DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 37,1917

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 37,1917 THE ACADEMY MANCHESTER Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, NOVEMBER 27 AT 8.00 COPYRIGHT, 1917, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER FROM the very beginning of a musical education, nothing is so important as a correct appreciation of tone. Hence the child should receive its early impressions from a Steinway Piano. The exquisite Steinway tone is recognized as ideal, and it has made this instrument world- famous. Superior craftsmanship builds the Steinway for lifetime usage, and all the strain of "prac- tice years" does not make its action uneven or lessen its sweet- ness and resonance of tone. Under these circumstances, no other instrument is "good enough to begin on." Consider, too, that a Steinway costs but little more than an ordinary "good" piano. B©si >ympl Orchestra Thirty-seventh Season, 1917-1918 Dr, KARL MUCK, Conductor PERSONNEL Violins Witek, A. Roth, O. Rissland, K. Theodorowicz, J. Concert-master. Hoffmann, J. Schmidt, E. Bak, A. Noack, S. Mann, F. Ribarsch, A. Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Baraniecki, A. Griinberg, M. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A. Gerardi,. A Pinfield, C. Gewirtz, J. Kurth, R. Gunderson, R. Rosen. S. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos. Steinke, B. Warnke, H. Keller, J. Barth, C. Belinski, M. Nast, L. Folgmann, E. Warnke Malkin, J. Nagel, R. J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Mosbach, J. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H. Vannini, A. Piller, B. Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Stumpf, K. Fuhrmann, M. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. Alloo, M. Lorbeer, H. Miersch, E. Mann, Jv Belgiorno, S. Mausebach, A. Hain, F. Hess, M. Nappi, G. Resch, A. Hiibner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Zahn, F. Gardner, C. Mattersteig, P. Holy, A. Neumann, S. Cella, T. Kandler, F. Burkhardt, H. Organ. Librarian. Rogers, L. J Marshall, J. P. MUE ARDNER Gifted Violinist writes: "In having your mag- nificent Grand Piano at my recitals throughout the country, I always feel sure that the tone of my wonderful Gua- dagnini violin will have the proper balance and beauty of tone so neces- sary for fine ensemble. @jhdp*dtomn*$imto has the Cremonese quality beyond all other instru- ments of the key-board family." SAMUEL GARDNER The Baldwin Pi< CINCINNATI CHICAGO ST. LOUIS 142 W. Fourth Street 323 S. Wabash Ave. 1111 Olive Street NEW YORK DENVER SAN FRANCISCO 665 Fifth Avenue 1636 [California Street 310 Sutter Street INDIANAPOLIS LOUISVILLE DALLAS 18 N. Penn'a Street 521 S. Fourth Avenue 1911 Elm Street THE ACADEMY . .... MANCHESTER Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor TUESDAY EVENING, NOVEMBER 27 AT 8.00 PROGRAMME Beethoven . Symphony in C minor, No. 5, Op. 67 I. Allegro con brio. II. Andante con moto. III. Allegro: Trio. IV. Allegro. Sibelius .... "Finlandia," Symphonic Poem for Orchestra, Op. 26, No. 7 Bizet . Suite, "L'Arlesienne," No. 1. Music to Alphonse Daudet's Play I. Prelude. II. Minuetto. III. Adagietto. IV. Carillon. Enesco .... Rhapsodie Roumaine, A major, Op. n, No. 1 The National Anthem will be played at the beginning of the programme There will be an intermission of ten minutes after the symphony The length of this programme is one hour and forty minutes 5 Symphony No. 5, in C minor, Op. 67 . Ludwig van Beethoven (Bom at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) Beethoven sketched motives of the allegro, andante, and scherzo of this symphony as early as 1800 and 1801. We know from sketches that while he was at work on "Fidelio" and the pianoforte concerto in G major,— 1804-1806,—he was also busied with this symphony, which he put aside to compose the fourth symphony, in B-flat. The symphony in C minor was finished in the neighborhood of Hei- ligenstadt in 1807. Dedicated to the Prince von Lobkowitz and the Count Rasumoffsky, it was published in April, 1809. It was first performed at the Theater an der Wien, Vienna, Decem- ber 22, 1808. All the pieces were by Beethoven; the symphony de- scribed on the programme as "A symphony entitled 'Recollections of Life in the Country,' in F major, No. 5" (sic); an Aria, "Ah, perfido," sung by Josephine Kilitzky; Hymn with Latin text written in church style with chorus and solos; Pianoforte Concerto in G major, played by Beethoven; Grand Symphony in C minor, No. 6 (sic); Sanctus, with Latin text written in church style (from the Mass in C major), with chorus and solos; Fantasia for pianoforte solo; Fantasia for piano- forte "into which the full orchestra enters little by little, and at the end the chorus joins in the Finale." Beethoven played the pianoforte part. The concert began at half-past six. We know nothing about the pecuniary result. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings; and in the last movement piccolo, double-bassoon, and three trombones are added. MASTERS OF RUSSIAN SONG Two new collections of songs by the foremost composers of the modern Russian school Collected and edited by KURT SCHINDLER Complete in one volume (cloth) Each volume (paper) $3.50 net $1.25 net 3 East 43d St. G. SCHIRMER New York — — "Finlandia," Symphonic Poem for Orchestra, Op. 26, No. 7. Jean Sibelius (Born at Tavastehus, Finland, December 8, 1865; now living at Helsingfors.) "Finlandia: Tondight for orkester," Op. 26, No. 7, was composed in 1894, some years before the loss of Finland's identity as a nation, yet it is said to be so national in sentiment, "and it evokes such popular enthusiasm in the composer's native land, that during the comparatively recent political conflict between Russia and Finland its performance is said to have been prohibited."* It is not a fantasia on genuine folk- tunes. The composer is the authority for this statement. Mrs. New- march says: "Like Glinka, Sibelius avoids the crude material of the folksong; but like this great national poet, he is so penetrated by the spirit of his race that he can evolve a national melody calculated to deceive the elect. On this point the composer is emphatic. 'There is a mistaken impression among the press abroad,' he has assured me, 'that my themes are often folk melodies. So far I have never used a theme that was not of my own invention. Thus the thematic mate- rial of "Finlandia" and "En Saga" is entirely my own.'" "Finlandia" was performed for the first time in America at a Metro- politan Opera House concert in New York, December 24, 1905. Ar- turo Vigna conducted. It was performed at concerts of the Russian Symphony Society, Modest Altschuler conductor, in Carnegie Hall, New York, December 30 and 31, 1905. The first performances of this symphonic poem in Boston were by the Boston Symphony Orchestra, Mr. Fiedler conductor, November 20, 21, 1908. It was played again at these concerts, October 21, 22, 1910, Mr. Fiedler conductor; October 24, 1914, October 19, 1917, Dr. Muck conductor. The following note is from a programme of the Russian Symphony Society : "'Finland,' though without explanatory sub-title, seems to set forth an impression of the national spirit and life. The work records the impressions of an exile's return home after a long absence. An agitated, almost angry theme for the brass choir, short and trenchant, begins the introduction, Andante sostenuto (alia breve). This theme is answered by an organ-like response in the wood-wind, and then a prayerful passage for strings, as though to reveal the essential earnest- ness and reasonableness of the Finnish people, even under the stress • This was written long before the Revolution in Russia and the subsequent events. Ed. 390 Commonwealth Avenue, near Massachusetts Avenue Surface Lines and Subway Station A high-class hotel with moderate rates Some globe trotters have been good enough to say that the Puritan is one of the most homelike and attractive hotels in the world. The illustrated booklet of the Hotel will be mailed on request. S. M. Costello. Manager of national sorrow. This leads to an allegro moderato episode, in which the restless opening theme is proclaimed by the strings against a very characteristic rhythmic figure, a succession of eight beats, the first strongly accented. With a change to Allegro the movement, looked at as an example of the sonata form, may be said to begin. A broad, cheerful theme by the strings, in A-flat, against the persist- ent rhythm in the brass, is followed by a second subject, introduced by the wood-wind and taken up by the strings, then by the 'cello and first violin. This is peaceful and elevated in character, and might be looked upon as prophetic of ultimate rest and happiness. The development of these musical ideas carries the tone poem to an eloquent conclusion." "Finland" is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, bass drum, cymbals, triangle, and strings. Suite No. i, prom "L/Arlijsienne" ,. Georges* Bizet (Born at Paris, October 25, 1838; died at Bougival the night of June 2-3, 1875.) When Leon Carvalho was manager of the Vaudeville Theatre, Paris, he wished to revive the melodrama, the dramatic piece with incidental and at times accentuating music.
