DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 82, 1962

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

V -J es ;...,- .--->-'-;.. s - __. BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON THE BROOKLYN ACADEMY OF MUSIC c^ iSsX «^ EIGHTY-SECOND SEASON 1962-1963 1962-1963 9 The Women s Committee for the Boston Symphony Orchestra Concerts in Brooklyn Mrs. Andrew L. Gomory, Chairman Mrs. Laurance E. Frost Mrs. James B. Donovan Mrs. Albert C. Magee * Vice-Chairman Vice- Chairman Vice-Chairman Mrs. John W. Faison, Jr. Mrs. James Vincent Keogh Mrs. John R. Bartels Treasurer Secretary Membership Chairman Mrs. Irving G. Idler Mrs. Robert F. Warren Box Chairman Subscription Chairman Mrs. Elias J. Audi Mrs. John T. Gallagher Miss Helen M. McWilliams Mrs. Bernard S. Barr Mrs. Edwin L. Garvin Mrs. Alfred L. Megill Mrs. H. Haughton Bell * Mrs. Elizabeth L. Giddings Mrs. Harold R. Merwarth Mrs. Milton S. Berman Mrs. R. Whitney Gosnell Mrs. Philip T. Morehouse Mrs. George M. Billings Mrs. D. Frank Guarini Miss Emma Jessie Ogg Mrs. John R. H. Blum Mrs. Warren L. Hafely Mrs. Harold L. Ostergren Mrs. Robert E. Blum Mrs. Arthur C. Hallan Mrs. William B. Parker Mrs. Lawrence J. Bolvig Mrs. J. Victor Herd Mrs. Raymond King Pendleton Mrs. Walter Bruchhausen Mrs. William B. Hewson Mrs. Edward T. Reilly Mrs. Otis Swan Carroll Mrs. James M. Hills Mrs. Allan G. Richtmyer Mrs. Francis T. Christy Mrs. John W. Hoffmann Mrs. Abraham M. Sands Mrs. Benjamin J. Conroy Mrs. David S. Hunter Mrs. Eliot H. Sharp Mrs. Donald M. Crawford Mrs. Raymond V. lngersoll Mrs. Donald G. C. Sinclair Mrs. Russell V. Cruikshank Mrs. Henry A. Ingraham Mrs. Ainsworth L. Smith Mrs. William T. Daily Mrs. Darwin R. James, III Mrs. Sidney L. Solomon Mrs. Frederick I. Daniels Mrs. John W. James, III Mrs. Harry H. Spencer Miss Ruth G. Davis Mrs. Walter M. Jeffords, Jr. Mrs. Monroe D. Stein Mrs. Berton J. Delmhorst Mrs. William F. Kerby Mrs. Hollis K. Thayer * Mrs. Carroll J. Dickson Mrs. John Bailey King Mrs. Gilbert H. Thirkield Mrs. Joseph J. Dreyer Mrs. Abbott A. Lippman Mrs. John F. Thompson, Jr. Mrs. Remick C. Eckardt Mrs. Everett J. Livesey Mrs. Theodore N. Trynin Mrs. Alfred H. Everson Mrs. J. Frederick Lohman, Jr. Mrs. Franklin B. Tuttle * Mrs. James F. Fairman Mrs. John J. Madden Mrs. Adrian Van Sinderen Mrs. Frederic Feichtinger Mrs. Eugene R. Marzullo Mrs. Thomas K. Ware Mrs. Merrill N. Foote Mrs. Carleton D. Mason Dr. Virginia T. Weeks Mrs Edward M. Fuller Mrs. Edwin P. Maynard, Jr. Miss Elizabeth T. Wright Mrs. Richard S. Maynard • Former Chairmen SEASON BOX SUBSCRIBERS Box 1 St. Francis College Box 6 Packer Collegiate Institute Box 2 Brooklyn Friends School Box 7 The Guild of the Box 3 The Berkeley Institute Long Island College Hospital Box 4 Mrs. Darwin R. James, III Box 8 Packer Collegiate Institute Box 5 Rev. William Mowat Box 10 Misses Irene and Margaret Wester Miss Emma Jessie Ogg Mrs. William B. Parker The Women's Committee for the Boston Symphony Orchestra Concerts in Brooklyn con- tinues its Box Subscription to provide seats for the Blind elsewhere in the Opera House. The Kiwanis Club of Brooklyn continues its Box Subscription to provide seats for Students elsewhere in the Opera House. EIGHTY-SECOND SEASON, 1962-1963 Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical ariii descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz John T. Noonan Theodore P. Ferris Mrs. James H. Perkins Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Palfrey Perkins Lewis Perry Edward A. Taft Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 rsi Boston Symphony Orchestra (Eighty-second Season, 1962-1963) ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Cellos Bassoons Joseph Silverstein Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Martin Hoherman Matthew Ruggiero George Zazofsky Mischa Nieland Contra Bassoon Rolland Tapley Karl Zeise Roger Shermont Richard Kapuscinski Richard Plaster Vladimir Resnikoff Bernard Parronchi Horns Harry Dickson Robert Ripley James Stagliano Gottfried Wilfinger Winifred Winograd Charles Yancich Einar Hansen John Sant Ambrogio Harry Shapiro Fredy Ostrovsky Louis Berger Harold Meek Minot Beale Peter Schenkman Paul Keaney Herman Silberman Osbourne McConathy Stanley Benson Basses Trumpets Leo Panasevich Georges Moleux Sheldon Rotenberg Henry Freeman Roger Voisin Armando Ghitalla Noah Bielski Irving Frankel Alfred Schneider Henry Portnoi Andre Come Henri Girard Gerard Goguen Clarence Knudson John Barwicki Pierre Mayer Trombones Leslie Martin William Gibson Manuel Zung Bela Wurtzler Samuel Diamond Joseph Hearne William Moyer William Marshall Kauko Kahila Leonard Moss Flutes Josef Orosz William Waterhouse Doriot Anthony Dwyer Tuba Michel Sasson James Pappoutsakis K. Vinal Smith Victor Manusevitch Phillip Kaplan Laszlo Nagy Timpani Pinto Ayrton Piccolo Everett Firth Julius Schulman George Madsen Harold Farberman Lloyd Stonestreet Raymond Sird Percussion Oboes Gerald Gelbloom Charles Smith Max Winder Ralph Gomberg Harold Thompson Jean de Vergie Arthur Press Violas John Holmes Harps Joseph de Pasquale Jean Cauhape English Horn Bernard Zighera Eugen Lehner Louis Speyer Olivia Luetcke Bernard Albert Piano George Humphrey Clarinets Bernard Zighera Jerome Lipson Gino Cioffi Robert Karol Manuel Valerio Library Reuben Green Pasquale Cardillo Victor Alpert Bernard Kadinoff E\) Clarinet William Shisler Vincent Mauricci Earl Hedberg Bass Clarinet Stage Manager Joseph Pietropaolo Rosario Mazzeo Alfred Robison [4] EIGHTY-SECOND SEASON • NINETEEN HUNDRED SIXTY-TWO -SIXTY-THREE Third Program THURSDAY EVENING, January 10, at 8:30 o'clock Mendelssohn Overture to "A Midsummer Night's Dream," Op. 21 Mozart Piano Concerto No. 24, in C minor, K. 491 I. (Allegro) II. Larghetto III. (Allegretto) INTERMISSION Shostakovitch Symphony No. 10, in E minor, Op. 93 I. Moderato II. Allegro III. Allegretto IV. Andante; Allegro SOLOIST GABRIEL TACCHINO Mr. Tacchino plays the Steinway Piano BALDWIN PIANO RCA VICTOR RECORDS [5] — Under the distinguished baton of Maestro Erich Leinsdorf, new musical director, the 1962 season promises to be one of the greatest in the history of the Boston Symphony Orchestra. Enjoy this great orchestra in recent Red Seal recordings, Charles Munch conducting: a jewel- like Berlioz Borneo and Juliet, and two superb works by Milhaud Suite Provencale and La Creation du Monde. Both beautifully pack- aged Soria Series albums and both available in Living Stereo, Monaural and also on Tape. Erich