DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 0-U^/i^4ls A NOTABLE TRIBUTE TO THE ^EOLIAN From: Boston's Distinguished Musicians, Mr. and Mrs. Emil Paur iimiiiiiiiiiiiiiiiiiiiiiimmii "I shall be glad to have you add my name to the notable list of musicians and critics who have commended your admirable instrument. " I believe that the ^Eolian is destined to become a most potent factor in the cultivation of the musical taste of the people of the world. " Please accept my hearty wishes for its well-merited success. "EMIL PAUR." "It is really admirable how a person can in a short time, by the aid of the ^Eolian, familiarize himself with the works of the great masters, and execute them with perfection in all their details. • " The ^Eolian is of great help to those studying composition ; for, not being able to have an orchestra at their disposal to execute the great classical works, with the ^Eolian they can study the orchestral effects with a precision impossible to be obtained on any other musical instrument. "Mrs. MARIE PAUR." The i*EOLIAN appeals to every music lover for both pleasure and education. We exhibit the iEolian daily, and cordially invite all patrons of the Symphony con certs to investigate it. Jtefltt&lamliit Opp. Common. 146 Boylston Street, BOSTON OOStOn Music Hall, Boston Symphony 0m> HH FOURTEENTH SEASON, 1 894-95. Orchestra EMIL PAUR, Conductor. PROGRAMME OF THE Twenty-second Rehearsal and Concert WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. Thursday Afternoon, April 1 1, At 2.30 o'clock. Saturday Evening, April 13, At 8 o'clock. PUBLISHED BY C. A. ELLIS, MANAGER. (841) JItam PIANOFORTES REPRESENT THE SAME HIGHEST STANDARD OF EXCELLENCE WHICH HAS ACHIEVED A REPUTATION FOR THEIR ORGAN AS THE Standard of the World L P. HOLLANDER & GO. We announce the opening of A NEW DEPARTMENT For Ladies' Dresses, Skirts, and Silk Waists. We have made very extensive changes on our third floor for the dis- play of exclusive styles in Silk and Crepon Dresses, Tailor Gowns, Muslin and Pique Dresses, and Outing Costumes, equal to order work, on an entirely new basis of prices. Our models are now ready in our private Dressmaking and Millinery Departments on same floor. Also on second floor our complete importations of Ladies' Jackets and Capes, and Misses' and Children's Dresses and Garments. 202 to 212 Boylston Street, and Park Square. (842) Twenty-second Rehearsal and Concert. Thursday Afternoon, April 1 1 , at 2.30. Saturday Evening, April 13, at 8.00/ PROGRAMME. Anton Rubinstein - Symphony No. 5, in G minor (" Russian "), Op. 107 I. Moderato assai (G minor) ----- 4-4 II. Allegro non troppo (B-flat major) - 2^4 III. Andante (E-flat major) - - 6-8 IV. Allegro vivace (G minor) - 2-4 " Ferdinand Langer - - Introduction to the Opera " Dornroschen (First Time.) Max Bruch - - Concerto for Violin, No. 1, in G minor, Op. 26 I. Allegro moderato (G minor) - 4-4 II. Adagio (E-flat major) - - - - - 3-8 III. Finale : Allegro energico (G major) - 2-2 Johann Strauss - " Moto Perpetuo," Musical Joke, Op. 257 (First Time.) " Daniel-Frangois-Esprit Auber - Overture to " The Prodigal Son (First Time.) Soloist, Mr. I. SC.HNITZLER. (843) MANUFACTURERS OF GRAND, SQUARE, AND UPRIGHT PIANOS AlpK wSfs EUGEN D'ALBERT: From fullest conviction, I declare them to be the best In- struments of America. ........ DR. HANS VON BULOW: Their sound and touch are more sympathetic to my ears and hands than all others of the country. I declare them the absolutely best in America. ....... ALFRED GRUNFELD: I consider them the best instruments of our times. P. TSCHAIKOWSKY: Combines with great volume of tone rare sympathetic and nobk tone color and perfect action. ....... — WAREROOMS : BALTIMORE, WASHINGTON, 32 and 24 E. Baltimore Street. 