DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 55,1935-1936, Trip &cabemp of Jfflustc . proofelpn ^ ^\wmi»«/////. „ BOSTON , '*SYAPHONY ORCHESTRA INC. FIFTY-FIFTH SEASON 1935-1936 [5] Friday Evening, April 3 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn Boston Symphony Orchestra [Fifty-fifth Season, 1935-1936] Dr. SERGE KOUSSEVITZKY, Conductot Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H. RESNIKOFF, v. Concert-master gundersen, r. KASSMAN, n. cherrassky, P. EISLER, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. MURRAY, J. ERKELENS, H. SEINIGER. , S. Violas LEFRANC, J. FOUREL, G. BERNARD, A. GROVER, H. ARTIERES, L. CAUHAPE, J. VAN WYNBERGEN, C. WERNER, H. AVIERINO, N. DEANE, C. HUMPHREY, G. GERHARDT, S. JACOB, R. Violoncellos SEDETTI, J. LANGENDOEN, J. CHARDON, Y. STOCKBRIDGE, C. FABRIZIO, E. ZIGHERA, A. BARTH, C. DROEGHMANS, H. WARNKE, J. MARJOLLET, L. ZIMBLER, J. Basses KUNZE, M. LEMAIRE, J. LUDWIG, O. GIRARD, H. JUHT, L. VONDRAK, A. MOLEUX, G. FRANKEL, I. DUFRESNE, G. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. POLATSCHEK, V. LAUS, A. BLADET, G. DEVERGIE, J. VALERIO, m. ALLARD, R. AMERENA, P. STANISLAUS, H. MAZZEO, R. PANENKA, E, Eh Clarinet Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MIMART, P. PILLER, B. Horns Horns Trumpets Trombones BOETTCHER, G. VALKENIER, W. MAGER, G. raichman, j. MACDONALD, W. LANNOYE, M. LAFOSSE, M. HANSOTTE, L. VALKENIER, W. SINGER, J. VOISIN, R. L. LILLEBACK, w. GEBHARDT, W. LORBEER, h. VOISIN, R. ADAM, E. MANN, J. Tuba Harps Timpani Percussion -.DAM, E. ZIGHERA, B. SZULC, R. STERNBURG, S. CAUGHEY, e. POLSTER, M. WHITE, L. ARQERI, E. Organ Piano Celesta Librarian FIEDLER, SNOW, A. SANROMA, J. A. ROGERS, L. J. $Uabemj> of fMusrtc • Jlroofelpn FIFTY- FIFTH SEASON, 1935-1936 Boston Symphony Orchestra INCORPORATED Dr. SERGE KOUSSEVITZKY, Conductor RICHARD BURGIN, Assistant Conductor Concert Bulletin of the Fifth Concert FRIDAY EVENING, April 3 with historical and descriptive notes By John N. Burk COPYRIGHT, 19.36, BY BOSTON SYMPHONY ORCHESTRA, IflC. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Bentley W. Warren President Henry B. Sawyer . Vice-President Ernest B. Dane Treasure? Allston Burr Roger I. Lee Henry B. Cabot William Phillips Ernest B. Dane Henry B. Sawyer N. Penrose Hallowell Pierpont L. Stackpole M. A. De Wolfe Howe Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Managi [1} SYMPHONY HALL, BOSTON Two Performances Sunday, April 26 Monday, April 27 Boston Symphony Orchestra Dr. SERGE KOUSSEVITZKY, Conductor Bach's St. Matthew Passion WITH THE ASSISTANCE OF THE HARVARD GLEE CLUB RADCLIFFE CHORAL SOCIETY AND SOLOISTS INCLUDING— JEANNETTE VREELAND KATHRYN MEISLE FREDERICK JAGEL KEITH FALKNER DAVID BLAIR McCLOSKY Dr. V. ERNST WOLFF, Harpsichord PENSION FUND CONCERTS Tickets now at $3.50, $3.00, $2.50, $2.00, $1.50 (no tax) Mail orders accompanied by check, addressed to Symphony Hall, Boston, will be given prompt attention [*'] 3Uabemp of music • JSrooWpn Boston Symphony Orchestra FIFTY-FIFTH SEASON, 1935-1936 Dr. SERGE KOUSSEVITZKY, Conductor FIFTH CONCERT FRIDAY EVENING, April 3 Programme Hill Sinfonietta for String Orchestra, Op. 40a I. Allegro giocoso II. Moderato e risoluto III. Scherzo: Allegro vivace IV. Allegro deciso (First Performance) Bach Chaconne for Violin unaccompanied (transcribed for orchestra by Alfredo Casella) INTERMISSION Brahms Symphony No. 1 in C minor, Op. 68 I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio: Allegro non troppo, ma con brio [Si SINFONIETTA FOR STRING ORCHESTRA, Op. 40a By Edward Burlingame Hill Born in Cambridge, Mass., September 9, 1872 This Sinfonietta is a transcription for string orchestra of the String Quartet, Op. 40, which Mr. Hill composed between July and September, 1935, and dedicated to Yves Chardon and the Chardon Quartet. The quartet was performed by this group for the first time at Paine Hall, Cambridge, January 23 of the present year. The orches- tral version was made at the suggestion of Dr. Koussevitzky. The four movements of the work follow the orthodox form. Mr. Hill's father was professor of chemistry at Harvard, and his grandfather was president of the University. Like them, he has been connected with Harvard College for a number of years, as