DOCSLIB.ORG

Festival Internacional De Piano "Bogota 450 Años"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Festival Internacional De Piano OLM ---------- ----- ~ E - MALCOLM FRAGER Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. FESTIVAL INTERNACIONAL DE PIANO "BOGOTA 450 AÑOS" Para vincularse a la celebración de (dos Preludios Opus 23, dos los 450 años de la fundación de Momentos musicales Opus 16 y Bogotá, la Sala de Conciertos de la Daisies Opus 38), Scriabin (Sonata Biblioteca está realizando, dentro Opus 30 No. 4 Y dos Estudios) y de de su temporada musical de este Chopin (Barcarola Opus 60, tres año, el Festival Internacional de Mazu rkas, Noctu rno Opus 32 No. 1 y Piano, en el cual participan desta­ Balada Opus 23 No. 1). El 6 de julio cados intérpretes internacionales y la connotada pianista austríaca colombianos. Ingrid Haebler con obras de Mozart (Variaciones en Do mayor K 265, Blanca Uribe cuya brillante carrera Fantasía en Do menor K 475 YSona­ internacional la ha consagrado ta en Do menor K 457), Schubert como una de las grandes pianistas (Sonata Opus 120) y Debussy (tres colombianas, abrió el festival el pa­ Preludios). sado 16 de marzo. El 27 de marzo intervino el pianista polaco Walde­ El 13 de julio la pianista venezolana mar Malicki, al cual siguieron, el4 de Judith Jaimes con obras de Schu­ mayo, los pianistas Nelly y Jaime mann (Piezas de fantasía Opus 12), Ingram, de Panamá, quienes con­ Juan Bautista Plaza (Intermezzo), forman uno de los más célebres Lauro (Suite venezolana) y de Cho­ dúos pianísticos de la actualidad. pin (cuatro Scherzos). Dos pian istas se presentan en este El 27 de julio el español Joaquín mes de junio: el 8, Malcolm Frager, Achúcarro con obras de Bach (Par­ norteamericano de larga trayecto­ tita No. 1), Schubert (Sonata Opus ria, reconocido internacionalmente, 47) y Albéniz (Sevilla, Malagueña, con obras de Haydn, Weber y Granada, Iberia). Brahms, y para finalizar esta pri­ El 3 de agosto, Nelson Freire del mera etapa, el 15 de junio hará su Brasil con obras de Chopin (Fanta­ presentación el muy joven e impe­ sía Opus 49, Sonata Opus 35 No. 2 Y tuoso Leonid Kuzmin, nacido en la los 24 Preludios). Unión Soviética y residente en los Estados Unidos, cuyo virtuosismo De Irlanda vendrá Hugh Tinney para extraordinario cautivó al auditorio un concierto el 10 de agosto con de la Lu is-Angel Arango en su reci­ obras de Mozart (Sonata K 332), tal del año pasado. En su progra­ Debussy (Imágenes), Shostakovich ma figuran obras de Schumann (dos Preludios y Fugas Opus 87), y (Toccata Opus 7), Mozart (Sonata de Prokofieff (Sonata Opus 84 en La mayor K 331), Rachmaninoff No. 8). Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. El 31 de agosto Jeffrey Siegel de para finalizar, Pablo Arévalo con Estados Unidos con obras de Bach obras de Beethoven (Sonata Opus (Partita No. 5), Haydn (Sonata No. 109 No. 30), Chopin (cuatro 20), Hindemith (Sonata No. 3) y de Impromptus), Liszt (Tarantella y Schubert (Fantasía "DerWanderer"). Canzone de Venezia y Napoli), En representación de Colombia Tchaikovski-Pletjnow (selecciones actuarán, además de Blanca Uribe, de la Suite Cascanueces) y de los pianistas Teresita Gómez con Schedrin-Pletjnow (prólogo y obras de Chopin (Sonata Opus 58 escena de carrera de caballos del No. 3), Bach-Brahms (Chacona de Ballet de Ana Karenina). Los tres la Partita 11) y de Schumann (Carna­ últimos en los meses de octubre y val Opus 9); Luz Angela Posada y noviembre. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. MALCOLM FRAGER Pianista - Estados Unidos Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. MALeo R Piani la - E Este artista, uno de los más requeri­ na, Ravinia; directores como Doh­ dos internacionalmente, nació en nanyi, Leindorf, Klemperer, Szell, St. Louis (Estados Unidos). Inició Bernstein, Martinon, Solti, Karajan. sus estudios de piano a la edad de Malcolm Frager, además de dar más cuatro años. Su primer recital lo de cien conciertos cada temporada, realizó a los seis, y su debut con es un gran estudioso. En 1957 se orquesta cuatro años después, inter­ pretando el concierto No. 17, K. 453 graduó "magna cum laude" en la Universidad de Columbia; habla de Mozart, con la Orquesta Sinfó• siete idiomas -entre ellos el espa­ nica de St. Louis dirigida por Vladi­ mir Golschmann. A los 14 años se ñol- y descubrió en 1967 el manus­ radicó en New York para continuar crito de la orquestación original del concierto en La menor de Schu­ sus estudios con Carl Friedberg, mann, siendo ésta la versión que él discípulo de Johannes Brahms y Clara Schumann, perfeccionándose suele interpretar, así como también finalmente con Rudolf Serkin en la la versión original del concierto Escuela de Música de Marlboro. No. 1 de Tchaikovski. Ganó el primer premio absoluto en Ha realizado numerosas grabacio­ el Concurso Internacional "Reina nes para los sellos RCA Víctor, Elizabeth" de Bélgica en 1960. Un Angel, London, New World y BASF y año antes había ganado el primer recientemente una grabación digital premio en el Concurso "Edgar M. con una selección de obras de Cho­ Leventritt" de New York. Ambos pre­ pin para el sello Telarc. mios lanzaron a Malcolm Frager a la Comentarlos musicales fama internacional. " ... una técnica increíble, facilidad Ha actuado en casi todos los cen­ tros musicales del mundo, con los asombrosa, poesía y un bellísimo principales organismos sinfónicos y touché ... ". dirigidos por los más importantes Le figaro, Paris directores de orquesta de los últi­ " ... un verdadero maestro. No puede mos 25 años. Detallar un listado haber duda que su lugar está entre sería demasiado largo. Basta men­ los principales pianistas de su gene­ cionar las Filarmónicas de Berlín , ración ... " . Viena, Boston, New York, Chicago, New York Times Filadelfia, Concert-gebouw de Amsterdam; los Festivales de Salz­ " ... una interpretación brillante ... ". burgo, Tanglewood, Aspen, Lucer- The Times, Londres Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PROGRAMA Sonata HOS XVI No. 44, en Sol menor Joseph Haydn (1732-1809 ) Moderato Allegretto Sonata No. 1 Opus 24 en Do mayor Carl María von Weber (1786-1826) Allegro Adagio Menuetto - Allegro Presto INTERMEDIO Scherzo en Mi bemol menor, Opus 4 Johannes Brahms (1833-1897) Rapsodia en Si menor, Opus 79 No. 1 Cuatro piezas para piano, Opus 119 No. 1 I ntermezzo en Si menor No. 2 Intermezzo en Mi menor NO.3 Intermezzo en Do mayor NO.4 Rapsodia en Mi bemol mayor Bogotá, 8 de junio de 1988 I CONCIERTO No. 47 I Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. notas al programa Sonata Se suele decir que Haydn es el compositor clásico por HOB XVI No. 44, excelencia, por cuanto clasificó o estabilizó las for­ en Sol menor mas que habrían de conocerse con el nombre gené­ Haydn rico de sonata. Sin embargo, dentro de su obra inmensa y caóticamente desordenada, buena parte de la cual se ha perdido, las denominaciones de las varias piezas son muy diversas, como lo son las de los instrumentos para los cuales fueron compuestas. El catálogo "oficial" de Hoboken registra 52 obras con el nombre de sonatas para piano, pero muchas de ellas, especialmente las primeras, fueron escritas para clavicémbalo o clavicor­ dio, a veces con indicación de algún instrumento más ad libitum. V, lo que confunde aún más, en ellas el número de los movimientos no es riguroso, pues oscila de dos a cuatro, antes de la "clasificación" que le ha valido a Haydn el nombre de Padre de la Sinfonía (y de la sonata, el cuarteto, etc., implícitamente). El que se toma como el codificador o estabilizador de las formas clásicas suele ser el más rico en excepciones dentro de esta clasificación. Por otra parte, la ordenación de Hoboken está lejos de ser estrictamente cronológica, pues hay mucha incer­ tidumbre en cuanto a las fechas de creación de este gran número de obras. El grupo de tres que van del número 44 al46 se estima correspondiente a los años de 1765-1767. Sin embar­ go, no faltan quienes asignen a la primera de éstas, la 44, la fecha mucho más tardía de 1786. Pero todas estas son cuestiones de minucias musicológicas que poco importan al auditor de estas obras, bastándole saber de qué época aproximada son. V con mayor razón en una sonata tan breve como esta No. 44, en Sol menor, en dos amables movimientos, el segundo de los cuales, en la segunda mitad, modula para concluir en Sol mayor. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. otas al rog ama Sonata No. 1 Muy diferente es el caso con el compositor Carl María en Do mayor, von Weber, transición, como Beethoven, entre el clasi­ Opus 24 cismo y el romanticismo. Weber escri bió solamente Weber cuatro sonatas para piano, la primera de las cuales consta de cuatro movimientos, como una sinfonía, en lugar de los tres habituales en las sonatas para piano, o para un instrumento con piano. Esta obra es de 1812, tres años después de la muerte de Haydn, y cuando ya Beethoven había compuesto gran parte de sus sonatas para el instrumento. Aparte de las mencionadas cuatro, Weber escribió algunos trabajos escolares en este género, que no suelen considerarse parte importante de su creación. La primera sonata, en Do, escrita en 1812 en Berlín es, al decir de André Coeuroy, la más serena y clara, pero la menos original. Y destaca, en el allegro inicial, su tema trivial, desarrollado de manera muy movida. Otros señalan en este movimiento su ímpetu caballeresco, entremezclado con episodios líri• cos y graciosos.
Load more

Recommended publications
  • MALCOLM FRAGER COLLECTION (2013 Gift)
    MALCOLM FRAGER COLLECTION (2013 Gift) RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Jacek Blaszkiewicz, summer 2015 Revised by David Peter Coppen, spring 2017 1 Vladimir Ashkenazy and Malcolm Frager. Photograph attributed to New York Times Staff Photographer (ca. 1966). From Malcolm Frager Collection, Box 11, Folder 11. 2 TABLE OF CONTENTS Description of the Collection . 4 Description of Series . 6 SUB-GROUP I: PERSONAL PAPERS Series 1: Correspondence . 8 Series 2: Publicity . 15 Series 3: Business papers . 16 Series 4: Biographical and other personal papers . 17 Series 5: Concert programs . 18 Series 6: Awards . 19 Series 7: Sound recordings . 21 Series 8: Oversized items . 25 SUB-GROUP II: SCORES Series 1: Inscribed to Malcolm Frager . 26 Series 2: Annotated by Malcolm Frager . 27 3 DESCRIPTION OF THE COLLECTION Shelf location M3A 1,1—1,6 Physical extent: 18 linear feet Biographical sketch Photograph of Malcolm Frager from CAMI publicity circular. From Malcolm Frager Collection (2013 Gift), Box 11, Folder 4. Malcolm Frager (1935-1991), American concert pianist, was born in St. Louis, Missouri, where he attended public school and received his earliest musical training. He earned his baccalaureate at Columbia University, where he studied languages in addition to music. His twin victories in the Leventritt Competition (1959) and the Queen Elisabeth of Belgium Competition (1960) launched his career on an international level. In 1963 he made a tour of the U.S.S.R., on which occasion he performed two-piano repertory with fellow pianist Vladimir Ashkenazy, who would remain a close friend of Mr.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974
    BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THURSDAY A6 FRIDAY-SATURDAY 22 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K. ALLEN SIDNEY STONEMAN JOHN L. THORNDIKE Vice-President Vice-President Treasurer VERNON R. ALDEN MRS HARRIS FAHNESTOCK JOHN T. NOONAN ALLEN G. BARRY HAROLD D. HODGKINSON MRS JAMES H. PERKINS MRS JOHN M. BRADLEY E. MORTON JENNINGS JR IRVING W. RABB RICHARD P. CHAPMAN EDWARD M. KENNEDY PAUL C. REARDON ABRAM T. COLLIER EDWARD G. MURRAY MRS GEORGE LEE SARGENT ARCHIE C EPPS III JOHN HOYT STOOKEY TRUSTEES EMERITUS HENRY B. CABOT HENRY A. LAUGHLIN PALFREY PERKINS FRANCIS W. HATCH EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager PAUL BRONSTEIN JOHN H. CURTIS MARY H. SMITH Business Manager Public Relations Director Assistant to the Manager FORRESTER C. SMITH DANIEL R. GUSTIN RICHARD C. WHITE Development Director Administrator of Assistant to Educational Affairs the Manager DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood HARRY NEVILLE Program Editor Copyright © 1974 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS ^H jgfism SPRING LINES" Outline your approach to spring. In greater detail with our hand- somely tailored, single breasted, navy wool worsted coat. Subtly smart with yoked de- tail at front and back. Elegantly fluid with back panel. A refined spring line worth wearing. $150. Coats. Boston Chestnut Hill Northshore Shopping Center South Shore PlazaBurlington Mall Wellesley BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC.