817 Pennsylvania Avenue. NEW YORK, 148 Fifth Avenue. OLIVER DITSON COMPANY, Sole Ag'ts, 453-463 Washington St., Boston, E. W. TYLER, Manager. (844) Symphony No. 5, in G minor ("Russian"), Opus 107. Anton Rubinstein. The first movement of this symphony, Moderato assai in G minor (4-4 time), begins immediately with the first theme, given out without accom- paniment by the flute, clarinet, and bassoon in double octaves ; the theme is then further developed by the first violins, to a simple pizzicato accom- paniment in the second violins and basses, flowing triplet arpeggj in the' violas, and a plain harmonic background in the wood-wind and horns. This development is not very extended, and soon leads to a more lively first subsidiary in the full orchestra, still in the tonic, G minor, after which a brief transition-passage in the strings introduces an unusually vivacious second theme in the relative B -flat major, first given out by the wood-wind, and then concisely developed by fuller and fuller orchestra and soon mak- ing way for a sterner second subsidiary, beginning in all the strings, clari- nets and bassoons in E-flat major (with a minor sixth degree), and then developing more and more into passage-work. With the development of this subsidiary (which takes the place of a conclusion-theme) the first part of the movement closes in the relative B-flat major, but without any definite cadence. A descending pianissimo passage in rapid sixteenth-notes in the strings leads over to the free fantasia. The second part of the movement begins with a re-statement of the first theme in the tonic G minor by the flute, clarinet, and bassoon to running counterpoint in the strings ; then the working-out begins in earnest, the first theme (in the basses) being first pitted against a new counter-theme in half-notes in the violins, violas, and bassoons, the second subsidiary coming next and being made the subject of a long and elaborate series of developments. From this point the free fantasia forms a long, gradual, and seldom interrupted climax up to the re-entrance of the first theme in the tonic at the beginning of the third part of the movement. ATo 9 FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. Hereford's Acid Phosphate Is, without exception, the Best Remedy for relieving Mental and Nervous Exhaustion ; and, where the system has become debilitated by disease, it acts as a general tonic and vitalizer, affording sustenance to both brain and body. Dr. E. Cornell Easten, Philadelphia, Pa., says, "I have met with the greatest and most satisfactory results in dyspepsia and general derangement of the cerebral and nervous systems, causing debility and exhaustion." Descriptive pamphlet free. Rumford Chemical Works, ...... Providence, R.L Beware of Substitutes and Imitations. (845) LADIES' TAILOR. 1 256 Boylston Street, BOSTON HABITS. STREET GOWNS and COATS. BICYCLE and GOLF COSTUMES. NEW CLOTHS Of Every Description. NEW CLOTHS. HOMESPUNS, TWEEDS, VENETIANOS, SHETLANDS, etc. OYSTERS AND SALADS WEBER'S A SPECIALTY. 25 Temple PI. and 33 West St. GENUINE VIENNA ICES. JACOB THOMA, Notman Photo. Co. VIOLIN MAKER, STUDIOS, {y^St.j,;J BOSTON. FROM VIENNA. (Awarded a Prize Medal at the Vienna Exposition.) All the Newest Styles of Old Violins, Violas, 'Cellos, PHOTOGRAPHS: Artist Italian Strings, Silver G's, MEZZO-TINTS, Artist Bows, Paris Rosin, Violin Cases of all kinds, etc. IVORY FINISH, etc. INSTRUMENTS TAKEN IN EXCHANGE. Flash-light Pictures made at Residences. ARTISTIC REPAIRS A SPECIALTY. BOWS REHAIRED, WEDDING PARTIES. FANCY DRESS PARTIES. Music Hall Building, Room 7, - - BOSTON. DINNER PARTIES. Repairer for the Boston Symphony Orchestra (846) The theme now comes in fortissimo in all the wood-wind in octaves against rapid descending chromatic