Boston Symphony Orchestra Concert Programs, Season 126, 2006-2007, Subscription, Volume 02
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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Schumann Spanisches Liederspiel Brahms Liebeslieder-Walzer Mathis · Fassbaender Schreier · Berry Werba · Schilhawsky
ORFEO D’OR Schumann Spanisches Liederspiel Brahms Liebeslieder-Walzer Mathis · Fassbaender Schreier · Berry Werba · Schilhawsky Live Recording 25. August 1974 Bewahrung des Unwiederholbaren Preserving the Unrepeatable 1920 wurden die Salzburger Festspiele ge- The Salzburg Festival was founded in 1920. gründet. Seither treffen einander alljähr- Ever since then artists and music lovers from lich an einem der Schnittpunkte europäi- around the world have been meeting an- scher Kultur Künstler und Publikum aus aller nual ly at this crossroads of European cul- Welt. Viel geliebt und oft gescholten waren ture. Much loved and often chided, the die Salzburger Festspiele in den letzten hun- Salzburg Festival was exposed to many and dert Jahren den unterschiedlichsten Verän- varied changes during the last 100 years. Yet derungen ausgesetzt – und doch: Was die the original idea as envisioned by its foun- Väter des Festspielgedankens als Vision ent- ders – a place where art could flourish under wickelt hatten – einen Ort, an dem Kunst extraordinarily favourable conditions, whe- unter außer ordentlichen Bedingungen ‚Ereig- re it could become a truly great event – has nis’ wird –, das hat sich auf wunderbare Wei- been confirmed time and again in wonder- se immer wieder neu bestätigt. ful ways. In beinahe jedem Festspielsommer hat es in Almost every summer there have been Salzburg Aufführungen gegeben, die von performances in Salzburg that the partici- den Mitwirkenden, aber auch vom Publikum pants as well as the public have felt to be als ‚unwiederholbar’ empfunden wurden. unrepeatable. Apart from people’s memo- Solche Eindrücke zu bewahren, vermag – ries, these impressions can be preserved außer der lebendigen Erinnerung – einzig only by means of acoustic documentation. -
Debussy's Pelléas Et Mélisande
Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet. -
Erik Van Heyningen, Bass Baritone
Erik Van Heyningen, Bass Baritone Bass-baritone Erik van Heyningen is currently a resident of New York City, where he is part of the Artist Diploma in Opera Studies program at the Juilliard School. The 2018-2019 season carries many debuts for Erik, including his Carnegie Hall debut as the bass soloist in Mastervoice’s performance of Israel in Egypt, Leporello in Don Giovanni at the Juilliard School, 1st Nazarene in Salome at the Spoleto Festival, and Fernando in La gazza ladra at Teatro Nuovo. Erik Van Heyningen was a member of the 2017-2018 Michigan Opera Theatre Studio Artist program. There, he performed Angelotti and the Jailer in Tosca, Count Ceprano in Rigoletto, and Ernest Hemingway et. al in Ricky Ian Gordon’s 27. In early 2018, he made his Austin Opera debut as Truffaldino in Ariadne auf Naxos. In the summer of 2018, Erik returned to Santa Fe Opera as an Apprentice Artist to perform The Imperial Commissioner in Madame Butterfly, and Ragotzki/Archbishop in Candide. In the Summer of 2017, he joined the Santa Fe Opera for his first season as an Apprentice Artist and received the Donald Gramm Memorial award. In the Spring of 2016, Mr. Van Heyningen was a Richard Gaddes Festival Artist with Opera Theater of St. Louis, where he appeared as Truffaldino. Erik spent the previous two summers as a Gerdine Young Artist at the Opera Theatre of St. Louis, performing as both the Jailer in Dialogues of the Carmelites and Simon Fenton in Emmeline, and received the Richman Memorial Award. In addition to his operatic work, Mr. -
New World Records
New World Records NEW WORLD RECORDS 701 Seventh Avenue, New York, New York 10036; (212) 302-0460; (212) 944-1922 fax email: [email protected] www.newworldrecords.org Songs of Samuel Barber and Ned Rorem New World NW 229 Songs of Samuel Barber romanticism brought him early success as a com- poser. Because of his First Symphony (1936, amuel Barber was born on March 9, 1910, in revised 1942), Bruno Walter thought of him as SWest Chester, Pennsylvania. He remembers “the pioneer of the American symphony.”