DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 97, 1977-1978, Subscription

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 97, 1977-1978, Subscription 97th giaoas ON TRUST BANKING. A symphony in financial planning. Conducted by Boston Safe Deposit and Trust Company Decisions which affect personal financial goals are often best made in concert with a professional advisor. i' However, some situations require consultation with a number of professionals skilled in different areas of financial management. Real estate advisors. Tax consultants. Estate planners. Investment managers. To assist people with these needs, our venerable Boston banking institution has developed a new banking concept which integrates all of these professional services into a single program. The program is called trust banking. Orchestrated by Roger Dane, Vice President, 722-7022, for a modest fee. DIRECTORS Hans H. Estin George W. Phillips C. Vincent Vappi Vernon R. Alden Vice Chairman, North Executive Vice President, Vappi & Chairman, Executive American Management President Company, Inc. Committee Corporation George Putnam jepthaH. Wade Nathan H. Garrick, jr. Hall Dwight L. Allison, jr. Chairman, Putnam Partner, Choate, of the Chairman of the Board Vice Chairman Management & Stewart Board David C. Crockett Company, Inc. William W.Wolbach Donald j. Hurley Deputy to the Chairman John E. Rogerson Vice Chairman Partner, Goodwin, of the Board of Trustees Partner, Hutchins & of the Board Procter Hoar and to the General & Wheeler Honorary Director Director, Massachusetts Robert Mainer Henry E. Russell Sidney R. Rabb General Hospital Senior Vice President, President Chairman, The Stop & The Boston Company, Inc. F. Stanton Deland, jr. Mrs. George L. Sargent Shop Companies, Partner, Sherburne, Inc. Director of Various Powers & Needham William P. Morton Corporations Director of Various Charles W. Schmidt Corporations President, S.D. Warren LovettC. Peters Company (A Division Director of Various of Scott Paper Company) Corporations BOSTON SAFE DEPOSIT AND TRUST COMPANY One Boston Place, Boston, Massachusetts 02106 Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Seventh Season 1977-1978 The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Sidney Stoneman, Vice-President Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Vice-President Abram T. Collier, Treasurer Vernon R. Alden Archie C. EppsIII Albert L. Nickerson Allen G. Barry E. Morton Jennings, Jr. Irving W. Rabb Leo L. Beranek Edward M. Kennedy Paul C. Reardon Mrs. John M. Bradley George H. Kidder David Rockefeller, Jr. Richard P. Chapman Roderick M. MacDougall Mrs. George Lee Sargent George Clowes Edward G. Murray John Hoyt Stookey Trustees Emeriti Harold D. Hodgkinson John T. Noonan Mrs. James H. Perkins Administration of the Boston Symphony Orchestra Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin V Assistant Manager Assistant Manager Peter Gelb Joseph M. Hobbs Walter D. Hill Director of Promotion Director of Development Director of Business Affairs Elizabeth A. Young Candice L. Miller Richard C.White Assistant Director Assistant Director Assistant to the of Promotion of Development Manager Elizabeth Dunton Dorothy M. Sullivan Anita R. Kurland Director of Sales Controller Administrator of Youth Activities Charles Rawson Donald W. MacKenzie Katherine Whitty Manager of Box Office Operations Manager, Coordinator of Symphony Hall Boston Council Niklaus Wyss James F. Kiley Richard Ortner Advisor for Operations Manager, Assistant Administrator, the Music Director Tanglewood Berkshire Music Center Michael Steinberg Director of Publications Programs copyright © 1977 Boston Symphony Orchestra Inc. The Board of Overseers of the Boston Symphony Orchestra Inc. Leo L, Beranek Chairman Mrs. Norman L. Cahners