Boston Symphony Orchestra Concert Programs, Season 64,1944-1945

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 64,1944-1945 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-FOURTH SEASON, 1944-1945 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historicat and descriptive notes by John N. Burk COPYRIGHT, 1945, BY BOSTON SYMPHONY ORCHESTRA, InC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Jerome D. Greene . President Henry B. Sawyer . Vice-President Henry B. Cabot . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Reginald C. Foster Roger I. Lee Alvan T. Fuller Richard C. Paine N. Penrose Hallowell Bentley W. Warren G. E. JUDD, Manager C. W. Spalding, Assistant Manager [ 1037 ] ® @ @ @ ® YOUR WILL Is your will up-to-date? Does it take into account present-day problems? We suggest that you and your attorney talk with one of our Trust Officers about a Shawmut Estate Analysis . prepared without charge to you. TRUST DEPARTMENT The D^tional Shawmut Bank Member Federal Deposit Insurance Corporation Listen to John Barry with "Shawmut Frontline Headlines'' — WBZ- WBZA — Mondays, Wednesdays and Fridays at 7 145 p. m. «5 SYMPHONIANA Record Concerts in Camps The Completion of Newman's "Wagner' Tovey's "Britannica" Articles Exhibition RECORD CONCERTS IN CAMPS The following extracts are taken from a letter received from a music critic of Boston now in the service and a patient in the Army Service Forces Regional Hospital at Camp B landing, Florida: "Next week I am supposed to begin a series of recorded music programs with commentary by yours truly. Can you guess where the records came from? Right! They are those Armed Services Recordings for which Dr. Koussevitzky and the Orchestra gave the benefit at Tanglewood several years ago. You could have knocked me over with a feather when I went into the Red Cross store room and found this red wooden chest with the label on the top, identify- ing the contents. "Today, in looking over those records, TRIANGLE I found the stock as a whole to be SILHOUETTE pretty small, especially since the pro- Shoulders soar into the grams are planned for several times a news, wide as they can week. At the same time, we need a rec- make them, thus accent- ord player which can be used by the ing the tiny waistline. men in the Red Cross recreation rooms Half belted grey mens- and which we can use to test the records w^ ar flannel reefer before we put them on the air. The sketched, or in black diag- Special Service Officer asked me if I onal velour. (< knew anyone to whom I could write 139.90 asking for records, and a player, if pos- Misses' Sizes sible. FOURTH FLOOR "You can imagine, with little but soap operas and hillbilly music on the radio in the daytime, that the boys here thirst for something that sounds more like home. The larger portion of the camp population is made up of Northerners. GIVE NOW—GIVE MORE And whatever their tastes, they take KEEP YOUR RED CROSS readily to 'classical' music. The recent AT HIS SIDE concert here by Jose Iturbi was very good proof of that. [ 1039 ] "You have no idea how much you miss music when you are away from it. The hospital radio offers very little. (Maybe I should explain that. There are loudspeakers in every ward and blankets corridor. Programs from outside sta- tions are piped throughout the hospital. And several times a day we present Pure wool by North Star, white, our own.) The men in charge of the radio certainly take little stock of rose dust, green, gold, or blue, other men's tastes. And during training we 72 X 90, $13.95 and $16.95. heard no music at all. "The few times I have heard good Star 42 Baby Blankets: North x music on the radio my spirit has been lifted enormously. I can't explain that; 60, baby blue, pink or white, but music is so much a part of me that $6.95. I need it as much as I need water." Wamsutta's, 48 x 66, baby blue, Anyone wishing further particulars may inquire at the Subscription Office. pink or white, $9.50. THE COMPLETION OF 'blanket Covers NEWMAN'S "WAGNER" (From "Musical America," January 10, 1945) Cotton crinkle crepe, printed or The fourth, and presumably last, vol- plain, single, $12.50. Double, ume of Mr. Newman's monumental "Life of Richard Wagner" has been $14.50. completed (he hoped to write the last line before Christmas) and it will be Satin Applique on Rayon Satin, ready for publication early this year. This, I think you will agree, is news blue or tea rose, single, $14.50. indeed. Double $16.50. The Life, which undoubtedly is the most significant and capacious biograph- Lace trimmed