Boston Symphony Orchestra Concert Programs, Season 101, 1981

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 101, 1981 BOSTON SOYMPHONY OORCHESTRA Hundredth-L iUNDREDTH BirthdayOIRTHDAY OEASONSi s -°g™A LORCHESTRAj SHJIOZAWA 1881 -OCTOBER 22 -1981 w?w» V.S.O.P. % '' v£ CHAM*!** HEMY M a*^ m^ 1 COGNAC HOB FRANCE NE CHAMPAGNE CO^' THE FIRST NAME IN COGNAC SINCE 1724 EXCLUSIVELY FINE CHAMPAGNE COGNAC: FROM IMF tWO 'PREMIERS CRUS' OF THE COCNAC REGION Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Hundredth Birthday Season, 1981-82 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr. J. P. Barger Mrs. John L. Grandin Irving W Rabb Mrs. John M. Bradley Edward M. Kennedy Mrs. George Lee Sargent Mrs. Norman L. Cahners David G. Mugar William A. Selke George H. A. Clowes, Jr. Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward G. Murray Paul C. Reardon Richard P Chapman John T. Noonan John L. Thorndike Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager Joseph M. Hobbs Walter D. Hill Richard Ortner Director of Director of Administrator, Development Business Affairs Berkshire Music Center Joyce M. Snyder Theodore A. Vlahos Marc Solomon Development Controller Production Coordinator Coordinator Katherine Whitty Arlene Germain Anita R. Kurland Coordinator of Financial Analyst Administrator of Boston Council Youth Activities Caroline Smedvig Elizabeth Dunton James E. Whitaker Director of Director of Sales Hall Manager, Promotion Symphony Hall Judith Gordon Charles Rawson James F. Kiley Assistant Director Manager of Box Office Operations Manager, of Promotion Tanglewood Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Editorial Printing Production Publications Coordinator Coordinator Programs copyright ®1981 Boston Symphony Orchestra, Inc. Cover photo by Peter Schaaf 1 Board of Overseers of the Boston Symphony Orchestra, Inc. Mrs. Norman L. Cahners Chairman William J. Poorvu Mrs. William H. Ryan Vice-chairman Secretary Charles F. Adams Jordan L. Golding Paul M. Montrone John Q. Adams Haskell R. Gordon Mrs. Hanae Mori Mrs. Frank G. Allen Graham Gund Mrs. Stephen VC. Morris David B. Arnold, Jr. Christian G. Halby E. James Morton Hazen H. Ayer Mrs. R. Douglas Hall III Stephen Paine, Sr. Bruce A. Beal Francis W Hatch, Jr. John A. Perkins Mrs. Richard Bennink Mrs. Richard D. Hill David R. Pokross David W. Bernstein Ms. Susan M. Hilles Mrs. Curtis Prout Mrs. Edward J. Bertozzi, Jr. Mrs. Amory Houghton, Jr. Mrs. Eleanor Radin Peter A. Brooke Richard S. Jackson, Jr. Peter C. Read William M. Bulger Mrs. Bela T. Kalman Mrs. Peter van S. Rice Curtis Buttenheim Mrs. Louis I. Kane David Rockefeller, Jr. Julian Cohen Mrs. S. Charles Kasdon Mrs. George R. Rowland Mrs. Nat King Cole Mrs. F. Corning Kenly, Jr. Francis P Sears Johns H. Congdon Mrs. Gordon F. Kingsley Gene Shalit William M. Crozier, Jr. Mrs. Carl Koch Donald B. Sinclair Mrs. Lewis S. Dabney Robert K. Kraft Richard A. Smith Mrs. Michael H. Davis Harvey C. Krentzman Ralph Z. Sorenson William S. Edgerly Mrs. E. Anthony Kutten Peter J. Sprague Mrs. Alexander Ellis, Jr. Benjamin H. Lacy Ray Stata Frank L. Farwell Mrs. Henry A. Laughlin Mrs. Edward S. Stimpson Kenneth G. Fisher Mrs. James F. Lawrence Mrs. Arthur I. Strang Mrs. John H. Fitzpatrick Mrs. Charles P. Lyman Mrs. Richard H. Thompson Peter H.B. Frelinghuysen C. Charles Marran Mark Tishler, Jr. Paul Fromm Mrs. August R. Meyer Ms. Luise Vosgerchian Mrs. Thomas J. Galligan, Jr. Edward H. Michaelsen Robert A. Wells Mrs. Thomas Gardiner J. William Middendorf II Mrs. Donald Wilson Avram J. Goldberg John J. Wilson THE SYMBOL OF GOOD BANKING. Union Warren Savings Bank Main Office: 133 Federal Street, Boston, MA 02110 "Harrison, did you know that the dollar is now worth 31* and ? that taxes take 41 . If it werentfor you New England Merchants trust people, every time I made a dollar Yd lose a dime!' For good advice on personal trust and investment matters, call our Trust Division at (617) 742-4000. Or write