Boston Symphony Orchestra Concert Programs, Season 55,1935-1936

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 55,1935-1936 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephone, Ticket and Administration Offices, Com. 1492 FIFTY-FIFTH SEASON, 1935-1936 CONCERT BULLETIN of the Boston Symphony Orchestra INCORPORATED Dr. SERGE KOUSSEVITZKY, Conductor RICHARD Burgin, Assistant Conductor with historical and descriptive notes By John N. Burk COPYRIGHT, 1936, BY BOSTON SYMPHONY ORCHESTRA, Inc. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Bentley W. Warren President Henry B. Sawyer Vice-President Ernest B. Dane Treasurer Allston Burr Roger I. Lee Henry B. Cabot William Phillips Ernest B. Dane Henry B. Sawyer N. Penrose Hallowell Pierpont L. Stackpolf, M. A. De Wolfe Howe Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. SPALDING, Assistant Manager [921] c£ wM comAanu tb to be> (obfcdeb ab Gxecater- ana manaae ^ranm ab tee ow ah t. zSvlanu7Tueavb 0/ ex/iewiwice and a cemMeie o-^aani^atien enaMe u& to oMew wient ana /wwmAt bewwce. Old Colony Trust Company 17 COURT STREET, BOSTON tAlliedwith The First National Bank of Boston [922] 1 Contents Title Page ......... Page 92 Programme ......... 925 Analytical Notes: Mahler: Symphony No. 9 . 927 Bach: Brandenburg Concerto No. 3, in G major . 940 Bach: Chaconne for Violin (Arranged for Orchestra by Alfredo Casella) ..... 950 Entr'acte: "Gustav Mahler — A Conversation on the Night of his Death," by Paul Stefan ..... 936 To the "Friends of the Boston Symphony Orchestra" 945 Berkshire The Symphonic Festival .... 947 The Next Programme ....... 961 Events in Symphony Hall ...... 962 Concert Announcements .... 963 The St. Matthew Passion ...... 964-965 Teachers' Directory . 966-968 Personnel Opposite page 968 [923] Cljanbler & Co. TREMONT AND WEST STREETS Second Floor Fine Feathers make chic hats $15 Take a sprightly Scotch cap . develop it in navy grosgrain . exaggerate its height in front . Add one long, sharp quill in several shades of blue and plaster bright blue feathers tipped with scarlet right in front! What a grand hat with a loose- swinging swagger ... a fitted double breasted coat ... or any one of a dozen suits! 924] FIFTY-FIFTH SEASON, NINETEEN HUNDRED THIRTY-FIVE AND THIRTY-SIX Twentieth Programme FRIDAY AFTERNOON, March 27, at 2:30 o'clock SATURDAY EVENING, March 28, at 8:15 o'clock Mahler Symphony No. 9 I. Andante comodo II. Im Tempo eines gemachlichen Landlers III. Rondo Burleske IV. Adagio INTERMISSION Bach Brandenburg Concerto No. 3 in G major for string orchestra (with the Sinfonia from the Cantata "Christ lag in Todesbanden") Allegro moderato Sinfonia Allegro Bach Chaconne for Violin unaccompanied (transcribed for orchestra by Alfredo Casella) (First performances in the United States) This programme will end about 4:25 on Friday Afternoon, 10:10 o'clock on Saturday Evening Alexander Constantinovitch Glazounov (August 10, 1865 — March 21, 1936) Pictures, autographs and music of Glazounov are being shown in the Huntington Avenue Foyer [925] 1 mm VICTOR RECORDS We would like to direct your attention with strong em- phasis to these extraordinary recordings, which mark a real advance in the development of Victor higher fidelity recording. Both emotionally and intellectually they place in your hands exceedingly desirable entertainment. Song Recital (Mozart, Schubert, Schumann, Brahms, Wolf) Mme. Lotte Lehmann M 292 $7.50 Porgy and Bess (Gershwin) Lawrence Tibbett—Helen Jepson and Chorus C 25 6.50 Symphony No. 1 in E minor (Sibelius, Opus 39) Eugene Ormandy—Minneapolis Symphony Orchestra—M 290 10-00 The Twenty- Four Preludes (Chopin, Opus 28) Alfred Cortot M 282 8.00 Symphony No. 40 (Mozart) Koussevitzky—London Philharmonic Orchestra . M 293 6.50 Concerto No. 2 (Beethoven, Opus 19) Arthur Schnabel — London Philharmonic Orchestra—M 295 8.00 Symphony No. 4 in A major (Italian) (Mendelssohn) Boston Symphony Orchestra under direction of Dr. Serge Koussevitzky ..... M 294 6.50 BOSTON MUSIC CO. 116 Boylston Street, Boston, Mass. TEL. HANCOCK I 56 Charles W. Homeyer & Co., Inc. 498 Boylston Street, Boston, Mass. NEXT TO HOTEL BRUNSWICK M. STEINERT & SONS 162 Boylston Street, Boston, Mass. TEL. HANCOCK I9OO [926] SYMPHONY NO. 9 By Gustav Mahler Born at Kalischt in Bohemia, on July 7 [?] i860; died at Vienna on May 8, 1911 Late in 1907, Mahler came to America, where for three seasons 1 (until death overtook him just twenty-five years ago) he conducted opera performances, and the Philharmonic concerts in New York. It was his intention to earn a sufficient fortune to retire from his strenu- ous and exhausting efforts of conducting, and to devote himself at leisure to the creative work which, through the career of this tireless musician, had been for the most part crowded into his summers. That retirement he never knew. In the summers of 1908 and 1909 respec- tively, returning to his native Austria, he composed "Das Lied von der Erde" and the Ninth Symphony. A Tenth Symphony, upon which he worked in 1909, remained an uncompleted fragment.