scale-passages in the strings and long- held notes in the horns. After this first outburst it is developed further by the strings as in the first part of the movement, leading directly, and without any intervening subsidiary, to the second theme, which comes as before in the wood-wind, but now in the key of the tonic, G major. The development is practically the same as in the first part, save that the second subsidiary disappears and its place is taken by a forte return of the first subsidiary in G major. This leads to the coda, which is short and runs mostly on reminiscences of the first theme. The second movement, Allegro non troppo in B-flat major (2-4 time), is in a free scherzo form. The first part (Scherzo) is based on the free alternate development of two curious little Russian dance-iunes, not very sharply contrasted in character, the second of which might well be a sort of chorus or refrain to the first. The second or intermediate part (Trio), Moderato assai in B-flat minor (4 4 time), contains the fugal working-up of a more serious contrapuntal subject, against which a rapidly moving counter- subject in a curiously halting rhythm is pitted. The first part is then repeated, and a short coda brings the movement to a close. The third movement, Andante in E-flat major (6-8 time), opens with its melodious and expressive theme, the melody of which is sung throughout by the first horn, to an accompaniment chiefly in the clarinets and bas- soons, all the strings coming in with a repetition of the first phrases of the theme by way of refrain, after the completion of the period. Then follows a stretch of subsidiary passage-work, Un poco animato in C minor, after which the theme returns in .the tonic, now sung by the oboe and horn in octaves to rapid running counterpoint in thirty-second notes in the first violins and a pizzicato accompaniment in the other strings. This leads to some new developments in the shape of passage-work, which go on until another return of the theme in the flute, to a syncopated accompani- - NEW ENGLAND — Conservatory of Music.
Load more

Recommended publications
  • Flint Orchestra
    Flint SymphonyOrchestra A Program of the Flint Institute of Music ENRIQUE DIEMECKE, MUSIC DIRECTOR & CONDUCTOR MAY 8, 2021 FIM SEASON SPONSOR Whiting Foundation CONCERT SPONSORS Mr. Edward Davison, Attorney at Law & Dr. Cathy O. Blight, Dr. Brenda Fortunate & C. Edward White, Mrs. Linda LeMieux, Drs. Bobby & Nita Mukkamala, Dr. Mark & Genie Plucer Flint Symphony Orchestra THEFSO.ORG 2020 – 21 Season SEASON AT A GLANCE Flint Symphony Orchestra Flint School of Performing Arts Flint Repertory Theatre STRAVINSKY & PROKOFIEV FAMILY DAY SAT, FEB 6, 2021 @ 7:30PM Cathy Prevett, narrator SAINT-SAËNS & BRAHMS SAT, MAR 6, 2021 @ 7:30PM Noelle Naito, violin 2020 William C. Byrd Winner WELCOME TO THE 2020 – 21 SEASON WITH YOUR FLINT SYMPHONY ORCHESTRA! BEETHOVEN & DVOŘÁK SAT, APR 10, 2021 @ 7:30PM he Flint Symphony Orchestra (FSO) is one of Joonghun Cho, piano the finest orchestras of its size in the nation. BRUCH & TCHAIKOVSKY TIts rich 103-year history as a cultural icon SAT, MAY 8, 2021 @ 7:30PM in the community is testament to the dedication Julian Rhee, violin of world-class performance from the musicians AN EVENING WITH and Flint and Genesee County audiences alike. DAMIEN ESCOBAR The FSO has been performing under the baton SAT, JUNE 19, 2021 @ 7:30PM of Maestro Enrique Diemecke for over 30 years Damien Escobar, violin now – one of the longest tenures for a Music Director in the country. Under the Maestro’s unwavering musical integrity and commitment to the community, the FSO has connected with audiences throughout southeast Michigan, delivering outstanding artistry and excellence. All dates are subject to change.