rayon crepe, tea ical achievement of our day in the field of music, has occupied Mr. New- rose, blue or white, single $19.50. man for the last 13 years and interest Double $24.50. in it has mounted as the successive vol- umes have appeared at intervals of about four years. The third volume left the composer in the year 1866 on the threshold, so to speak, of his inter- national success and the epochal Bay- reuth period. The mass of potential biographical material, from 1866 to the The Trousseau House of Boston end, is of such staggering proportions that many have doubted the feasibility 41B BDYLSTDN STREET of managing it in anything less than two WELLESLEY " HYANNIS " PALM. fKACH more volumes. However, from his let- [ 1040 ] For the or pleasing and enjoyable reproduction of your treasured recordings use a FIDELITONE MASTER FLOATING POINT NEEDLE . kind to records . thousands of plays . floating point construction filters record scratch . satisfaction assured. Available at leading record and music shops everywhere. Atrroctjvefjf^^ packaged in useful recoJt^ brush ^^. I PERMO, leicorporoteei 6415 Rdvenswood Ave./ Chkogo 26 ^^ ^.^i^i^a^v4^^^i.-t«»i^^^^^^i.-^^ [ 1041 ] ter, Mr. Newman seems to have made do with only one and thus has brought OF LONDON to an end (with a sigh, if not a bellow, m of relief) a tremendous and invaluable undertaking. Progress on the book was retarded by the war, according to the writer, and also by "a disaster to my eyes that nearly did for them" early last year. A good recovery seems to be in progress, but the noted critic, who is now 76, has had to take it slow with his eyes and says he is "conscious that I mustn't take too great liberties with them." Here are a few revealing sentences on life in a front-line country: "veddy, veddy British'' are the "You people in America can have no clothes hod of London sends idea of the strain on us during the war. you via Fredleys . naturally, I live in a village nearly 20 miles from it and so for they 're the same distinguished London — to the south of — in the German bombing area in the town-and country suits, old days. I didn't mind the bombs; one and blouses he creates topcoats, became so used to them as to be in- for London's you7ig court circle different to them in the end. What tells on us here is the dreadful monotony . hod's own choice tweeds of the long winter, in long nights of and woolens are tailored darkness all .round us, and with no one the suave, in New York into to talk to. It is this that has pulled feminine, long-lasting treasures me down: there was nothing to do but work, and I did more of that than was you used to bring back so good for my eyes or my general health." proudly from England . the collection {something you should see) is exclusive with Fredleys . TOVEY'S "BRITANNICA" ARTICLES 3$o /^oykYon 9^<eef:.. Donald Francis Tovey's way of mak- ing a point by an apt witticism is il- lustrated by the following "scattered sayings," culled by an English reviewer from the newly published "Musical Articles from the Encyclopedia Bri- « tannica" {Oxford University Press):— "In art, as in mathematics, accuracy lies in estimating the relevant degree unroll- of approximation rather than in ing interminable decimals." "Cadenzas are, to this day, a form of ." *n ii\eY..Jfo/iht)C0^^ musical appendicitis. [ 1042 ] Today's Art Gallery 176 Newbury Street Boston Modern Paintings of Value [ 1043 ] "An aesthetically correct account of Palestrina's tonality is much more easily achieved by a description in terms of Beethoven's key- system than by any at- tempt to refer it to the orthodox modal theory." *'. the now ubiquitous ventil horns, the most perfect of all continuo-players." "We may be perfectly sure that if the By the Fireside Greeks had produced a music equivalent to the art of Palestrina, Bach, or Bee- Winter blankets New England thoven, no difficulty of deciphering again, and many homes would have effectively prevented us tonight are warmed, cheered, from recovering as much of it as we colored with the graceful have recovered of Greek literature." flickerings of a ". glowing log fire. Such a . the ecclesiastical modes of pure little thing, but a part polyphony are given with their fondly- of the heritage we have imagined Greek names." not relinquished. "Many movements by Mozart are as Somewhere else tonight alike as peas. But, being alive, they are New England men sit not as alike as buttons." in foxholes, a few miles "We ought not to despise the drawing- behind battle lines, their room." hearts and memories ". fired by little things, too.