* * According to Mahler's acquaintances, he had a superstitious dread of exceeding Beethoven's numerical precedent of nine, and for that reason published his "Das Lied von der Erde," which is in effect a symphony, as a song cycle. Bruckner had not lived to finish his ninth. Mahler did not live to finish a tenth. It is interesting to note that Glazounov, who was said to hold the same superstition, stopped short at eight, and, refraining from writing a Ninth, had lived thirty years since the completion of his last symphony. Miaskovsky, breaking the jinx, has written a thirteenth with impunity. Latest Classical Albums for Pianoforte In Schmidt's Educational Series Vol. Net Vol. Net 408 Ten Bach Pieces .75 366 Portrait Albums .75 A representative collection of moderately Pupil's Classics, Vol. Ill difficult compositions. The Selected and Edited by Ten Compositions by Beethoven, Brahms, CUTHBERT HARRIS Handel, Haydn, Mozart, Schumann and Schubert with portraits of these composers. 401 Ten Classical Pieces 1.00 By Ph. E. Bach, J. S. Bach, Rameau, 434 A Schumann Compendium .75 Handel, Beethoven, Schumann, Brahms Twelve favorite pieces, carefully edited by and Franck. CUTHBERT HARRIS Edited and Arranged by ARTHUR FOOTE A Standard Edition of Sonatas by Beethoven and Mozart Vol. VoL 168a. b. Ten Sonatas by Beethoven 171a. b. Nine Sonatas by Mozart Selected and Edited by Selected and Edited by ARTHUR FOOTE ARTHUR FOOTE Two Vols., each $1.00 Two Vols., each $1.00 THE ARTHUR P. SCHMIDT CO. 120 Boylston St. [927] Death, which had been a recurrent motive in his symphonies, even from the First, and his "Kindertotenlieder," became the dominating prepossession of the last three works. The death of his child, October 15, 1907, had saddened him, and he soon came to know that he had but a short time to live. Suffering from angina, which grew worse with the strain of conducting, his end is considered to have been hastened by his heavy schedule of concerts in 1909 and 1910. The last sym- phonies were as a triple farewell to life.* "Das Lied von der Erde" ex- pressed a philosophy of pessimism and withdrawal from the world. The Ninth Symphony is even more markedly a dismissal of life. Through the sketches of the Tenth Symphony, which was to be in five movements, were such remarks as these: "Deathwork (fore- boding)," and in the fourth movement: "The devil dances this with me; madness leaps at me, accursed. Destroy me that I may forget what I am; that I may cease to be — that I may forget!" And at the end of the movement: "Farewell, my play instruments, farewell!" * "The Song of the Earth" was based upon a collection of Chinese Poems which Hans Bethge had put into verse under the title "The Chinese Mute." It is in six movements, each with a poem to be sung by tenor or contralto—"The Drinking Song of Earthly Woe," "Autumn Solitude," "Of Youth," "Of Beauty," "The Drunkard in Springtime," "Await- ing a Friend—The Farewell of a Friend." It was performed at these concerts December 7, 1928, and December 6, 1930. OLIVER DITSON COMPANY, INC. Retail Music Store 359 BOYLSTON STREET BOSTON, MASS. For All Published MUSIC Largest stock of sheet music and music books in New England. Every outstanding American and Foreign publisher represented. DITSON'S 359 BOYLSTON STREET TEL. COMMONWEALTH 1350 [928] Mahler at different times expressed his desire to hear his new works once, justly performed. Mahler the creator was tremendously solicitous about his unpublished music — carried the manuscripts of his sym- phonies about with him in a trunk in which he jealously guarded from possible loss. Once published and properly performed, his works no longer concerned him. He was not interested in their repetition. The last three symphonies were not performed in his life time. Bruno Walter, "anointed apostle" of Mahler, performed "Das Lied von der Erde" in Munich in November 1911, six months after its composer's death, and the