YSO Prelude 2019-03 March
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Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
CARNEGIE HALL - - NEW YORK Twenty-second Season in New York DR. KARL MUCK, Conductor fnigrammra of % FIRST CONCERT THURSDAY EVENING, NOVEMBER 7 AT 8.15 PRECISELY AND THK FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 9 AT 2.30 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY . 37 West 32d Street, New York Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. < Second Violins. • Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. t Violoncellos. Warnke, H. Nagel, R. Barth, C. Loefner, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. -
THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13. -
¥T1 Id -'F- L~R~J Was That Performance of " Tannhauser" in 1863 Which, According ~.'Tkon"-"'1
rro te above literally the lyric initial theme of the symphony arming for III. Scherzo: Sehr schnell (very fast), A minor, 3/ 4 thus with battle" : Trio: Etwas langsamer (a little slower), F major, 3/ 4 , two per IV_ Finale : B ~wegt, do ch nicht schnell (with motion but not fast), nat is here eJC..tof. E major, alla breve any emen "'t;" DOC" ,~::;; OG~LL ~ ~ ,----. t only the IVa; $; 4'3 3.7 IrS· k11 J pelr Sh'/Jd I p VIOl.1NS x: .. The symphony is scored for two each of flutes, oboes, clarinets, Late advan and bassoons, four horns, three trumpets, three trombones, two Ir'* fJrtD Iqr\J t"VI!t ~6IhJq;;j &J J I # tenor-tubas and two bass-tubas ("Wagner-Tuben"), contrabass not of the ) " \.....:...-. ,. > J Poco '" POc.O C.R.E5C.. tuba, timpani, and strings. climax. A only direct The launching of this melodic arrow by the bows of the violins lsic moves is sharpened by Bruckner's indication to play "with the point." Overture in G minor cribe or to The second subj ect is the simplest of simpl e ideas, transformed Few, if any, of the great composers were so late in maturing ;kn er here by the co mposer's mastery of orchestration into a chorale of utter as Bruckn er. The overture in G minor remains, if compared to ~me ntation genius. It may be nothing more than "an exercise in modulating any of the nine symphonies, a transitional if not a student produc i, pi::.::icato. cadences," technicall y speaking, but one that no student could tion. -
The 20 Crucial Compositions of Anton Bruckner Alonso Delarte Published by Alonso Delarte at Smashwords Copyright 2010 Alonso Delarte
The 20 Crucial Compositions of Anton Bruckner Alonso Delarte Published by Alonso Delarte at Smashwords Copyright 2010 Alonso Delarte Smashwords Edition, License Notes This eBook is licensed for your personal enjoyment only. This eBook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you're reading this book and did not purchase it, or it was not purchased for your use only, then please return to Smashwords.com and purchase your own copy. Thank you for respecting the hard work of this author. 11. Symphony No. 6 in A major (1879) Repertoire formation is a funny business. Musical merit is one factor, certainly, but often not the only factor or even the most important one. With any composer, there are pieces which are rarely heard, yet when they are heard, people wonder why they have never heard it before, since they are such good pieces of music. And so, with Bruckner, it is somewhat of a puzzlement that the Sixth Symphony is so rarely heard despite being so well-done and so fascinating, whereas the Fourth Symphony, with its various flaws and problems, is one of Bruckner's most popular. Various reasons are given for this, such as that Bruckner was trying too hard to pare down his conception to a smaller scale, or the predominance of the Bruckner rhythm (2 + 3 or 3 + 2 in the time-space of 2 + 2) in the first movement in overlapping triplets of different note values. -
Le Corsaire Overture, Op. 21