Weston P. Figgins Mrs. Arthur I. Strang Vice Chairman Vice Chairman Secretary Charles F. Adams Mrs. Thornas Gardiner David G. Mugar Mrs. Frank G. Allen Mrs. James G.Garivaltis Barbara W. Newell Mrs. Richard Bennink Mrs. Robert Gibb Stephen Paine David W. Bernstein Jordan Golding Harry Remis David Bird Mrs. John L. Grandin Mrs. Peter van S. Rice Gerhard Bleicken Mrs. R. Douglas Hall, III Mrs. Samuel L. Rosenberry Frederick Brandi Mrs. Howard E. Hansen Mrs. Jerome Rosenfeld Curtis Buttenheim Mrs. Richard D. Hill Mrs. George Rowland Mrs. Henry B. Cabot Mrs. Amory Houghton, Jr. Mrs. A. Lloyd Russell Mrs. Mary Louise Cabot Richard S. Humphrey, Jr. Mrs. William Ryan Levin H. Campbell, III Mrs. Jim Lee Hunt Francis P. Sears, Jr. Johns H. Congdon Mrs. Louis I. Kane William A. Selke Arthur P. Contas Leonard Kaplan Gene Shalit Robert Cushman Benjamin Lacy Samuel L. Slosberg Michael J. Daly Mrs. James F. Lawrence Richard A. Smith Mrs. C. Russell Eddy John S. McLennan Mrs. Edward S. Stimpson Paul Fromm Colman M. Mockler, Jr. Mrs. Richard H. Thompson Carlton P. Fuller Mrs. El ting E. Morison D. Thomas Trigg Mrs. Thomas J. Galligan, Jr. Richard P. Morse Roger Woodworth >v r Remaining concerts in Cecilia's 102nd Season SATURDAY MAY 20 at 8 p.m. Dine exquisitely on Boston's BRITTEN: Phaedra, Op. 93 favorite dishes, American and Boston Premiere continental cuisine. Serving lunch, dinner and Sunday Brunch. With Jane Struss, nnezzo-soprano PURCELL: My Heart Is Inditing BACH : Magnificat in D Performances in Sanders Theater, Harvard Tickets at $6.50, $5, $4, $3 Call 247-1465 Our cosmopolitan lounge Or write to : The Cecilia Society adjoining Parker's restaurant. Perfect for light lunch at noon. 1773 Beacon Street Cocktails till closing. Brookline, MA 021 46 Arts/ Boston Ticket Vouchers accepted ^1 Come eat, drink, dance and be entertained in a plush turn-of-the-century place. Open at 1 1 :30 a.m. to 2 a.m. THEDUMFEVFAiVVILYS THE CECILIA SOCIETY School & Tremont Street DONALD TEETERS, Music Director Boston Supported in part by the Mass. Council on the Arts & Humanities a The bestofthe bundi UnionV\feirren Savings Bank Seiji Ozawa Seiji Ozawa became Music Director of the Boston Symphony Orchestra in the fall of 1973. He is the thirteenth conductor of the Orchestra since its founding in 1881. He was born in Hoten, Manchuria in 1935, and studied both Western and Oriental music as a child. He attended Toho School of Music in Tokyo and graduated with first prizes in composition and conducting. Shortly after his graduation, he won first prize at the International Competition of Conducting at Besanc^on, France, and was invited by Charles Munch, then Music Director of the Boston Symphony and a judge at the competition, to spend a summer studying at Tanglewood. In 1964 and for the next five seasons, Mr. Ozawa was Music Director of the Ravinia Festival. At the beginning of the 1965-66 season he became Music Director of the Toronto Symphony, a position he relinquished four seasons later to study and guest conduct. In 1970 he accepted the position of Artistic Director of the Berkshire Music Festival, and in December of the same year he began his inaugural season as Conductor and Music Director of the San Francisco Symphony Orchestra, titles that he held concurrently with his position as Music Director of the Boston Symphony. In the spring of 1976 he resigned his San Francisco position although he remained Honorary Conductor for the 1976-77 season. Mr. Ozawa pursues an active international career and is a regular and favorite guest conductor with the Berlin Philharmonic, the Orchestre de Paris, and at the Salzburg Festival each year. He has conducted at Covent Garden, and returns to Japan annually to conduct the New Japan Philharmonic and other orchestras. The newest items on