Ninth in Vienna, in June, 1912. Dr. Koussevitzky gave the work its first performance in this country at the Boston Symphony concerts, October 16, 1931, repeating it December 8, 1933. Two move- ments of the Tenth Symphony were performed by Franz Schalk at a Festival in Vienna, October 11, 1924. In his Ninth Symphony, Mahler does not resort to the swollen forces he sometimes used. There are wood winds in threes (with a fourth flute), the usual brass and strings, for percussion — timpani, triangle and Glockenspiel. Paul Bekker,* in his detailed analysis of the score, emphasizes Mahler's departure from the symphonic struc- * Paul Bekker: "Qustav Mahler's Symphonien." "DISTINCTION" —WE ATTRIBUTE OUR CLAIM TO DISTINCTION IN CLOTHES TO OUR FACULTY OF LEARNING THE DESIRES OF EACH WOMAN INDIVIDUALLY— AND — TO OUR ABILITY TO MAKE THE FINESf GARMENTS FIT— CORRECTLY— CHARACTERISTICALLY— Huruiifch Bros.
Recommended publications
  • Ariadne Auf Naxos: a Study in Transformation Through Contrast and Coalescence
    Ariadne auf Naxos: A Study in Transformation through Contrast and Coalescence By Copyright 2015 Etta Fung Submitted to the graduate degree program in Vocal Performance and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Julia Broxholm ________________________________ Paul Laird ________________________________ David Alan Street ________________________________ Joyce Castle ________________________________ Michelle Heffner Hayes Date Defended: 5/4/2015 i The Thesis Committee for Etta Fung certifies that this is the approved version of the following thesis: Ariadne auf Naxos: A Study in Transformation through Contrast and Coalescence _______________________________ Chairperson Julia Broxholm Date approved: 5/13/15 ii Abstract Ariadne auf Naxos, by composer Richard Strauss and librettist Hugo von Hofmannsthal, concerns the simultaneous performance of a tragedy and a comedy at a rich man’s house in Vienna, and the conflicts that arise between the two groups. The primary focus of this paper is the character Zerbinetta, a coloratura soprano who is the main performer in the commedia dell’arte troupe. Following consideration of the opera’s historical background, the first segment of this paper examines Zerbinetta’s duet with the young Composer starting from “Nein Herr, so kommt es nicht…” in the Prologue, which reveals her coquettish yet complex character. The second section offers a detailed description of her twelve-minute aria “Großmächtige Prinzessin” in the opera, exploring the show’s various levels of satire. The last segment is an investigation of the differing perspectives of the performers and the audience during Zerbinetta’s tour de force.
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • Ariadne Auf Naxos
    ARIADNE AUF NAXOS Royal Scottish National Orchestra 25, 27, 29 Aug 7.30pm Edinburgh Academy Junior School The performance lasts approx. 2hrs 15mins with no interval. Sung in German with English supertitles Supported by Dunard Fund James and Morag Anderson Please ensure all mobile phones and electronic devices are turned off or put on silent. ARIADNE AUF NAXOS Royal Scottish National Orchestra Lothar Koenigs Conductor Louisa Muller Staging Cast includes Dorothea Röschmann Ariadne David Butt Philip Bacchus Brenda Rae Zerbinetta Catriona Morison Composer Martin Gantner Music Master Peter Bronder Dancing Master Joshua Hopkins Harlequin Alexander Sprague Scaramuccio Barnaby Rea Truffaldino Sunnyboy Dladla Brighella Liv Redpath Naiad Claire Barnett-Jones Dryad Soraya Mafi Echo Jonathan McGovern Wigmaker Ossian Huskinson Lackey Filipe Manu Officer Thomas Quasthoff Major-Domo SYNOPSIS Prologue In the house of the wealthiest man in Vienna, two theatrical groups are making last-minute preparations for the entertainments they have been asked to provide to follow a sumptuous banquet. The Major-Domo explains to the Music Master that the performance of Ariadne auf Naxos, his pupil’s opera seria, is to be followed by a comic entertainment before a firework display at nine o’clock. The Music Master objects, but the Major- Domo replies that his master has paid for the entertainment so he can call the tune. The Composer wants a final rehearsal of his opera, but is told that the musicians are playing during dinner. The Dancing Master comments cynically as the leading members of each company make absurdly fussy demands. Chaos ensues. The prima donna comments furiously on the presence of the comedy troupe and their leading lady, Zerbinetta.
