DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 90, 1970-1971

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 90, 1970-1971 BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON FRIDAY -SATURDAY 12 TUESDAY A 6 1970-1971 NINETIETH ANNIVERSARY SEASON ADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO., INC. Richard P. Nyquist, President Charles G. Carleton, Vice President 147 Milk Street Boston, Massachusetts 02109 542-1250 OBRION, RUSSELL & CO Insurance of Every Description BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETIETH ANNIVERSARY SEASON 1970-1971 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President FRANCIS W. HATCH PHILIP K. ALLEN Vice-President HAROLD D. HODGKINSON ROBERT H. GARDINER Vice-President E. MORTON JENNINGS JR JOHN L. THORNDIKE Treasurer EDWARD M. KENNEDY ALLEN G. BARRY HENRY A. LAUGHLIN RICHARD P. CHAPMAN EDWARD G. MURRAY ABRAM T. COLLIER JOHN T. NOONAN MRS HARRIS FAHNESTOCK MRS JAMES H. PERKINS THEODORE P. FERRIS IRVING W. RABB SIDNEYS. STONEMAN TRUSTEES EMERITUS HENRY B. CABOT EDWARD A. TAFT PALFREY PERKINS RAYMOND S. WILKINS ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR Manager JAMES J. BROSNAHAN HARRY J. KRAUT Associate Manager, Associate Manager, Business Affairs Public Affairs THOMAS W. MORRIS MARY H. SMITH Assistant Treasurer Concert Manager FORRESTER C. SMITH MARVIN Y. SCHOFER Development Director Press and Public Information program copyright © 197(1 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS BOSTON • CHESTNUT HILL • NORTHSHORE SHOPPING CENTER • SOUTH SHORE PLAZA BURLINGTON MALL • WELLESLEY BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETIETH ANNIVERSARY SEASON 1970-1971 THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC. ABRAM T. COLLIER Chairman ERWIN D. CANHAM Vice-Chairman LEONARD KAPLAN Secretary VERNON ALDEN STEPHEN W. GRANT MRS FRANK ALLEN SAMUEL A. GROVES ROBERT C. ALSOP FRANCIS W. HATCH J R OLIVER F. AMES MRS C D. JACKSON LEO L. BERANEK HOWARD W.JOHNSON DAVID W. BERNSTEIN W.SEAVEY JOYCE MRS CURTIS B. BROOKS MRS LOUIS I. KANE J. CARTER BROWN GEORGE H. KIDDER GARDNER L. BROWN LAWRENCE K. MILLER MRS LOUIS W. CABOT MRS STEPHEN V. C. MORRIS MRS NORMAN L. CAHNERS JOHN T. G. NICHOLS LEVIN H. CAMPBELL III LOUVILLE NILES JOHN L. COOPER DAVID R. POKROSS ROBERT CUTLER HERBERT W. PRATT NELSON J. DARLING JR NATHAN M. PUSEY HENRY B. DEWEY MRS FAIRFIELD E. RAYMOND RICHARD A. EHRLICH PAUL C. REARDON BYRON K. ELLIOTT MRS GEORGE R. ROWLAND PAUL FROMM DONALD B.SINCLAIR CARLTON P. FULLER MRS LEE STANTON MRS ALBERT GOODHUE JOHN HOYT STOOKEY MRS JOHN L. GRANDINJR ROBERT G.WIESE VINCENT C. ZIEGLER SYMPHONY HALL BOSTON MASSACHUSETTS $^m OSCAR DE LA ties up a pretty for this winter' slinky Antron® jersey suits, la with grommets Cruise Shop, fo Filene's Boston and Branches BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor first violins cellos bassoons Joseph Silverstein Jules Eskin Sherman Walt concertm aster Philip R. Allen chair Ernst Panenka Charles Munch chair Martin Hoherman Matthew Ruggiero Alfred Krips Mischa Nieland Hobart Stephen Max Geber contra bassoon Rolland Tapley Robert Ripley Richard Plaster Roger Shermont Luis Leguia Max Winder Carol Procter Harry Dickson Jerome Patterson horns Gottfried Wilfinger Ronald Feldman James Stagliano Fredy Ostrovsky William Stokking Charles Yancich Leo Panasevich Joel Moerschel Harry Shapiro Noah Bielski David Ohanian Herman Silberman basses Thomas Newell Stanley Benson Paul Keaney Henry Portnoi Sheldon Rotenberg Ralph Pottle William Rhein Alfred Schneider