his large and growing discography with the Boston Symphony, are Bartok's Miraculous Mandarin Suite, and Music for Strings, Percussion, and Celeste, and Tchaikovsky's Symphony No. 5 (all on Deutsche Grammophon), and Roger Sessions's When Lilacs Last in the Dooryard Bloom'd New World Records). Seating within string sections follows a system of rotation, string players periodically occupy different chairs, the listinj string personnel after principal chairs is alphabetical. Violas Bass Clarinet Burton Fine Felix Viscuglia Principal Charles S. Dana chair Robert Barnes Bassoons Betty Benthin Sherman Wall Edward A. Taft chair Reuben Green Roland Small Earl Hedberg Matthew Ruggiero Marc Jeanneret Bernard Kadinoff Contra Bassoon Eugene Lehner Richard Plaster ^'^'^-^ Jerome Lipson Vincent Mauricci Horns BOSTON SYMPHONY Joseph Pietropaolo Charles Kavalovski Michael Zaretsky Helen Sagoff Slosberg chair ORCHESTRA Charles Yancich Cellos Peter Gordon 1977/78 Jules Eskin David Ohanian Principal Richard Mackey Phillip R. Allen chair Ralph Pottle Martha Babcock Ronald Feldman Violins Trumpets Martin Hoherman Joseph Silverstein Armando Ghitalla Luis Leguia Roger Voisin chair Concertmaster Louis Charles Munch chair Jonathan Miller Andre Come Emanuel Borok Joel Moerschel Rolf Smedvig Assistant Concertmaster Mischa Nieland Gerard Goguen Helen Horner Mclntyre chair Jerome Patterson Marylou Speaker Carol Procter Trombones Principal Second Violin Robert Ripley Ronald Barron Fahnestock chair Norman Bolter Cecylia Arzewski Basses Gordon Hallberg Emanuel Boder Edwin Barker Harry Dickson Principal Harold D. Hodgkinson chair Tuba Gerald Elias John Barwicki Chester Schmitz Sheila Fiekowsky Gerald Gelbloom Joseph Hearne Darlene Gray Leslie Martin Timpani Max Hobart Robert Olson Everett Firth Sylvia Shippen Wells chair Bo Youp Hwang Will Rhein John Salkowski Ronald Knudsen Percussion Lefkowitz Lawrence Wolfe Ronan Charles Smith Levy Bela Wurtzler
Load more

Recommended publications
  • Program Notes Program
    Program Notes Program Notes by April L. Racana 24 Jun Leonard Bernstein (1918-1990) Overture to "Candide" It has been said that Leonard Bernstein never approached any work the same way twice, and his score for Candide may very well be the epitome of the extent to which he would go to continually rework and revise his compositions. The opening for this show, which has been dubbed both 24 musical and operetta, came on December 1st, 1956 and was based on Jun Voltaire’s eighteenth-century satire, which had been adapted by author Lillian Helman. The first run of the show only lasted 73 performances, however it didn’t take long for the ‘Overture’ to become an orchestral piece on its own, making its debut performance with the New York Philharmonic in January 1957. Over the next thirty years Bernstein continually revised the entire musical numerous times, with varying success in its many transformations. The ‘Overture’ contains a mixture of tunes from the show, including The Best of All Possible Worlds, Oh Happy We, and Glitter and Be Gay. So closely associated with the New York Philharmonic was Bernstein, and so well-loved was this work, that at a memorial concert following Bernstein’s death in 1990, members of the orchestra performed the ‘Overture’ without a conductor as a tribute to the symphony’s Laureate Conductor. Work composed: 1956 World premiere: 26th January, 1957 Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3,trombones, tuba, timpani, percussion (snare drum, tenor drum, bass drum, triangle, cymbals, glockenspiel, xylophone）, harp, strings 26 Program Notes Program Notes George Gershwin (1898-1937) Rhapsody in Blue Originally titled American Rhapsody, George Gershwin was apparently convinced by his lyricist brother, Ira, that the title needed some re-thinking.