professor in the music department, Of his works, the following have been played by this orchestra: "The Parting of Lancelot and Guinevere," Symphonic Poem. "Stevensoniana" (First Suite). "Stevensoniana" (Second Suite). "The Fall of the House of Usher," Poem. Waltzes for Orchestra. Scherzo for Two Pianos and Orchestra. "Lilacs," Poem for Orchestra. Symphony in B-flat major, No. 1. Symphony in C major, No. 2. Sinfonietta, in one movement. An Ode (Poem by Robert Hillyer). (Composed for the Fiftieth Anniversary of the Orchestra.) Concertino for Piano and Orchestra. Mr. Hill has also written a sonata for clarinet (or violin), and piano; Jazz Study for two pianos; "Nuns of the Perpetual Adoration," for women's voices and orchestra. t4] CHACONNE, from the Second Suite (Partita) for Violin Unaccompanied By Johann Sebastian Bach Born at Eisenach on March 21, 1685; died at Leipzig, July 28, 1750 Arranged for Orchestra by Alfredo Casella Born in Turin, Italy, July 25, 1883 It was a way with Bach to follow with docility some superficial custom of musical formalism, and, seized by his subject, to expand it prodigiously, as if his imagination, taking flight, had quite for- gotten its modest starting point. The French composers, whom he carefully studied, would often include a chaconne (or passacaglia) in their instrumental suites. They were light and elegant pieces, ap- proaching the rondo. Bach, writing his second suite in D minor for violin unaccompanied, added to its four complete movements a chaconne, as a sort of appendage. Upon the four meagre strings of the violin, he erected a structure of almost terrifying grandeur, ex- ceeding in length the preceding movements combined. "The spirit of the master," wrote Phillip Spitta, "urges the instrument to in- credible utterance; at the end of the major section it sounds like an The Analytic Symphony Series Edited and annotated by PERCY GOETSCHIUS, Mus. Doc. Published by Oliver Ditson Company, Inc. The Analytic Symphony Series comprises thirty-four volumes cov- ering the most important symphonies of the world's greatest masters. Each volume is presented in playable two-hand piano score, and contains complete analytical notes on the structure and orchestration in addition to critical notes appraising the sig nificance of the composition and its salient points. Copies may be had from your Music Dealer or the Publishers OLIVER DITSON COMPANY, Inc. 359 Boylston Street Boston, Mass* [5 "J organ, and sometimes a whole band of violins might seem to be playing. This chaconne is a triumph of spirit over matter such as even he never repeated in a more brilliant manner." Many have been the transcriptions of the Chaconne to a fuller instrumentation and so- nority. Schumann and Mendelssohn had the temerity to add a piano accompaniment to Bach's violin solo. There have been orchestral versions, of which that by Joachim Raff was performed by this or- chestra under Wilhelm Gericke, April 26, 1889, and again in 1899. The most recent transcription has been made by Alfredo Casella. The score is dedicated to Dr. Koussevitzky and this orchestra; it is dated Siena, September, 1935. The work was performed in Turin, December 14, 1935; performances in Rome and Naples followed. Mr. Casella has scored the work for wood winds in threes (with piccolo, English horn and E-flat clarinet); the usual brass, timpani, and strings. An organ is introduced in the last pages. Mr. Casella has written a preface to his score, which is here translated: Everyone knows — and surely it need hardly be stressed here — the musical splendor of the "Chaconne," its nobility, its melodic wealth, its miraculous balance and sublimity of expression. Nevertheless, such is the disproportion between the natural resource of the violin limited by its four strings, and the amplitude of the piece in sonority and polyphony, its orchestral implications, that its performance — save We bring to your banking and trust problems sixty - nine years of continuous experience. Nothing To Sell But Service The Oldest BROOKLYN TRUST Trust COMPANY Company MAIN OFFICE- 177 MONTAGUE STREET NEW YORK OFFICE-26 BROAD STREET in Brooklyn MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION OVER 80 YEARS' BROWN'S TROCHESREPUTATION For relief of