Leinsdorf and the Boston Symphony record exclusively on RCA VICTOR fofifflThe most trusted name in sound [6] OVERTURE (Op. 21) TO "A MIDSUMMER NIGHT'S DREAM" By Felix Mendelssohn Born in Hamburg, February 3, 1809; died in Leipzig, November 4, 1847 Mendelssohn composed his Overture to Shakespeare's play in 1826. It was first publicly performed at Stettin in February, 1827, under Karl Lowe, and published in 1835. It was first performed at the concerts of the Boston Symphony Orchestra February 9, 1883, and last performed January 8, 1954. The Overture is dedicated to "His Royal Majesty, the Crown Prince of Prussia." The instrumentation requires 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, ophicleide (here replaced by the contra bassoon and tubas), timpani, cymbals, triangle and strings, often divided. TV >Tendelssohn, reading translations of Shakespeare by Schlegel and -*--" Tieck, composed this Overture as a concert number in his seven- teenth year, when he was living at 3 Leipziger Strasse, Berlin, a sub- urban house with ample gardens, a garden house for amateur theatri- cals included. Discernible in the Overture are the fairy chords of the introduction and scherzo-like character of the main theme, the refer- ences to the Bergomask Dance from the fifth act of the play, the imita- tion of the braying of Bottom, and a descending cello passage which is supposed to have been suggested to the composer by the buzzing of a fly as he worked in his summer garden. The Overture was originally written for piano duet. It was not until 1843, in tne height of Mendelssohn's fame, that he added to the Overture the incidental numbers intended for Shakespearean perform- ances at the Royal Theatre in Berlin. There is no more extraordinary instance of Mendelssohn's precocious artistry than the perfect fusion of his boyhood overture and its fuller treatment seventeen years later. When Friedrich Wilhelm IV took the throne of Prussia in 1840, his first step was to establish an Academy for an illustrious representation of the arts at his court. His choice of a musician for this department fell at once upon the celebrated and popular Mendelssohn, who had dedicated the overtures "Melusina," "Midsummer Night's Dream," and "Hebrides" to him as Crown Prince. Mendelssohn found Berlin far less responsive and congenial than Leipzig, and the circuitous ways of officialdom and court etiquette were onerous; but he composed what was required of him for the most part cheerfully enough. Incidental music for stage productions was no small part of these requirements, which included Sophocles' "Antigone" in 1841, and according to a royal command in the following year, Racine's "Athalie," Sophocles' "Oedipus at colonus," Shakespeare's "A Midsummer Night's Dream." Mendelssohn worked industriously upon his commissions, of which "Antigone" and "A Midsummer Night's Dream" were produced in the autumn of 1843. [copyrighted] [7] PIANO CONCERTO NO. 24, in C minor, K. 491 By Wolfgang Amadeus Mozart Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791 This Concerto was composed in March, 1786. The orchestral portion consists of flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.
Recommended publications
  • Cds by Composer/Performer