    [Show full text]
  • Chapman Chamber Orchestra 39Th Season Chapman Chamber Orchestra
    Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 3-5-2010 Chapman Chamber Orchestra 39th Season Chapman Chamber Orchestra Brett prS ague Chapman University Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Chapman Chamber Orchestra and Sprague, Brett, "Chapman Chamber Orchestra 39th Season" (2010). Printed Performance Programs (PDF Format). Paper 1405. http://digitalcommons.chapman.edu/music_programs/1405 This Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. CHAPMAN UNIVERSITY COLLEGE OF Conservatory of Music PERFORMING ARTS presents the Spring 2010 Event Highlights ART: The Page .......................................................................................... Feb 1 - Mar 12 Chapman THEATRE: Bus Stop by William Inge, in repertory with Chamber Orchestra Hedda Gabler by Henrik Ibsen ..................................... Mar 12 - 14, 16 - 20 39th Season Student Directed One-Acts .................................. Apr 23 - 25, 29 - 30, May 1 MUSIC: DANIEL ALFRED WACHS University Choirs Post-Tour Concert........................................................ Feb 5 Music Director & Conductor Chapman Chamber Orchestra and
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season March 15 and 17, 2019 JURAJ VALČUHA, CONDUCTOR LUKÁŠ
    Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season March 15 and 17, 2019 JURAJ VALČUHA, CONDUCTOR LUKÁŠ VONDRÁČEK, PIANO SERGEI RACHMANINOFF Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 I. Allegro ma non tanto II. Intermezzo: Adagio — III. Finale: Alla breve Mr. Vondráček Intermission OTTORINO RESPIGHI The Fountains of Rome I. The Valle Giulia Fountain at Dawn II. The Triton Fountain at Morning III. The Trevi Fountain at Noon IV. The Villa Medici Fountain at Sunset (Played without pause) OTTORINO RESPIGHI The Pines of Rome I. The Pines of the Villa Borghese II. Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way (Played without pause) March 15-17, 2019, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA SERGEI RACHMANINOFF Concerto No. 3 in D minor for Piano and Orchestra, Op. 30 Sergei Rachmaninoff was born in Oneg (near Novgorod), Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He composed his Third Piano Concerto in 1909, and it was premiered at Carnegie Hall in New York by the New York Philharmonic with conductor Walter Damrosch and Rachmaninoff as the soloist on November 28, 1909. The Pittsburgh Symphony first performed the concerto at Syria Mosque with conductor Fritz Reiner and Rachmaninoff again as the soloist in January 1941, and most recently performed it with conductor Gianandrea Noseda and pianist Denis Kozhukhin in January 2016. The score calls for pairs of woodwinds, four horns, two trumpets, three trombones, timpani, percussion and strings.
    [Show full text]
  • Albert Hirsh – Pianist
    Albert Hirsh P i a n i s t A Passage in Time Contents A Musical Legacy ................................................... 1 Notes to the Recordings ......................................... 18 Concert Artists ....................................................... 40 Discography ........................................................... 41 Works By Composer ............................................... 42 Other Notes ........................................................... 44 Cover Photo: Albert Hirsh played a major role in Houston’s music scene for nearly 40 years. This 1950s photo appeared on the cover of KRBE-FM’s program guide in March 1962. A Musical Legacy lbert Hirsh was a great musician. His career as a or symphony repeated. For much of the population outside concert pianist spanned more than six-and-a-half the great cultural centers of Europe, hearing a touring A decades; as a teacher, about the same. His musical pianist like Franz Liszt play a transcription might be the legacy lives on in the memories of concertgoers, in the one and only opportunity to hear a complete Beethoven hearts of fellow musicians with whom he shared the stage, symphony. and in the ongoing performing and teaching careers of What a gift that listeners today can become so intimately many of his students. familiar with hundreds, even thousands of great works, and His artistry, of course, can’t be captured in statistics. It replay them at the flick of a remote control! can be described, to be sure, but far better, it can still be Both Depth and Breadth listened to. Billed as an interpreter of great sensitivity, praised as a He made very few commercial recordings (see Discography dazzling performer of modern chamber works, Albert on page 41), but over the years I managed to collect a Hirsh was also amazing in the range of his musicianship.