Coughs, Hoarseness, Minor Bronchial and Asthmatic Throat Troubles. Invaluable to Singers and Speakers for clearing the voice. Free from opiates. Sold only in boxes. Prices, 15c, 35c, 75c, $1.00, at druggists or by mail. CAMPHORATED BROWN'S SAPONACEOUS DENTIFRICE A superior time-tested Tooth Powder. Price, 30c, at druggists or by mail. Samples mailed on request. (Mention Symphony Orchestra Program.) JOHN I. BROWN & SON, INC., BOSTON. MASS. [6] in the exceptional traditional readings of a Joachim or an Ysaye — leaves always a sense of unfulfillment sometimes even painful. The present orchestral version of this monumental masterpiece is not intended in the slightest degree to resemble the "Chaconne" as Bach might have scored it if he had written the piece for his own orchestra. This transcription interprets with the technical means of today, and with the modern orchestra, what there may be of aggres- sive life and actuality in the music which is pre-eminently free from the corrosive influence of the centuries. I have tried to preserve and even to intensify by means of contemporaneous instrumentation two elements in the music — the Spanish atmosphere, reserved, grandiose, baroque, as Bach conceived it (the Andalusian origin of the dance is not patent until the harmonic progressions in the final part); also, its inherent strain of violin virtuosity, which indeed cannot be extended to the entire instrumentation.
Load more

Recommended publications
  • Information to Users
    INFORMATION TO U SER S This manuscript has been reproduced from the microfilm master UMl 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 phnt, 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 UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthonzed 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. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMl® UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MICHAEL HEAD’S LIGHT OPERA, KEY MONEY A MUSICAL DRAMATURGY A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By MARILYN S. GOVICH Norman. Oklahoma 2002 UMl Number: 3070639 Copyright 2002 by Govlch, Marilyn S. All rights reserved. UMl UMl Microform 3070639 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17. United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
    [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]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ New-music internationalism the ISCM festival, 1922–1939 Masters, Giles Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. Sep. 2021 New-Music Internationalism: The ISCM Festival, 1922–1939 Giles Masters PhD King’s College London 2021 Contents Abstract 3
    [Show full text]
  • Elgar's the Dream of Gerontius
    Elgar’s The Dream of Gerontius - Some personal observations on recordings of the work by John Quinn Updated 2020 This article originally appeared on MusicWeb in 2007 in connection with the 150th anniversary of the birth of Elgar and I updated it in 2014 when we marked the 80th anniversary of the death of the composer in 1934. The release in 2018 of a newly-issued 1961 live recording conducted by Sir Malcolm Sargent caused me to refer to our Masterworks Index for Gerontius whereupon I discovered, slightly to my surprise, that since my 2014 update this was the fifth recording of the work to be issued – although only two of them were brand new. In addition, I’d caught up with two earlier recordings – conducted by Sir Alexander Gibson and by Yevgeny Svetlanov – to which I’d referred in the survey though I’d not heard them. Time, then, to refresh the survey in order to include these seven recordings. For this latest 2020 revision I toyed with the idea of a fundamental re-write, considering all the recordings in chronological order. However, on reflection it seems to make more sense to retain the layout of the 2014 text and to add comments about the seven recordings not previously covered by the survey in a new section just before the summary. I have made as few changes as possible to my original 2007 text because that included detailed comments on several versions that hadn’t, at least then, been reviewed on MusicWeb International whereas the more recently released recordings have generally received full reviews at the time of issue.
