DOCSLIB.ORG

Of Tif^ Twenty-Fourth Rehearsal and Concert

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Of Tif^ Twenty-Fourth Rehearsal and Concert SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES : : : Telephone, 1492 Back Bay TWENTY-SIXTH SEASON, 1906-1907 DR. KARL MUCK, Conductor prngmmm? of tif^ Twenty-fourth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MAY 3 AT 2.30 O'CLOCK SATURDAY EVENING, MAY 4 AT 8.00 O'CLOCK PUBLISHED BY C. A. ELLIS, MANAGER 1813 " PIANOS "Without HAROLD BAUER exception the finest piano I have ever met with." " I have never before been so completely satisfied with any OSSIP GABRILOWITSCH piano as with the Mason & Hamlin." "Mason & Hamlin pianos WILLY HESS are matchless." "An artistic creation which KATHARINE GOODSON need fear no rival." " Unsurpassed by any Ameri- GEORGE CHADWICK can orEuropean instruments. "One can sing expressively VINCENT D'INDY on your piano." "Great beauty of tone and CH. M. LOEFFLER unusual capacity for expres- siveness." " I congratulate you on the ANTOINETTE SZUNOWSKA perfection of your instru- ments." "Musical instrument of the FRANZ KNEISEL highest artistic stamp." " I believe the Mason & Ham- RUDOLPH GANZ lin piano matchless, an artis- tic ideal." " I congratulate you on these HEINRICH GEBHARD wonderful instruments." EMIL PAUR " Superb, ideal." " Unequalled in beauty of TIMOTHEE ADAMOWSKI tone, singing capacity, and perfection of mechanism." "Pre-eminently sympathetic to WALLACE GOODRICH the player in both touch and tone." MASON & HAMLIN CO. 492-494 Boylston Street Opposite Institute of Technology 1814 Boston Symphony Orchestra PERSONNEL TWENTY-SIXTH SEASON, 1906-1907 Dr. KARL MUCK, Conductor Willy Hess, C»ncertmeitter, and the Members of the Orchestra in alphabetical order. Adamowski, J. Heberlein, H. Adamo^rski, T. Akeroyd, J. Bak, A. Bareither, G. Barleben, C. Barth, C. Berger, H. Botrer, H. Brenton, H. Brooke, A. Burkhardt, H. Butler, H. Currier, F. Debuchy, A. Dworak, J. Eichheim, H. Eichler, J. Elkind, S. Ferir, E. Fiedler, B. Fiedler, E. Fiumara, P. Fox, P. Fritzsche, O. Gerhardt, G. Gictien, A. Goldstein, S. Grises, G. Hackebarth, A. Hadley, A. Hai^^ F. Hampe, C. Established Established 1823 1823 PIANOFOJRTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever Tremont Street' Retail IVarer00ms ^ 791 1816 TWENTY-SIXTH SEASON, NINETEEN HUNDRED SIX AND SEVEN Twenty-fourth Rehearsal and Concert* FRIDAY AFTERNOON, MAY 3, at 230. SATURDAY EVENING, MAY 4, at 8 o^cIock. PROGRAMME, Volkmann . Overture, in F-sharp minor, to Shakespeare's " Richard III.," Op. 68 Liszt . Symphonic Poem, No. ii, "The Battle of the Huns" " Beethoven . Symphony No. 3, in E-flat major, Eroica," Op. 55 I. Allegro con brio. II. Marcia funebre : Adagio assai. III. Scherzo: Allegro vivace ; Trio. IV. Finale : Allegro molto. There will be an intermission of ten minutes before the symphony. The doors of the hall will be closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the numbers. City of Boston. Revised Reiiulatlon of Audust 5. 1898.— Chapter 3. relating to tbm coverlnii of the head In places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obitroct Mch new, may be worn. Attest: J. M. GALVIN, City Clerk. 