    [Show full text]
  • BELFAGOR Claudio Guastalla Ottorino Respighi
    BELFAGOR Commedia lirica. testi di Claudio Guastalla musiche di Ottorino Respighi Prima esecuzione: 26 aprile 1923, Milano. www.librettidopera.it 1 / 45 Informazioni Belfagor Cara lettrice, caro lettore, il sito internet www.librettidopera.it è dedicato ai libretti d©opera in lingua italiana. Non c©è un intento filologico, troppo complesso per essere trattato con le mie risorse: vi è invece un intento divulgativo, la volontà di far conoscere i vari aspetti di una parte della nostra cultura. Motivazioni per scrivere note di ringraziamento non mancano. Contributi e suggerimenti sono giunti da ogni dove, vien da dire «dagli Appennini alle Ande». Tutto questo aiuto mi ha dato e mi sta dando entusiasmo per continuare a migliorare e ampliare gli orizzonti di quest©impresa. Ringrazio quindi: chi mi ha dato consigli su grafica e impostazione del sito, chi ha svolto le operazioni di aggiornamento sul portale, tutti coloro che mettono a disposizione testi e materiali che riguardano la lirica, chi ha donato tempo, chi mi ha prestato hardware, chi mette a disposizione software di qualità a prezzi più che contenuti. Infine ringrazio la mia famiglia, per il tempo rubatole e dedicato a questa attività. I titoli vengono scelti in base a una serie di criteri: disponibilità del materiale, data della prima rappresentazione, autori di testi e musiche, importanza del testo nella storia della lirica, difficoltà di reperimento. A questo punto viene ampliata la varietà del materiale, e la sua affidabilità, tramite acquisti, ricerche in biblioteca, su internet, donazione di materiali da parte di appassionati. Il materiale raccolto viene analizzato e messo a confronto: viene eseguita una trascrizione in formato elettronico.
    [Show full text]
  • Naxos Catalog (May
    CONTENTS Foreword by Klaus Heymann . 3 Alphabetical List of Works by Composer . 5 Collections . 95 Alphorn 96 Easy Listening 113 Operetta 125 American Classics 96 Flute 116 Orchestral 125 American Jewish Music 96 Funeral Music 117 Organ 128 Ballet 96 Glass Harmonica 117 Piano 129 Baroque 97 Guitar 117 Russian 131 Bassoon 98 Gypsy 119 Samplers 131 Best Of series 98 Harp 119 Saxophone 132 British Music 101 Harpsichord 120 Timpani 132 Cello 101 Horn 120 Trombone 132 Chamber Music 102 Light Classics 120 Tuba 133 Chill With 102 Lute 121 Trumpet 133 Christmas 103 Music for Meditation 121 Viennese 133 Cinema Classics 105 Oboe 121 Violin 133 Clarinet 109 Ondes Martenot 122 Vocal and Choral 134 Early Music 109 Operatic 122 Wedding Music 137 Wind 137 Naxos Historical . 138 Naxos Nostalgia . 152 Naxos Jazz Legends . 154 Naxos Musicals . 156 Naxos Blues Legends . 156 Naxos Folk Legends . 156 Naxos Gospel Legends . 156 Naxos Jazz . 157 Naxos World . 158 Naxos Educational . 158 Naxos Super Audio CD . 159 Naxos DVD Audio . 160 Naxos DVD . 160 List of Naxos Distributors . 161 Naxos Website: www.naxos.com Symbols used in this catalogue # New release not listed in 2005 Catalogue $ Recording scheduled to be released before 31 March, 2006 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating.