    Cds by Composer/Performer

    CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H.
  • Week 13 Andris Nelsons Music Director

    Week 13 Andris Nelsons Music Director

    bernard haitink conductor emeritus seiji ozawa music director laureate 2014–2015 Season | Week 13 andris nelsons music director season sponsors Table of Contents | Week 13 7 bso news 17 on display in symphony hall 18 bso music director andris nelsons 20 the boston symphony orchestra 23 a brief history of the bso 29 this week’s program Notes on the Program 30 The Program in Brief… 31 Wolfgang Amadè Mozart 37 Anton Bruckner 49 To Read and Hear More… Guest Artist 53 Lars Vogt 56 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information the friday preview talk on january 16 is given by elizabeth seitz of the boston conservatory. program copyright ©2015 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo of Andris Nelsons by Marco Borggreve cover design by BSO Marketing BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate 134th season, 2014–2015 trustees of the boston symphony orchestra, inc. William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • George D. Behrakis • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara Hostetter • Charles W.
  • Four-Hand Piano Music • 2

    Four-Hand Piano Music • 2

    DEBUSSY Four-Hand Piano Music • 2 Prélude à l’Après-midi d’un faune La Mer • Images Jean-Pierre Armengaud Olivier Chauzu Claude Debussy (1862–1918) undulating arabesques complemented by an expressive Written between 1905 and December 1908, Ibéria was Music for Piano Four Hands • 2 theme which is followed by a new, melancholy figure treated the first of the Images to be completed. Debussyʼs only visit contrapuntally in the upper register; the second is to Spain consisted of a single afternoon spent in San Symbolist poet Stéphane Mallarméʼs eclogue, or pastoral is impassioned, almost Wagnerian in tone. The central dominated by dotted rhythms and sees the reappearance Sebastián, just across the border. There are no quotations poem, LʼAprès-midi dʼun faune (The Afternoon of the Faun; section introduces the third theme, which is marked of the cyclical theme. The music then becomes more or borrowings from pre-existing music here, the work pub. 1876) was quick to capture the imagination of expressif et très soutenu and wreathed in arabesques, serene, ending with a solemn, chorale-like theme. drawing instead on a kind of imagined folk tradition in which Debussy, who even gave a copy of its second edition to triplets and arpeggios. Jeux de vagues (Play of the waves) acts as the scherzo all the melodies stem from the composerʼs own mind, fellow composer Paul Dukas in May 1887. Mallarmé, who in This arrangement was made by Ravel in early 1910, in here, with a central episode whose main function is that of although they are based on modal or ornamental cellular 1885 had written a prose article entitled Richard Wagner, response to a commission from the publisher Fromont.
  • Boston Symphony Orchestra Concert Programs, Season 82, 1962-1963

    Boston Symphony Orchestra Concert Programs, Season 82, 1962-1963

    :') >i BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON it )lf 24 vi '^7- fy J ^^\ -^ .J '~^u I \,.. -^- ^J--«i!i:^.^ ^x\ ••—ieCS^; \'\ EIGHTY-SECOND SEASON 1962-1963 ADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled b<r anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience audi ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review youf needs either business or personal and counsel you to an intelligent program. W^e respectfully invite your inquiry. CHARLES H. WATKINS & CO. Richard P. Nvquist — Charles G. Carleton — Robert G. Jennings 147 MILK STREET BOSTON 9, MASSACHUSETTS LIBERTY 2-1250 Associated With OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SECOND SEASON, 1962-1963 Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1963, by Boston Symphony Orchestra, Inc. The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs. James H. Perkins Harold D. Hodgkinson Sidney R. Rabb C.
  • October 2017 New Releases

    October 2017 New Releases

    new releases october 2017 2 LABELS p.9 p.30 p.10 p.30-32 p.10-17 p.32-33 p.17-19 p.33 p.19-20 p.68 p.21 p.34 p.21 p.35 p.22-23 p.36 p.65-67 p.36 p.23 p.37 p.24 p.25-26 p.38-39 p.27-28 p39 p.28 p.68-69 p.28-29 p.39 p.29 p.40-41 LABELS p.41 p.69-70&74 see attachment p.52-53 p.73 p.41-42 p.54 p.43 see attachment p.54 p.54-55 p.43-44 p.55 p.45 p.56 p.45 p.56-58 p.58-60 p.46-47 p.47-48 p.61 p.48-49 p.49-50 p.51 BREAKING NEWS Hello everybody, Starting October Outhere Music will do the honour to distribute our label in the Benelux. Then we would like to introduce you briefly Bonsaï Music. Bonsaï Music takes its first steps in 2004 in the music industry and has been quickly catalogued as a “Jazz record label”. However this image is a little simplistic because we believe that “Jazz” is more a musical philosophy than a specific musical genre. For thirteen years our work consisted in reconciling jazz and popular music and then promote and release Artists albums that can be enjoyed by jazz fans and lay people with this musical genre. The characteristics that most defines Bonsaï Music is our constant search of melody and/or great voices.
  • WNIB Program Schedule December 1971