Recommended publications
  • Maurice Ravel Chronology
    Maurice Ravel Chronology by Manuel Cornejo 2018 English Translation by Frank Daykin Last modified date: 10 June 2021 With the kind permission of Le Passeur Éditeur, this PDF, with some corrections and additions by Dr Manuel Cornejo, is a translation of: Maurice Ravel : L’intégrale : Correspondance (1895-1937), écrits et entretiens, édition établie, présentée et annotée par Manuel Cornejo, Paris, Le Passeur Éditeur, 2018, p. 27-62. https://www.le-passeur-editeur.com/les-livres/documents/l-int%C3%A9grale In order to assist the reader in the mass of correspondence, writings, and interviews by Maurice Ravel, we offer here some chronology which may be useful. This chronology attempts not only to complete, but correct, the existent knowledge, notably relying on the documents published herein1. 1 The most recent, reliable, and complete chronology is that of Roger Nichols (Roger Nichols, Ravel: A Life, New Haven, Yale University, 2011, p. 390-398). We have attempted to note only verifiable events with documentary sources. Consultation of many primary sources was necessary. Note also the account of the travels of Maurice Ravel made by John Spiers on the website http://www.Maurice Ravel.net/travels.htm, which closed down on 31 December 2017. We thank in advance any reader who may be able to furnish us with any missing information, for correction in the next edition. Maurice Ravel Chronology by Manuel Cornejo English translation by Frank Daykin 1832 19 September: birth of Pierre-Joseph Ravel in Versoix (Switzerland). 1840 24 March: birth of Marie Delouart in Ciboure. 1857 Pierre-Joseph Ravel obtains a French passport.
    [Show full text]
  • C C (Composition from Deux Poemes De Louis Aragon [Dö Paw-Emm Duh Lôô-Ee Ah-Rah-Gaw6] — Two Poems by Louis Aragon — Set T
    C C (composition from Deux poemes de Louis Aragon [dö paw-emm duh lôô-ee ah-rah-gaw6] — Two Poems by Louis Aragon — set to music by Francis Poulenc [frah6-seess pôô-lah6k]) C dur C C Dur C TSAY DOOR C (key of C major, German designation) C moll C c Moll C TSAY MAWL C (key of c minor, German designation) Ca the yowes C Ca’ the Yowes C KAH (the) YOHZ C (poem by Robert Burns [RAH-burt BURNZ] set to music by Ralph Vaughan Williams [RALF VAWN WILL-lihummz]) C (In Britain, Ralph may be pronounced RAYF) Caamano C Roberto Caamaño C ro-VEHR-toh kah-MAH-n’yo Caba C Eduardo Caba C ay-dooAR-doh KAH-vah Cabaletta C {kah-bah-LETT-tah} kah-bah-LAYT-tah Caballe C Montserrat Caballé C mawnt-sehr-RAHT kah-vah-l’YAY Caballero C Manuel Fernández Caballero C mah-nooELL fehr-NAHN-dehth kah-vah-l’YAY- ro Cabanilles C Juan Bautista José Cabanilles C hooAHN bahoo-TEESS-tah ho-SAY kah-vah- NEE-l’yayss Cabecon C Antonio de Cabeçon C ahn-TOH-neeo day kah-vay-SAWN C known also as Antonio de Cabezon [kah-vay-THAWN]) Cabello mas sutil C Del cabello más sutil C dell kah-VELL-l’yo MAHSS soo-TEEL C (Of That Softest Hair) C (song by Fernando J. Obradors [fehr-NAHN-doh (J.) o-VRAH-thawrss]) Cabezon C Antonio de Cabezón C ahn-TOH-neeo day kah-vay-THAWN C (known also as Antonio de Cabeçon [ahn-TOH-neeo day kah-vay-SAWN]) Cabrito C Un cabrito C oon kah-VREE-toh C (a medieval song of the Passover sung by the Jews who were expelled from Spain in 1492 and who settled in Morocco) Caccia C La caccia C lah KAH-chah C (The Hunt) C (allegro [ahl-LAY-gro] number in L’autunno [lahoo-TOON-no]