1817 L. P. Hollander & Co. ANNOUNCE THAT THEIR COMPLETE IMPORTATION OF Millinery IS NOW ON EXHIBITION 202 ro 216 Boylston Street, Boston SMITH PATTERSON CO. CLOCKS HALL aOCKS THE NEW CHIMING ON THIK MODEL TUBES M ¥ TIV WATCH AUTOHOBILE /I l\| 1 1 SPLIT-SECOND AND rillJIf AND TRAVELING REPEATING CLOCKS VATCHES WATCHES THAT ARE ACCURATE 52 SIMMER ST. BOSTON Overture to Shakespeare's "Richard III.,'-' in F-sharp minor, Op. 68 Robert Volkmann -(Born at Lommatzsch (Saxony), April 6, 1815; died at Budapest, October 30, 1883.) The music to Shakespeare's "Tragedy of King Richard the Third" was Volkmann' s last and riiost important orchestral composition. He worked on it long before and after the Serenades for strings (C major, Op. 62; F major, Op. 63; D minor, with violoncello solo, Op. 69), which were written in 1869-70. The overture was written first at Budapest. It was completed in 1870. It was performed for the first time at the Landessangerfest at Budapest, June 20, 1870. The entr'actes and incidental music (Op. 73)—five short stage marches and six other pieces—were not completed until 1872. The tragedy with all this music was performed that year at the National Theatre, Budapest, under Hans Richter's direction. Wishing to have the music heard in concert halls, Volkmann with the help of his friend Heckenast arranged the entr'actes, etc., with an accompanying text to be spoken. A vSuite without text—five pieces—was arranged and performed by the Dresden Gewerbehaus Orchestra, led by Trenkler. The overture was played for the first time in Boston at a Symphony Concert, led by Mr. Gericke, March 14, 1885. It was played at these concerts, March 20, 1886, October 18, 1890, October 21, 1893, October 26, 1901. The overture is scored for two flutes (one interchangeable with pic- colo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, snare-drum, triangle, tam- tam, and strings. Volkmann took for his hero the traditional Richard,—the scowling, misshaped, melodramatic, bloody Richard, dear to Shakespeare and robust play-actors. The Rev. Nathaniel Wanley thus described him LATBST SONG CYCLES Three Indian Songs, by Herbert Bath Dorothy's Wedding Day. A Song for Three Baritone Songs, by Edward German four solo voices Four Songs from the Garden of Kama, by A Lover in Damascus, by Amy Woodforde- Alma Goetz Fin den Sbt Characteristic Songs, by Joseph Hol- On Jhelum River. A Kashmiri Love Story, brooke by Amy Woodforde-Finden A Lover's Moods, by C. A. Lidgey A Cycle of Life, by Landon Ronald. Two Camella, by Graham Peel keys Three Shakespeare Songs, by Roger Quilter Songs of the Desert, by G. Clutsam To Julia, Six Lyrics of Robert Herrick In Sunshine and Shadow, by Landon Ron- Songs of Travel, by R. Vaughan Williams ald \ BOOSEY & COMPANY, 9 Cast 17th Street, New York City 1819 GV^BALtAF^8(-SoN3 Special Notice of Reductions FOR A SHORT PERIOD Tailor Cloth Goivns for street and tra'belling Elaborate Visiting Colons Evening and Travelling Coats Silk Jumper Suits Linen Coats and Skirts Lace and Embroidered Waists Lingerie Waists and Dresses Tailored Shirt Waists These beautiful models may be purchased and orders for copies taken at Much lower than regular prices 256 BOYLSTON STREET . BOSTON 1820 in "The Wonders of the Little World" (Book I., chapter xiii. : "Of the Signal Deformity, and very Mean Appearance, of Some Great Persons, and Others"): "There was never a greater uniformity of body and mind than our own King Richard the Third, for in both he was equally deformed. He was low of stature, crook-backed, hook- shouldered, splay-footed, goggle-eyed, his face small and round, his complexion swar.thy, and his left arm withered from his birth. Born, says Truffel, a monster in nature, with all his teeth, hair on his head, and nails on his fingers and toes. Those vices which in other men are passions in him were habits. His cruelty was not casual, but natural; and the truth of his mind was only lying and falsehood." The latest English historians laugh at this bogy of tradition ; but their genteel, straight-backed, and beneficent ruler, with his hair pleasingly combed, would never have inspired