    [Show full text]
  • Max Bruch Symphonies 1–3 Overtures Bamberger Symphoniker Robert Trevino
    Max Bruch Symphonies 1–3 Overtures Bamberger Symphoniker Robert Trevino cpo 555 252–2 Booklet.indd 1 13.03.2020 10:56:27 Max Bruch, 1870 cpo 555 252–2 Booklet.indd 2 13.03.2020 10:56:27 Max Bruch (1838–1920) Complete Symphonies CD 1 Symphony No. 1 op. 28 in E flat major 38'04 1 Allegro maestoso 10'32 2 Intermezzo. Andante con moto 7'13 3 Scherzo. Presto 5'00 4 Quasi Fantasia. Grave 7'30 5 Finale. Allegro guerriero 7'49 Symphony No. 2 op. 36 in F minor 39'22 6 Allegro passionato, ma un poco maestoso 15'02 7 Adagio ma non troppo 13'32 8 Allegro molto tranquillo 10'57 T.T.: 77'30 cpo 555 252–2 Booklet.indd 3 13.03.2020 10:56:27 CD 2 1 Prelude from Hermione op. 40 8'54 (Concert ending by Wolfgang Jacob) 2 Funeral march from Hermione op. 40 6'15 3 Entr’acte from Hermione op. 40 2'35 4 Overture from Loreley op. 16 4'53 5 Prelude from Odysseus op. 41 9'54 Symphony No. 3 op. 51 in E major 38'30 6 Andante sostenuto 13'04 7 Adagio ma non troppo 12'08 8 Scherzo 6'43 9 Finale 6'35 T.T.: 71'34 Bamberger Symphoniker Robert Trevino, Conductor cpo 555 252–2 Booklet.indd 4 13.03.2020 10:56:27 Bamberger Symphoniker (© Andreas Herzau) cpo 555 252–2 Booklet.indd 5 13.03.2020 10:56:28 Auf Eselsbrücken nach Damaskus – oder: darüber, daß wir es bei dieser Krone der Schöpfung Der steinige Weg zu Bruch dem Symphoniker mit einem Kompositum zu tun haben, das sich als Geist mit mehr oder minder vorhandenem Verstand in einem In der dichtung – wie in aller kunst-betätigung – ist jeder Körper darstellt (die Bezeichnungen der Ingredienzien der noch von der sucht ergriffen ist etwas ›sagen‹ etwas ›wir- mögen wechseln, die Tatsache bleibt).
    [Show full text]
  • Rep List 1.Pub
    Richmond Symphony Orchestra League Student Concerto Competition Repertoire Please choose your repertoire from the approved selections below. Guitar & percussion students are welcome to participate; Please contact Anne Hoffler, contest coordinator, at aahoffl[email protected] for repertoire approval no later than November 30. VIOLIN Faure Elegy, Op. 24 Bach All Violin concerti Haydn Cello Concerto No. 1 in C major Beethoven Violin Concerto in D major Haydn Cello Concerto No. 2 in D major Beethoven Romance No. 1 in G major Kabalevsky Cello Concerto No. 1 in G minor, Op. 49 Beethoven Romance No. 2 in F major Lalo Cello Concerto in D minor Bériot Scéne de Ballet, Op. 100 Rubinstein Cello Concerto No. 2 in D minor, Op.96 Bériot Violin Concerto No. 7 in G major Saint-Saëns Cello Concerto No. 1 in A minor, Op.33 Bériot Violin Concerto No. 9 in A minor Saint-Saëns Cello Concerto No. 2 in D minor, Op. 119 Bruch Violin Concerto No. 1 in G minor Schumann Cello Concerto in A minor Haydn All Violin concerti Shostakovich Concerto for Cello No. 1 Kabalevsky Violin Concerto in C Major, Op. 48 Stamitz All Cello concerti Lalo Symphonie Espagnole R. Strauss Romanze in F major Massenet Méditation from Thaïs Tchaikovsky Variations on a Rococo Theme, Op.33 Mendelssohn Violin Concerto in E minor, Op.64 Vivaldi All Cello concerti Mozart Violin Concerto No. 1 in B-flat major Mozart Violin Concerto No. 2 in D major BASS Mozart Violin Concerto No. 3 in G major Bottesini Double Bass Concerto No.2 in B minor Mozart Violin Concerto No.
    [Show full text]
  • String Diplomas Repertoire List
    String diplomas repertoire list 1 January 2011 – 31 December 2018 STRING DIPLOMAS 2011–2018 Contents Page LCM Publications ........................................................................................................................ 2 Overview of LCM Diploma Structure ................................................................................. 3 Violin DipLCM in Performance .......................................................................................................... 4 ALCM in Performance .............................................................................................................. 5 LLCM in Performance ............................................................................................................... 7 FLCM in Performance ............................................................................................................... 7 Viola DipLCM in Performance .......................................................................................................... 8 ALCM in Performance .............................................................................................................. 9 LLCM in Performance ............................................................................................................... 10 FLCM in Performance ............................................................................................................... 11 Cello DipLCM in Performance .........................................................................................................