Gerald Gelbloom Joseph Hearne Bela Wurtzler trumpets Raymond Sird Leslie Martin Armando Ghitalla second violins John Salkowski Roger Voisin Clarence Knudson John Barwicki Andre Come Robert Olson Fahnestock chair Gerard Goguen Lawrence Wolfe William Marshall Michel Sasson trombones Ronald Knudsen flutes William Gibson Leonard Moss Doriot Anthony Dwyer Ronald Barron William Waterhouse Walter Piston chair Kauko Kahila Ayrton Pinto James Pappoutsakis Amnon Levy Paul Fried tuba Laszlo Nagy Chester Schmitz Michael Vitale piccolo John Korman timpani Lois Schaefer Christopher Kimber Everett Firth Spencer Larrison oboes Ikuko Mizuno percussion Cecylia Arzewski Ralph Gomberg Charles Smith Marylou Speaker John Holmes Arthur Press Wayne Rapier violas assistant timpanist Burton Fine Thomas Gauger english horn Epstein Charles S. Dana chair Frank Reuben Green Laurence Thorstenberg harps Eugene Lehner George Humphrey clarinets Bernard Zighera Ann Hobson Jerome Lipson Harold Wright Robert Karol Pasquale Cardillo Bernard Kadinoff librarians Peter Hadcock Vincent Mauricci Victor Alpert fb clarinet Earl Hedberg William Shisler Joseph Pietropaolo Robert Barnes bass clarinet stage manager Hironaka Sugie* Felix Viscuglia Alfred Robison personnel manager William Moyer ^member of the Japan Philharmonic Symphony Orchestra participating in a one season exchange with Yizhak Schotten. 000 personal trust services Are "the usual" trust services what you really want . for yourself . for your family? Many banks have departments that can give you the usuaJ trust services. But we've been specializing in the business of trusts for nearly a century. Now, to add even greater scope, we're a major component of THE BOSTON COMPANY, INC.'s national organization devoted to the imaginative management of capital. With investment counsel affiliates around the country ... an economic consulting group headed by Pierre Rinfret, advisor to government and industry ... a management consulting group with international capabilities. Few, if any, trust companies can offer this range of supporting capabilities. For further information about these services, please telephone or write John B. Harriman, Vice President. BOSTON SAFE DEPOSIT AND TRUST COMPANY One Boston Place Boston, Massachusetts 02106 (617) 722-7760 The Boston Company's affiliates provide the following services: INVESTMENT COUNSEL • REAL ESTATE INVESTMENT COUNSEL • OIL AND GAS INVESTMENT COUNSEL • PERSONAL FINANCIAL STRATEGIES • TRUST ADMIN- ISTRATION AND PERSONAL BANKING SERVICES • INVESTMENT RESEARCH AND TECHNOLOGY • ECONOMIC COUNSEL • MANAGEMENT CONSULTING 712 a=>-3 CONTENTS Program for January 1, 2 and 5 1971 714 Future programs Friday-Saturday series 762 Tuesday A series 763 Program notes Webern - Six pieces for orchestra op. 6 727 by Andrew Raeburn Bach - Brandenburg concerto no. 3 in G S. 1048 732 by John N. Burk Dah! - Concerto for alto saxophone and wind orchestra 746 Debussy - Images' pour orchestre 749 by John N. Burk The soloist 754 The Impressionists and Debussy 754 by John N. Burk Program Editor ANDREW RAEBURN 713 I NINETIETH ANNIVERSARY SEASON 1970-1971 Friday afternoon January 1 1971 at 2 o'clock Saturday evening January 2 1971 at 8.30 Tuesday evening January 5 1971 at 8.30 MICHAEL TILSON THOMAS conductor WEBERN Six pieces for orchestra op. 6 Langsam (Slowly) Bewegt (With movement) Massig (Moderately) Sehr massig (Very moderately) Sehr langsam (Very slowly) Langsam (Slowly) BACH Brandenburg concerto no. 3 in G S. 1048 Allegro Largo (S. 1021) Allegro DAHL Concerto for alto