New England Merchants National Bank, 28 State Street, Boston, Massachusetts 02109. Bank of New England. I Drexel Burnham Lambert salutes the BSO on its centennial. And the city of Boston itself. For we believe that Boston is a sound investment. And we back our opinion by invest- ing our own capital in Boston's future. Newcomers to Boston by BSO standards, we are nonetheless proud that our Boston office is celebrating its ninth year of operation. We welcome the opportunity to dis- cuss your investment strategy And our worldwide range ofinvestment products. \fou see, Drexel Burnham Lambert is a big international investment banking and securities firm. But not too big. For we knowyour future determines our future. And we're delighted our future includes Boston. Drexel Burnham Lambert tNCORPOHAH D MEMBER OF PRINCIPAL STOCK AND COMMODITY EXCHANGES For more information, write or call: Joseph A. Simons, First Vice President and Manager, Drexel Burnham Lambert, Shawmut Bank Building, One Federal Street, Boston, MA 02110 (617) 482-3600. Offices in principal financial centers worldwide. BSO BSO and Pops on Record MAHLER 8th W SYMPHONY OF A THOUSAND OZAWA BOSTON SYMPHO. A wide selection of recent releases by the Boston Symphony and Boston Pops is available at local record stores for Christmas gift giving. Mahler's Eighth Symphony the Symphony of a Thousand, with Seiji Ozawa conduct- ing the Boston Symphony Orchestra, the Tanglewood Festival Chorus, and eight internationally acclaimed soloists, has just recently been issued by Philips records. Also new from Philips is a Tchaikovsky album of Romeo and Juliet and the 2822 Overture: Sir Colin Davis conducts, and the Tanglewood Festival Chorus is featured in the rarely-heard choral part of the overture. Other recent Philips releases include Stravinsky's he Sacre du phntemps and Hoist's The Planets, both conducted by Seiji Ozawa, and Schubert's Great C major symphony, under the direction of Sir Colin Davis. Digitally recorded for Telarc, and both under the direction of Seiji Ozawa, are two Beethoven albums: the Fifth Symphony, and, with pianist Rudolf Serkin, Beethoven's Piano Concerto No. 5, the Emperor. In time for Christmas from the Boston Pops on Philips is John Williams's latest album, "We Wish You a Merry Christmas," featuring the Tanglewood Festival Chorus, John Oliver, conductor, and offering a popular selection of carols and other Christmas tunes. Other Pops releases include "Pops on the March," a collection of European and American marches featuring Pops favorites of recent seasons,- "Pops on Broadway," including music from Evita, Annie, A Chorus Line, Fiddler on the Roof, and other Broadway hits,- and, of course, "Pops in Space," featuring music from John Williams's film scores for Star Wars, The Empire Strikes Back, Superman, and Close Encounters of the Third Kind. Christmas Shopping in Symphony Hall Due to a strong demand for Symphony-oriented gifts both useful and decorative, the Marathon Office on the second-balcony level of Symphony Hall (near the elevator) will be open Monday through Friday, 10 a.m. to 4 p.m., from the 1st of December through the 18th. A limited number of BSO/WCRB Marathon premiums, some of them Centennial- inspired, will be available in return for your donation to the orchestra. This is your chance to support your orchestra by your gift—and to be Christmas-gifted in return. 