tragedy, symphonic poem, overture. The whitewashed Richard now stands forth an enlightened and philan- thropic monarch. Let us not forget that, like Nero and Henry VHI., he was passionately fond of music, so that it is a pity he could not have heard both Smetana's symphonic poem and Volkmann's overture, and compared them. In the second year of his reign he issued "a most arbitrary" order for impressing singing men and children, even from cathedrals, colleges, chapels, and houses of religion, for the purpose of affording him amusement. The latest biographer of Richard, Sir Clements R. Markham, dis- poses of the fables. Richard was not humpbacked ; he did not murder Edward of Lancaster; the charge that he murdered Henry VL is an insinuation rather than an accusation, a "Tudor calumny"; his mar- riage with the Lady Anne Neville was a happy one; he did not im- prison for life the Countess of Warwick ; he was not a usurper ; he did not poison his wife ; he did not murder the princes in the Tower ; the murderer was probably Henry Tudor. Volkmann gave no programme to his overture. Here he differed from Smetana, who admitted, yes, boasted, that he could not compose music without a programme, and wrote as follows to his friend Srb concerning his symphonic poem, "Richard IIL"* (Gothenburg, " * Smetana's Richard III." was performed in Boston at a Symphony Concert, April 25, 1903 FROM RECENT PROGRAMS RECENT OF FOREIGN PUBLICATIONS MISS ANNA MILLER WOOD Oh. let Night speak, Chadwick $0.40 FOR PIANO Victor Staub, Sous Ashes of Roses, Foote .30 Bois $1.00 Cesar Franck, Danse O Heart of fline! Clough-Leighter .30 Lente .75 Claude Debussy, Reverie Arcadie, Margaret R. Lang .40 .75 How riany Times do I love Thee FOR ORGAN Manney .50 A. Guilmant, Sonata No. 8 $1.60 Transformations (" Such a starved bank of moss Manney .50 ") FOR SALE BY Arthur P.
Load more

Recommended publications
  • Food of Love Folio Manhattan
    Join us for Cerddorion’s 20th Anniversary Season! Our twentieth season launches Friday, November 14 at St. Paul’s Episcopal Church in Carroll ERDDORION Gardens, Brooklyn. Our Manhattan concert date will be finalized soon. In March 2015, we will mark our 20th anniversary with a special concert, including the winners VOCAL ENSEMBLE of our third Emerging Composers Competition. The season will conclude with our third concert C late in the spring. Be sure to check www.Cerddorion.org for up-to-date information, and keep an eye out for James John word of our special anniversary gala in the spring! Artistic Director !!! P RESENTS Support Cerddorion Ticket sales cover only a small portion of our ongoing musical and administrative expenses. If you would like to make a tax-deductible contribution, please send a check (payable to Cerddorion NYC, Inc.) to: The Food of Love Cerddorion NYC, Inc. Post Office Box 946, Village Station HAKESPEARE IN SONG New York, NY 10014-0946 S I N C OLLABORATION WITH !!! HE HAKESPEARE OCIETY For further information about Cerddorion Vocal Ensemble, please visit our web site: T S S Michael Sexton, Artistic Director WWW.CERDDORION.ORG Join our mailing list! !!! or Follow us on Twitter: @cerddorionnyc Sunday, June 1 at 3pm Sunday, June 8 at 3pm or St. Paul’s Episcopal Church St. Ignatius of Antioch Like us on Facebook 199 Carroll Street, Brooklyn 87th Street & West End Avenue, Manhattan THE PROGRAM DONORS Our concerts would not be possible without a great deal of financial assistance. Cerddorion would like to Readings presented by Anne Bates and Chukwudi Iwuji, courtesy of The Shakespeare Society thank the following, who have generously provided financial support for our activities over the past year.