saxophone and wind orchestra Recitative Adagio (passacaglia) Rondo alia marcia: allegro brioso HARVEY PITTEL first performance in Boston intermission 714 DEBUSSY Images' pour orchestre* Gigues Iberia Par les rues et par les chemins (In the streets and byways) Les parfums de la nuit (The fragrance of the night) Le matin d'un jour de fete (The morning of a festival day) Rondes de printemps (Spring round) Friday's concert will end about 3.50; Saturday's and Tuesday's about 10.20 The Boston Symphony Orchestra records exclusively for Deutsche Grammophon BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA* RECORDS THE ADVERTISERS IN THE PROGRAM BOOK ACTIVELY SUPPORT THE BOSTON SYMPHONY BY MAKING THE CONTENTS OF THE PROGRAM POSSIBLE. PLEASE GIVE THEM YOUR PATRONAGE. INDUSTRIAL SCHOOL FOR CRIPPLED CHILDREN 241 ST. BOTOLPH STREET BOSTON Provides For The Handicapped Child In A Free, Private, Day School A 12 Year Academic Program Vocational Training • Recreation Health Program • Transportation The Industrial School for Crippled Children solicits funds for its operation either through Bequests, Annuities or Life Insurance. In case of a life agreement a donor gives capital to the Industrial School for Crippled Children and in return receives income for life. Donors are invited to discuss these matters with the Treasurer. Treasurer, CHARLES E. COTTING, 10 Post Office Square, Boston CHARLES H. TAYLOR MRS. CHARLES E. COTTING President Chairman Ladies Committee Jke ^MowSe of (a/uautu ^jri %nce 1858 93 NEWBURY STREET ORIGINATED 1858 1970 NEW ENGLAND MUTUAL LIFE INSURANCE COMPANY, BOSTON; SUBSIDIARY: NEL EQUITY SERVICES CORP ; AFFILIATE: LOOMIS, SAYLES & CO., INVESTMENT COUNSELORS If i ill i : It I I \ 11 • I 111 1*1 1 »' ill I II 1 III 1 1 I t. y "My insurance company? New England Life, of
Load more

Recommended publications
  • Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester ­Stuttgart Des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03
    Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03 1 Première Rapsodie pour orchestre 7 Prélude à L’après-midi d’un faune [11:35] Diese wesensmäßige Fertigkeit hatte schon in den Chemie“, an der er sich selbst immer neu ergötzen avec clarinette principale [08:15] flûte solo: Tatjana Ruhland frühen Neunzigern die Bedenken des Dichters konnte, und die aus sich selbst erwachsenden For- Stéphane Mallarmé zerstreut, der zunächst von men in Regelwerke zu zwängen, sich im Geflecht Images pour orchestre 8 Rapsodie pour Debussys Ansinnen, die Ekloge vom Après-midi des Gefundenen, bereits „Gehabten“ zu verhed- Deutsch 2 Rondes de Printemps [08:29] orchestre et saxophone [09:45] d’un faune mit Musik zu umgeben, nicht begeis- dern. Vielleicht wurde daher auch nur das Prélude 3 Gigues [08:38] tert war. Er fürchtete eine bloße „Verdopplung“ zum „Faun“ vollendet, während das Interlude und Iberia [19:48] TOTAL TIME [67:04] seiner musikalisch-erotischen Alexandriner, sah die abschließende Paraphrase nie über die Idee 4 I. Par les rues et par les chemins [07:09] sich aber, kaum dass er das Resultat zu hören be- hinausgelangten. Es war schon alles gesagt. 5 II. Les parfums de la nuit [08:10] 1 Dirk Altmann Klarinette | clarinet kam, ebenso bezwungen wie die Besucher der 6 III. Le matin d'un jour de fête [04:28] 8 Daniel Gauthier Saxophon | saxophone Société Nationale, die am 22. Dezember 1894 die Wer weiß, ob nicht aus just diesem Grunde auch Uraufführung des Prélude „zum Nachmittag eines die Rapsodie arabe im Sande verlief, die sich der Fauns“ miterleben durften.