    [Show full text]
  • Early Music Revival
    Early music revival Hombourg, juli 2019 Prof. dr. Hans van Dijk De hernieuwde belangstelling voor de oude muziek in de negentiende en eerste helft van de twintigste eeuw in West-Europa Wat is 'oude muziek'? Om een antwoord op deze vraag te kunnen geven moet een groot aantal publicaties worden doorgenomen, waarbij dan blijkt dat de diverse auteurs allen een eigen interpretatie van dit fenomeen hebben. De een ziet alle muziek van vóór het jaar 476 (de ondergang van het West-Romeinse rijk) als 'oude' of 'antieke' muziek, de Middeleeuwen en de periode daarna als de 'nieuwere', die natuurlijk in verschillende perioden moet worden onderverdeeld; de ander ziet aan het einde van de Middeleeuwen (tweede helft 14e eeuw) een breukvlak met de 'nieuwere muziek', eveneens in verschillende perioden onder te verdelen. Een derde wil de nieuwere muziek met de Barok (± 1600) laten beginnen en ziet alles vóór het jaar 1600 als 'oud'. Uit deze verschillende opvattingen valt alleen maar te concluderen dat er geen eensluidende opvattingen mogelijk zijn. Natuurlijk speelt ook de tijd waarin de verschillende auteurs leven een rol. In de 18e eeuw was het beeld dat men had van 'oude muziek' iets geheel anders dan in de 19e of de eerste helft van de 20e eeuw. Wanneer we de geschiedenis van de herleving van de 'oude muziek' willen beschrijven geven wij er de voorkeur aan om deze te laten beginnen bij het begin van die herleving, d.w.z. in de jaren direct na het begin van de 19e eeuw en daarbij alle muziek van vóór 1800 als 'oude muziek' te zien.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 69
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SIXTY-NINTH SEASON, 1949-1950 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burr COPYRIGHT, 195O, BY BOSTON SYMPHONY ORCHESTRA, ItlC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [841] ^^^i"... -nS to erv/n,y going ourPrro PCrty ghat's AT L °W coST J! to happen ,iiiim,i "••Hit Property?! Your &.. ShawrnC'"u tBank his booklet shows how the Personal Trust Department of the Shawmut Bank can help you in the management of your property during your own lifetime, as well as providing for its future conser- vation. One important section explains the "When and Why" of the "Living Trust", and other Shawmut aids in property management and super- vision are also reviewed. Whether your resources are large or small, you should know the facts set forth in this booklet. Call at any of our 28 conve?iient offices, write or telephone LA 3-6800 for our booklet: ^Conserving Your Property at Low Cost" The Rational Shawmut Bank 40 Water Street, Boston Member Federal Deposit Insurance Corporation Capital and Surplus $30,000,000 "Outstanding Strength" for 114 Years **& [842] SYMPHONIANA The Berkshire Festival CJiandlanaier s Tremont and West Streets The St.