    WNIB Program Schedule December 1971

    u 1 , 1 The Advent Mode! 201 Tape Deck is, to our way of thinking, the ideal source for playing music in the home. It combines the important characteristics of a high-performance open-reel tape recorder with the convenience of cassettes. The Advent I Model 201 wit! make recordings that are indistinguishable from most source material, including the best stereo records and FM broadcasts. Of equal importance, the Mode! 201 realizes the full potential of the new "Dolbyized" commercially recorded cassettes, the most significant source I of recorded music since the introduc­ tion of the stereo disc. The best of the "Dolbyized" pre-recorded cas­ settes are easily the equivalent of the best disc recordings, and the number of releases will be continually in­ creasing. The Mode! 201 has the ruggedness and day-to-day operating dependability of the best home recorders, and wi!I maintain its original performance over long and constant use. $2 Beverly Near North Morton Grove Oak Park 2035 W. 95 th 48 E.Oak 5700 W Dempster 7045 W. North The performance of the Model 201 337-4\50 967-6690 38'.l-7006 is the result of several important departures in the design and manu­ 1\JfS()AY. WHJN(Sl)AY FRIDA.¥ & SATURDAY JOAM- 6 PM; MONDAY & THURSDAY 1D AM-9l'M facture of a cassette recorder. "Seigneur, dans votre main''; Louis BROQUET ''Beau Chevalier''; Otto BARBLAN "Hymne a la PROGRAM HEDUlE patrie"; Robert MERMOUD "Pour toi, pays"; Carlo HEMMERLING "0 petit pays"; Gustave DORET "Priere du Ruetli"; Carlo BOLLER I fm December, 1971 "Chant du drapeau"; Emile JAQUES-DALCROZE "Los Vieux11 ; Jean APOTHELOZ "Grand Guillau­ me"; Joseph BOVET "L'Alpee"; Hermann LANG "Mon pays, rustique sejour''; Henri PLUMHOF "La chanson des etoiles"; Joseph BOVET "La montee a l'alpage"; Gustave DORET "Le peuple des bergers" - Choeurs d'homrnes remands/ Andre Charlet (Swiss Composers CT 64-28) WNIB P rog-ram Schedule is published by Radio Station WNIB, 25 East Chestnut, Chicago, Illinois 60611.
  • French Performance Practices in the Piano Works of Maurice Ravel

    French Performance Practices in the Piano Works of Maurice Ravel

    Studies in Pianistic Sonority, Nuance and Expression: French Performance Practices in the Piano Works of Maurice Ravel Iwan Llewelyn-Jones Submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy School of Music Cardiff University 2016 Abstract This thesis traces the development of Maurice Ravel’s pianism in relation to sonority, nuance and expression by addressing four main areas of research that have remained largely unexplored within Ravel scholarship: the origins of Ravel’s pianism and influences to which he was exposed during his formative training; his exploration of innovative pianistic techniques with particular reference to thumb deployment; his activities as performer and teacher, and role in defining a performance tradition for his piano works; his place in the French pianistic canon. Identifying the main research questions addressed in this study, an Introduction outlines the dissertation content, explains the criteria and objectives for the performance component (Public Recital) and concludes with a literature review. Chapter 1 explores the pianistic techniques Ravel acquired during his formative training, and considers how his study of specific works from the nineteenth-century piano repertory shaped and influenced his compositional style and pianism. Chapter 2 discusses Ravel’s implementation of his idiosyncratic ‘strangler’ thumbs as articulators of melodic, harmonic, rhythmic and textural material in selected piano works. Ravel’s role in defining a performance tradition for his piano works as disseminated to succeeding generations of pianists is addressed in Chapter 3, while Chapters 4 and 5 evaluate Ravel’s impact upon twentieth-century French pianism through considering how leading French piano pedagogues and performers responded to his trailblazing piano techniques.
  • Debussy Rare Piano Music

    Debussy Rare Piano Music

    WORLD PREMIÈRE RECORDINGS THE UNKNOWN DEBUSSY RARE PIANO MUSIC NICOLAS HORVATH CLAUDE DEBUSSY (1862–1918) THE UNKNOWN DEBUSSY RARE PIANO MUSIC NICOLAS HORVATH, piano Catalogue Number: GP822 Recording Dates: 7–9 July 2019 Recording Venue: La Fabrique des Rêves Recording Studio, Misy-sur-Yonne, France Producer and Engineer: Paul Metzger Piano: Steinway, Model C (1926) (number 248200) Piano Technician: Brice Savine Booklet Notes: Robert Orledge, Marie-Lise Babonneau, Régis Campo, David Christoffel, Yannis Constantinidès Publisher: Musik Fabrik (1–11, 15–16), Durand DB 15685 (12–14) Artist Photograph: Perla Maarek Cover Art: Andy Julia www.andyjulia.com Une traduction française du livret est disponible à l’adresse suivante : https://www.naxos.com/sharedfiles/PDF/GP822_booklet_French.pdf PRÉLUDES OUBLIÉS * 23:25 1 L’Enfant prodigue (1884, revised 1907–08) (version for piano) 02:46 2 Rodrigue et Chimène (1890–93) (version for piano) 04:58 3 Préludes, Book 1 – No. 8. La Fille au cheveux de lin (first version in B flat major, 1907) 00:46 4 Prélude à l’Histoire de Tristan’ (1907, completed 2011) (version for piano) 04:26 5 Préludes, Book 2 – No. 5. Bruyères (first version, 1912) 03:47 6 Toomai des éléphants (1913, completed 2006) (new edition) 06:33 7 PETITE VALSE (c.1915, completed 2006) 02:07 FÊTES GALANTES 8 Tableau 1 – Les Masques (commencement) (1915, completed 2006) * 07:08 LE MARTYRE DE SAINT SÉBASTIEN 9 Act 3: Le Concile des faux dieux: La Passion (unused movement, first draft) (1911, completed 2014) * 04:28 NO-JA-LI (LE PALAIS DU SILENCE) 0 Chinese ballet in one act (eight scenes) (version with narration) (1914, completed 2005/2014) * 17:17 Text: George de Feure (1868–1943) Narrator: Florient Azoulay LE ROI LEAR (1904–08, completed 2004/2018) 12:05 ! Prélude * 03:52 @ [autre] Fanfare * 00:58 # Le Sommeil de Lear * 03:36 $ La Mort de Cordélia * 03:36 % UN JOUR AFFREUX AVEC LE DIABLE DANS LE BEFFROI (version with narration) (1902–03, transcribed 2018) * 11:37 Text: Robert Orledge (b.
  • JUNE, 1969 60C WASHINGTON/ BALTIMORE EDITION