    [Show full text]
  • Four-Hand Piano Music • 2
    DEBUSSY Four-Hand Piano Music • 2 Prélude à l’Après-midi d’un faune La Mer • Images Jean-Pierre Armengaud Olivier Chauzu Claude Debussy (1862–1918) undulating arabesques complemented by an expressive Written between 1905 and December 1908, Ibéria was Music for Piano Four Hands • 2 theme which is followed by a new, melancholy figure treated the first of the Images to be completed. Debussyʼs only visit contrapuntally in the upper register; the second is to Spain consisted of a single afternoon spent in San Symbolist poet Stéphane Mallarméʼs eclogue, or pastoral is impassioned, almost Wagnerian in tone. The central dominated by dotted rhythms and sees the reappearance Sebastián, just across the border. There are no quotations poem, LʼAprès-midi dʼun faune (The Afternoon of the Faun; section introduces the third theme, which is marked of the cyclical theme. The music then becomes more or borrowings from pre-existing music here, the work pub. 1876) was quick to capture the imagination of expressif et très soutenu and wreathed in arabesques, serene, ending with a solemn, chorale-like theme. drawing instead on a kind of imagined folk tradition in which Debussy, who even gave a copy of its second edition to triplets and arpeggios. Jeux de vagues (Play of the waves) acts as the scherzo all the melodies stem from the composerʼs own mind, fellow composer Paul Dukas in May 1887. Mallarmé, who in This arrangement was made by Ravel in early 1910, in here, with a central episode whose main function is that of although they are based on modal or ornamental cellular 1885 had written a prose article entitled Richard Wagner, response to a commission from the publisher Fromont.
    [Show full text]
  • LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography
    LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography DEUTSCHE GRAMMOPHON SALONEN: Piano Concerto; Helix; Dichotomie (Yefim Bronfman, piano) STRAVINSKY: The Rite of Spring; MUSSORGSKY: Night on Bald Mountain (original version); BARTÓK: The Miraculous Mandarin Suite NONESUCH ADAMS: Naive and Sentimental Music ONDINE SAARIAHO: Du cristal ... à la fumée (Petri Alanko, alto flute; Anssi Karttunen, cello) PHILIPS CLASSICS BARTÓK: Violin Concerto No. 2; STRAVINSKY: Violin Concerto (Viktoria Mullova, violin) SONY CLASSICAL BACH: Transcriptions for Orchestra (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos Nos. 1, 2, and 3 (Yefim Bronfman, piano) BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain HINDEMITH: Mathis der Maler Symphony; Symphonic Metamorphosis on Themes by Carl Maria von Weber; Four Temperaments (Emanuel Ax, piano) LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos.
    [Show full text]
  • Michael Tilson Thomas and the San Francisco Symphony Release All-Debussy Album on Sfs Media October 28, 2016
    Press Contacts: Public Relations National Press Representation: San Francisco Symphony Shuman Associates (415) 503-5474 (212) 315-1300 [email protected] [email protected] www.sfsymphony.org/press FOR IMMEDIATE RELEASE / SEPTEMBER 27, 2016 (High resolution images available for download from the SFS Media’s Online Press Kit) MICHAEL TILSON THOMAS AND THE SAN FRANCISCO SYMPHONY RELEASE ALL-DEBUSSY ALBUM ON SFS MEDIA OCTOBER 28, 2016 Album Includes Images pour orchestre, Jeux, and La plus que lente Pre-order September 27 on iTunes.com/SFSymphony and SFSymphony.org/Debussy SAN FRANCISCO, September 27, 2016 – Music Director Michael Tilson Thomas (MTT) and the San Francisco Symphony (SFS) will release an all-Debussy album featuring three works that illustrate the French composer’s mastery