    [Show full text]
  • Les Variations Casadesus
    Les variations Casadesus Samedi 18 février à 22.30 Ils sont musicien, comédien, interprète, compositeur, peintre, écrivain… les membres de la prestigieuse dynastie Casadesus témoignent au quotidien de leur amour de l’art, héritage de leur aïeul Luis Casadesus. Pour ARTE, ils racontent cette passion, qu’ils perpétuent de génération en génération depuis plus d’un siècle. 2 MUSICA Les variations Casadesus Samedi 18 février à 22.30 Un film d’Elisabeth Kapnist Coproduction : ARTE France, Cinétévé, Kuiv Productions avec la participation de France 3, la Sacem, la Procirep et le CNC (2005-52mn) u commencement était Luis Casadesus, né en 1850 de père inconnu. Élevé par sa mère et sa grand-mère qui détestaient la musique, elle sera pourtant au cœur de sa vie. A A ses enfants il impose l’apprentissage de la musique, les garçons au violon, les filles au piano. Il devient le fondateur d’une dynastie d’artistes qui rayonne encore aujourd’hui. La réalisatrice Elisabeth Kapnist est partie à la rencontre des membres de la famille Casadesus, et tourne avec eux les pages d’un album de famille illustrant plus d’un siècle d’activités artistiques. Chacun raconte la chance de faire partie de cette illustre lignée, mais aussi les difficultés que cela implique. Saisir la part d’héritage familial et collectif qui préside à la formation de chaque individu, et la persistance du passé dont se nourrit secrètement chaque destinée humaine, là est justement l’enjeu autour duquel est construit le film. Les protagonistes de l’histoire familiale actuelle évoquent bien sûr ceux qui les ont précédés : de la tante Rose à la grand-mère Tatiana, en passant par des noms aussi prestigieux que ceux des pianistes Robert et Gaby Casadesus et de leur fils Jean.
    [Show full text]
  • Wolfgang Amadeus Mozart Violinkonzerte 1–5
    Wolfgang Amadeus Mozart Violinkonzerte 1–5 . Adagio KV 261 . Rondos KV 269 & 373 Lena Neudauer Violine Deutsche Radio Philharmonie Saarbrücken Kaiserslautern | Bruno Weil 02 Wolfgang Amadeus Mozart (1756 – 1791) 03 CD 1 CD 2 das als letztes Konzert überhaupt aus seiner Feder Casadesus’ im Jahre 1977, einen Platz im offiziel- alle anderen überragt. Was die Streicher betrifft, len Köchelverzeichnis-Anhang verschaffte. so findet neben den Violinkonzerten nur einmal Violinkonzert Nr. 1 B-Dur KV 207 | Violinkonzert Nr. 3 G-Dur KV 216 | die Bratsche (im solistischen Duo mit der Violine) Wie die meisten Gesamteinspielungen von Deutsch Violin Concerto No. 1 in B flat Major [20:31] Violin Concerto No. 3 in G Major [21:55] Berücksichtigung in der Sinfonia concertante Mozarts Violinkonzerten verzichtet auch die hier 1 Allegro moderato [07:28] 1 Allegro [08:34] KV 365, die zugleich den Gipfelpunkt seines vorgelegte auf die Einbeziehung der in der Zu- 2 Adagio [07:37] 2 Adagio [07:09] Streichkonzert-Œuvres bildet (außerdem wäre die schreibung fragwürdigen Werke, präsentiert frühe Concertone für zwei Violinen zu erwähnen). jedoch neben den fünf eindeutig von Mozart über- 3 Presto [05:26] 3 Rondeau. Allegro [06:12] Mozarts Violinkonzerte stehen, was den Gehalt lieferten Konzerten noch jene drei Einzelsätze, die betrifft, zwischen den Klavier- und den Bläser- gleichfalls authentisch überliefert sind. Bezüglich Violinkonzert Nr. 2 D-Dur KV 211 | Violinkonzert Nr. 4 D-Dur KV 218 | konzerten – die ersten beiden werden üblicher- der Entstehungszeit der fünf Konzerte hat es Violin Concerto No. 2 in D Major [19:40] Violin Concerto No. 4 in D Major [21:21] weise als wertvolle Vorstufen zu den in der Tat einige Verwirrung gegeben, da Mozart die Datie- 4 Allegro moderato [08:11] 4 Allegro [08:18] überragenden drei letzten Konzerten angesehen.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 47,1927-1928, Subscription Series