5 Tom Rush in Symphony Hall Folk singer Tom Rush will celebrate the twentieth anniversary of his first performance in Boston with a special Symphony Hall concert on Sunday 27 December at 7:30 p.m. and will donate a portion of the proceeds to the Boston Symphony Orchestra. The Boston Pops table set-up will provide a comfortably informal atmosphere. Tickets at $15, $12, and $9 will be available at the Symphony Hall box office as of 6 December. They are also available at Bostix near Faneuil Hall, at the Out-Of-Town Ticket Agency in Harvard Square, and by mail from Water Music, 399 Broadway, Cambridge 02139. Art Exhibits in the Cabot-Cahners Room Once again this season, monthly art exhibitions will be shown in the Cabot-Cahners Room, representing a variety of Boston-area schools, museums, non-profit artists' organi- zations, and commercial galleries. Artwork from the Pucker-Safrai Gallery was on display during the month of November. The following organizations will be represented during the next several months: 30 November—4 January Bela Kalman Photo Gallery 4 January— 1 February Helen Schlien Gallery 1 February— 1 March Kezar Gallery 1 March—22 March Experimental Etching Studio 22 March— 12 April Boston Architectural Center With Thanks We wish to give special thanks to the National Endowment for the Arts and the Massachusetts Council on the Arts and Humanities for their continued support of the Boston Symphony Orchestra. Junior Council Memberships The Junior Council is a group of young men and women who undertake a variety of fundraising activities on behalf of the Boston Symphony Orchestra, including "Opening Night at Pops" and sale of the Symphony Mint. New members are admitted in September, January, and May. Membership inquiries are most welcome and should be directed to the membership chairman, Mrs. Kenneth Steiner, at 237-2492. Gift Planning There are many ways to make a contribution to the Boston Symphony Orchestra.
Recommended publications
  • Boston Symphony Orchestra Archives
    Pftft.. Slower • .. ina• alumna •••• ■■••••■•••=411• 'I 4 mp • • ••• •• Mman•IMMIln. • ■•••••■•■ ••••■••■•••■•••■■ •••• =Mr • NOW". • • =Mir • 11••■••••■••1111••••1•11• ■•111•141•111111 NUM/ 11/MIIMIN MAIMM•MIM / •• la. ••MINM/ ..MIN MI ••`' GAM MI =MO OW GM womall AMMONIUM mm,•••• ■• ".••••• rnio gradually taster 111•^ •IIMI ._./Mat MINNIP MUM OM -AM DINIIMINIMP MAIIIIIMINIMIMM•••••■ •1•1 MM. IMMIMMIIMMIO MM. MIIMMIMMO IMMIN••••••• OPP"' a tempo (lively) 111111.1. -.la a ••••••••■• • •• . • •■•■ 011•1111111MMIMINIAMmIM m••• ■ ■ ■ ■ ■ ■ ■ ■ np. ••••• •••• A •• •• •••• • •• •11 OM MI MI MOM MOMMIll NI . •• maim ININIMIMMIM. ••• s4•4411•1• / a Ma . (1.• • •,41411•1~m MIHM11.11•••• 0 ■• IL • u damns. ••••■••••••••••• ••••• • •-••••,••• .ma• • ...•••■•••••••• mar- ••••• • • •••111111 • 4 . • 11.1111.1111111 Man a 4.M1 ... OM • 1■•••• ■••■=1IN•1•11••11 •IIMMIMIMMINIIIIIIMINIM-1• •••••••••••••••• NOMIM MAIM AMU MIMI MID IIIMIIIIP - IIIIIIMMIDIMIU•MIME V- • . • • 1•■•••■•••• al•IIMIMIIIII••••••••• ••••■••••••••• V M-4111•1111•111•IM • MS MI••••••■ •••• MMUMMIIMINAMMOMIIM •■•• • ••••■•• MINIam•• • • M ■•■•■ ••••••111M4•• IIIMIll. 111111.111. 511111.1111 111 ads MIIMNIM■• ■ • I 1••••••• IMAMS •111.401MMIIIIMI IIMI ■MIIIMMIMIMM • -.MMMMIMI ••• MINIMMOINNIMMIIMMMIIIMUM- ONO WM. Boston Symphony Orchestra Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor 16, 18, 21 October 1975 at 8:30 pm 17 October 1975 at 2:00 pm 25 November 1975 at 7:30 pm Symphony Hall, Boston Ninety-fifth season
    [Show full text]
  • A Survey and Guide to the Most Frequently Programmed Lieder In
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States Joseph Christopher Turner Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Turner, Joseph Christopher, "A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States" (2010). LSU Doctoral Dissertations. 3319. https://digitalcommons.lsu.edu/gradschool_dissertations/3319 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SURVEY AND GUIDE TO THE MOST FREQUENTLY PROGRAMMED LIEDER IN THE UNDERGRADUATE STUDIOS OF SELECTED MAJOR MUSIC INSTITUTIONS IN THE UNITED STATES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Joseph Christopher Turner B.M., Mississippi College, 1994 M.M., Mississippi College, 1998 August 2010 i © Copyright 2010 Joseph Christopher Turner All rights reserved. ii DEDICATION To my parents iii ACKNOWLEDGEMENTS There are so many without whom this project would not have been possible. I wish to thank the following individuals for their support and encouragement: Prof.