with orchestration including Images pour orchestre, Jeux, and La plus que lente, on the Orchestra’s Grammy Award- winning SFS Media label on Friday, October 28, 2016. The recording will be available for pre-order on iTunes.com/SFSymphony and SFSymphony.org/Debussy on Tuesday, September 27, 2016. This recording is presented by SFS Media in premium audio hybrid SACD as well as studio master-quality download. Michael Tilson Thomas comments, “Right from the start of my musical life, Debussy’s music captivated me. He had a genius for sensing the essential quality of a particular instrument’s voice and creating for it evocative solos that have become emblematic. His sense of unusual blends of different instruments was also original and highly
    [Show full text]
  • Stéphane Denève Conducts DEBUSSY
    Stéphane Denève conducts DEBUSSY Royal Scottish National Orchestra Achille-Claude Debussy, early 1900s Achille-Claude Debussy, Photograph by Henri Manuel / AKG Images, London Achille-Claude Debussy (1862 – 1918) COMPACT DISC ONE Images (1905 – 12) 35:55 pour Orchestre 1 1 Gigues 7:33 Katherine MacKintosh oboe d’amore Modéré – Un peu plus ‘allant’ – Même mouvement (plus exactement rythmé) – En animant – En cédant et en diminuant – Moins vîte – En retenant un peu jusqu’à la fin 2 Ibéria 2 I. Par les rues et par les chemins 7:22 Assez animé (dans un rythme alerte, mais précis) – Meno mosso, poco a poco – Librement expressif – Animez peu à peu – Modéré bien rythmé – A Tempo [moins vîte] – Expressif et souple – Tempo I – En animant 3 II. Les parfums de la nuit – 8:28 Lent et rêveur – Sans rigueur – Un peu plus allant – En animant peu à peu – Tempo (sans traîner) – En animant avec une grande intensité dans l’expression – Tempo I – En retenant 3 4 III. Le matin d’un jour de fête 4:22 Dans un rythme de Marche lointaine, alerte et joyeuse – Mouvement précédent – Animez peu à peu – A Tempo (Mouvement de marche joyeuse et alerte) – En cédant et plus libre – Modéré (sans lenteur) – Commencez à animer peu à peu – En animant toujours – Mouvement de la Marche – Au Mouvement (Modéré, sans lenteur) – En serrant le mouvement – Vif et nerveux – Premier Mouvement 5 3 Rondes de printemps 7:54 À Emma Claude Debussy… p.m. son mari C.D. (1909). ‘Vive le Mai, bienvenu soit le Mai Avec son gonfalon sauvage.’ (La Maggiolata) Modérément animé – Un peu plus mouvementé – Premier Tempo – Le double plus lent – Tempo – Au [second] Mouvement – Conserver le rythme, mais plus assoupli – Poco a poco accelerando 4 Jeux (1912 – 13) 17:32 Poème dansé À Madame Jacques Durand Homage respectueux Claude Debussy Distribution: Première Jeune Fille Seconde Jeune Fille Un Jeune Homme 6 Prélude.
    [Show full text]
  • Debussy La Mer Images Pour Orchestre Prélude À L’Après-Midi D’Un Faune Singapore Symphony Orchestra Lan Shui
    Lan Shui DEBUSSY LA MER IMAGES POUR ORCHESTRE PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE SINGAPORE SYMPHONY ORCHESTRA LAN SHUI BIS-1837 BIS-1837_f-b.indd 1 2014-05-27 13:30 DEBUSSY, Claude (1862–1918) Images pour orchestre, L 118 (1905–12) 38'36 1 I. Gigues 8'40 II. Ibéria 21'35 2 Par les rues et par les chemins 7'10 3 Les parfums de la nuit 9'40 4 Le matin d’un jour de fête 4'38 5 III. Rondes de printemps 8'02 6 Prélude à l’après-midi d’un faune, L 87 (1891–94) 11'23 Très modéré La Mer, trois esquisses symphoniques, L 111 (1903–05) 25'50 7 I. De l’aube à midi sur la mer. Très lent 9'23 8 II. Jeux de vagues. Allegro 6'51 9 III. Dialogue du vent et de la mer. Animé et tumultueux 9'14 TT: 76'48 Singapore Symphony Orchestra Lan Shui conductor 3 ‘I wanted for music a freedom which is in her more perhaps than in any art, since she is limited not to a more or less exact reproduction of nature, but to the mysterious correspondences between Nature and the Imagination.’ Claude Debussy, April 1902 Each of the three works on this recording represents one period in the work of Claude Debussy, and together they permit us to observe the stylistic develop - ment – from a composer born in the nineteenth century and initially influenced by his contemporaries into an innovator, one of a kind, who contributed to the profound changes that affected the way in which music was conceived in the early twentieth century and whose impact is still being felt today.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip
    PARSONS THEATRE . HARTFORD Thirty-first Season, J9U-19J2 X MAX FIEDLER, Conductor flrogramm? of tip SECOND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 15 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Pianos that Appeal to Musicians UR pianos have the very highest reputation with musical people, for every piano, from the highest-priced to the least ex- U pensive we offer, has not merely the essentials of tone and touch, but also exquisite refinements of quality which delight the musician. We invite you to inspect our stocks, which are at once the largest, the most varied, and most interesting to be found in New England. We call particular attention to the following pianos: STEINWAY pianos, the instruments of highest prestige among music lovers everywhere—through their incomparable tone the choice of royalty and of all connoisseurs. In all regular styles and also in special art cases exhibiting the perfection of artistry. HUME pianos, the best made in New England—distinguished by wonderful richness and nobility of tone. JEWETT pianos, the favorite pianos of New England, where more are sold each year than of any other make of equal cost. THE PIANOLA PI ANOS,—the complete line of-five pianos. The Steinway, the Weber, and the Steck Pianola Pianos are shown in both grand and upright forms. M. STEINERT & SONS CO. STEINERT HALL, 162 BOYLSTON STREET, BOSTON 313 MAIN STREET, SPRINGFIELD 777 CHAPEL STREET, NEW HAVEN Stores in all Principal Cities of New England P^PSPW^ 5 " PARSONS THEATRE .
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 47,1927-1928, Trip
    ALUMNAE BUILDING . WELLESLEY COLLEGE Wednesday Evening, October 19, 1927, at 8.00 PRSGRsnnc r? i & " . the mechanism is so perfect as to respond to any demand and, in fact, your piano ceases to be a thing of iv oo d and ivires, but becomes a sympathetic friend" Wilhelm BachaiXS, most exacting of pianists, finds in the Baldwin the perfect medium of musical ex- pression. Acclaimed the pianist of pianists, beloved by an ever-growing public, Bachaus has played the Baldwin exclusively for twelve years, in his home and on all his American tours. That loveliness and purity of tone which appeals to Bachaus and to every exacting musician is found in all Baldwins; alike in the Concert Grand, in the smaller Grands, in the Uprights. The history of the Baldwin is the history of an ideal. Itattomn A. M. Hume Co. 196 Boylston Street Boston ALUMNAE BUILDING WELLESLEY FORTY-SEVENTH SEASON 1927-1928 '-./ iA _i ^J> ! \^s ii —i INC. SERGE KOUSSEVITZKY, Conductor WEDNESDAY EVENING, OCTOBER 19, at 8.00 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1927, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager Zm 1 STEIN WAY the instrument of the immortals Not only the best piano, but the best piano value It is possible to build a piano to beauty of line and tone, it is the sell at any given price, but it is not greatest piano value ever offered! often possible to build a good .