    PR5GR7WVE SMfe rr HERE IT IS!" MODEL 8-35 The NEW ORTHOPHONIC VICTROLA More wonderful— more beautiful — more than words can describe. See and hear it before you select the instrument for your home. Places the complete symphonies of famous masters at your instant command. Convenient Terms SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 B©§t@I o(C? jmpj^oiAy \jic INC. SERGE KOUSSEVITZKY, Conductor FORTY-SEVENTH SEASON. 1927-1928 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1928, 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 1909 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 . Convenient terms will be piano under such conditions. arranged, if desired. Steinway pianos are not—and There is a Steinway dealer in your com- never have been built to meet a — munity, or near you, through whom you price. They are made as well as may purchase a new Steinway piano with human skill can make them, and a small cash deposit, and the balance will the price is determined later.
    [Show full text]
  • Vorwort Öffnen (PDF)
    Vorwort In der Zwischenzeit wurde der Ter- für Klavier zu vier Händen aus Ma min jedoch verschoben, und die Dinge Mère l’oye und Shéhérazade. nahmen einen anderen Lauf. Ravel war Es stellt sich allerdings die Frage, ob entschlossen, die Möglichkeiten der Gei- das Werk damals wirklich abgeschlos- Die Anregung zu seiner Konzert-Rhap- ge bis aufs Äußerste auszuschöpfen, sen war. Denn am 30. April – Ravel sodie Tzigane erhielt Maurice Ravel und ließ die befreundete Geigerin Hé- logierte gerade im Hotel Paris in Ma- (1875 – 1937) durch die Begegnung mit lène Jourdan-Morhange mit den 24 Ca­ drid – überraschte ihn der Journalist der aus Ungarn stammenden engli- pricci von Paganini zu sich nach Mont- André Revesz mitten in der Korrektur schen Geigerin Jelly d’Arányi (1893 – fort-l’Amaury bei Paris kommen. „Er der Druckfahnen von Tzigane (vgl. 1966) in London. Ravel traf am 29. Ju- wollte sie alle hören, um sich in punc- Mariano Pérez Gutierrez, Les voyages ni 1922 in Begleitung des Pianisten Ro- to entfesseltes Geigenspiel nichts entge- de Ravel en Espagne, in: Revue Inter­ bert Casadesus in der britischen Haupt- hen zu lassen. Er amüsierte sich über nationale de musique française, Nr. 24, stadt ein. Während seines Aufenthalts die härtesten Schwierigkeiten und ließ November 1987, S. 38 f.). Offensicht- hatte er die Gelegenheit, an einer mu si- mich diesen und jenen Effekt mit klei- lich wollte Ravel im Hinblick auf die kalischen Soiree bei der Sängerin Louise nen diabolischen Verbesserungen aus- Aufführung seines Werks am 18. Mai Alvar teilzunehmen, in der Jelly d’Ará- probieren. Mit Tzigane gewann er auf in Barcelona durch Marius Casadesus nyi und Hans Kindler unter ande rem diese Weise unumstritten den Wett- und dessen Neffen Robert am Klavier seine Sonate für Violine und Violon cello kampf Ravel gegen Paganini“ (Hélène noch einige Änderungen vornehmen.