    [Show full text]
  • Bach, Johann Sebastian Air on the G String from Suite # 3 in D Major
    Bach, Johann Sebastian Air on the G String from Suite # 3 in D Major Arioso from Cantata #156 Ave Maria adapted by Charles Gounod from WTC Prelude #1 Gigue from Suite # 3 in D Major Jesu, Joy of Man's Desiring from Cantata #147 Sheep May Safely Graze from Cantata #208 Beethoven, Ludwig van Minuet in G Clarke, Jeremiah Trumpet Voluntary Gossec, Francois Joseph Gavotte Handel, George Frederick Allegro from Sonata in F Major, Op. 1 #11 Largo from Xerxes Sarabande from Suite # 4 in D minor for piano, 2nd set Water Music Suite Air Allegro Andante Bourree Finale Haydn, Franz Joseph Presto from String Quartet in F Major, Op. 74, #2 Ivanovici, J. Waltz from Waves of the Danube , #1 Massenet, Jules Elegie from Incidental Music to Les Erinnyes Mouret, Jean-Joseph Rondeau from Sinfonies de Fanfares Mozart, Wolfgang Amadeus Eine Kleine Nachtmusik - String Quartet in G Major, K. 525 Allegro Menuetto Romanza Rondo Pachelbel, Johann Canon Schubert, Franz Adagio from Octet in F Major, Op. 166 Andante from String Quartet in A minor, Op. 29 "Rosamunde" Moment Musical from Op. 94, #3 Schumann, Robert Traumerei from Kinderscenen, Op. 15, #7 Telemann, George Philipp Presto from Sonatina in F Major Vivaldi, Antonio Concerto Grosso in D Minor, Op. 3, #11 Allegro Adagio Finale Wagner, Richard Bridal Chorus from Act III of Lohengrin Bach, Johann Sebastian Brandenburg Concerto #2 in F Major Allegro Andante Allegro assai Little Fugue March March in D Major from the Anna Magdalene Bach Notebook Rondeau from Orchestral Suite #2 in B Minor Beethoven, Ludwig van Ode to Joy from Symphony #9 Brahms, Johannes Hungarian Dance #5 Variations on a Theme of Haydn, Op.
    [Show full text]
  • Pirandello Proto-Modern: a New Reading of <I>L'esclusa</I>
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Pirandello Proto-Modern: A New Reading of L’Esclusa Bradford Masoni The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2330 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] PIRANDELLO PROTO-MODERN: A NEW READING OF L’ESCLUSA by Bradford A. Masoni A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirement for the degree of Doctor of Philosophy, The City University of New York. 2017 © 2017 BRADFORD A. MASONI All Rights Reserved ii Pirandello Proto-Modern: A New Reading of L’Esclusa by Bradford A. Masoni This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ____________________ ________________________________ Date Paolo Fasoli Chair of Examining Committee ____________________ _____________________________ Date Giancarlo Lombardi Executive Officer Supervisory Committee: Paolo Fasoli Giancarlo Lombardi William Coleman THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Pirandello Proto-Modern: A New Reading of L’Esclusa by Bradford A. Masoni Advisor: Paolo Fasoli Luigi Pirandello’s first novel, L’Esclusa, written in 1893, but not published in its definitive edition until 1927, straddles two literary worlds: that of the realistic style of the Italian veristi, and something new, a style and approach to narrative that anticipates the theory of writing Pirandello lays out in his long essay L’Umorismo, as well as the kinds of experimental writing that one associates with early-20th-century modernism in general, and with Pirandello’s later work in particular.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 74, 1954
    BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HI SEVENTY-FOURTH SEASON l 954-»955 Sanders Theatre, Cambridge \JHarvard JJ?tiversity\ Boston Symphony Orchestra (Seventy-fourth Season, 1954-1955) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhapc Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Rolland Tapley George Humphrey Contra- Bassoon Norbert Lauga Jerome Lipson Richard Plaster Vladimir Resnikoff Robert Karol Harry Dickson Louis Artieres Horns Gottfried Wilfinger Reuben Green James Stagliano Einar Hansen Bernard Kadinoff Charles Yancich Joseph Leibovici Vincent Mauricci Harry Shapiro Emil Kornsand John Fiasca Harold Meek Roger Shermont Paul Keaney Paul Fedorovsky Violoncellos Osbourne McConathy Carlos Pinfield Samuel Mayes Walter Macdonald Minot Beale Alfred Zighera Herman Silberman Jacobus Langendoen Trumpets Stanley Benson Mischa Nieland Roger Voisin Leo Panasevich Karl Zeise Marcel Lafosse Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Leon Marjollet Clarence Knudson Martin Hoherman Trombones Pierre Mayer Louis Berger Jacob Raichman Manuel Zung William Moyer Samuel Diamond Flutes Kauko Kahila Victor Manusevitch Doriot Anthony Dwyer Josef Orosz James Nagy James Pappoutsakis Melvin Bryant Phillip Kaplan Tuba Raphael Del Sordo K. Vinal Smith Piccolo Lloyd Stonestreet Saverio Messina George Madsen Harps William Waterhouse