    [Show full text]
  • Inconstant Tonality in Debussy's La
    INCONSTANT TONALITY IN DEBUSSY‘S LA MER by DAVID JONATHAN MARCUS (Under the Direction of Adrian Childs) ABSTRACT: This study is an original harmonic and tonal analysis of Debussy‘s orchestral masterpiece La mer: trois esquisses symphoniques. Based on Debussy‘s praise of freedom and critique of ―overprecise forms,‖ the author undertakes to explain harmony and tonicity in the music afresh, thoroughly adjusting traditional concepts of tonality. He shows that Debussy‘s harmonic originality lies close to the musical surface, and analytical reductions, particularly to familiar tonal objects, tend to conceal its harmonic methods.These methods include the use of whole-step/half-step scales as harmonic regions, the use of maximally intersecting scales for smooth modulation, and the use of invariant pitch classes as organizing agents over long spans of musical time. The auther then replaces the old concept of harmonic function, conceived as a consistent hierarchy centered on tonic and dominant, with a constantly evolving presentation of tonicity. The final portion of the study considers the metaphorical fit of all these techniques for La mer‘s oceanic imagery. KEYWORDS: Debussy, La mer, scale theory, parsimony, post-tonal tonicity, pitch-class invariance INCONSTANT TONALITY IN DEBUSSY‘S LA MER by DAVID JONATHAN MARCUS B.A., University of California, Berkeley, 1983 M.A., Georgetown University, 1991 M.M., Georgia State University, 1996 A Dissertation Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements
    [Show full text]
  • ARSC Journal
    HOMMAGE AANDRE CLUYTENS -- BERLIOZ: Symphonie Fantastique, Op. 14. (a) rec. 1955. FRANCK: Symphony in D Minor (a); Variations symphoniques (with Aldo Ciccolini, piano) (b) rec. 1953. FRANCK: Psych~ - Le Sommeil de Psyche, Psych{ enleveepar les Zephyrs, Le Jardin d'Eros, Psyche et Eros· Le Chasseur maudit· Redemption - Symphonic Interlude (b) rec. 1954-55.' SAINT-SAENS: Symphony' No. 3 in C Minor, Op. 78 ("Organ ") ( wi t h Henriette Puig-Roget, organ; Monique Mercier, Andr6 Collard, piano) (b) rec. 1955. DELIBES: Ballet Suites - Coppelia - Prelude to Act I & Mazurka, Valse, Ballade de Epi, Theme slave vari~, Valse de la poupee, Csardas; Sylvia - Prelude, Les Chasseresses, Intermezzo, Valse lente, Pizzicati, Marche et Cortege de Bacchus (c) rec. 1956. BIZET: L'Arlesienne - Suites 1 & 2; La jolie fille de Perth - Suite; Patrie Over­ ture (a) rec. 1953-54. BIZET: Symphony in C Major (a) rec. 1953; d'Indy: Symphonie sur un chant montagnard Franrais, Op. 25 (with Aldo Ciccolini, piano) (b) rec. 1953. MASSENET: Les Erinnyes - Incidental Music for the Play by Leconte de Lisle (c) rec. 1953. MASSENET: Scenes Alsaciennes; Sc~nes Pittoresques; Phedre Overture (with Henri Dionet, clarinet; Gaston Marchesini, 'cello) (d) rec. 1953. FAURE: Requiem, Op. 48 (with Louis Noguera, baritone; Martha Angelici, soprano; Maurice Durufl{, organ; Chanteurs de Saint Eustache) (e) rec. 1951. DEBUSSY: La Boite a joujoux (arr. Caplet); The Children's Corner (arr. Caplet) (a) rec. 1954. DEBUSSY: Le Martyre de Saint Sebastian (With Martha Angelici, Mattiwilda Dobbs, Jacqueline Jourfier, Jacqueline Brumaire, sopranos; Rita Gorr, Solange Michel, contraltos) (a) rec. 1953-54. RAVEL: Daphnis et Chloe - Suites 1 & 2; Rapsodie espagnole; Alborada del gracioso (with Chorale Marcel Briclot, in Daphnis) (a) rec.