    [Show full text]
  • Wichita Symphony Youth Orchestras Acceptable Repertoire for Youth Talent Auditions
    Wichita Symphony Youth Orchestras Acceptable Repertoire for Youth Talent Auditions Repertoire not listed below may be acceptable, but must be pre-approved. Contact Tiffany Bell at [email protected] to request approval for repertoire not on this list. Violin Bach: Concerto No. 1 in A Minor Bach: Concerto No. 2 in E Major Barber: Concerto, Op. 14, first movement Beethoven: Concerto in D Major, Op. 61 Beethoven: Romance No. 1 in G Major Beethoven: Romance No. 2 in F Major Brahms: Concerto, third movement Bruch: Concerto No. 1 in G Minor, Op. 26, any movement Bruch: Scottish Fantasy Conus: Concerto in E Minor, first movement Dvorak: Romance Haydn: Concerto in C Major, Hob.VIIa Kabalevsky: Concerto, Op. 48, first or third movement Khachaturian: Violin Concert, Allegro Vivace, first movement Lalo: Symphonie Espagnole, first or fifth movement Mendelssohn: Concerto in E Minor, any movement Mozart: Concerto No. 3 in G Major, K. 216, any movement Mozart: Concerto No. 4 in D Major, K. 218, first movement Mozart: Concerto No. 5 in A Major, K. 219, first movement Saint-Saens: Introduction and Rondo Capriccios, Op. 28 Saint-Saens: Concerto No. 3 in B Minor, Op. 61 Saint-Saens: Havanaise Sarasate: Zigeunerweisen, Op. 20 Sibelius: Concerto in D Minor, fist movement Tchaikovsky: Concerto, third movement Vitali: Chaconne Wieniawski: Legend, Op. 17 Wieniawski: Concerto in D Minor Viola J.C. Bach/Casadesus: Concerto in C Minor, Adagio-Allegro Bach: Concerto in D Minor, first movement Forsythe: Concerto for Viola, first movement Handel/Casadesus: Concerto in B Minor Hoffmeister Concerto Stamitz: Concerto in D Major Telemann: Concerto in G Major Cello Boccherini: Concerto Bruch: Kol Nidrei Dvorak: Concerto in B Minor, Op.
    [Show full text]
  • Scottish Fantasy
    JOSHUA BELL BRUCH Scottish Fantasy Academy of St Martin in the Fields Br uc h (1838-1920) SCOTTISH FANTASY FOR VIOLIN AND ORCHESTRA, OP. 46 1 I. Introduction: Grave, Adagio cantabile 2 II. Scherzo: Allegro 3 III. Andante sostenuto 4 IV. Finale: Allegro guerriero VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26 5 I. Vorspiel: Allegro moderato 6 II. Adagio 7 III. Finale: Allegro energico Joshua Bell, Soloist/Director Academy of St Martin in the Fields Master of More than Melody The works presented here are two out of the three pieces by Max Bruch that can be called staples of the classical repertoire. (The third is his piece for cello and orchestra, Kol Nidrei.) In his lifetime he was best known for large-scale choral works, well received at their premieres and popular with the many amateur choral societies found throughout Europe in the later 19th century. Those choruses began to dwindle once the 20th century got underway. As they disappeared, Bruch’s cantatas and oratorios also faded from consciousness, rarely, if ever, to be heard again. By association, Bruch became thought of as a composer whose time had come and gone. It is interesting to compare the very diff erent assessments of him in two successive editions of Grove’s Dictionary of Music, from 1904 and 1954. The earlier edition declared: “He is above all a master of melody, and of the eff ective treatment of masses of sound.” By 1954 the verdict on his output was dismissive and condescending: ‘It is its lack of adventure that limited its fame.’ Bruch was born during the lifetimes of Mendelssohn and Schumann and died when Schoenberg and Stravinsky were creating gigantic waves in musical life.