(“That’s that his parents never particularly encouraged not true,” said Barber almost forty years later. him to become a musician, but as his mother’s “That should be Roy Harris.”) In the late thirties sister, the renowned Metropolitan Opera singer Barber was the first American to be performed Louise Homer, was a frequent visitor to the by Arturo Toscanini (Adagio for Strings and First Barber home, the atmosphere there was not at all Essay for Orchestra), and, not long after, his inimical to musical aspirations. Barber began to music was championed by artists of the stature study piano at six and composed his first music a of Bruno Walter (First Symphony and Second year later (a short piano piece in C minor called Essay for Orchestra), Eugene Ormandy (Violin “Sadness”). When he was ten he composed one Concerto), Artur Rodzinski (First Symphony), act of an opera, The Rose Tree, to a libretto by Serge Koussevitsky (Second Symphony), Martha the family’s Irish cook. At fourteen Barber Graham (Medea), and Vladimir Horowitz entered the newly opened Curtis Institute of (Excursions and Piano Sonata). -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
Boston Symphony Orchestra Concert Programs, Summer
SUMMER 2009 BOSTON SYM ON Y ORCH E RA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY r ^ m I &£ V + i HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstenpalleries.com i photo: Icrcsa Nouri I O l \ e Broun and Coral Pink Persian Set They're Not Only Preparing ^ / for a Changing World They're Preparing to Change the World y M 1 what girls have in mind 'J'NZib-iS 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] V Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " 'Hot is the WOrdfor this show. —The New York T Museum of Fine Arts, Boston March 15- August 16, 2009 Tickets: 800-440-6975 or www.mfa.org BOSTON The exhibition is organized by the Museum The exhibition is PIONEER of Fine Arts, Boston and the Mus6e du fcUniCredit Group sponsored by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937. 1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 *f=^y Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. -
MASSENET and HIS OPERAS Producing at the Average Rate of One Every Two Years
M A S S E N E T AN D HIS O PE RAS l /O BY HENRY FIN T. CK AU THO R O F ” ” Gr ie and His Al y sia W a ner and H W g , g is or ks , ” S uccess in Music and it W How is on , E ta , E tc. NEW YO RK : JO HN LANE CO MPANY MCMX LO NDO N : O HN L NE THE BO DLEY HE D J A , A K N .Y . O MP NY N E W Y O R , , P U B L I S HE R S P R I NTI N G C A , AR LEE IB R H O LD 8 . L RA Y BRIGHAM YO UNG UNlVERS lTW AH PRO VO . UT TO MY W I FE CO NTENTS I MASSENET IN AMER . ICA. H . B O GRAP KET H II I IC S C . P arents and Chi dhoo . At the Conservatoire l d . Ha D a n R m M rri ppy ys 1 o e . a age and Return to r H P a is . C oncert a Successes . In ar Time ll W . A n D - Se sational Sacred rama. M ore Semi religious m W or s . P ro e or and Me r of n i u k f ss be I st t te . P E R NAL R D III SO T AITS AN O P INIO NS . A P en P ic ure er en ne t by Servi es . S sitive ss to Griti m h cis . -
Revue Musicale
REVUE MUSICALE OPÉRA : La Damnation de Faust, en ballet. Hector Berlioz avait tout juste trente ans quand lui vint l'idée d'écrire plusieurs morceaux d'après la légende dramatique de Faust de Goethe. Au cours de ses nombreux voyages à l'étranger, il les réunit sous le titre de La Damnation de Faust, qui est devenu le chef-d'œuvre de la musique romantique. L'ouvrage fut donné pour la première fois, en opéra de concert, comme un oratorio, dans la salle de l'Opéra-Comique, sous la direction de l'auteur qui avait choisi d'excellents interprètes : Mme Duflot-Maillard (Marguerite) et deux chanteurs réputés à cette époque, le ténor Roger (Faust) et le baryton Hermann-Léon (Méphisto). Puis il présenta son œuvre en Russie, à Saint-Pétersbourg et Riga, en Allemagne à Berlin et enfin à Londres, toujours avec un succès considérable d'auteur, de compositeur et de chef d'orchestre... Les musiciens de ma génération se souviennent des magnifiques exécutions que donna Edouard Colonne de la partition de Berlioz, à ses concerts dominicaux du Châtelet, pendant un quart de siècle ; il avait formé un groupe de chanteurs réputés : Mlle Marcella Prégy en Marguerite, le ténor Emile Cazeneuve dans le rôle de Faust et le baryton Lauwers, vaillant interprète de Méphisto. Chose curieuse, c'est un Kapellmeister d'outre-Rhin, Félix Weingartner, qui en donna pour un gala la première audition, tou• jours de concert, dans la salle de l'Opéra : il avait choisi des interprètes jeunes et ardents : Lucienne Bréval, la plus belle des Marguerite, le ténor Plamoudon, les basses Delmas et Nivette.