    [Show full text]
  • Boston Symphony Orchestra
    Tangtewqpd 19 3 7-1987 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Saturday, 29 August at 8:30 The Boston Symphony Orchestra is pleased to present WYNTON MARSALIS An evening ofjazz. Week 9 Wynton Marsalis at this year's awards to win in the last four consecutive years. An exclusive CBS Masterworks and Columbia Records recording artist, Wynton made musical history at the 1984 Grammy ceremonies when he became the first instrumentalist to win awards in the categories ofjazz ("Best Soloist," for "Think of One") and classical music ("Best Soloist With Orches- tra," for "Trumpet Concertos"). He won Grammys again in both categories in 1985, for "Hot House Flowers" and his Baroque classical album. In the past four years he has received a combined total of fifteen nominations in the jazz and classical fields. His latest album, During the 1986-87 season Wynton "Marsalis Standard Time, Volume I," Marsalis set the all-time record in the represents the second complete album down beat magazine Readers' Poll with of the Wynton Marsalis Quartet—Wynton his fifth consecutive "Jazz Musician of on trumpet, pianist Marcus Roberts, the Year" award, also winning "Best Trum- bassist Bob Hurst, and drummer Jeff pet" for the same years, 1982 through "Tain" Watts. 1986. This was underscored when his The second of six sons of New Orleans album "J Mood" earned him his seventh jazz pianist Ellis Marsalis, Wynton grew career Grammy, at the February 1987 up in a musical environment. He played ceremonies, making him the only artist first trumpet in the New
    [Show full text]
  • Commemorative Concert the Suntory Music Award
    Commemorative Concert of the Suntory Music Award Suntory Foundation for Arts ●Abbreviations picc Piccolo p-p Prepared piano S Soprano fl Flute org Organ Ms Mezzo-soprano A-fl Alto flute cemb Cembalo, Harpsichord A Alto fl.trv Flauto traverso, Baroque flute cimb Cimbalom T Tenor ob Oboe cel Celesta Br Baritone obd’a Oboe d’amore harm Harmonium Bs Bass e.hrn English horn, cor anglais ond.m Ondes Martenot b-sop Boy soprano cl Clarinet acc Accordion F-chor Female chorus B-cl Bass Clarinet E-k Electric Keyboard M-chor Male chorus fg Bassoon, Fagot synth Synthesizer Mix-chor Mixed chorus c.fg Contrabassoon, Contrafagot electro Electro acoustic music C-chor Children chorus rec Recorder mar Marimba n Narrator hrn Horn xylo Xylophone vo Vocal or Voice tp Trumpet vib Vibraphone cond Conductor tb Trombone h-b Handbell orch Orchestra sax Saxophone timp Timpani brass Brass ensemble euph Euphonium perc Percussion wind Wind ensemble tub Tuba hichi Hichiriki b. … Baroque … vn Violin ryu Ryuteki Elec… Electric… va Viola shaku Shakuhachi str. … String … vc Violoncello shino Shinobue ch. … Chamber… cb Contrabass shami Shamisen, Sangen ch-orch Chamber Orchestra viol Violone 17-gen Jushichi-gen-so …ens … Ensemble g Guitar 20-gen Niju-gen-so …tri … Trio hp Harp 25-gen Nijugo-gen-so …qu … Quartet banj Banjo …qt … Quintet mand Mandolin …ins … Instruments p Piano J-ins Japanese instruments ● Titles in italics : Works commissioned by the Suntory Foudation for Arts Commemorative Concert of the Suntory Music Award Awardees and concert details, commissioned works 1974 In Celebration of the 5thAnniversary of Torii Music Award Ⅰ Organ Committee of International Christian University 6 Aug.