    [Show full text]
  • High-Fidelity-1955-Nov.Pdf
    November 60 cents SIBELIUS AT 90 by Gerald Abraham A SIBELIUS DISCOGRAPHY by Paul Affelder www.americanradiohistory.com FOR FINE SOUND ALL AROUND Bob Fine, of gt/JZe lwtCL ., has standardized on C. Robert Fine, President, and Al Mian, Chief Mixer, at master con- trol console of Fine Sound, Inc., 711 Fifth Ave., New York City. because "No other sound recording the finest magnetic recording tape media hare been found to meet our exact - you can buy - known the world over for its outstanding performance ing'requirements for consistent, uniform and fidelity of reproduction. Now avail- quality." able on 1/2-mil, 1 -mil and 11/2-mil polyester film base, as well as standard plastic base. In professional circles Bob Fine is a name to reckon auaaaa:.cs 'exceed the most with. His studio, one of the country's largest and exacting requirements for highest quality professional recordings. Available in sizes best equipped, cuts the masters for over half the and types for every disc recording applica- records released each year by independent record lion. manufacturers. Movies distributed throughout the magnetically coated world, filmed TV broadcasts, transcribed radio on standard motion picture film base, broadcasts, and advertising transcriptions are re- provides highest quality synchronized re- corded here at Fine Sound, Inc., on Audio products. cordings for motion picture and TV sound tracks. Every inch of tape used here is Audiotape. Every disc cut is an Audiodisc. And now, Fine Sound is To get the most out of your sound recordings, now standardizing on Audiofilm. That's proof of the and as long as you keep them, be sure to put them consistent, uniform quality of all Audio products: on Audiotape, Audiodiscs or Audiofilm.
    [Show full text]
  • Interpreting Race and Difference in the Operas of Richard Strauss By
    Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler.
    [Show full text]
  • Introduction
    Cambridge University Press 978-0-521-45659-3 - Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera Bryan Gilliam Excerpt More information Introduction Chapter 1 suggests that, despite its obscurity, Guntram (1893) remains the central source for understanding the emergence of Strauss as a mature artist. The work, whose text was written by the composer, documents his early philosophical struggles with the issue of music and metaphysics. Earlier scholars of Strauss’s operatic oeuvre have explained its failure in terms of its miscarried Wagnerism, demonstrating that they themselves have failed to understand that Guntram ultimately rejects Wagnerian metaphysics. In 1949, at the end of his life, Strauss regretted that his biographers tended to downplay Guntram’s rejection of a Wagnerian Erlösung, thereby ignoring the breach between individual (subject) and the world (object), as the Minnesänger breaks his lyre and walks 1 away from his brotherhood and his beloved Freihild. In this single gesture, Strauss, who served as his own librettist on this work, suggests that if one systematically follows Schopenhauer to the end of his four-book World as Will and Representation,thefinal denial of the will must include a rejection of music. Feuersnot (1901), the co-subject, along with Salome, of Chapter 2, marked the end of a seven-year operatic hiatus in the wake of Guntram’s failure. During those years Strauss composed his mature tone poems, all of which exemplify a shift toward ego assertion foreshadowed by that breach between individual and collective treated in Guntram. Informed by Nietzsche and Stirner, these orchestral works feature an individual (whether the visionary hero of Ein Heldenleben or the delusional antihero of Don Quixote) at odds with a complacent society.
