DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 67, 1947-1948

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 67, 1947-1948 ^k ^ 39 BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY' HENRY LEE HIGGINSON X 'Wll 5^v (UllilUUU H #1 SIXTY-SEVENTH SEASON 1947-1948 Metropolitan Theatre, Providence Friends of the Boston Symphony and Opera Lovers Radio Station WFCI has the honor to present The Boston Symphony Orchestra under the direction of Dr. SERGE KOUSSEVITZKY Tuesday Nights at 9:30 o'clock also The Metropolitan Opera Saturday Afternoons at 2 o'clock Metropolitan Theatre, Providence SIXTY-SEVENTH SEASON, 1947-1948 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Second Concert TUESDAY EVENING, November 18 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen Francis W. Hatch John Nicholas Brown M. A. De Wolfe Howe Alvan T. Fuller Jacob J. Kaplan Jerome D. Greene Roger I. Lee N. Penrose Hallowell Raymond S. Wilkins Oliver Wolcott George E. Judd, Manager [»] : SYMPHONIANA THE MANOR ROOM MENDELSSOHN ANNIVERSARY for excellent food {Died November 4, 1847) From a number of comments which <§> the anniversary has brought forth, the following by Olin Downes is quoted from the New York Times of last Sun- day (October 26) THE SKY ROOM "To what shall we attribute his joy- ous and unclouded expression, the for choice cocktails harmonious productiveness and the wholly exceptional balance of head, hand and heart which made the com- posing of so much beautiful music so easy for him? Because of the whole- ness of his nature and his uncomplicated Excellent Facilities for psychology Mendelssohn could stand firm, not with obstinacy or partisanship, BANQUETS but with the sure instinct for symmetry and balance that was his, against all RECEPTIONS the fierce currents and eddies of the romantic era in music. Mendelssohn has WEDDINGS been misrepresented as a disciple of convention, a polite society man in music. This is unjust. It was not Men- delssohn's motive, it was his inalienable impulse to write just such polished, artistically distinguished and socially acceptable music as he did. This does WAYLAND not mean that he was superficial. His knowledge of his craft and his in- tellectual horizons were far too exten- MANOR sive for that. To this phenomenon we must go back of Mendelssohn to his heredity. n%&# I EL "The thing that made Felix Mendels- Mary F. Hanley, Manager sohn so great and that has kept his music alive was his culture, and the moral and intellectual background which Providence, R. I. brought his gifts into being. This re- 500 ANGELL STREET sulted not from his father's wealth, or connections, but from an earlier fore- PL. 7700 bear, and all that was accomplished by that individual for his people. We are speaking of the little hunchbacked [2] /-"- Jewish school teacher and philosopher, *w; Felix's grandfather, Moses, son of Iv.J Mendel, who was the original of Lessing's "Nathan the Wise"; from whose German translation of the books of the Pentateuch and other parts of the Bible the Jews learned the German language and developed in them the de- sire for German nationality; whose 'Phaedon,' modeled on Plato's dialogue of the same name, earned him the title in many mouths of the 'German Plato' *\6 Co$T^%n*S or 'Socrates,' and who devoted his life to. the culture and emancipation of his If1 people. Moses, early given the right of the protected Jews, expressed the prin- fill **# And Xat>uUu> ciple of a possible plurality of truths, and the idea that different religions Co 1| ecXio>\ <jT might be suitable to different indi- viduals. Sometimes described as the Luther of the German Jews, Moses remained in his own religion, but his urn Vpvtcf JmJ sIiokk descendants, comprising a brilliant circle, of which Felix the composer was the most famous, left the syna- gogue for the church, and this without the weakening but rather strengthening •ill \qo.. all a£t<H/ Judaism and achieving the denunciation of intolerance and anti-Semitism which made Germany of the first half of the nineteenth century one of the liberal and progressive states of the world. "Mendelssohn was neither revolu- tionist nor iconoclast, nor a genius acci- dental in a family. He was one of those rare figures who appear at a certain time in an art, in a moment of perfect equilibrium. He was the flower of a culture and a great ideal; an accumula- tion of ancestors. And the spirit of old Moses must have smiled when his grandson remarked, with a laugh, that he, a Jew, in reviving Bach's St. Matthew Passion, had thus restored this great work of faith to Christianity." Vf U/|^TT//v!