    [Show full text]
  • Boston Symphony Orchestra Archives
    .ff Boston Symphony Orchestra Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor 26 November 1975 at 8:30 p.m. (Wednesday) 28 November 1975 at 2:00 p.m. 29 November 1975 at 8:30 p.m. 2, 4 December 1975 at 8:30 p.m. Symphony Hall, Boston Ninety-fifth season Baldwin Piano Deutsche Grammophon Records Program Program Notes Colin Davis conducting Felix Mendelssohn (1809-1847) Incidental Music from 'A Midsummer Night's Dream' Mendelssohn: Incidental Music from 'A Midsummer Night's Dream' The Incidental Music to Shakespeare's comedy was per- formed complete under Seiji Ozawa's direction at the 1975 I. Overture Berkshire Festival, and these excerpts were last played by II. Scherzo the Boston Symphony with Erich Leinsdorf in 1962. III. Nocturne The instrumentation calls for 2 flutes, 2 oboes, 2 clarinets, IV. Wedding March 2 bassoons, 2 horns, 2 trumpets, tuba, timpani, cymbals, triangle and strings. Sibelius: Tapiola, Tone Poem Op. 112 Youthful miracles are seldom repeated. Mendelssohn composed his Overture to 'A Midsummer Night's Dream' Intermission at seventeen (1826), with a miraculous deftness and deli- cacy, an elfin imagination and humor then unmatched. Yet, near the end of his life (1843), Mendelssohn did match the Sibelius: Symphony No. 6 Op. 104 miracle. He was invited by the King of Prussia to compose incidental music for a Berlin production of Ein Sommernachts- I. Allegro molto moderato traum. His youthful enthusiasm for Shakespeare surged II. Allegretto moderato back. With the most felicitous ease he wove the early III. Poco vivace themes into new pieces and ideas flowed with the Roman- Allegro molto N.
    [Show full text]
  • THROUGH LIFE and LOVE Richard Strauss
    THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose.
    [Show full text]
  • MOZART Così FAN TUTTE Wolfgang Sawallisch
    MOZART COSì FAN TUTTE Price · Fassbaender ∙ Grist Schreier · Brendel · Adam Wolfgang Sawallisch Bayerische Live Staatsoper ORFEO D' OR Live Recording 25. Februar 1978 BAYERISCHE STAATSOPER LIVE Unser Opernerbe ist nirgendwo in einer to theatrical spirit. Here are live perfor- so herausragenden Bühnentradition auf- mances captured in the heat of the pro- geführt worden wie an der Bayerischen methean forge – warts and all! Staatsoper München. Die Edition BAYE- Every Opera production is a prototype – RISCHE STAATSOPER LIVE liefert uns nicht an individual bespoke act of creative in- nur wertvolle historische Dokumente, son- terpretation resulting in that live experien- dern auch ein Gegenargument zu der ce we share. Here are some of those mo- Behauptung, Aufnahmen stellten für den ments preserved in aspic and re-ignit-ed Geist des Theaters eine Bedrohung dar. into life by the flame of technology. Let us Hier haben wir Aufführungen live, direkt aus treasure them and look forward to more der Glut der prometheischen Schmiede, riches that are promised from the past of mitsamt ihren kleinen Unebenheiten und our distinguished company! Schwächen! Jede Operninszenierung ist eine Art Pro- Jamais les opéras de notre patrimoine totyp: ein individueller Akt kreativer Inter- n’ont trouvé une aussi éminente tradition pretation, dessen Ergebnis wir gemein- théâtrale qu’à Munich, à la « Bayerische sam live erleben. Einige solcher Augen- Staatsoper ». Cette série d’enregistrement blicke finden wir hier wie in Bernstein ein- en direct – BAYERISCHE STAATSOPER LIVE geschlossen und durch die Technik wie- – ne constitue pas seulement un docu- der zu neuem Leben entfacht. Hüten wir ment historique de valeur, mais s’oppose diesen Schatz, und freuen wir uns auf das, à l’affirmation selon laquelle les enregis- was aus der reichen Vergangenheit un- trements menaceraient l’esprit théâtral.