    [Show full text]
  • Ottorino Respighi
    Ottorino Respighi Quartetto Dorico Violin Sonata in B minor Six pieces for violin and piano Quartetto della Scala Claudio Voghera, piano Ottorino Respighi Quartetto Dorico, Sonata in Si minore, Sei Pezzi (Bologna, 1879 - Rome 1936) Quartetto della Scala - Claudio Voghera, piano I primi due brani di questo CD cadono nel periodo artisticamente più fecondo di Respighi, convenzionalmente compreso tra Le fontane di Roma (1916) e il Concerto misolidio per pianoforte e orchestra (1924): il Quartetto Dorico precede solo di un anno il Concerto, presentato nel 1925 con grande successo da Willem Mengelberg alla Carnegie Hall con lo stesso autore al pianoforte, mentre la Sonata, la seconda dopo quella giovanile in 1. Quartetto Dorico Op. 144 Re minore (1897), è del 1917. La produzione cameristica di quegli anni, segnata da altri Doric String Quartet (1924) 21’59” importanti lavori orchestrali (le prime due serie delle Antiche danze ed arie per liuto) e per il teatro (la commedia lirica Belfagor), affianca a numerose liriche per voce e pianoforte 2-4. Sonata in Si minore per violino e pianoforte * un paio di “libere” trascrizioni per pianoforte - pagine organistiche di Frescobaldi - e per Sonata in B minor for violin and piano (1917) Ensemble d’archi - il corale di Bach «Nun komm, der Heiden Heiland». Sono circostanze - moderato 9’34” importanti perché rimandano a uno dei punti-chiave di quella che la storia della - andante espressivo 9’07” musica chiama “Generazione dell’Ottanta” alla quale oltre a Respighi apparterrebbero anche Pizzetti (1880), G. F. Malipiero (1882) e Casella (1883): volgere lo sguardo oltre - Passacaglia: allegro moderato ma energico 8’14” la tradizione classico-romantica, verso il mondo barocco, in modo da inserire la musica italiana contemporanea nell’alveo del neoclassicismo europeo degli anni Venti, un barocco 5-10.
    [Show full text]
  • Part II Repertoire
    125 Part II Repertoire The following is a complete listing of repertoire performed by the orchestra and/or chorus, excluding staged opera performances, and chamber works or art songs performed on MCMA concerts. The list also excludes works performed on programs that did not include either the orchestra or chorus (e.g., works performed by guest choruses). In several “Pops” concerts of the 1960s-80s, the guest artist’s featured works were listed only as “selections” and announced from the stage. It has been impossible to reconstruct some of these programs, so a certain amount of that repertoire has been lost. The repertoire list is organized by composer and cued to the dates of performance. Where possible, arrangers are listed, and cross-referenced to the composers of individual works. Most dates listed represent regular subscription or free concerts from the MCMA or MSO season. The following codes are appended to the date when the work appeared on a non-subscription concert: c = choral programs p = pops programs (1960- ) y = youth concerts (including “Young Peoples’ Concerts, “Fall Youth Concerts,” “Symphony Soup,” and other programs aimed at a young audience (1930- ) f = family neighborhood concerts (1970s) and family concerts (1990s) g = annual Concert on the Green (1996- ) r = runout concerts (outside of Madison) bb = “brown bag” concerts (mid 1970s) s = other special programs (hired concerts, festival programs, etc.) Ade Twentiana / 5/1/93(p) Abert orchestration of “Prelude, Chorale, and Fugue” - Ades see Bach arrangement “Symphonic Portrait of Irving Berlin” - see Berlin Accolay Concerto No.1 for Violin and Orchestra / Albeniz 10/17/89(y) Iberia (“Triana”) / 11/2/52 Jota Aragonesa (orch.
    [Show full text]