    [Show full text]
  • A Hero's Work of Peace: Richard Strauss's FRIEDENSTAG
    A HERO’S WORK OF PEACE: RICHARD STRAUSS’S FRIEDENSTAG BY RYAN MICHAEL PRENDERGAST THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Adviser: Associate Professor Katherine R. Syer ABSTRACT Richard Strauss’s one-act opera Friedenstag (Day of Peace) has received staunch criticism regarding its overt militaristic content and compositional merits. The opera is one of several works that Strauss composed between 1933 and 1945, when the National Socialists were in power in Germany. Owing to Strauss’s formal involvement with the Third Reich, his artistic and political activities during this period have invited much scrutiny. The context of the opera’s premiere in 1938, just as Germany’s aggressive stance in Europe intensified, has encouraged a range of assessments regarding its preoccupation with war and peace. The opera’s defenders read its dramatic and musical components via lenses of pacifism and resistance to Nazi ideology. Others simply dismiss the opera as platitudinous. Eschewing a strict political stance as an interpretive guide, this thesis instead explores the means by which Strauss pursued more ambiguous and multidimensional levels of meaning in the opera. Specifically, I highlight the ways he infused the dramaturgical and musical landscapes of Friedenstag with burlesque elements. These malleable instances of irony open the opera up to a variety of fresh and fascinating interpretations, illustrating how Friedenstag remains a lynchpin for judiciously appraising Strauss’s artistic and political legacy.
    [Show full text]
  • Apoll Und Daphne
    Apoll und Daphne Eine etwas andere Liebesgeschichte aus Ovids Metamorphosen Apoll und Daphne Eine etwas andere Liebesgeschichte aus Ovids Metamorphosen Kreative Bearbeitungen durch Schülerinnen und Schüler der Klasse 10a des Luitpold-Gymnasiums im Schuljahr 2015/16 Mitgewirkt an diesem Projekt haben: Mavie Bockelmann Robert Lingner Alessia Bögel Carlos López Seydel Christian Bruckmeier Brian Maksimowicz Ege Celik Martina Perkmann Elias Deufel Sharon Rosenau Lenny Dietrich Luca Scelsi Annelie Eckert Julia Sprengard Luca Herrmann Cosmo Taniguchi Lea Jira Marcel Trummer Paulina Kostmann Johannes Rieger (Leitung) Das Projekt wurde finanziell großzügig vom Elternbeirat des Luitpold-Gymnasiums unterstützt. Einleitung zu Ovids Metamorphosen und Vorwort Kein antiker Dichter hat Menschen späterer Zeiten so oft und auf so vielfältige Art und Weise zu eigener kreativer Anverwandlung der von ihm behandelten Stoffe angeregt wie Ovid mit seinen Verwandlungssagen, den Metamorphosen. Einer der Gründe hierfür ist sicher der, dass Ovid nicht nur an der Darstellung der äußeren Handlungen seiner Figuren interessiert ist, sondern ganz besonders auch an den inneren Vorgängen ihrer Seelen. Ovid erweist sich in seinen Geschichten immer wieder als einfühlsamer Psychologe. Gerade diese Einblicke in die menschliche Psyche sind auch heute noch hochaktuell und können auch uns als modernen Lesern des 21. Jahrhunderts helfen, uns unserer existentiellen Bedingungen und Probleme noch bewusster zu werden, vielleicht sogar unsere Persönlichkeit mit ihrer Hilfe weiter zu entwickeln. Der Kosmos, wie er uns in den Metamorphosen entgegentritt, scheint keine sinnvolle, keine ethische Ordnung aufzuweisen, sondern immerzu von der Unveränderlichkeit der Laster und Leidenschaften der Menschen und der anthropomorph gedachten Götter geprägt zu sein. Und doch ist es vor allem etwas Anderes, das sich bei der Lektüre der Verwandlungssagen am meisten und nachhaltigsten einprägt: der Humor von Ovids Dichtung.