    [Show full text]
  • His Master's Voice Double-Sided Records
    PRICES OF " His Master's Voice Double-Sided Records THE ROYAL RECORD (R.E. 284) THEIR MAJESTIES THE KING & QUEEN. 10 in. Double-sided, 5/6. THE ROYAL RECORD (R.D. 837) H.R.H. THE PRINCE OF WALES. 12 in. Double-sided 5/6. NURSERY Records-ORANGE Label (Serial Letters AS, 7-inch 1/6. (Each series of 6 records in album, 12/6. Decorated Album-with linen pockets -separate. 3/6.) PHYSICAL CULTURE Records.-Set complete in album, 12/-. Album and chart separate, 3/-. Se6al Colour of Label. 10-inch 112-inch e tter PLUM... 4/6 C ... BLACK 6/6 D ... RED 8/6 DB ... BUFFPALE 10/- DK GREEN 11/6 DM PALE BLUE... 13/6 DO WHITE 16/- DQ ... Unless otherwise stated "His .fasters Voice" Records should be played at a steed of 78. His .taster's Voice" hn.strz uta,,eons Speed Tester, shows instantly whether yo,rr motor is rnuznine correctly. "His Master's Voice" Records EVA PLASCHKE VON DER OSTEN & MINNIE NAST (with orchestral accompaniment) 12-inch double-sided Black Label. Ist ein Traum, kann nicht wirklich sein (Is it a dream ? truly I know not !)-Act 3 (" Der Rosenkavalier ") (In German) Richard Strauss D.1002 ... Mit ihren Augen voll Tränen (Those eyes filled with tears)-Act 2 ('" Der Rosenkavalier ") (In German)... Richard Strauss ... ... ... NEUES TONKÜNSTLER ORCHESTER 12-inch double-sided Plum I,abel C.1202 " Der Rosenkavalier "-Waltz, Parts 1 and 2 Richard Strauss DJ FR ROSENKA VALIER had such a sensational success in England last year that it was selected as the most suitable piece with which to open this year's season of Royal Opera at Covent Garden on May 18th.
    [Show full text]
  • 380 XXXIX. Tonkünstler-Versammlung Basel
    380 XXXIX. Tonkünstler-Versammlung Basel, [Karlsruhe], [11.] 12. – 15. Juni 1903 Festdirigenten: Hans Huber, Hermann Suter Festchor: Basler Gesangverein, Basler Liedertafel, Reveillechor der Basler Liedertafel Ens.: Orchester der Allgemeinen Musikgesellschaft Basel, verstärkt durch Mitglieder der Meininger Hofkapelle und des Orchestre symphonique de Lausanne sowie hiesige und auswärtige Künstler (110 Musiker) 1. Aufführung: Festvorstellung Karlsruhe, Großhzgl. Hoftheater, Donnerstag, 11. Juni Friedrich Klose: Das Märlein vom Fischer und seiner Frau, Oper 2. Aufführung: I. Konzert [auch: für Soli, Männerchor und Orchester ] Basel, Musiksaal, Freitag, 12. Juni, 19:00 Uhr 1. Émile Jaques-Dalcroze: Sancho, Comédie lyrique Vorspiel für Orchester 2. Friedrich Hegar: Männerchöre a cappella Ch.: Basler Liedertafel a) Das Märchen vom Mummelsee (Ms.) Text: C.A. Schnezler (≡) b) Walpurga op. 31 Text: Carl Spitteler ( ≡) 3. Ernest Bloch: Symphonie cis-Moll (Ms.) 1. 2. Largo 2. 3. Vivace 4. Max von Schillings: Das Hexenlied, mit begleitender Sol.: Ernst von Possart (Rez.) Musik für Orchester op. 15 Text: Ernst von Wildenbruch 5. Waldemar Pahnke: Concert für Violine und Orchester c- Sol.: Henri Marteau (V.) Moll (Ms.) 1. Moderato con moto 2. Allegro vivace ---- 6. Hans Huber: Caenis (die Verwandlung), für Männerchor, Sol.: Maria Cäcilia Philippi (A) Altsolo und Orchester op. 101 Ch.: Basler Liedertafel Text: Joseph Victor Widmann, nach einer antiken Sage (≡) 7. Gesänge für Bariton mit Orchester Sol.: Richard Koennecke (Bar.) a) Klaus Pringsheim: Venedig Text: Friedrich Nietzsche (≡) Oskar C. Posa: b) Tod in Aehren Text: Detlev von Liliencron (≡) c) „Mit Trommeln und Pfeifen“ (Ms.) Text: Detlev von Liliencron (≡) 8. Ernst Boehe: Aus Odysseus Fahrten, 4 Episoden für grosses Orchester gesetzt op.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs
    m fl ^ j- ? i 1 9 if /i THE GREAT OUTDOORS THE GREAT INDOORS Beautiful, spacious country condominiums on 55 magnificent acres with lake, swimming pool and tennis courts, minutes from Tanglewood and the charms of Lenox and Stockbridge. FOR INFORMATION CONTACT (413) 443-3330 1136 Barker Road (on the Pittsfield-Richmond line) GREAT LIVING IN THE BERKSHIRES Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88 Trustees of the Boston Symphony Orchestra, Inc. Kidder, President Nelson J. Darling, Jr., Chairman George H. T Mrs. John M. Bradley, Vice-Chairman J. P. Barger, V ice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Michael H. Davis Roderick M. MacDougall David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Mrs. Norman L. Cahners Mrs. John H. Fitzpatrick David G. Mugar James F. Cleary Avram J. Goldberg Mrs. George R. Rowland William M. Crozier, Jr. Mrs. John L. Grandin Richard A. Smith Mrs. Lewis S. Dabney Francis W. Hatch, Jr. Ray Stata Harvey Chet Krentzman Trustees Emeriti Philip K. Allen Mrs. Harris Fahnestock Irving W. Rabb Allen G. Barry E. Morton Jennings, Jr. Paul C. Reardon Leo L. Beranek Edward M. Kennedy Mrs. George L. Sargent Richard P. Chapman Albert L. Nickerson Sidney Stoneman Abram T. Collier Thomas D. Perry, Jr. John Hoyt Stookey George H.A. Clowes, Jr. John L. Thorndike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1992, Tanglewood
    LEWOOD I 77 2 g Tools ofExcellence In every discipline, outstanding performance springs from the combination of skill, vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1991-92 Trustees of the Boston Symphony Orchestra, Inc. Emeritus Nelson J. Darling, Jr., Chairman George H. Kidder, President J. P. Barger, Chairman Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Dean Freed Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Molly Millman James E Cleary Francis W Hatch Mrs. Robert B. Newman John F. Cogan,Jr. Julian T. Houston Peter C. Read Julian Cohen Mrs. BelaT. Kalman Richard A. Smith William M. Crozier, Jr. Mrs. George I. Kaplan Ray Stata Deborah B. Davis Harvey Chet Krentzman Nicholas T. Zervas Nina L. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G.
    [Show full text]
  • Ibsenstudies Norastayed Accepted Manuscript-Kopi
    Christian Janss Førsteamanuensis Universitetet i Oslo, HF/ILOS P.b. 1003 Blindern NO-0315 OSLO [email protected] +47 22 85 68 71 WHEN NORA STAYED MORE LIGHT ON THE GERMAN ENDING This is an Accepted Manuscript of an article published by Taylor & Francis Group in Ibsen Studies on 11/05/2017, available online: http://www.tandfonline.com/doi/full/10.1080/15021866.2017.1324359 Embargo for nettpubl. av Accepted Manuscript til 11. 11. 2018 INTRODUCTION Henrik Ibsen’s A Doll’s House (Et dukkehjem. Skuespil i tre akter, 1879) owes its world wide reputation to the last scene, where Nora leaves her husband and chil- dren. A little less known is the German, alternative ending of Nora – the title commonly used in the German speaking world – where she stays. In the field of theatre studies, this ending is commonly recognized. The fact that Ibsen himself wrote it in 1879 – and tolerated its performance for a while – also belongs to es- tablished knowledge. The circumstances of the genesis and distribution of this very special piece of text have, however, not yet been presented in a manner giv- ing attention to all aspects. My main arguments are: a) The one to ‘blame’ for the alternative ending of Nora is not the actress Hedwig Niemann-Raabe, but rather the translator Wilhelm Lange and the theatre director Heinrich Laube. b) The conciliatory ending was necessary in order to accommodate the ex- pectations of German theatre audiences around 1880. c) The alternative ending had a wider circulation than previously known. It has been repeatedly claimed that the unwillingness on the part of a certain ac- tress and a theatre director to let Nora go was the triggering reason for Ibsen to write this alternative, conciliatory ending (cf.
    [Show full text]