Any time Joshua Bell makes an appearance, it’s guaranteed to be impressive! I can’t wait to hear him perform the monumental Brahms Violin Concerto alongside some fireworks for the orchestra. It’s a don’t-miss evening! EMILY GLOVER, NCS VIOLIN Le Corsaire Overture, Op. 21 HECTOR BERLIOZ BORN December 11, 1803, in Côte-Saint-André, France; died March 8, 1869, in Paris PREMIERE Composed 1844, revised before 1852; first performance January 19, 1845, in Paris, conducted by the composer OVERVIEW The Random House Dictionary defines “corsair” both as “a pirate” and as “a ship used for piracy.” Berlioz encountered one of the former on a wild, stormy sea voyage in 1831 from Marseilles to Livorno, on his way to install himself in Rome as winner of the Prix de Rome. The grizzled old buccaneer claimed to be a Venetian seaman who had piloted the ship of Lord Byron during the poet’s adventures in the Adriatic and the Greek archipelago, and his fantastic tales helped the young composer keep his mind off the danger aboard the tossing vessel. They landed safely, but the experience of that storm and the image of Lord Byron painted by the corsair stayed with him. When Berlioz arrived in Rome, he immersed himself in Byron’s poem The Corsair, reading much of it in, of all places, St. Peter’s Basilica. “During the fierce summer heat I spent whole days there ... drinking in that burning poetry,” he wrote in his Memoirs. It was also at that time that word reached him that his fiancée in Paris, Camile Moke, had thrown him over in favor of another suitor. -
Sunday Playlist
October 20, 2019: (Full-page version) Close Window “I was obliged to be industrious. Whoever is equally industrious will succeed equally well.” — Johann Sebastian Bach Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, Buy 00:01 Chopin Barcarolle in F sharp, Op. 60 Sviatoslav Richter Orfeo 491 981 4011790491127 Awake! Now! Buy Amsterdam Combattimento 00:11 Wassenaer Concerto in A NM Classics 92030 N/A Now! Consort/Vriend Buy Cypress Performing 00:21 Beethoven String Quartet No. 14 in C sharp minor, Op. 131 Cypress String Quartet n/a 666449766121 Now! Arts Association Buy 01:01 Brahms Academic Festival Overture, Op.80 Black Dyke Band/Childs Naxos 8.570726 74731307276 Now! Buy 01:11 Handel Suite in G minor for piano Keith Jarrett ECM 1530 781182153028 Now! Buy 01:22 Kalinnikov Symphony No. 1 in G minor Scottish National Orchestra/Jarvi Chandos 8611 5014682861120 Now! Buy Reference 02:01 Alfven Swedish Rhapsody No. 1, Op. 19 "Midsummer Vigil" Minnesota Orchestra/Oue 80 030911108021 Now! Recordings Buy Laird/Houghton/Brown/Acad. 02:14 Vivaldi Concerto in D for 2 Trumpets & Violin, RV 563 Philips 412 892 028941289223 Now! SMF/Marriner Buy 02:22 Debussy Images for Orchestra London Symphony/Previn EMI 47001 n/a Now! Buy 03:01 Martucci Symphony No. 1 in D minor, Op. 75 Philharmonia/d'Avalos ASV 675 5011975067528 Now! Buy 03:43 Schubert Impromptu in F minor, D. 935 No. 4 Alfred Brendel Philips 456 727 028945672724 Now! Buy 03:50 Purcell The Fairy Queen: Suite from Act 4 Concert of Nations/Savall Auvidis 8583 3298490085837 Now! Buy 04:00 Pierné Viennoise Loire Philharmonic/Derveaux EMI Classics 63950 077776395029 Now! Buy 04:11 Elgar In the South (Alassio), Op. -
(( Romantic ) Scherzo (From Symphony N° Q) Overture In
SYMPHONY N 4 (( ROMANTIC ) SCHERZO (FROM SYMPHONY N° Q) .J'\I\.• OVERTURE IN GMINOR .J'\I\.• LOVRO VON MATACIC PHILHARMONIA ORCHESTRA Angel Album 3548 B (35359-360) A N T 0 N B R u c K N E R 824 - '8 9 6 b y ~1 i c h a e I nOS e B o rn in 1926, Mich ael Rose was educated at Marlbor ouKh, stu di ed m o dem langua ges at O x fo rd (Ma"d"l en C olle"e) , and s erved a s an infant cy offic er du ring the war. In a d d i tion to writing about mu.8lc IIlnd c o mposing it, h e has d one special B . B . C . bro adcasts and ha s contribute d notes o n operas presented at the Edinburgh F estiv al. RU C KNER ?" said Brahms. "That's a small vi ll age in Up per Austria, and evidence of s wi ndle which wi ll be forgotten a year his hum ble peasant background coloure d hi s or two afte r I'm dead." Bue Wa gner: personality to the e nd of his life. At the age of ~ "The re is only one compos er whose 17, he took up the profe ssion of his father a nd idea s approach chos e of Beethove n, and that IS grandfathe r as assistanc s chool-teacher in the ciny Bruckner." Thus the two gre at protagonists of village of Windhaag. Hi s first posts were humili 19th Cenc ury musical conflict lend authority co a ating and overworked; but when he was 21 he ob controve rsy which concinues to this day ; pe rhaps tained a rathe r more conge nial appointme nc at there is no composer who se arc arous es sharper Sc. -