// v [4-3 Avery Piano Co. is proud to represent EXCLUSIVELY in Rhode Island, Nearby Massachusetts and Connecticut Territory .... "THE INSTRUMENT OF THE IMMORTALS" th6 STEINWAY p,ano GRANDS AND SPINETS CAPEHART and MAGNAVOX RADIO — PHONOGRAPHS R.C.A. VICTOR ZENITH PHILCO EXCLUSIVE REPRESENTATIVES FOR WURLITZER ORGANS FORMERLY THE EVERETT ORGATRON Records - Music - Tuning - Repairing Avery Piano Co. Sole Steinway Representative in Rhode Island, Eastern Conn., and Fall River Territory 256 WEYBOSSET ST. 212 THAMES ST., NEWPORT [4] Metropolitan Theatre, Providence Two Hundred and Ninety-third Concert in Providence Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director SECOND CONCERT TUESDAY EVENING, November 18 Program CHARLES MUNCH Conducting Debussy "Iberia" ("Images" for Orchestra, No. 2) I. Par les rues et par les chemins (In the streets and byways) II. § Les parfums de la nuit (The fragrance of the night) III. \ Le matin d'un jour de fete (The morning of a festival day) Roussel Symphony No. 3 in G minor, Op. 42 I. Allegro vivo II. Adagio III. Vivace IV. Allegro con spirito intermission Faure Suite from the Incidental Music to Maeterlinck's Tragedy, "Pelleas et Melisande," Op. 80 Prelude quasi adagio "Fileuse," Andantino quasi allegretto Adagio Sicilienne Franck Symphony in D minor I. Lento; allegro non troppo II. Allegretto III. Allegro non troppo BALDWIN PIANO VICTOR RECORDS In conformance with City Regulations ladies are respectfully requested to remove their hats The concerts on Tuesday Evenings will be broadcast (9:30 — 10:30) on the network of the American Broadcasting Company. [51 CHARLES MUNCH Charles Munch was born at Strasbourg, Alsace, in 1895. His father was the founder of the Saint Guillaume Chorus in Strasbourg, and it was at home, under his father's guidance, that he first studied violin, harmony, and singing. He went to Paris before the first World War, and studied violin with Lucien Capet. In 1919 he was made professor at the Strasbourg Conservatory, and later conductor of the orchestra. He gained further experience in what was destined to be his career when he worked under Wilhelm Furtwangler at the Gewand- haus Concerts in Leipzig. He returned to Paris, where in 1930 he founded the Orchestre de la Societe Philharmonique de Paris. In 1937 he succeeded Philippe Gaubert as the conductor of the Societe des concerts du Conservatoire. M. Munch, visiting America last season and several European countries in the spring and summer, has appeared many times as guest conductor (he conducted the Boston Symphony Orchestra on December 27-28. Returning this season, he has conducted concerts of the New York Philharmonic-Symphony Society and will visit other or- chestras of our East and West. xe ro d-fTlu SIC si^ccLIxm&m stuurn ejitsmt Established 1910 45 Snow Street—Providence 3, R. I. GA 4833 Publishers—Importers—Dealers Headquarters for the Music Profession Ifofttotn aft ffianpjf CHOOSE YOUR. PIANO AS THE ARTISTS DO - — — COME. IN AND BROWSE:—Band and orchestral instruments and music—Popular music, new and old—Music teachers' and Music School supplies-—Records, all makes, Classic, Popular and Jazz—Repair department. 37 Years of Continuous Service to the Music Profession tmimmm^ METAL CRAFTS SHOP The specialty shop for things in metal Antique and modern copper, brass and pewter. Jewelry and small pieces of silver. Excellent metal polish,—repairing,—restoring. 10 THOMAS STREET, PROVIDENCE, R.l. [6] "IBfiRIA," "IMAGES," for Orchestra, No. 2 By Claude Debussy Born at St. Germain (Seine-et-Oise), France, August 22, 1862; died at Paris, March 25, 1918 Debussy completed the "Rondes de Printemps" in 1909, "Iberia" in 1910, and "Gigues" in 1912. The three "Images" as published bore numbers in reverse order. "Iberia" was first performed by Gabriel Pierne at a Colonne concert in Paris, February 20, 1910. It had its first performance in America, January 3, 1911, under Gustav Mahler, at a concert of the New York Philharmonic Society. The first performance in Boston was on April 21, 1911, by the Boston Symphony Orchestra. Max Fiedler, conductor. More recent