    [Show full text]
  • 6 X 10.Long.P65
    Cambridge University Press 978-0-521-02774-8 - Richard Strauss: Man, Musician, Enigma Michael Kennedy Index More information index Aagard-Oestvig, Karl, 196, 212 Annunzio, Gabriele d’, 175, 187 Abendroth, Walther, 290–1 Arnim, Achim von, 103, 202 Adam, Adolphe, 105 Artôt de Padilla, Lola, 193 Adler, Guido, 295 Aschenbrenner, Carl, 19, 27 Adler, Hans, 374 Asow, Dr Erich Müller von, 18, 347 Adolph, Dr Paul, 262, 285, 298, 299 Astruc, Gabriel, 144 Adorno, Theodor, on R.S., 224 Auber, Daniel, 16–17, 32, 48, 130, 316, 366 Ahlgrimm, Isolde, 353 Audibert, Comte d’, 368 Ahna, Major General Adolf de (father-in- law), 58, 81–3 Bach, Johann Sebastian, 4, 128, 395; Well- Ahna, Mädi de (sister-in-law), 81–2 Tempered Clavier, 15 Ahna, Maria de (mother-in-law), 58 Baden-Baden, 28 Ahna, Pauline de. See Strauss, Pauline Bahr, Hermann, 96, 199, 231, 341; works Aibl, Joseph, 34, 109 on R.S. libretto, 196 Albert, Eugen d’, 32, 56 Bakst, Léon, 186 Albert, Hermann, 328 Bantock, Sir Granville, 284 Allen, Sir Hugh, 312 Bärmann, Carl, 20 Allgemeiner Deutscher Musikverein, 73, Barrymore, Lionel, invites R.S. to 108, 153, 306 Hollywood, 372–3 Allgemeine Musikzeitung, 33, 62, 290 Basile, Armando, 381 Altenberg, Peter (Richard Englander), 148 Bayreuth, 8, 26, 47, 54, 55, 57, 60, 61, 68, Alvary, Max, 68 83, 85, 86, 143, 281, 287; R.S. first Alwin, Carl, 94, 212, 222, 224, 238, 255, conducts at, 78; R.S. conducts Parsifal 256, 329 at, 276–7; Pauline sings at, 66, 78 Ampico (piano rolls, Chicago 1921), 406 Beardsley, Aubrey, 148 Amsterdam.
    [Show full text]
  • Strauss During the War Years Author(S): Willi Schuh Source: Tempo, No
    Strauss during the War Years Author(s): Willi Schuh Source: Tempo, No. 13 (Dec., 1945), pp. 8-10 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/944389 Accessed: 08-11-2017 01:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Tempo This content downloaded from 70.103.220.4 on Wed, 08 Nov 2017 01:41:41 UTC All use subject to http://about.jstor.org/terms 8 TEMPO STRAUSS DURING THE WAR YEARS By Willi Schuh little in common as with those previous to WJ HEN arrangements the second for the world celebration war of began, it. Strauss has always gone his own way, Strauss's seventy-fifth birthday had as the artist he wanted solely to be, without been. completed despite the shadows cast caring for worldly favours. As a member by the approaching catastrophy. They of an older generation he was unable to culminated in performances of six Strauss perceive that things were happening which operas which, given before an audience were not only at variance with the world he still international in character at the Munich had grown up in, but were alien to the whole State Opera in August 1939, testified to concept of European civilization.
    [Show full text]
  • From Idyll to Exile: the Transformed Self in the Early Works of Johann Wolfgang Von Goethe
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1995 From Idyll to Exile: The Transformed Self in the Early Works of Johann Wolfgang von Goethe Elizabeth Powers The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1442 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS This manuscript has been reproduced from the microfilmmaster. 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 afreet 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. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Event Details
    Special Invitation for 100WHF Members: New York City Opera Performance and Cast Reception Thursday, September 30 7:30 pm The New York City Opera Company has graciously offered to host an evening of opera and a unique networking opportunity for 75 of our members. We are invited to the September 30th performance of Daphne by Richard Strauss. Directed by Stephen Lawless and starring the stunning soprano Elizabeth Futral, this is a new production and the New York Stage premiere of this lush, late romantic opera which is being heralded as one of the "un-missable" arts events this fall season. The evening begins with the performance at 7:30 p.m. at the New York State Theater at Lincoln Center. We have reserved 75 excellent seats in the Orchestra for members. Following the performance at 9:15 p.m. (the opera runs for 1h. 45min. with no intermission.) we are invited to a private dessert and champagne reception on the Grand Promenade of the State Theater with members of the cast. The cost is $185 per person. The reception will be catered by Restaurant Associates who do a beautiful job with these events. We will be in a privately screened section of the Promenade. There will be wine, passed champagne and sparkling water and a small bar. And there will be a colorful display of desserts including a selection of tarts, miniature opera cakes, cookies, chocolate dipped strawberries, and coffee and teas. This is a wonderful opportunity to network and experience the opera. It is an unusually short work -- perfect on a weeknight for working people.
    [Show full text]