    [Show full text]
  • This Album Presents American Piano Music from the Later Part of the Nineteenth Century to the Beginning of the Twentieth
    EDWARD MacDOWELL and Company New World Records 80206 This album presents American piano music from the later part of the nineteenth century to the beginning of the twentieth. Chronologically it ranges from John Knowles Paine’s Fuga Giocosa, published in 1884, to Henry F. Gilbert’s Mazurka, published in 1902. The majority are from the nineties, a time of great prosperity and self-satisfaction in a nation of philanthropists and “philanthropied,” as a writer characterized it in The New York Times. Though the styles are quite different, there are similarities among the composers themselves. All were pianists or organists or both, all went to Europe for musical training, and all dabbled in the classical forms. If their compatriots earlier in the nineteenth century wrote quantities of ballads, waltzes, galops, marches, polkas, and variations on popular songs (New World Records 80257-2, The Wind Demon), the present group was more likely to write songs (self-consciously referred to as “art songs”) and pieces with abstract titles like prelude, fugue, sonata, trio, quartet, and concerto. There are exceptions. MacDowell’s formal works include two piano concertos, four piano sonatas, and orchestra and piano suites, but he is perhaps best known for his shorter character pieces and nature sketches for piano, such as Fireside Tales and New England Idyls (both completed in 1902). Ethelbert Nevin was essentially a composer of songs and shorter piano pieces, most of them souvenirs of his travels, but he, too, worked in the forms that had become most prestigious in his generation. The central reason for the shift away from dance-inspired and entertainment pieces to formal compositions was that American wealth created a culture that created a musical establishment.
    [Show full text]
  • Key of F Minor, German Designation)
    F dur C F Dur C EFF DOOR C (key of F major, German designation) F moll C f Moll C EFF MAWL C (key of f minor, German designation) Fa bemol majeur C fa bémol majeur C fah bay-mawl mah-zhör C (key of F flat major, French designation) Fa bemol mayor C FAH bay-MAWL mah-YAWR C (key of F flat major, Spanish designation) Fa bemol menor C FAH bay-MAWL may-NAWR C (key of f flat minor, Spanish designation) Fa bemol mineur C fa bémol mineur C fah bay-mawl mee-nör C (key of f flat minor, French designation) Fa bemolle maggiore C fa bemolle maggiore C FAH bay-MOHL-lay mahd-JO-ray C (key of F flat major, Italian designation) Fa bemolle minore C fa bemolle minore C FAH bay-MOHL-lay mee-NO-ray C (key of f flat minor, Italian designation) Fa diese majeur C fa dièse majeur C fah deeezz mah-zhör C (key of F sharp major, French designation) Fa diese mineur C fa dièse mineur C fah deeezz mee-nör C (key of f sharp minor, French designation) Fa diesis maggiore C fa diesis maggiore C FAH deeAY-zeess mahd-JO-ray C (key of F sharp major, Italian designation) Fa diesis minore C fa diesis minore C FAH deeAY-zeess mee-NO-ray C (key of f sharp minor, Italian designation) Fa maggiore C fa maggiore C FAH mahd-JO-ray C (key of F major, Italian designation) Fa majeur C fa majeur C fah mah-zhör C (key of F major, French designation) Fa mayor C FAH mah-YAWR C (key of F major, Spanish designation) Fa menor C FAH may-NAWR C (key of f minor, Spanish designation) Fa mineur C fa mineur C fah mee-nör C (key of f minor, French designation) Fa minore C fa minore C FAH mee-NO-ray
    [Show full text]
  • Season 20 Season 2011-2012