performances at these concerts have been on December 22, 1911; April 3, 1914; April 13, 1917; October 25, 1918; February 17, 1922; January 22, 1926; October 7, 1927; February 22, 1929; October 30, 1042, and January 28, 1944 (Vladimir Golschmann conducting) , and December 21, 1945 (Fritz Reiner con- ducting) . The orchestration requires three flutes and piccolo, two oboes and English horn, three clarinets, three bassoons and contra-bassoon, four horns, three trumpets, three trombones and tuba, timpani, tambourine, castanets, military drum, cymbals, xylophone, celesta, bells, two harps and strings. ebussy wrote to Durand, his publisher, on May 16, 1905, of his D plan to compose a set of "Images" (a conveniently noncommit- For Better Luggage To suit the taste ttAllLmQ of the most discriminating— MunTflJw And Leather Goods ^naQ^ From a carefully chosen selection VISIT C Of. W. <^ound± Co, JM. 52 Washington Street PROVIDENCE, R. I. BUY WORDS "THE AMERICAN IMAGINATION AT WORK" as edited by BEN CLOUGH is a wondrous collection of tales true and false and we're selling-* it here, and how! *$6.00 a copy postpaid BoOlC SHOD (plus 6tf tax in Rhode Island) 5 GrOSVeiiOFjBuildirg THE BOOK SHOP 5 Grosvenor Building *Providertce 3Ml providence 3 rhode island [7] tal title) for two pianos, to be called I.
Load more

Recommended publications
  • Franco-Belgian Violin School: on the Rela- Tionship Between Violin Pedagogy and Compositional Practice Convegno Festival Paganiniano Di Carro 2012
    5 il convegno Festival Paganiniano di Carro 2012 Convegno Società dei Concerti onlus 6 La Spezia Centro Studi Opera Omnia Luigi Boccherini Lucca in collaborazione con Palazzetto Bru Zane Centre de Musique Romantique Française Venezia Musicalword.it CAMeC Centro Arte Moderna e Contemporanea Piazza Cesare Battisti 1 Comitato scientifico: Andrea Barizza, La Spezia Alexandre Dratwicki, Venezia Lorenzo Frassà, Lucca Roberto Illiano, Lucca / La Spezia Fulvia Morabito, Lucca Renato Ricco, Salerno Massimiliano Sala, Pistoia Renata Suchowiejko, Cracovia Convegno Festival Paganiniano di Carro 2012 Programma Lunedì 9 LUGLIO 10.00-10.30: Registrazione e accoglienza 10.30-11.00: Apertura dei lavori • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini / Società dei Concerti della Spezia) • Francesco Masinelli (Presidente Società dei Concerti della Spezia) • Massimiliano Sala (Presidente Centro Studi Opera Omnia Luigi Boccherini, Lucca) • Étienne Jardin (Coordinatore scientifico Palazzetto Bru Zane, Venezia) • Cinzia Aloisini (Presidente Istituzione Servizi Culturali, Comune della Spezia) • Paola Sisti (Assessore alla Cultura, Provincia della Spezia) 10.30-11.30 Session 1 Nicolò Paganini e la scuola franco-belga presiede: Roberto Illiano 7 • Renato Ricco (Salerno): Virtuosismo e rivoluzione: Alexandre Boucher • Rohan H. Stewart-MacDonald (Leominster, UK): Approaches to the Orchestra in Paganini’s Violin Concertos • Danilo Prefumo (Milano): L’infuenza dei Concerti di Viotti, Rode e Kreutzer sui Con- certi per violino e orchestra di Nicolò Paganini
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 70, 1950-1951
    BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SEVENTIETH SEASON 1950-1951 BAYARD TUCKERMAN. J«. ARTHUR J. ANDERSON ROBERT J. DUNKLE, Ja. ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, Ja. HERBERT SEARS TUCKERMAN OBRION, RUSSELL & CO Insurance of Every Description "A Good Reputation Does Not Just Happen — It Must Be Earned." 108 Water Street Los Angeles, California Boston, Mass. 3275 Wilshire Blvd. Telephone Lafayette 3-5700 Dunkirk 8-3316 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, commonwealth 6-1492 SEVENTIETH SEASON, 1950-1951 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1951, BY BOSTON SYMPHONY ORCHESTRA, IflC. 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. SHniK, Assistant Managers [1225] ©®®®®®©®®®®®®®®®®®®®®®®®©®©©®®® ® © © © © Only © you can © © decide Whether your property is large or small, it rep- © resents the security for your family's future. Its ulti- mate disposition is a matter of vital concern to those © you love. © © To assist you in considering that future, the Shaw- © mut Bank has a booklet: "Should I Make a Will?" © It outlines facts that everyone with property should © know, and explains the many services provided by © this Bank as Executor and Trustee.
