol. 21, No. 2 Summer 2021 From Adaptation to Innovation The Harvard Choruses Sing On Harvard University This spring, the Department of Music Harvard Glee Club 3 Oxford Street embarked on an Cambridge, MA 02138 extraordinary world 617-495-2791 tour, learning from choral experts in music.fas.harvard.edu Russia, South Africa, Italy, and China— and all from the comfort of their INSIDE own homes. The Glee Club’s tour is an 2 Conferencing Through the annual tradition that Apocalypse Professor Andrew Collegium performs the Messiah (with the Harvard Baroque Chamber Orchestra) 3 Faculty News Clark, Director of 4 Around Campus Choral Activities, transformed to fit the performed together in virtual concerts. possibilities of our current moment. As Clark Students would record themselves singing 5 Fall Events: Laurie Anderson, says, “The idea was to bring the world to our their part to a guide track consisting of Parker Quartet, Barwicks Zoom rehearsal space.” the accompaniment with a click track or a 6 Alumni News When the pandemic forced the entire video of Clark conducting with the score 8 Graduate Student News Harvard community (and academia in beneath. Part of what made the concerts general) online last year, professors had possible was the expertise provided by the 9 Espionage and Music in 17th- to make the most radical changes to their Harvard Media Production Center, where Century Venice and England pedagogies, and students had to adjust audio and video engineers synched, edited, 10 Library News; Staff News their learning strategies. Performance-based and mastered sometimes over a thousand 11 Undergraduate Student News classes were hit especially hard.