    Season 2020111111----2020202011112222 The Philadelphia Orchestra Thursday, February 23, at 8:00 Friday, February 242424,24 , at 222:002:00:00:00 Saturday, February 252525,25 , at 8:00 Rafael Frühbeck de Burgos Conductor Emanuel Ax Piano Mozart Serenade in D major, K. 239 (“Serenata notturna”) I. Marcia: Maestoso II. Menuetto—Trio—Menuetto da capo III. Rondeau: Allegretto—Allegro David Kim, violin Kimberly Fisher, violin Kirsten Johnson, viola Michael Shahan, double bass Mozart Piano Concerto No. 25 in C major, K. 503 I. Allegro maestoso II. Andante III. Allegretto Intermission Brahms Symphony No. 1 in C minor, Op. 68 I. Un poco sostenuto—Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio—Più andante—Allegro non troppo, ma con brio—Più allegro This program runs approximately 2 hours. A regular guest with North America’s top orchestras, Rafael Frühbeck de Burgos conducts the Cincinnati, Boston, Pittsburgh, Saint Louis, and Montreal symphonies, and the Los Angeles and New York philharmonics in the 2011-12 season. He appears annually at the Tanglewood Music Festival and regularly with the National, Chicago, and Toronto symphonies. Born in Burgos, Spain, in 1933, Mr. Frühbeck studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid and conducting at Munich’s Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic. With the 2012-13 season he takes up the post of chief conductor of the Danish National Orchestra.
    [Show full text]
  • MOZART Piano Concerto No. 20 in D Minor, K. 466 (1785) Allegro Romance Allegro Assai Emanuel Ax, Piano
    2017 2018 SEASON David Robertson, conductor Friday, September 29, 2017 at 10:30AM Emanuel Ax, piano MOZART Così fan tutte Overture, K. 588 (1790) (1756–1791) MOZART Piano Concerto No. 20 in D minor, K. 466 (1785) Allegro Romance Allegro assai Emanuel Ax, piano INTERMISSION MOZART Piano Concerto No. 14 in E-flat major, K. 449 (1784) Allegro vivace Andantino Allegro ma non troppo Emanuel Ax, piano MOZART Symphony No. 39 in E-flat major, K. 543 (1788) Adagio; Allegro Andante con moto Menuetto: Allegretto Finale: Allegro ACKNOWLEDGMENTS This concert is presented by the Thomas A. Kooyumjian Family Foundation. The concert of Friday, September 29 is underwritten in part by a generous gift from David A. Blanton, III. David Robertson is the Beofor Music Director and Conductor. Emanuel Ax is the Stanley J. Goodman Guest Artist. Pre-Concert Conversations are sponsored by Washington University Physicians. 23 FROM SALZBURG TO THE STRATOSPHERE BY RENÉ SPENCER SALLER TIMELINKS The piano concerto barely existed before Wolfgang Amadeus Mozart. He didn’t invent the form: J.S. Bach got there first (if harpsichord counts), and 1784 The American Joseph and Michael Haydn, whose scores Mozart Revolutionary War ends with the ratification of studied, also composed impressive works in the the Treaty of Paris. genre. But Mozart launched the keyboard concerto into the stratosphere. Piano Concerto No. 14, which 1785 Pioneering hot-air he completed early in his annus mirabilis of 1784, balloonist Jean-François was the first that he entered into his personal catalog Pilâtre de Rozier dies of completed works. As crazy as it seems to mere with a companion in an attempt to fly across the mortals, Mozart might have considered his first English Channel.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
    T" ^ffmm^i •"! FIRST WEEK July 2, 3, 4, 1966 BERKSHIRE FESTIVAL The Boston Symphony under Leinsdorf This recording of Prokof/'eff's Sixth Symphon y is a perfect example of the insight and drama with which the Boston Symphony Orchestra, under Leinsdorf, has invested the many Prokofieff masterpieces already recorded by them. Another striking example of their contemporary understanding is their powerful performance of Mahler's Sixth Symphon y, recorded for the first time in stereo, which takes its place among their cherished recordings of this master's First and Fifth Sympho- t£*"*i nies. Equally treasurable are their shimmering Firebird Mahler: S>mphon> So. 6 and glittering Le Cog d'Or. In D ynagroove sound. Boston Svmpbom Orchestra Erich Leinsdorf Bit Tjfhimy Orchestra/ Erich Lemdnrf Rimaky-Koraakoff/"LE GOQ D OR SUITE Stravinsky /"FIREBIRD" SUITE rca Victor® ^SJThe most trusted name m sound ~t BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF, Music Director RICHARD Burgin, Associate Conductor Berkshire Festival, Season 1966 TWENTY-NINTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS FIRST WEEK Historical and descriptive notes by John N. Burk Assisted by DONALD T. GAMMONS Copyright, 1966 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks John L. Thorndike Philip K. Allen Francis W. Hatch Henry A. Laughlin Abram Berkowitz Andrew Heiskell Edward G. Murray Theodore P. Ferris Harold D. Hodgkinson John T. Noonan Robert H. Gardiner E. Morton Jennings, Jr. Mrs. James H. Perkins Sidney R. Rabb Raymond S. Wilkins Trustees Emeritus Palfrey Perkins Lewis Perry Edward A.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1967-1968
    ' %j "V-TT-ni^iiii! 1 11 ?' *r* t i \%. i *:ies ;ai « t § i #% ^ '"•.'"' •'..' "'•- ; '- ". " At $9.40*a fifth, it ought to be called Sir Jonathan Walker B Lincoln Center, then to Joe's place for jazz. John Meyer woolens for autumn dates in town. Among the reasons : clear, strong, up-beat colorings and virtuoso tailoring—traditionally i w John Meyer. At discerning stores everywhere. ^ ven it this is all you know about woofers and tweete you can still get a great stereo. iiiiiip^ i§ii 5 ---V-V ''--•"•'*' aaSBssHS .v 111 i I You have almost all the stereo-judging equip- It also has a 23 all-silicon transistor amp ment you need right on your head. (Your ears.) with a full 66 watts of music power for i Armed with your ears, you'll probably end up channel. with a good stereo. Unfortunately, it won't be a Unfortunately, you can't read how go great stereo. Because there are certain things stereo sounds. So bring your head to your r your ears can't tell you. (Like what kind of equip- est Sony dealer. And let your ears do their s ment you'll need, etc.) Of t But now you can get a great stereo, no mat- yea ter how little you know. With the Sony HP-550 ing Compact Stereo System. of r It has a Garrard turntable. A 13-transistor amr FM /AM tuner. Dual airtight speakers with 10" woofers and 4" tweeters. (A woofer transmits bass and a tweeter transmits treble.) Funny Some people still think a Diners Club Card is just for beautiful meals* You can swing into Puerto Rico on a Diners than any other credit card.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
    MGLEWOOD FIRST WEEK July 2, 3, 4, 1965 BERKSHIRE FESTIVAL Mozart The Boston Symphony "Jupiter" Symphony "*' Eine Kleine Nachtmusik under Leinsdorf Boston Symphony Orchestr The first Mozart recorded by Leinsdorf and the Boston Symphony Erich Leinsdorf was Mozart's last symphony, that dramatic and intricate work aptly called the "Jupiter'' Symphony. Leinsdorfs choice of "Eine kleine Nachtmusik" as a foil for this work was sheer inspiration, The re- sulting album illuminates the comment that Leinsdorf's Mozart "is like spring grass" Recorded in brilliant Dynagmove sound, this RCA Victor Red Seal album is a valuable addition to any collection. RCA Victor® ®The most trusted name in sound -~ WaSy Boston Symph ony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor Berkshire Festival, Season 1965 TWENTY-EIGHTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS FIRST WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, 1965 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C. Paine Abeam Berkowitz Andrew Heiskell Edward G. Murray Theodore P. Febbis Habold D. Hodgkinson John T. Noonan Robebt H. Gardener E. Morton Jennings, Jr. Mrs. James H. Perkins Francis W. Hatch Henry A. Laughlin Sidney R. Rabb John L. Thorndike Raymond S. Wilkins Trustees Emeritus Palfrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tanglewood Advisory Committee Alan J. Beau Lawrence K. Miller Jesse L. Thomason Lenges Bull George E. Mole Robert K. Wheeleb Geobge W. Edman Whitney S. Stoddabd H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Robebt Minkler Lenox, John Pignatelli Lee, William O'Brien Thomas D.