    [Show full text]
  • Much to Look Forward To
    Journal of the No.18 June 2000 EDITOR Stephen Connock RVW (see address below) Society In this issue... Much to look forward to... Vaughan Williams and Bach The RVW Society is involved in a Members will also be delighted to learn number of important and exciting that Sir John in Love will be performed G R.V.W. & J.S.B. projects, some of which will come to in Newcastle City Hall by the Northern fruition quickly and others will take Sinfonia under Richard Hickox on by Michael Kennedy place in the 2002-2003 season. Of the September 29th 2000 as part of the Page 4 greatest interest to RVW Society preparation for the recording. There is members is the major Festival of such marvellous, heart warming music symphonies and choral works being in this opera that all members are urged G Lewis Foreman reviews VW planned under the title Toward the to get to Newcastle, somehow, for the conducting the St. Matthew Unknown Region. concert performance on 29th September. Passion. Page 7 Toward the Unknown Region Charterhouse Symposium G This Festival will be conducted by Following the success of the Conference VW and ‘the greatest of all Richard Hickox using his new orchestra Vaughan Williams in a New Century at composers’ the BBC National Orchestra of Wales. the British Library last November, Robin by Timothy Day Eight concerts are being planned for Wells of Charterhouse and Byron Adams Wales and there are likely to be four of the University of California have Page 10 concerts in London. The Festival begins jointly planned a superb series of at the end of 2002 and many rare choral lectures, concerts and other events at works will be programmed alongside all Charterhouse School from 23rd to 29th Postscripts on George the nine symphonies.
    [Show full text]
  • Roger Quilter
    ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music.
    [Show full text]
  • St. Cecilia Chamber Choir's Lively Performance Celebrates Spring Review
    Wednesday, May 02, 2012 St. Cecilia Chamber Choir's Lively Performance Celebrates Spring Review By Kim Fletcher Wednesday, May 02, 2012 It was a perfect day when the St. Cecilia Chamber Choir joined their beautiful voices together to "Celebrate Spring" in their second performance of the weekend at the First Congregational Church in Camden April 29. Lincoln County concertgoers enjoyed their first program at the Second Congregational Church in Newcastle April 28. Directed by Linda Blanchard with Sean Fleming on the church's outstanding organ and piano, the performance was stirring and had some surprises, too. Kudos goes to Blanchard in her never failing to please selections - wonderful to hear and challenging to sing. She also gives hands-up to rising artists, particularly locals when she offers a place in the alto section to a young vocalist, this time to Lincoln Academy 2011 graduate, Olivia DeLisle. She also seeks out local talented composers, most notably and most often Richard Francis and for this concert, an absolutely beautiful piece by Todd Monsell, set to the poetry of Robert Frost. Francis' lovely contribution, "For Winter's Ruins and Rains Are Over" came back-to-back with Monsell's "A Prayer in Spring," and were stirring highlights of the first act, (aside from a personal favorite, "Jerusalem" by C. Hubert Parry, arranged by Maurice Jacobson). Blanchard also deserves a particular nod for presenting seldom-heard works, "Three Shakespeare Songs," by Vaughan Williams, and "Shakespeare Songs, Book III," featuring a solo by DeLisle, by composer Matthew Harris. Arguably the supreme poet, Shakespeare's verse and sonnets have inspired many composers most often for solo singers, which makes Williams' beautiful offerings for choirs particularly wonderful.