    [Show full text]
  • Johann Peter Vogel: Pfitzners Verhältnis Zu Juden Und Judentum
    Mitteilungen der Hans Pfitzner-Gesellschaft 70 (2009) 8-29 [revidierte Fassung 2011] www.pfitzner-gesellschaft.de Johann Peter Vogel PFITZNERS VERHÄLTNIS ZU JUDEN UND JUDENTUM 1. Vorbemerkungen. „Ich habe Dr. Pfitzner zur Zeit der Aufführung der ‚Rose vom Liebes- garten‘ in Wien im Hause Gustav Mahlers kennen gelernt. Es war mir immer bekannt, dass er Deutschnationaler im Sinne Richard Wagners, also mit einer kleinen antisemitischen Truebung war. Ich habe ihn in all diesen Jahren oefters gesprochen. Trotz aller uns trennenden Unter- schiede, die kuenstlerischen inbegriffen, habe ich nie das Gefuehl von Agressivitaet gehabt. Kein Wunder, dass nach dem Abwandern so vieler Musikalischer Kraefte Pfitzner unter den wenigen, die verblieben, der erstklassige war und als solcher die Anerkennung fand, die ihm frueher zu Unrecht nicht immer zum Teil geworden war. Wenn das nazistische System fuer ihn von Vorteil war, so bin ich ueberzeugt, dass er sich nie- mals dafuer gebeugt, niemals eine Konzession gemacht haette, Grausam- keiten aber sicherlich verurteilte“.1 Das schrieb Arnold Schönberg am 10.9.1947 in Los Angeles als Eidesstattliche Erklärung für das Spruch- kammerverfahren gegen Hans Pfitzner, das denn auch mit der Feststel- lung endete, Pfitzner sei „vom Gesetz nicht betroffen“. Die Erklärung Schönbergs wird gern als Gefälligkeitsschreiben gewertet, denn sie passt nicht zu dem Persönlichkeitsbild, das eine moralisierende Generation von Pfitzner als einem ‚aggressiven‘, ja ‚mörderischen Anti- semiten‘ entwirft. Warum aber Schönberg für Pfitzner, der 1926 die von Schönberg vertretene atonale Musik heftig angegriffen hat, ein so dick aufgetragenes Gefälligkeitsschreiben formuliert haben soll, wird nicht er- klärt. Der Stich gegen Pfitzner liegt in der Bemerkung, dass der unter Überarbeitete und erweiterte Fassung eines am 2.
    [Show full text]
  • View PDF Online
    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
    [Show full text]
  • An Introduction to the Songs of Felix Wolfes (1892-1971) with Complete Chronological Catalogue
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 An Introduction to the Songs of Felix Wolfes (1892-1971) With Complete Chronological Catalogue. Viola R. Dacus Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Dacus, Viola R., "An Introduction to the Songs of Felix Wolfes (1892-1971) With Complete Chronological Catalogue." (1995). LSU Historical Dissertations and Theses. 6004. https://digitalcommons.lsu.edu/gradschool_disstheses/6004 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N.