    [Show full text]
  • The Royal Philharmonic Society
    Patron HER MAJESTY THE QUEEN The Royal Philharmonic Society Founded 24th January 1813 ROYAL FESTIVAL HALL (General Managar : T. E. Bean, C.B.E.) OCTOBER io 1962 8 p.m. ONE SHILLING 151ST SEASON THE FIRST CONCERT ROYAL PHILHARMONIC SOCIETY Founded 24th January 1813 Under the immediate patronage of Programme HER MAJESTY THE QUEEN Fantasia on a Theme of Thomas Tallis, for double stringed orchestra Vaughan Williams The Hundred and Fifty-First Season AUTUMN 1962 and SPRING 1963 Pianoforte Concerto No. 4 in G Beethoven (In association with the Arts Council and other Guarantors) Soloist: ARTUR RUBINSTEIN Honorary Committee of Management Symphony No. 4 in A {Italian) Mendelssohn George Baker, Hon.R.A.M. (Chairman) Symphonic Metamorphoses on Themes by Dr. William Cole Keith Falkner Julian Herbage Carl Maria von Weber Hindemith Dr. Herbert Howells, C.B.E. Sir William McKie, M.V.O. Bernard Shore, C.B.E. Miss Seymour Whinyates, O.B.E. THE HALLE ORCHESTRA Co-opted: T. Ernest Bean, C.B.E. (L.C.C.) John Cruft (British Council) (Leader: Martin Milner) John Denison, C.B.E. (Arts Council) Eric Warr, M.A., B.Mus. (B.B.C.) Fellows' Representatives: Sir David Webster, Mrs. E. Tillett SIR JOHN BARBIROLLI Honorary Treasurer: George Baker, Hon.R.A.M. Honorary Co-Treasurer: Myers Foggin PROGRAMME NOTES Honorary Secretary: Leslie Regan, B.Mus. by JULIAN HERBAGE Honorary Librarian: Dr. C. B. Oldman, C.B., C.V.O., M.A., D.Mus., Litt.D., F.S.A. Trustees of the Foundation Fund Tlje National The Countess Jowitt Sir Osbert Sitwell, Bt., C.H.
    [Show full text]
  • Jay White Countertenor
    ABSTRACT Title of Dissertation: CIRQUE DE LA VOIX: VOCAL PERFORMANCES FOR THE 2 1 ST-^^^^^^^ AUDIENCE Jay G. mte,Doctor of Musical Arts, 2005 Dissertation directed by: Professor Linda Mabbs School of Music This dissertation addresses the growing need to entice people to attend a classical solo vocal recital by incorporating thematic programming, multi-media presentations, collaborations and innovative marketing. It comprises four programs that use the above tactics, creating live performances of classical vocal music that appeal to the attention- deficient 2 1"-century audience. Each program focuses on repertoire appropriate for the male alto voice and includes elements of spoken word, visual imagery andfor movement through collaborations with actors, singers, dancers, designers and visual artists. Program one (March 1,2004), La Voix Humaine: The L~eof an Englishwoman in Music, Poetry, & Art, outlines the life of a fictitious Englishwoman through a self- composed narration, spoken by an actress, a Power Point presentation of visual art by 2oth-centuryEnglish artists and musical commentary provided by the collaboration of a vocalist and a pianist. Program two (October 15, 2004), La Voix Thkmatique: Anima - Music that Moves, is a program of pieces ranging &om the 14'"- to the 2oth-centuriesof which half are choreographed by members of the University of Maryland Dance Department. Program three is a lecture recital entitled L 'Haute Voix: Identzfiing the High Male Voice and Appropriate Repertoire which is presented in collaboration with three singers, a pianist, a harpsichordist and a cellist. Program four, La Voix Dramatique: Opera Roles fov the Countertenor Voice, comprises performances of George Frederic Handel's Giulio Cesare in Egitto (1 724) in collaboration with the Maryland Opera Studio and the Clarice Smith Performing Arts Center (Leon Major, director; Kenneth Merrill, conductor).
    [Show full text]
  • The Career and Reputation of Herbert Howells
    Durham E-Theses The Career and reputation of Herbert Howells Marshall, Richard George How to cite: Marshall, Richard George (2005) The Career and reputation of Herbert Howells, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2860/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk The Career and Reputation of Herbert Howells Richard George Marshall The copyright of this thesis rests with the author or the university to which It was submitted. No quotation from It, or information derived from It may be published wtttiout the prior written consent of the author or university, and any Information derived from It should be acknowledged. A thesis submitted for the degree of Master of Music (MA) 2005 1 1 OCT 2006 Contents List of Musical Examples 1 Introductory Comments 3 Introduction 5 Chapter One: Biography 15 Chapter Two: The Construction of Howells' Englishness 38 Chapter Three: Herbert Howells: His Thoughts on Music and Musicians 60 Chapter Four: Howells' Relation to Tudor and Elizabethan Music 86 Conclusion: assessing Howells' career and reputation 108 Appendix One: Work List 115 Appendix Two: A Chronological List of Performances 131 Bibliography 161 List of Musical Examples Ex.5.1.