    [Show full text]
  • 085-Shall-I-Compare-Thee-Booklet.Pdf
    1 Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: Producer James Ginsburg Engineer Rough winds do shake the darling buds of May, Bill Maylone Session Director Patrick Sinozich And summer’s lease hath all too short a date. Recorded November 13, 2004; and January 14–16 CDR 90000 085 and March 19, 2005 at Northeastern Illinois University P&C 2005 Cedille Records,24 trademark of Graphic Design The Chicago Classical Recording Foundation Melanie Germond & Pete Goldlust DDD • All Rights Reserved Front cover CEDILLE RECORDS Ask me no more, 1906 (oil on canvas) 5255 N. Lakewood Ave Chicago IL 60640 USA by Sir Lawrence Alma-Tadema 773.989.2515 • [email protected] © The Bridgeman Art Library www.cedillerecords.org S Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, corporations, and government agencies including the Alphawood Foundation, the Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. 2 3 SHALL I COMPARE THEE? Chicago a cappella Choral Songs on Shakespeare Texts Amy Conn, soprano Kathleen Dietz, soprano John Rutter (b. 1945) Elizabeth Grizzell, mezzo bl It Was a Lover and his Lass (2:28) Susan Schober, mezzo Harold Brock, tenor Nils Lindberg (b. 1933) bm Trevor Mitchell, tenor Shall I compare? (2:26) Matthew Greenberg, baritone Aaron Johnson, baritone Håkan Parkman (1955–1988): from Three Shakespeare Songs bn Jonathan Miller, bass Madrigal (Take, O Take Those Lips Away) (1:37) & artistic direction (ensemble: Conn, Dietz, Grizzell, Mitchell, Miller) bo Sonnet 147 (My love is as a fever) (3:03) The participation of the artists in this recording (solo: Amy Conn / ensemble: Dietz, Grizzell, Mitchell, Miller) was underwritten in part through the generosity of the Nora Bergman Fund.
    [Show full text]
  • Eldon Black Sheet Music Collection This Sheet Music Is Only Available for Use by ASU Students, Faculty, and Staff
    Eldon Black Sheet Music Collection This sheet music is only available for use by ASU students, faculty, and staff. Ask at the Circulation Desk for assistance. (Use the Adobe "Find" feature to locate score(s) and/or composer(s).) Call # Composition Composer Publisher Date Words/Lyrics/Poem/Movie Voice & Instrument Range OCLC 000001a Allah's Holiday Friml, Rudolf G. Schirmer, Inc. 1943 From "Katinka" a Musical Play - As Presented by Voice and Piano Original in E Mr. Arthur Hammerstein. Vocal Score and Lyrics 000001b Allah's Holiday Friml, Rudolf G. Schirmer, Inc. 1943 From "Katinka" a Musical Play - As Presented by Voice and Piano Transposed in F Mr. Arthur Hammerstein. Vocal Score and Lyrics by Otto A. Harbach 000002a American Lullaby Rich, Gladys G. Schirmer, Inc. 1932 Voice and Piano Low 000002b American Lullaby Rich, Gladys G. Schirmer, Inc. 1932 Voice and Piano Low 000003a As Time Goes By Hupfel, Hupfeld Harms, Inc. 1931 From the Warner Bros. Picture "Casablanca" Voice and Piano 000003b As Time Goes By Hupfel, Hupfeld Harms, Inc. 1931 From the Warner Bros. Picture "Casablanca" Voice and Piano 000004a Ah, Moon of My Delight - In A Persian Garden Lehmann, Liza Boston Music Co. 1912 To words from the "Rubaiyat of Omar Khayyam" Voice and Piano Medium, F 000004b Ah, Moon of My Delight - In A Persian Garden Lehmann, Liza Boston Music Co. 1912 To words from the "Rubaiyat of Omar Khayyam" Voice and Piano Medium, F 000004c Ah, Moon of My Delight - In A Persian Garden Lehmann, Liza Boston Music Co. 1912 To words from the "Rubaiyat of Omar Khayyam" Voice and Piano Medium, F 000005 Acrostic Song Tredici, David Del Boosey & Hawkes, Inc.