Load more

Recommended publications
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 83
    BOSTON m SYMPHONY ORCHESTRA \4 FOUNDED IN 1881 BY i'4 HENRY LEE HIGGINSON TUESDAY EVENING SERIES Hlw WW „ V ^ "*4> V*;^ \ ?;: :' -. C\Mf 1\1 ///(* ' l fJ/S///" "SM EIGHTY-THIRD SEASOiN 1963-1964 TAKE NOTE The precursor of the oboe goes back to antiquity — it was found in Sumeria (2800 bc) and was the Jewish halil, the Greek aulos, and the Roman tibia • After the renaissance, instruments of this type were found in complete families ranging from the soprano to the bass. The higher or smaller instruments were named by the French "haulx-bois" or "hault- bois" which was transcribed by the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra, it usually gives the pitch to the other instruments • Is it time for you to take note of your insurance needs? • We welcome the opportunity to analyze your present program and offer our professional service to provide you with intelligent, complete protection. We respectfully invite your inquiry i . , ... CHARLES H. WATKINS CO. & /oHMON, RUSSELL 8c CO. Richard P. Nyquist — Charles G. Carleton / 147 milk street boston 9, Massachusetts/ Insurance of Every Description 542-1250 EIGHTY -THIRD SEASON, 19 (i 3-1964 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T.
    [Show full text]
  • 2922.Pdf (550.5Kb)
    The School of Music presents th~ 64th program of the 1991-92 season. The '". ."" .!. University Symphony 'Orchestra t. I PererErOs Conductor Beethoven "Triple Concerto" . " Steven Staryk. violin Toby Saks. cello Bela Sild. piano Verdi - Ul Forza Del Destino: Overture Bizet - L'Arlesienne: Selection from Suites 1 &2 , t•• t '. Thursday. February 20, 1992 8:00 PM, Meany Theater • University Sypphony Qrchestra Pio,-f: g ffun -( ­ Peter Eiqs, Co~ci\lctor ~1},r2Z- C4-55.":tt: 1/, 923 ;:1.'. Violin 1 Gretchen Yanovel' 51lXophone :t";: KimCIJ11er r, Andrew Yeung Charles Davis W t 1,. Stacy Philpott ~Marie Hoffman 1C>z. La Forzadel Desijoo: OvertJe ...I~.::f~........GIUSEPPE VERDI KathrytiE~ Horn (1813 -~~J1) S~LeeKim Leslie Hilt , " -. in Kyung Sun Olee Lorraine Fadel' Xiao-poFU Bass lennifer Smith 1effYang Davidflhnst Ii ;1; ::r:ony Miller It> 3 Concerto for,Violin, Cello, 04 p~[ ; .. LUDWIG VAN BEErH~YEN KjeiI Sieipness lennifel'1. Barrett OlavHekala t ~"lm";, It (1770 - 1827) . ,'} ',,' 'I" "~;; '. Dahlel Peay PatPulllam Trumpet . i? t'·i: " Thane Lewis Allegro' f,lKii,'! O:nl Ovennan IanRashkin Sam Mann Largo''':' ; 'l),)tip " ::. ­ Megap Cleary Matt Annstrong Rondo ~Io.Polo.ccanJa; i ;~:' l' ' L' Violin II Dennis Staskowski Dan McDermottt ' ._ :" l!l: DanIle Jones i<' SimooShW ,;i, '. Colby Hubler Stevon Star}'J. violin SoottCoIe Flute ....1." i ',n ::~ ','Wi' Trombone ~S~ceUo 1 ~!l' DavidM<ne Megaq i;.YWltH: layBulen BeJWSikjj:~iano ~~j' ~ ~:": RobinFultm Sabra Webel' ' # ~ }.~ loyGuderian Moe Escobedo i.l .1 Andrea Mogil ; 1·+ Aaron Hart Chad Kirby lamesMe1lo Oboe Tuba .Iii I~!-; .; " Viola Molly Sandvick: Shawn McKinney CA-~S c;;. (D€' 4­ lulla Claassen ,V~vialJWai 'Li I ntermlj:don \'1.': ;;:-il \~!.,.