    [Show full text]
  • PROGRAM NOTES by Jae Cosmos Lee, Violin
    “CELLISSIMO” PROGRAM NOTES By Jae Cosmos Lee, Violin Max Brush (1838 – 1920) At the urging of the beginning with a slow introduction, which is Cello virtuoso Robert Hausmann, the an example of Beethoven breaking off from German Romantic composer, Max Bruch the normal fast movement form, especially completed his op.47, Kol Nidrei (the in the last movement of an instrumental Aramaic phrase, which means All Vows, and work. Moreover, the entire third movement is the incantation that starts the Yom Kippur is in E major, which is the dominant key from service) in 1880 and publishing it a year later the original A major that the first movement in Berlin. Along with his first Violin is written in, which at the time was Concerto, this composition, originally for considered highly unconventional. The A Cello and Orchestra, is one of his most minor Scherzo, which comprises the second beloved and widely performed pieces. For movement, is in the parallel minor to the that reason, it led the German National opening movement's key, which can also be Socialist Party during the 1930's to assume considered Beethoven going against the that Bruch was of Jewish origin and banned grain of his Viennese contemporaries. his music until Germany's defeat in the Second World War. Fortunately, for Bruch, who was raised Protestant, and whose ancestors were not Jewish, his music Johannes Brahms (1833-1897) at age 57, survived the persecution and Kol Nidrei is earnestly contemplated retirement from still firmly planted in the canon of every composing after the premiere of his String cellist.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Mathematical and Musical Analysis of Kol Nidrei
    Mathematical and Musical Analysis of Kol Nidrei Kol Nidrei, Op. 47, is an instrumental piece written in 1881 by Max Bruch. It was originally composed for violincello and orchestra, though the version that will be analyzed here is a translation for viola and piano. Though Bruch was a protestant, he composed Kol Nidrei by drawing from two themes of Jewish descent. The first theme is featured in the opening melody and throughout the D minor section of the piece. It is based on the Kol Nidre prayer, which is an old Hebrew prayer of atonement that is recited on the Jewish holiday of Yom Kippur. The melody of this theme is meant to imitate the voice of a hazzan, who leads the worship of the congregation through lyrical prayer in a synagogue. The second theme is featured in the second half of the piece, where the music switches from D minor to D major. This theme draws from a section of a Hebrew melody titled “O Weep for Those that Wept on Babel’s Stream” by Lord Byron. Bruch composed Kol Nidrei in the romantic era of music. It was in this era that composers strayed from previous musical conventions and rules in order to create pieces consisting of significant emotional expression. Because of this, Kol Nidrei breaks many musical rules by utilizing irregular phrasing, disjunct harmonies, and little repetition in the melodic line. This lack of consistency makes it a difficult piece to examine, though spectrograms are able to help illustrate exactly what is heard in this piece. Since Kol Nidrei has such emotional themes, the solo violist can enhance the emotion using vibrato.
    [Show full text]
  • Season 2019-2020
    23 Season 2019-2020 Thursday, October 24, at 7:30 The Philadelphia Orchestra Friday, October 25, at 8:00 Saturday, October 26, at 8:00 Nathalie Stutzmann Conductor David Kim Violin Mendelssohn Hebrides Overture (“Fingal’s Cave”), Op. 26 Bruch Violin Concerto No. 1 in G minor, Op. 26 I. Vorspiel: Allegro moderato— II. Adagio III. Allegro energico Intermission Brahms Symphony No. 2 in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo—L’istesso tempo, ma grazioso III. Allegretto grazioso (quasi andantino)—Presto ma non assai—Tempo I—Presto ma non assai—Tempo I IV. Allegro con spirito This program runs approximately 1 hour, 50 minutes. The October 26 concert is sponsored by Allan Schimmel in memory of Reid Reames. These concerts are part of The Phildadelphia Orchestra’s WomenNOW celebration. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent orchestras. classrooms to hospitals, and the Orchestra is a global It strives to share the over the airwaves and online. ambassador. It performs transformative power of The Orchestra continues annually at Carnegie Hall, music with the widest to discover new and the Saratoga Performing possible audience, and to inventive ways to nurture its Arts Center, and the Bravo! create joy, connection, and relationship with loyal patrons.