    [Show full text]
  • About Seattle Pro Musica Karen P
    SeattLE Pro MUSICA About Seattle Pro Musica karen P. thomas, conductor Staff Members Seattle Pro Musica is a critically acclaimed choral organiza- Karen P. Thomas, Artistic Director Karen P. Thomas tion whose mission is to enrich and inspire our audiences, and Conductor of Seattle Pro Musica, Artistic Director & Conductor singers, and community through the experience of choral has conducted at international festivals in Europe and North Katie Skovholt artistry, and to increase access to and appreciation of choral Executive Director music. Though our membership comes from all walks of life America, including the Berkshire and spans generations, we are united by our desire to make Choral Festival and the Bergen Caroline Little sounds and International Festival. She has Administrative Assistant beautiful music together for ourselves and our audiences. lectured for Chorus America, the Dwight Beckmeyer Celebrating its 45th anniversary this season, Seattle Pro American Guild of Organists, the March 11, 17 & 18, 2018 Accompanist Musica is comprised of four performing ensembles: the American Choral Director’s Associa- 80-voice Seattle Pro Musica choir; Vox, the mixed-voices sweet airs Heidi Kim, Kevin Kralman, tion, the Seattle Symphony, and has and Peter Lifland chamber ensemble; Chroma, the select SSAA ensemble; and received awards from the NEA, American Academy and PROGRAM Section Leaders Orpheon, the select TTBB ensemble. Recipient of the Institute of Arts and Letters, and ASCAP, among others. She Margaret Hillis Award for Choral Excellence and the ASCAP/ was awarded the 2015 Dale Warland Singers Commission CHROMA Board of Directors Chorus America Award for Adventurous Programming, Award from Chorus America and the American Composers Joy Portella Seattle Pro Musica is ranked by American Record Guide as Forum.
    [Show full text]
  • Download PDF Booklet
    THE COMPLETE volume 1 SONGBOOK MARK STONE STEPHEN BARLOW THE COMPLETE volume 1 SONGBOOK MARK STONE STEPHEN BARLOW THE COMPLETE SONGBOOK volume 1 ROGER QUILTER (1877-1953) FOUR SHAKESPEARE SONGS Op.30 (William Shakespeare) 1 i Who is Silvia? 2’05 2 ii When daffodils begin to peer 1’05 3 iii How should I your true love know? 2’22 4 iv Sigh no more, ladies 1’38 TWO SONGS Op.26 (Robert Louis Stevenson) 5 i In the highlands 3’02 6 ii Over the land is April 2’04 7 A LONDON SPRING (Julian Sturgis) 1’33 THREE SHAKESPEARE SONGS Op.6 (William Shakespeare) 8 i Come away, death 3’23 9 ii O mistress mine 1’42 10 iii Blow, blow, thou winter wind 2’37 11 TROLLIE LOLLIE LAUGHTER (Victor Benjamin Neuberg) 1’52 SONGS OF SORROW Op.10 (Ernest Dowson) 12 i A coronal 3’18 13 ii Passing dreams 2’07 14 iii A land of silence 2’41 15 iv In spring 3’01 16 ’TIS SAINT VALENTINE’S DAY (William Shakespeare) 1’11 17 HARK, HARK, THE LARK (William Shakespeare) 1’04 18 COME LADY-DAY (May Pemberton) 1’56 19 COME UNTO THESE YELLOW SANDS (William Shakespeare) 2’04 20 TELL ME WHERE IS FANCY BRED (William Shakespeare) 1’58 THREE PASTORAL SONGS Op.22 (Joseph Campbell) 21 i I will go with my father a-ploughing 2’07 22 ii Cherry Valley 2’56 23 iii I wish and I wish 2’00 24 NON NOBIS, DOMINE (Rudyard Kipling) 2’41 TWO SHAKESPEARE SONGS Op.32 (William Shakespeare) 25 i Orpheus with his lute 2’16 26 ii When icicles hang by the wall 1’53 27 A SONG AT PARTING (Christina Rossetti) 2’29 FOUR CHILD SONGS Op.5 (Robert Loius Stevenson) 28 i A good child 1’48 29 ii The lamplighter 1’34 30