    [Show full text]
  • French Violin Performance from Franck to Ravel A
    UNIVERSITY OF CALIFORNIA Los Angeles In Search of a Style: French Violin Performance from Franck to Ravel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Ji Young An 2013 © Copyright by Ji Young An 2013 ABSTRACT OF THE DISSERTATION In Search of a Style: French Violin Performance from Franck to Ravel by Ji Young An Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert Winter, Chair My dissertation focuses on issues of French sound and style in late nineteenth and early twentieth-century French violin repertoire. As a violinist who studied at the Paris Conservatory, I have long been puzzled as to why so little had been written about something that everyone seems to take for granted—so called French style. I attacked this elusive issue from three perspectives: 1) a detailed look at performance directions; 2) comparisons among recordings by artists close to this period (Jacques Thibaud, Zino Francescatti, as well as contemporary French artists such as Philippe Graffin and Guillaume Sutre); and 3) interviews with three living French violinists (Olivier Charlier, Régis Pasquier, and Gérard Poulet) with strong ties to this tradition. After listening to countless historical recordings, I settled on three pivotal works that illustrate the emergence and full flowering of the French style: César Franck’s Violin Sonata (1886), Claude Debussy’s Violin Sonata (1917), and ii Maurice Ravel’s Tzigane: Rapsodie de Concert pour Violon et Piano (1924). Each of them presents specific challenges: notational and stylistic issues in Franck’s Violin Sonata, Debussy’s performance directions in his Violin Sonata, and notational and interpretive issues in Ravel’s Tzigane that led to a separate, orally-transmitted French tradition.
    [Show full text]
  • CONITZ-DOCUMENT-2019.Pdf
    i Abstract (Re)Examining narratives: Personal style and the viola works of Quincy Porter (1897–1966) By Aaron Daniel Conitz The American composer Quincy Porter (1897–1966) is primarily remembered for his achievements and contributions as a member of the academy and, as a result, his music has largely been cast in the shadows. His compositional style is frequently described as “personal” or “highly individual,” particularly in reference to his works of chamber music, specifically those for string instruments. Porter was a fine violist who performed throughout his professional career in solo recitals and chamber ensembles; these experiences directly influenced his composition. Reexamining Porter’s narrative through the lens of his works for viola reveals a more nuanced perspective of the individual, one that more effectively conveys his personal style through the instrument he played. This body of repertoire forms a unique sector of his oeuvre: the works are valuable for the violist in their idiomatic qualities and compositional appeal, yet also display the composer’s voice at its finest. This document will present the works Porter originally wrote for viola (no transcriptions) as a valuable contribution to the repertory of 20th century American viola music. The works will be presented in chronological fashion and explore analytical aspects, stylistic concerns, historical context, and performance practice. The document begins with a biography to provide context for these works. ii Acknowledgements It is said that it takes a small village to raise a child. The essence and wisdom of this statement has certainly held true throughout the creation of this document; I would like to thank and recognize the small village of individuals that have helped me along this long, but rewarding journey.
    [Show full text]
  • Symphony Hall, Boston Huntington and Massachusetts Avenues
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-SEVENTH SEASON, i947" 1 948 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1947, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen Francis W. Hatch John Nicholas Brown M. A. De Wolfe Howe Alvan T. Fuller Jacob J. Kaplan Jerome D. Greene Roger I. Lee N. Penrose Hallowell Raymond S. Wilkins Oliver Wolcott George E. Judd, Manager [57] © © © © © © © Only © © you can © © © decide © © ® © © © Whether your property is large or small, it rep- © resents the security for your family's future. Its ulti- © © mate disposition is a matter of vital concern to those © you love. © © To assist you in considering that future, the Shaw- © mut Bank has a booklet : "Should I Make a Will?" © It outlines facts that everyone with property should © © know, and explains the many services provided by © this Bank as Executor and Trustee. © © Call at any of our 2 J convenient offices, write or telephone © for our booklet: "Should I Make a Will?" © © © *Je>Kd<m€il\Jr4iAt ~DefiaKtin&nt © © The Optional © © © Shawmut Bank © 40 Water Street^ Boston Member Federal Deposit Insurance Corporation & Capital $10,000,000 Surplus $20,000,000 & "Outstanding Strength'" for 111 Tears §H&®®®®©®@@@®®®@©®®®®©®®$ [58] j^D (rv$<7D+(r*vb^J) cnv^r^cr^ SYMPHONIANA European Posters "Romeo and Juliet" Recording EUROPEAN POSTERS The Boston Symphony is starting this season's series of exhibitions by show- ing a group of European posters.