    [Show full text]
  • Kol Nidrei כל־נדרי and Evening וערבית Service ליום of Yom Kippur כיפור
    KOL NIDREI כל־נדרי AND EVENING וערבית SERVICE ליום OF YOM KIPPUR כיפור Preparatory Prayers 202 הקדמה לתפילה Kol Nidrei 205 כל נדרי EvEning SErvicE The Sh’ma and Its Blessings 207 שמע וברכותיה The Silent Amidah 213 תפילת העמידה בלחש S’lih.ot: Pleas for Forgiveness 223 סליחות Viddui: Prayers of Confession 234 וידוי Concluding Prayers 246 סיום התפילה 201 yom kippur · evening service Copyright © 2010 by The Rabbinical Assembly, Inc. All rights reserved. הקדמה לתפילה PREPARATORY PRAYERS Isaiah . ָׁשֹלום The Meaning Shalom: shalom to those who are far off, shalom to those who shalom This verse from the .57:19 ָׁשָלֹום ׁשלֹום ָ לָרחְֹוקוַלָּקָרֹוב אַמר יהוה. .of the Day are near, says ADONAI Haftarah for Yom Kippur One day a year we morning is used here to welcome everyone to the make a journey in the Meditation for Putting on the Kittel synagogue. The welcome will be developed further company of the whole when the liturgy declares that we are permitted community of Israel— Just as I clothe myself in this white garment, so may You purify tonight “to pray with those who have transgressed.” all of us together, each of us alone. That day is my soul and my body, as the prophet Isaiah said, Originally a . ִקֶיטל The Day,” the Day of “Even if your sins are like crimson, Kittel“ Yiddish term, the word kittel ְלִבַיׁשִת קֶיטל ”.Atonement, the day that they will turn snow-white refers to a white garment ְּכֵׁשֶם ׁשֲאִנִי מְתַלֵּבִׁש/מְתַלֶּֽבֶׁשְת ּבֶֽבֶגָד לָבֵן, ּכַן ּתְלִּבין is deathlike. It is the day we wear the kittel, the K’shem she-ani mitlabbeish/mitlabbeshet b’veged lavan, kein talbin traditionally worn on Yom Kippur as well as at sacred ֶאִת־נְׁשָמִתְי וגּו ָפִתַי, ּכָּכִתּוב: אִם־יְהֲיּו חָטֵאיֶכם white gown that will one et nishmati v’gufati, ka-katuv: im yihyu h.
    [Show full text]
  • Peoria Symphony Orchestra Program Notes February 10, 2018 Michael Allsen
    Peoria Symphony Orchestra Program Notes February 10, 2018 Michael Allsen Max Bruch (1838-1920) Concerto No.1 for Violin and Orchestra in G minor, Op.26 Bruch's first violin concerto was completed in 1866, and the final version was performed for the first time by soloist Joseph Joachim in January 1868. Max Bruch is known today primarily for two solo violin works, the G minor concerto heard here, and the Scottish Fantasy, and his Kol Nidrei for cello and orchestra. However, Bruch was a tremendously successful composer in his day, with a catalog of nearly a hundred works that included three operas, three symphonies, and many solo pieces, sacred and secular choral works, art songs, and chamber works. He was a well- regarded conductor and one of the most sought-after composition teachers in Europe— Ottorino Respighi and Ralph Vaughan Williams were among his more famous pupils. Bruch made the first sketches for a violin concerto as early as 1857. He finished the work early in 1866, and in April of that year, conducted a preliminary version at a benefit concert in Koblenz, where the solo part was played by a violinist from Cologne, Otto von Königsglöw. Bruch made several significant revisions after hearing this performance, even considering recasting the work as a “Fantasy” because of its relatively free form. Finally, Bruch solicited the advice of the greatest Austrian virtuoso of the day, Joseph Joachim, who was impressed, and suggested several additional changes. Joachim played the premiere of the revised concerto, and Bruch dedicated the published score to him.
    [Show full text]