    [Show full text]
  • Abigail Hart, Soprano
    Abigail Hart, Soprano with Chia-Yu Tsai, Piano José Vargas, Tenor Ariel Jonathan Dove (b. 1959) III. O, O, O IV. All hail, great master V. Is there more toil? “All hail, great master” Lee Hoiby (1926-2011) from The Tempest Three Shakespeare Songs Amy Beach (1867-1944) O, Mistress Mine Take, O Take Those Lips Away Fairy Lullaby “Va! Je t’ai pardonné” Charles Gounod (1818-1893) from Roméo et Juliette Ballade, Op. 118 no. 3 in G minor Johannes Brahms (1833-1897) Ophelia Lieder Wie erkenn’ ich dein Treulieb Sein Leichenhemd weiß wie Schnee zu sehn Auf morgen ist Sankt Valentins Tag Sie trugen ihn auf der Bahre bloß Und kommt er nicht mehr zurück? Intermezzo, Op. 199 no. 1 “A vos jeux, mes amis… Pâle et blonde” Ambroise Thomas (1811-1896) )ULGD\)HEUXDU\WK 0 PM Leith Symington Griswold Hall "#$%!&'($)*+!$%!,--'&'.!$/!0*&)$*+!-1+-$++2'/)!,-!)#'!&'31$&'2'/)%!-,&!)#'!.'4&''!,-!5*%)'&!,-!51%$(6! "#'!1%'!,-!(*2'&*%!*/.!7$.',!,&!)*0'!&'(,&.'&%!8$)#,1)!0&$,&!0'&2$%%$,/!$%!%)&$()+9!0&,#$:$)'.6! ;,)$('<!=,&!9,1&!,8/!%*-')9>!?@@A!-,&!9,1&!/'*&'%)!BCD"6!!D/!(*%'!,-!'2'&4'/(9>!EF?A!.,!/,)!GH;>!),!)#*)!BCD"6!!I9!,&.'&!,-!)#'!5*9,&!*/.!J$)9! J,1/($+!,-!I*+)$2,&'6! Ariel by Jonathan Dove is based on texts from Shakespeare’s The Tempest, which are sung by the character Ariel. Ariel is a sprite and the servant of Prospero, a magician who lives on a desert island. Prospero orders Ariel to orchestrate a storm in order to shipwreck King Alonso of Naples on the island. Ariel, while identified by masculine pronouns, is most often played by a woman.
    [Show full text]
  • Illiam Shakespeare Died Four Hundred Years Ago This Year at the Age of Fifty- Two
    CANTORUM CHOIR Patron Sponsor Ralph Allwood MBE Aspen Worldwide antorum Choir is a dedicated and talented choir of approximately forty voices, based in Cookham, Berkshire. Under the directorship of Elisabeth Croft, the ensembleC continues to earn itself a reputation as one of the leading chamber choirs in the area. Cantorum boasts a wide-ranging repertoire and performs professional- quality concerts throughout the year. Two years ago, in the Choir of the Year 2014 competition, Cantorum was placed 5th nationally in the adult choir category. Two weeks ago, we entered the regional auditions in St Albans for Choir of the Year 2016. We are very proud to share the judge’s response: ‘That was absolutely sensational!’ The choir now goes through to the next level. We will keep you posted! Soprano Alto Julia Bentley-Dawkes, Kate Cromar Celia Armstrong, Bridget Bentley Louise Evans, Kirsty Janusz Jill Burton, Jami Castell Jenny Knight, Julia Millard Sarah Evans, Anne Glover Hilary Monaghan, Joy Strzelecki Anna Jacobs, Sandy Johnstone Deborah Templing, Philippa Wallace Elspeth Scott, Chiu Sung Lorna Sykes Tenor Bass Anthony Dowlatshahi, Philip Martineau, Derek Beaven, John Buck Peter Roe, Malcolm Stork Arthur Creswell, Gordon Donkin John Timewell David Hazeldine, Ed Millard Paul Seddon 2 Elisabeth Croft (née Toye)—Music Director Elisabeth is a graduate of Birmingham University and also of the Royal Academy of Music, where she won the 2004 Michael Head Prize for English Song and the 2005 Arthur Bliss Prize for Twentieth Century Music. In 2008, she won the A.E.S.S. Patricia Routledge National Prize for English Song and has subsequently built a busy and successful career as a professional soprano, vocal coach, and choral trainer.