    [Show full text]
  • Journal May 1988
    r rhe Elgar Society JOURNAL v il !m 0\ ► MAY 1988 Contents Page Editorial 3 Anicles Sir August Manns 4 To My Friend Edward Elgar, by Dr. Grindrod a News items and announcements 9 Concert Diary 14 Book Reviews 16 Record Reviews 20 Branch Reports 24 Subscription Details 23 The editor does not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views The cover portrait is reproduced by kind permission of RADIO TIMES ELGAR SOCIETY JOURNAL ISSN 0143-1269 2 f The Elgar Society Journal 104 CRESCENT ROAD. NEW BARNET. HERTS. EN4 9RJ EDITORIAL 01-440 2651 Vol. 5, no. 5 May, 1988 For some time the Society has been exploring the possibility of our being registered as a Charity. We are pieased to announce that this has now been achieved, and we are a registered charity. This wili have a number of advantages financiaily, and an insert in this copy wiii have detaiis from the Treasurer as to how members can best aid the Society by cor.venanting their subscriptions. The additionai funds wiil be very necessary if the Society is to fuifili its aims and finance new projects. Members probabiy know that our oniy income to date has been from individual subscriptions, though we have occasionally benefited from bequests or the generosity of a few donors. The most ambitious project that we undertook, in 1986, was to partiy finance the long-awaited recording of ‘KING OLAF’. In this we were encouraged by every member with whom we came in contact, and on the basis of this encouragement we committed ourseives to considerabie expenditure (for our iimited resources) spread over three years.
    [Show full text]
  • Catalogue of Papers Relating to the Society of Women Musicians Held at RCM Library Archives, London Presidents SWM 1911-12 Liza Lehmann 1912-13 Emily R
    1 Catalogue of Papers relating to the Society of Women Musicians held at RCM Library Archives, London Presidents SWM 1911-12 Liza Lehmann 1912-13 Emily R. Daymond, Mus. D 1914-14 Cecile C. Chaminade 1914-15 Katharine Eggar 1915-16 Marion Scott 1916-17 Gertrude Eaton 1917-18 Marie Brema 1918-19 The Lady Mary Trefusis 1919-21 Kathleen Schlesinger, FIA (University of Liverpool) 1921-23 Adine O’Neill (Mrs. Norman O’Neill) 1923-24 Agnes Larkcom, FRAM 1924-26 Fanny Davies 1926-27 Evangeline Florence 1927-30 Rosa Newmarch 1930-32 Evelyn Suart (Lady Harcourt) 1932-34 Elsie Horne, FRAM 1934-35 Edith Clegg 1935-36 Alma Goatley 1936-38 Hester Stansfield Prior 1938-43 Myra Hess, DBE, FRAM 1943-51 Kathleen Long, CBE 1951-55 Astra Desmond, CBE, BA, Hon RAM 1955-61 Elizabeth Poston 1961-63 Seymour Whinyates, OBE, FRCM, Hon RAM 1963-67 Nancy Evans 1967- Marion, Countess of Harewood Abbreviations for names in catalogue MP Margaret Paterson (SWM President) KEE Katherine Emily Eggar (Founder) KL Kathleen Long (SWM President) RF Rachel Fell (SWM Officer) MMS Marion Margaret Scott (Founder) GE Gertrude Eaton (Founder) GBR Grace Barrons Richardson (SWM Officer) EP Elizabeth Poston (SWM President) AM Alice Martin (SWM Officer) SG Sarah Greenwood (SWM Officer) MG Marjorie Gleed (SWM Officer) CC Cécile Chaminade (SWM President) LL Liza Lehmann (SWM President) AG Alma Goatley (SWM President) KS Kathleen Schlesinger (SWM President) RN Rosa Newmarch (SWM Prseident) 2 Box 175 Folder labelled correspondence, honorary membership, vice presidents and fellows, council
    [Show full text]
  • Spring 2021) Michelle Meinhart, Editor
    NABMSA Reviews A Publication of the North American British Music Studies Association Vol. 8, No. 1 (Spring 2021) Michelle Meinhart, Editor In this issue: Alison C. DeSimone. The Power of Pastiche: Musical Miscellany and Cultural Identity in Early Eighteenth-Century England. • Pierre Dubois. Dr Charles Burney and the Organ. • Marcus Collins. The Beatles and Sixties Britain. • Kenneth Womack, ed. The Beatles in Context • John C. Dressler. Granville Bantock (1868-1946): A Guide to Research. • David C. H. Wright. The Royal College of Music and its Contexts: An Artistic and Social History. • Stephen Banfield. Music