    [Show full text]
  • Ii the APPLICATION of BEL CANTO
    THE APPLICATION OF BEL CANTO PRINCIPLES TO VIOLIN PERFORMANCE A Monograph Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS by Vladimir Dyo May, 2012 Examining Committee Members: Charles Abramovic, Advisory Chair, Professor of Piano Eduard Schmieder, Professor of Violin, Artistic Director for Strings Richard Brodhead, Associate Professor of Composition Christine Anderson, External Member, Associate Professor of Voice, Chair Department of Voice and Opera ii © Copyright 2012 by Vladimir Dyo All Rights Reserved iii ABSTRACT The Application of Bel Canto Principles to Violin Performance Vladimir Dyo Doctor of Musical Arts Temple University, 2012 Doctoral Advisory Committee Chair: Dr. Charles Abramovic Bel canto is “the best in singing of all time.” Authors on vocal literature (Miller, Celletti, Duey, Reid, Dmitriev, Stark, Whitlock among others) agree that bel canto singing requires complete mastery of vocal technique. The "best in singing" means that the singer should possess immaculate cantilena, smooth legato, a beautiful singing tone that exhibits a full palette of colors, and evenness of tone throughout the entire vocal range. Furthermore, the singer should be able to "carry the tone" expressively from one note to another, maintain long lasting breath, flexibility, and brilliant virtuosity. Without these elements, the singer's mastery is not complete. In addition, proper mastery of bel canto technique prolongs the longevity of the voice. For centuries, —emulating beautiful singing has been a model for violin performers. Since the late Renaissance and early Baroque periods, a trend toward homophonic style, melodious songs, and arias had a tremendous influence on pre-violin and violin performers, and even on luthiers.
    [Show full text]
  • Musiciennes:Women Musicians in France During the Interwar Years
    Musiciennes: Women Musicians in France during the Interwar Years, 1919-1939 Laura Ann Hamer Submitted for the Degree of Doctor of Philosophy Cardiff University, 2009 UMI Number: U584377 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584377 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The musical life of interwar France (1919-39) has fascinated many writers; however, the part played by women musicians has been much neglected. This thesis seeks to rectify this situation by presenting a study of the activities and reception of the musiciennes of interwar France. The thesis is divided into three parts: part one provides a contextual framework within which to situate the pursuits of women musicians by considering both their contemporary social position and the gender- specific conditions which affect the lives, careers, and reception of musiciennes. Part two focuses on conductors and composers. Jane Evrard and her Orchestre feminin de Paris are discussed within the context of the contemporaneous development of the all­ woman orchestra and rise of the first professional female conductors.
    [Show full text]
  • The Franco-Belgian Violin School: Pedagogy, Principles, and Comparison with the German and Russian Violin Schools, from the Eighteenth Through Twentieth Centuries
    The Franco-Belgian Violin School: Pedagogy, Principles, and Comparison with the German and Russian Violin Schools, from the Eighteenth through Twentieth Centuries A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music Violin 2019 by Gyu Hyun Han B.A., Korean National University of Arts, Korea, 2005 M.M., Korean National University of Arts, Korea, 2007 Committee Chair: Kurt Sassmannshaus, MM Abstract The Franco-Belgian violin school, famed for its elegance, detailed tone, polished sound, and variety of bow strokes, dominated violin performance at the turn of the twentieth century. Yet despite this popularity, and the continuing influence of the school as reflected in the standard violin repertoire, many violinists today do not know what constitutes the Franco-Belgian violin style. Partly, this is due to a lack of contextual information; while many scholars have written about the history of the violin and violin playing techniques, there is currently very little literature comparing the principles and performance characters of specific violin schools. This study therefore introduces the principles and techniques of the Franco-Belgian violin school, presented in comparison with those of the German and Russian violin schools; these features are catalogued and demonstrated both through examinations of each school’s treatises and analyses of video recordings by well-known violinists from each school. ii iii Table of Contents Abstract ii List of Tables vi List if Figures vi List of Musical Examples vii I.
    [Show full text]