    [Show full text]
  • Top-10-Miniature-Masterpieces-1
    Episode 5 Miniature Masterpieces Top 10 Miniature Masterpieces These are standalone choral works with, or without an orchestra, that demonstrate the craftsmanship and mastery of the composer, but in 8 minutes or less. This list does not contain excerpts from larger works or any compositions longer than 8 minutes. 1. Ave verum corpus – Wolfgang A. Mozart (1756 – 1791) Wolfgang Amadeus Mozart composed more than 600 works, many of which are acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is considered among the greatest classical composers of all time, and his influence on Western music is profound. Ludwig van Beethoven composed his early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years". Ave verum corpus – Wolfgang A. Mozart Academy and Chorus of St Martin in the Fields, Sir Neville Marriner 2. Mitten wir im Leben sind – Felix Mendelssohn (1809 – 1847) Jakob Ludwig Felix Mendelssohn Bartholdy was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn's compositions include symphonies, concertos, piano music, organ music and chamber music. His best-known works include the overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the oratorio St. Paul, the oratorio Elijah, the overture The Hebrides, the Page 1 of 7 mature Violin Concerto and the String Octet. The melody for the Christmas carol "Hark! The Herald Angels Sing" is also his. Mendelssohn's Songs Without Words are his most famous solo piano compositions. Mitten wir im Leben sind - Felix Mendelssohn Chamber Choir of Europe, Nicol Matt, conductor 3.
    [Show full text]
  • The Bard Program
    WELCOME The Bard Shakespeare Song s SAN FRANCISCO OAKLAND Saturday, September 28, 8pm Sunday, September 29, 4pm St. Mark’s Lutheran Church Chapel of the Chimes 2013-2014 SEASON clerestory.org WELCOME Welcome to the opening concerts of Clerestory's eighth season, The Bard! How weet the moonlight leep upon thi bank s s s s ! Here will we it, and let the ound of mu ic s s s s Creep in our ear : oft tillne and the night s s s ss Become the touche of weet harmony. s s (The Merchant of Venice, Act V Scene 1) One of my earliest musical memories is singing the part of a fairy elf as a boy soprano in Benjamin Britten's wonderful opera A Midsummer Night's Dream. Mustardseed, Peaseblossom, Cobweb, and Moth—we wore wings and sang "over hill, over dale, through bush, through briar...". Just as William Shakespeare's poetry endures from age to age, tonight I find myself a generation older, singing those very same lines in Ralph Vaughan Williams' haunting setting. The words of the "Bard of Avon" reverberate throughout modern life, often in unexpected places and phrases. Tonight you'll hear Shakespeare as he himself would never have dreamed: daring, modern, creative, and sometimes otherworldly. What is it about singing that draws us in? It's often said that music expresses what words cannot. I'd add that music with words expresses more than either one alone. Music featured prominently in the productions of Shakespeare's plays during his lifetime, although little about the actual music has been passed down—if it was ever written down at all.
    [Show full text]