in the West Country: Social and Cultural History Across and English Region. Music in Britain, 1600–2000 Alison C. DeSimone. The Power of Pastiche: Musical Miscellany and Cultural Identity in Early Eighteenth-Century England. Clemson, SC: Clemson University Press, 2021. xv, 315 pp. ISBN: 9781942954774 (hardback). Over the last decade the study of English-language literary miscellanies in the eighteenth century has begun to grow, as evidenced by a number of new books (Salamone 2017; Watson 2020), the appearance of the Digital Miscellanies Index (http://digitalmiscellaniesindex.org/) and even a themed issue of Eighteenth-Century Life 41/1 (January 2017). In this carefully contextualized new book, Alison DeSimone has made a convincing argument that the British preoccupation with the miscellaneous aesthetic is also related to the rise of pastiche Italian operas, miscellaneous songbooks, and variety concerts in the earliest decades of the eighteenth century, demonstrating effectively that it was a broader cultural paradigm that not only “exposed the English to different styles and types of music” but also “drove the nation to redefine its cultural identity as its landscape transformed under the influx of foreigners from the Continent” (226).
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 58,1938-1939, Trip
    Aratonuj of Mixbxc • Irooklgn Friday Evening, March 31 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn Boston Symphony Orchestra [Fifty-eighth Season, 1938-1939] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H. RESNIKOFF, V Concert-master GUNDERSEN, R. KASSMAN, N. CHERKASSKY, P. EISLER, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. P. LEIBOVIO, J. PINFIELD, C. LEVEEN, KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND, S. del sordo, r. FIEDLER, B. BRYANT, M. STONESTREET, L. messina, s. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger, s. Violas LEFRANC, J. FOUREL, G. bernard, a. GROVER, H. H. ARTIERES, L. CAUHAPE, J. van wynbergen, c. WERNER, AVIERINO, N. JACOB, R. GERHARDT, S. HUMPHREY, G. Violoncellos FABRIZIO, E. BEDETTI, J. LANGENDOEN, J. chardon, y. STOCKBRIDGE, C. L. ZIGHERA, A. TORTELIER, P. droeghmans, h. WARNKE, J. MARJOLLET, ZIMBLER, J. Basses KUNZE, M. LEMAIRE, J. frankel, i. girard, h. delescluse, p. vondrak, a. MOLEUX, G. juht, l. dufresne, g. barwicki, j. Flutes Oboes Clarinets Bassoons laurent, c. GILLET, F. polatschek, v. ALLARD, R. RATEAU, R. DEVERGIE, J. valerio, m. PANENKA, E. pappoutsaws, j. LUKATSKY, J MAZZEO, R. LAUS, A. Eb Clarinet Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. mimart, p. PILLER, B. Horns Horns Trumpets Trombones valkenier, w. singer, j. MAGER, G. raichman, j. macdonald, w. lannoye, m. LAFOSSE, M. hansotte, l. SINGER, J. shapiro, h. VOISIN, R. L. lilleback, w. gebhardt, w. KEANEY, P. VOISIN, R. SMITH, V. Tuba Harps Timpani Percussion ADAM, E.
    [Show full text]
  • Volume 54, Number 05 (May 1936) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1936 Volume 54, Number 05 (May 1936) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 54, Number 05 (May 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/844 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. "MAKING YOUR MUSIC LIVE" a Conference with H. L. Mencken Compositions of VOCAL SOLOS W. H. Neidlinger American Composer, Teacher, Conductor and Lecturer TRUE THE LAW OF PROGRESS kas keen $995. Convenient terms will, of course, Baldwin’s law for tkree quarters of a PROGRESS gladly ke arranged. Visit your Baldwin century. Tke distmguisked Baldwin Pianos dealer. Hear and play tke wonde rful new of years gone ky are surpasse d only ky Baldwin Piano. See its keauty. Upon re¬ tke Baldwins of today. Tke glorious tone NEVER quest, we skall ke glad to send you our tkat entranced artists a generation ago is, new Atanual of Baldwin Pianos contain¬ in today’s Baldwin, even more marvel¬ PAUSES ing pkotograpks and expressions of world- ous; tke action even more responsive to famous artists wko use and endorse tke kand and mood.
    [Show full text]