    [Show full text]
  • Week 8 Bernard Haitink | Conductor Emeritus Seiji Ozawa
    2012–2013 season | Week 8 season sponsors Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate Table of Contents | Week 8 7 bso news 13 on display in symphony hall 14 in memoriam: elliott carter 16 the boston symphony orchestra 18 five new bso musicians 20 this week’s program Notes on the Program 22 The Program in Brief… 23 Sibelius “Luonnotar” 31 Thomas Adès 41 Sergei Prokofiev 49 Sibelius Symphony No. 6 57 To Read and Hear More… Guest Artists 60 Thomas Adès 61 Dawn Upshaw 63 Kirill Gerstein 66 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information the friday preview talk on november 16 is given by bso assistant director of program publications robert kirzinger. program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO associate concertmaster Tamara Smirnova by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer William F. Achtmeyer • George D. Behrakis • Alan Bressler† • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J.
    [Show full text]
  • 2013–2014 Season | Week 22
    bernard haitink conductor emeritus seiji ozawa music director laureate 2013–2014 Season | Week 22 andris nelsons music director designate season sponsors Table of Contents | Week 22 7 bso news 17 on display in symphony hall 18 the boston symphony orchestra 20 announcing the bso’s 2014-15 season 23 a brief history of the boston symphony orchestra 28 this week’s program Notes on the Program 30 The Program in Brief… 31 Ralph Vaughan Williams 39 Sergei Prokofiev 45 Nikolai Rimsky-Korsakov 51 To Read and Hear More… Guest Artists 55 Sir Andrew Davis 57 Yuja Wang 60 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information the friday preview talk on march 28 is given by harlow robinson of northeastern university. program copyright ©2014 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover design by BSO Marketing cover photo of BSO bass player Todd Seeber by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 133rd season, 2013–2014 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J.
    [Show full text]
  • Brooklyn Acotlemy of Music Boston Symphony Orchestra
    Brooklyn Acotlemy of Music 1969-70 Season Boston Symphony Orchestra DECEMBER 11, 1969 ABRAHAM. •..,."' c "' SCHUSSING 'N SUNNING Visit A&S Ski Shop and see all that's dazzling bright for the skier ... pants, jackets, headgear ... plus the latest, greatest in ski equipment! Then head for the Cruise Shop and take in the newest looks in sun'n fun fashions from all the top designers ... in all the now colors! DEC EMBER 1969 I BROO KLYN ACADEMY OF MUSIC I 3 THURSDAY EVENI NG, DECEM BE R 11, 1969 I Subscription Performance The Brooklyn Academy of Mus ic presents the BOSTON SYMPHONY ORCHESTRA EIGHTY-N INTH SEASO N 1969-1970 WILLIAM STE INBERG, Music Director MICHAEL TILSON THOMAS, Assistant Conductor ERICH LEINSDORF, Conductor Malcolm Frager, Pianist The use of ca meras and tape recorders is strictly prohibited at Pi ttsburgh Symphony Orchestra concerts. Ba ldwin is the official piano of the Broo klyn Academy of Music 4 I BROOKLYN ACADEMY OF MUSIC I DECEMBER 1969 The Brooklyn Academy of Music Th!' f3r f'llyn Academy of Music is a department of the Brooklyn Institute of Arts and Sciences. The Governrng Commrttee Ticket Reservation Systems - TICKETRON Seth S Far',on, Chairman Edward S. Reid, Vice Chai rman Computerized ticket selling system which Monro<' D. Stem, Vice Chairman permits purchase of tickets to Academy Hon Alexander Aldrich events at the fol lowing locations: Bernard S Barr Mrs. H. Haughton Bell MANHATIAN: Donalcl F. Benjamin Gtmbels 33rd St.; Chase Manhattan Bank, Dr. W1lliam M Birenbaum 1 Chase Manhattan Plaza and 52nd St. Donald M.
    [Show full text]