    [Show full text]
  • Mitsuko Uchida Conductor and Piano Stravinsky Concerto in D Major for String Orchestra Mozart Piano Concerto No. 18 in B-Flat Ma
    Program ONE huNDRED TwENTy-FiRST SEASON Chicago Symphony orchestra riccardo muti Music Director Pierre Boulez helen Regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, March 29, 2012, at 8:00 Friday, March 30, 2012, at 8:00 Saturday, March 31, 2012, at 8:00 Sunday, April 1, 2012, at 3:00 mitsuko Uchida Conductor and Piano Stravinsky Concerto in D Major for String Orchestra Vivace— Arioso: Andantino— Rondo: Allegro mozart Piano Concerto No. 18 in B-flat Major, K. 456 Allegro vivace Andante un poco sostenuto Allegro vivace MiTSuKO uChiDA IntermISSIon mozart Adagio and Fugue in C Minor, K. 546 mozart Piano Concerto No. 9 in E-flat Major, K. 271 (Jeunehomme) Allegro Andantino Rondo: Presto MiTSuKO uChiDA Saturday’s concert is sponsored by Walgreens. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommentS By PhilliP huSChER Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Concerto in D major for String orchestra hortly after Stravinsky con- (and her husband, Franz Werfel), Sducted the world premiere of Rubinstein, and Aldous Huxley, his Symphony in C in Chicago who hooked him up with W. H. in November 1940, he and his Auden to work on The Rake’s new wife Vera bought a house at Progress. Mann later said that 1260 North Wetherly in West “Hollywood during the war was Hollywood. In the spring of 1941, a more intellectually stimulat- they moved in.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 88, 1968-1969, Subscription
    EIGHTY-EIGHTH SEASON 1968-1969 Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has f compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 PAIGE OBRION RUSSELL Insurance Since 1876 i BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor EIGHTY-EIGHTH SEASON 1968-1969 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President HAROLD D. HODGKINSON PHILIP K. ALLEN Vice-President E. MORTON JENNINGS JR ROBERT H. GARDINER Vice-President EDWARD M. KENNEDY JOHN L THORNDIKE Treasurer HENRY A. LAUGHLIN ABRAM BERKOWITZ EDWARD G.
    [Show full text]
  • Mar 16 2018 Mar 18 2018
    Mar 16 2018 The Great Hall at Cooper Union Mar 18 2018 Hudson Hall Fri, March 16, 2018 at 7:30 PM Sunday, March 18, 2018 at 3 PM Hello! The Great Hall at Cooper Union Hudson Hall Performances #83 & #84: Season 3, Concerts 20 & 21 We’re so glad you’ve joined us today. In TŌN, our goal is to make orchestral music relevant James Bagwell, conductor to today’s audiences. Here’s how we’re doing things a little differently: Arvo Pärt Fratres for String Orchestra and Percussion (b. 1935) (1977, rev. 1991) Let’s Chat Some of us will be introducing the Virgil Thomson The Plow that Broke the Plains, Suite for music, and even more in the hall at (1896–1989) Orchestra (1936) intermission. Come say hi, grab a Prelude selfie, ask some questions, and let us Pastorale (Grass) know your thoughts. Cattle Blues (Speculation) Drought We Live for the Applause Devastation We love your energy! There’s no need to wait till the end—if the music moves you, feel free to applaud any time the Intermission conductor’s baton goes down. Be a Social Butterfly Georges Bizet Symphony in C (1855) If you have a great time, let your (1838–75) Allegro vivo Adagio friends know: share a photo or video Allegro vivace (without disturbing anyone else), and Allegro vivace use #theorchnow and tag us @theorchnow. To find out more about usand what we think about the music, look through this program and visit theorchestranow.org. To stay up to date with TŌN emails, see the insert in this program.