    JUNE, 1969 60C WASHINGTON/ BALTIMORE EDITION

    JUNE, 1969 60c WASHINGTON/ BALTIMORE EDITION THE FM LISTENING GUIDE . r . 'n YG} itas-er".175ro ó _o °.. - i ,1!11 (! TV 1151,!S~ .. ha...,.. .,wv . _ . v '7.] gl "The Sony 6060 is the brightest thing that happened to stereo in a long while. If outshines receivers costing hundreds more." i///,ompoo.11 111111111IIIt111Í11111SM\\\\\\\\\\\ SONY FM 88 90 92 94 96 98 100 102104 10E 108 MHz at I 1UNING .lN"WI, 1 .. .r. I STEREO RECEIVER 0060 SO110 STATE Sony Model STR-6060 FW AM/FM Stereo Receiver MANUFACTURER'S SPECIFICATIONS- 0.5°/o. FM Stereo Separation: More :han 0.2°/o at rated output; under 0.15°/o at FM Tuner Section-IHF Usable Sensitivity: 40 dB @ 1 kHz. AM Tuner Section-Sensi- 0.5 watts output. Frequency Response: 1.8 /t, V. S/N Ratio: 65 dB. Capture Ratio: tivity: 160 µ,V (built-in antenna); 10 µ,V Aux, Tape: 20 Hz to 60 kHz +0, -3 dB. 1.5 dB. IHF Selectivity: 80 dB. Antenna: (external antenna). S/N Ratio: 50 dE @ S/N Ratio: Aux, Tape: 100 dB; Phono: 70 300 ohm & 75 ohm. Frequency Response: 5 mV input. Amplifier Section Dynamic dB; Tape Head; 60 dB. Tone Control 20 to 20,000 Hz ±1 dB. Image Rejection: Power Output: 110 watts (total), 8 ohms. Range: Bass: ±10 dB @ 100 Hz; Treble: 80 dB. IF Rejection: 90 dB. Spurious Rejec- RMS Power Output: 45 watts per charnel, ±10 dB @ 10 kHz. General-Dimensions: tion: 90 dB. AM Suppression: 50 dB. Total 8 ohms.
  • Images of Music