    [Show full text]
  • Edward Gardner Vilde Frang
    Edward Gardner und Vilde Frang Donnerstag, 05.12.19 — 20 Uhr Sonntag, 08.12.19 — 11 Uhr Elbphilharmonie Hamburg, Großer Saal Samstag, 07.12.19 — 19.30 Uhr Musik- und Kongresshalle Lübeck EDWARD GARDNER Dirigent VILDE FRANG Violine NDR ELBPHILHARMONIE ORCHESTER Einführungsveranstaltungen mit Julius Heile am 05.12. und 08.12. jeweils eine Stunde vor Konzertbeginn im Großen Saal der Elbphilharmonie; am 07.12. um 18.30 Uhr auf der „Galerie Wasserseite“ der Musik- und Kongresshalle Das Konzert am 08.12.19 ist live zu hören auf NDR Kultur. HENRI DUTILLEUX (1916 – 2013) Métaboles Entstehung: 1962 – 64 | Uraufführung: Cleveland, 14. Januar 1965 | Dauer: ca. 17 Min. I. Incantatoire – II. Linéaire – III. Obsessionnel – IV. Torpide – V. Flamboyant IGOR STRAWINKSY (1882 – 1971) Konzert in D („Concerto en ré“) für Violine und Orchester Entstehung: 1931 | Uraufführung: Berlin, 23. Oktober 1931 | Dauer: ca. 22 Min. I. Toccata II. Aria I III. Aria II IV. Capriccio P a u se CLAUDE DEBUSSY (1862 – 1918) Images pour orchestre Entstehung: 1905 – 12 | Uraufführung: Paris, 20. Februar 1910 (Nr. 2); 2. März 1910 (Nr. 3); 26. Januar 1913 (vollständiger Zyklus) | Dauer: ca. 35 Min. Nr. 1: Gigues. Modéré Nr. 2: Ibéria I. Par les rues et par les chemins. Assez animé II. Les parfums de la nuit. Lent et rêveur III. Le matin d’un jour de fête. Dans un rhythme de Marche lointaine, alerte et joyeuse Nr. 3: Rondes de printemps. Modérément animé Dauer des Konzerts einschließlich Pause: ca. 1 ¾ Stunden HENRI DUTILLEUX Métaboles Fremdartige Traumwelt In mir reifte diese Während in der älteren Musikgeschichte Schlagworte fast intuitive wie „Barock“ oder „Romantik“ zwar vereinfachend, aber nicht ganz unzutreffend einen Stil und zugleich Tendenz, ein Thema auch eine Epoche bezeichnen, sind in der Musik des nicht von Anfang 20.
    [Show full text]
  • Pierre Senges Sur Des Musiques De Claude Debussy
    Tibor Harsanyi Archibald et L’Isle Joyeuse L’Histoire(avec tous ses grains de sable) du petitsur destailleur musiques de Claude Debussy d’après le conte de Grimm JACQUES BONNAFFÉ Archibald DONATIENNE MICHEL-DANSAC Palissandre CHARLINE VANHOENACKER récitante MUSICIENSMUSICIENS DE L’ORCHESTRE DE L’ORCHESTRE NATIONAL DE FRANCE NATIONAL DE FRANCEJESKO SIRVEND direction FELIX MILDENBERGER direction DIMANCHE 25 MARS 11H Archibald et L’Isle Joyeuse (avec tous ses grains de sable) Un conte de Pierre Senges sur des musiques de Claude Debussy MUSIQUES DE DEBUSSY adaptées par Robin Melchior Images pour orchestre : « Gigues » Images pour piano : « Reflets dans l’eau », « Poissons d’or » Quatuor à cordes : 2e et 3e mouvements Syrinx pour flûte seule Préludes pour piano : « Le vent dans la plaine », « Les sons et les parfums tournent dans l’air du soir », « Brouillards », « Feuilles mortes », « Feux d’artifice », « Les soirs illuminés par l’ardeur du charbon » Children’s Corner pour piano : �Jumbo’s lullaby�, �La neige danse� Sonate pour violoncelle et piano : 2e mouvement « Sérénade » Estampes pour piano : « Jardin sous la pluie » Fêtes galantes : « Clair de lune » Sonate pour flûte, alto et harpe : 2e et 3èe mouvements La Mer : 3e mouvement « Dialogue du vent et de la mer » Prélude à l’après-midi d’un faune L’Isle joyeuse Certaines de ces œuvres seront données sous forme d’extraits. JACQUES BONNAFFÉ récitant DONATIENNE MICHEL-DANSAC récitante et soprano MUSICIENS DE L’ORCHESTRE NATIONAL DE FRANCE ELISABETH GLAB violon solo JESKO SIRVEND direction Avec la participation de l’École Estienne et de leurs professeurs Patrick Pleutin et Éric Boisseau. ARCHIBALD ET LES SEPT VŒUX DU MUSICIEN Claude Debussy : Les journaux n’avaient pas de budget pour ça.
    [Show full text]