    [Show full text]
  • Georges Bizet (1838-1875) Material, Before a Tempestuous Outburst, Marked Allegro Aptly Reflected in Its Music
    BIZET Roma Marche funèbre Overture in A Patrie Petite suite RTÉ National Symphony Orchestra • Jean-Luc Tingaud Georges Bizet (1838-1875) material, before a tempestuous outburst, marked Allegro aptly reflected in its music. Duo: Petit mari, petite femme Marche funèbre in B minor • Overture in A • Patrie • Petite suite • Roma vivace. The third of the four sections into which the work (Duo: Little Husband, Little Wife) has the children playing is divided is a lyrical E major Andante espressivo. The house, and the suite ends with the lively Galop: Le bal Georges Bizet was born in Paris in 1838, the son of a Eugène-Emile Diaz de la Peña, who was thought to have piece ends with a vigorous A major Allegro vivace, with (Galop: The Ball). singing teacher. He entered the Conservatoire at the age had the assistance of Victor Massé, an experienced suggestions of the hunt. It was in 1860, while Bizet was still in Italy after his of ten and even in childhood had some lessons from composer, teacher of Diaz and a member of the jury. Written in 1873 and first performed the following year, triumph in the Prix de Rome, that he turned his attention Charles Gounod. He later became a pupil of Fromental Among the other competitors, some forty or more of them, the dramatic overture Patrie came in the patriotic to the writing of a new symphony. The task was to engage Halévy, a prolific composer of opera, whose daughter, were Massenet and Ernest Guiraud, placed second and aftermath of the Franco-Prussian War, a mood that the him intermittently over the next eleven years, with a final subject like her mother to intermittent bouts of mental third.
    [Show full text]
  • An Intricate Simplicity: Contraries As an Evocation of the Sublime in Mozart's Jupiter Symphony, K
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2011 AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551 Emily Michelle Wuchner [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Wuchner, Emily Michelle, "AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/925 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Emily Michelle Wuchner entitled "AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay, James Fellenbaum Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Emily Michelle Wuchner entitled “An Intricate Simplicity: Contraries as an Evocation of the Sublime in Mozart‟s Jupiter Symphony, K.
    [Show full text]
  • 1002743178-Cummings.Pdf
    ANALYSIS OF THE RE-ORCHESTRATIONS OF ROBERT SCHUMANN'S FOUR SYMPHONIES EMPLOYED BY FELIX WEINGARTNER, WITH FOUR RECITALS OF SELECTED WORKS BY SCHUMANN, BEETHOVEN, TCHAIKOVSKY, POULENC, BIZET, ROSSINI AND CHABRIER Ronn Cummings, B. Mus., M. Mus. APPA VED: jor Professor Minor Professor C om mT Ve i4e r Dean of e College ofM sic Dean of he Robert . Toulouse School of Graduate Studies 377 ANALYSIS OF THE RE-ORCHESTRATIONS OF ROBERT SCHUMANN'S FOUR SYMPHONIES EMPLOYED BY FELIX WEINGARTNER, WITH FOUR RECITALS OF SELECTED WORKS BY SCHUMANN, BEETHOVEN, TCHAIKOVSKY, POULENC, BIZET, ROSSINI AND CHABRIER DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Ronn Cummings, B. Mus., M. Mus. Denton, Texas August, 1997 Cummings, Ronn, Analysis of the Re-Orchestrations of Robert Schumann's Four Symphonies Employed by Felix Weingartner with Four Recitals of Selected Works by Schumann, Beethoven, Tchaikovsky. Poulenc, Bizet, Rossini and Chabrier. Doctor of Musical Arts (Performance), August, 1997, 221 pp., 2 tables, 143 musical examples, bibliography. An anaylsis of re-orchestrations of Robert Schumann's four sympho- nies employed by conductor Felix Weingartner (1863-1942). The text in- cludes a brief history of Schumann's orchestral writing career and an over- view of Weingartner's life as a conductor. The bulk of the dissertation discusses actual changes suggested by Weingartner (with score examples). Patterns of modifications are identified and discussed as they relate to his- torically entrenched problems perceived with Schumann's originally em- ployed practices of orchestration.