    [Show full text]
  • À Madame Divertissement Pour Adélaïde
    à madame divertissement pour adélaïde olivier baumont julien chauvin olivier baumont à madame julien chauvin divertissement pour adélaïde Nos remerciements à : Catherine Pégard, Présidente de l’établissement public du château, du musée et du domaine national de Versailles, Béatrix Saule, Directeur-conservateur général du 1. Sonneries de la pendule de Jean-Joseph de Saint-Germain 0’12 patrimoine au Musée national des châteaux de Versailles et de Trianon, Ariane de Lestrange, Directrice de l’information et de la communication, Olivier Josse, Directeur des relations placée dans le Grand Cabinet de Madame Victoire (Paris, fi n du règne de Louis XV) extérieures, Pierre-Xavier Hans, Conservateur en chef du patrimoine au Musée national des 2-4. Simon Simon (c. 1735-c. 1802) châteaux de Versailles et de Trianon, Raphaël Masson, Conservateur en chef du patrimoine, chef du département des Ressources documentaires au Musée national des châteaux de Versailles Premier Concert en la majeur, pour clavecin et violon et de Trianon. (Œuvre IIIème, Paris, 1770, dédié à Madame) - Allegro moderato 4’14 Enregistré du 20 au 22 juillet 2015 au château de Versailles, dans les appartements - Adagio 3’38 de Mesdames, fi lles de Louis XV, sur les instruments des collections. - Allegro 3’27 Direction artistique et ingénieur du son : Damien Quintard assisté d’Ignace Hauville Restauration et préparation du clavecin : Alain Anselm 5-8. Antoine Dauvergne (1713-1797) Accord et tempérament : Patrick Yègre Sonata XII en la mineur, pour violon et basse continue (Œuvre second, Paris, 1739) Production exécutive : Little Tribeca - Largo 2’26 - Allegro 2’53 Couverture : © RMN-Grand Palais (Château Versailles) / Daniel Arnaudet - Adagio 2’45 Crédits photos : p.5 à gauche © Château de Versailles, Dist.
    [Show full text]
  • Recital Programs 1927-1928
    w^mmmm' (I . List of Concerts and Lectures Inaugural Recital, Casimir Hall Josef Hofmann, Piano December 3, 1927 Faculty Recitals First Felix Salmond, Violoncello November 9, 1927 Second *The Curtis Quartet December 14, 1927 Third Lucile Lawrence, Harp January 4, 1928 Fo^^th Lea Luboshutz, Violin h^^^^^ n, 1928 Josef Hofmann, Piano / Fifth Emanuel Zetlin, Violin January 25, 1928 Sixth Moriz Rosenthal, Piano February 8, 1928 Seventh Carl Flesch, Violin February 15, 1928 Eighth Emilio de Gogorza, Baritone February 29, 1928 Ninth Lea Luboshutz, Violin March 7, 1928 Tenth Horatio Connell, Baritone March 21, 1928 Eleventh Carlos Salzedo, Harp April 12, 1928 Twelfth Louis Bailly, Viola April 18, 1928 . April 1928 Thirteenth, . Harriet van Emden, Soprano. 23, Jvlay 1928 Fourteenth. Abram Chasins, Piano 16, .May 1928 Fifteenth. Josef Hofmann, Piano 24, Complimentary Recital: La Societe des Instruments Anciens April 25, 1928 Special Lecturc'-Recitals: {November 13, 1927 November 20, 1927 December 4, 1927 Students' Concerts November 10, 1927 December 5 and 19, 1927 Students of Mr. Bailly in Ensemble /February 6, 1928 April 2 and 19, 1928 May 14 and 28, 1928 Students of Mr. Connell May 3, 1928 Students of Mr. de Gogorza April 26, 1928 Students of Mr. Farnam May 19, 1928 November 17, 1927 December 12, 1927 January 16, 1928 Students of Mr. Flesch (February 2 and 20, 1928 March 9, 1928 April 30, 1928 May 2, 1928 Students of Mr. Hofmann May 22, 1928 Students of Miss Lawrence May 21, 1928 Students of Madame Luboshutz March 19, 1928 Students of Mr. Rosenthal March 5, 1928 _ , , - .
    [Show full text]