    Images of Music

    Washington International Piano Arts Council The 2019 Festival of Music & The 17th Washington International Piano Artists Competition July 17-21, 2019 Images of Music Painting by Susanne Eisinger Courtesy of Henri and Lisa Polgar In cooperation with The George Washington University and Corcoran Gallery of Arts and Design The Festival of Music 2019 & the 17th Washington International Piano Artists Competition Competition Committee Chairs Judith Ramage and John Dassoulas Jury Chairs – Georges Mihaies and John Dassoulas Competition Committee Members Francis Berkman ✦ Nicole d’Amecourt ✦ Portia Davidson Suzanne Finney ✦ Wendy Graham ✦ Danielle Lucca ✦ Diane Merriam Maria Zelmira Nedelcovic ✦ Rhoda Septilici ✦ Judith Ramage Jean Wigham ✦ Washington International Karl Piano Woelflein Arts Council Diplomatic Council Members H.E., the Ambassador of Azerbaijan and Mrs. Elin Suleymanov H.E., the Ambassador of Bulgaria and Mrs. Tihomir Stoytchev H.E., the Ambassador of Azerbaijan and Mrs. Elin Suleymanov Honorary Board Harriet Becker ✦ The Honorable Robert Blackwell Dr. & Mrs. Leslie H. Fenton ✦ Robert Gair ✦ Lola C. Reinsch ✦ Carol Rudman J. Almont Pierce ✦ Wayne and Linda Sharp ✦ Sheryl Shreckengost Dr. Joyce Silverman-Wright Executive Board Chateau Gardecki, Founder and Board Chair Michael Davidson, Esq., President ✦ Diane Merriam, Vice-President Portia Davidson, Secretary ✦ John Gardecki, Treasurer & CFO Board Members Jeanne Blackwell ✦ Nicole d’Amecourt ✦ Clayton Eisinger Susanne Eisinger ✦ Darlene Lebedev-Matulka Zelmira de Braganza Nedelcovic
  • Wwciguide November 2019.Pdf

    Wwciguide November 2019.Pdf

    From the President & CEO The Guide The Member Magazine for WTTW and WFMT Dear Member, Renée Crown Public Media Center This month, WTTW will bring you a film about the transformative power of 5400 North Saint Louis Avenue Chicago, Illinois 60625 education. College Behind Bars follows twelve incarcerated men and women who hope to turn their lives around by earning a college degree, as we follow their Main Switchboard four-year journey through the famously rigorous Bard Prison Initiative. Join us (773) 583-5000 on two consecutive nights for a compelling documentary on America’s criminal Member and Viewer Services (773) 509-1111 x 6 justice system. Also on WTTW, The Chaperone reunites three talents from Downton Abbey – Websites actor Elizabeth McGovern, series creator Julian Fellowes, and director Michael wttw.com wfmt.com Engler – for this 1920s era story of a Kansas woman who accompanies an aspiring teen dancer on a tumultuous trip to New York City. A new series on WTTW Kids, Publisher Xavier Riddle and the Secret Museum, introduces children aged 4-7 to historical Anne Gleason figures. On wttw.com, learn more about the small-town fraud that went on in Art Director Tom Peth Dixon, Illinois in our interview with the filmmaker of the documentary,All the WTTW Contributors Queen’s Horses. Julia Maish Lisa Tipton WFMT will present a live performance from New York’s Carnegie Hall by WFMT Contributors Riccardo Muti and the Chicago Symphony Orchestra. And in observance of Andrea Lamoreaux Veterans Day, Chicago Tribune film critic Michael Phillips will present his sampling of music from war-themed movies old and new.
  • Rachmaninov (1873-1943)

    Rachmaninov (1873-1943)

    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Sergei Rachmaninov (1873-1943) Born at Oneg, Novgorod Region. He had piano lessons from an early age but his serious training in composition began at the Moscow Conservatory where he studied counterpoint with Sergei Taneyev and harmony with Anton Arensky. He began to compose and for the rest of his life divided his musical time between composing, conducting and piano playing gaining great fame in all three. After leaving Russia permanently in 1917, the need to make a living made his role as a piano virtuoso predominant. His 4 Piano Concertos, Rhapsody on a Theme of Paganini and substantial solo piano works make him one of the world's most-performed composers. However, he also composed operas and liturgical choral works as well as other pieces for orchestra, chamber groups and voice. Piano Concerto No. 1 in F-sharp minor, Op. 1 (1892, rev. 1917) Leif Ove Andsnes (piano)/Antonio Pappano/Berlin Philharmonic Orchestra ( + Piano Concerto No. 2) EMI CLASSICS 74813-2 (2005) Agustin Anievas (piano)/Rafael Frühbeck de Burgos/New Philharmonia Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Prelude in C-sharp minor, 10 Preludes and 12 Preludes) EMI CLASSICS TRIPLE 5 00871-2 (2007) (original LP release: ANGEL SCB 3801 {3 LPs}) (1973) Vladimir Ashkenazy (piano)/Bernard Haitink/Royal Concertgebouw Orchestra (+ Rhapsody on a Theme of Paganini) DECCA 417613-2 (1987) Vladimir Ashkenazy (piano)/André Previn/London Symphony Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Variations on a Theme of Corelli and Piano Sonata No.