    [Show full text]
  • Concert: Ithaca College Symphony Orchestra Ithaca College Symphony Orchestra
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 10-14-2003 Concert: Ithaca College Symphony Orchestra Ithaca College Symphony Orchestra Jeffrey D. Grogan Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Symphony Orchestra and Grogan, Jeffrey D., "Concert: Ithaca College Symphony Orchestra" (2003). All Concert & Recital Programs. 2964. https://digitalcommons.ithaca.edu/music_programs/2964 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE SYMPHONY ORCHESTRA Jeffrey D. Grogan, conductor Manhattan Roll (1998) Robert Beaser (b. 1954) Symphony No. 5, Op. 67, C minor Ludwig van Beethoven (1770-1827) Allegro con brio Andante con moto Allegro Allegro INTERMISSION Pini di Roma (Pines of Rome) Ottorino Respighi (1879-1936) Pines of the Villa Borghese Pines near a Catacomb Pines of the Janiculum Pines of the Appian Way Ford Hall Tuesday, October 14, 2003 8:15 p.m. Manhattan Roll Robert Beaser has emerged as one of the most accomplished creative musicians of his generation. Since 1982, when the New York Times wrote that he possessed a "lyrical gift comparable to that of the late Samuel Barber," his music has won international acclaim for its balance between dramatic sweep and architectural clarity. He is often cited as an important figure among the "New Tonalists"-composer who are adopting new tonal grammar to their own uses.
    [Show full text]
  • Brahms Symphony No. 1 – Movement IV WJEC: a Level Set Work Teachers’ Notes Background Information
    Brahms Symphony No. 1 – Movement IV WJEC: A Level Set Work Teachers’ Notes Background information The following materials are essential for use with this resource: • Eulenberg score of Symphony No.1 Op.68 by Brahms [ISBN 3-7957-6682-6] • Recording of the Brahms’ Symphony Preparatory information work with class regarding: • the musical and stylistic conventions of the Romantic era • the development of the Symphony, 1830 - 1910 • Brahms’ musical style • an analysis of the movement required for study i.e. Movement IV: Adagio – Allegro non troppo ma con brio These notes are intended to assist music teachers in their preparation and delivery of the set work. They are offered as outline guidance, and contain suggestions as to the necessary musical content and background for study, but are not meant to be an exhaustive resource. The information includes the analysis, and some additional questions have also been included to support further research and extended understanding. Brahms Symphony No. 1 – Movement IV WJEC: A Level Set Work Teachers’ Notes The main stylistic characteristics of Romantic music The meaning of Romantic as applied to the music of the 19thC is not straightforward to define. It was a complex style including individual styles with musical elements in common. Difficult to define because earlier composers demonstrated tendencies of the time associated with the description. Early sources of the musical style were to be seen in Beethoven’s 5th and 9th symphonies, Mozart’s Don Giovanni and Magic Flute and Haydn’s Creation and Seasons. Composers such as Beethoven, Weber and even Schubert bridged the transition from the Classical era to the Romantic.
    [Show full text]