Concerts Conducted by Carl Schuricht Including Music of Anton Bruckner (1912-1965) Original Source
Concerts conducted by Carl Schuricht including music of Anton Bruckner (1912-1965) Original source : http://carlschuricht.com/concert.htm Important Dates 3 July 1880 : Carl Adolph Schuricht was born at Danzig (Gdansk) into a family of organ-builders. His father, Carl Conrad Schuricht was born on 27 January 1856. He was an organ-builder and worked at his father's factory. He died on 9 June 1880 (3 weeks before his son was born !) when he tried to help an employee fallen into the sea, in the bay of Danzig. His mother, Amanda Ludowika Alwine Wusinowska was a well-known Polish Oratorio singer (1847-1935) . She didn't re-marry after her husband's death. 1886 : Began piano and violin lessons at the age of 6. Studied at the « Friedrichs Realgymnasium » in Berlin. 1891 : Began to compose at the age of 11. 1892 : Studied at the « Königliches Realgymnasium » in Wiesbaden. Written the music and the librettos for 2 Operas. 1895 : Started conducting at the age of 15. 1901-1902 : 1st professional job as « Korrepetitor » at the « Stadttheater » of Mainz. 1902 : Won a composition prize from the Kuszynski Foundation, and awarded a scholarship by Franz von Mendelssohn. Allowed him to continue his studies at the « Berliner Musikhochschule » (« der Königlichten Hochschule für Musik ») under Ernst Rudorff, piano ; Heinrich van Eyken (and not Engelbert Humperdink) , composition ; and, later, Max Reger in Leipzig. His musical compositions were published mostly by Drei-Lilien-Verlag, Berlin. Opus 1 : Piano Sonata in F minor. Opus 2 : « Herbst-Stücke » (Opuscules for autumn) for piano and orchestra. Opus 3 : « Fünf Lieder » (5 Songs) . -
Boston Symphony Orchestra Concert Programs, Season 26,1906-1907, Trip
CARNEGIE HALL - NEW YORK Twenty-first Season in New York Sustrnt i^gmpijmttj ©nostra DR. KARL MUCK, Conductor Programme of % SECOND CONCERT THURSDAY EVENING, DECEMBER 6 AT 8.15 PRECISELY AND THE SECOND MATINEE SATURDAY AFTERNOON, DECEMBER 8 AT 2.30 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE PUBLISHED BY C. A. ELLIS, MANAGER OSSIP GABRILOWITSGH the Russian will play in America this season with the Principal Orchestras, the Kneisel Quartet, the Boston Symphony Quartet, Leading Musical Organizations throughout the country, and in Recital CABRILOWITSCH will play only the PIANO Mmm$c%mlmw. 139 Fifth Avenue, New York For particulars, terms, and dates of Gabrilowitsch, address HENRY L. MASON 492 BoylBton Street, Boston 2 Boston Symphony Orchestra PERSONNEL TWENTY-SIXTH SEASON, 1906-1907 Dr. KARL MUCK, Conductor Willy Hess, Concertmeister. and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Moldauer, A. Adamowski, T. Heberlein, H. Mullaly, J. Akeroyd, J. Heindl, A. Miiller, F. Heindl, H. Bak, A. Helleberg, J. Nagel, R. Bareither, G. Hess, M. Nast, L. Barleben, C. Hoffmann, J. Barth, C. Hoyer, H. Phair, J. Berger, H. Bower, H. Keller, J. Regestein, E. Brenton, H. Keller, K. Rettberg, A. Brooke, A. Kenfield, L. Rissland, K. Burkhardt, H. Kloepfel, L. Roth, O. Butler, H. Kluge, M. Kolster, A. Sadoni, P. Debuchy, A. Krafft, W. Sauer, G. Dworak, J. Krauss, H. Sauerquell, J. Kuntz, A. Sautet, A. Eichheim, H. Kuntz, D. Schuchmann, F. Eichler, Kunze, M. Schuecker, H. i J. 1 Elkind, S. Kurth, R. Schumann, C. Schurig, R. Ferir, E. Lenom, C. -
Liner Notes, Visit Our Web Site
BLACK MANHATTAN, VOLUME 2 THE PARAGON RAGTIME ORCHESTRA RICK BENJAMIN, DIRECTOR 80731-2 1. Shuffle Along Overture (1921) (Eubie Blake–Will H. Vodery) 6:30 Introducing “Opening Chorus,” “Love Will Find a Way,” “Honeysuckle Time,” “If You’ve Never Been Vamped by a Brown-Skin,” “Gypsy Blues,” “I’m Just Wild About Harry,” “I’m Craving for That Kind of Love,” and “Bandanna Days” 2. Nobody (1905) (Bert A. Williams) 4:54 Edward Pleasant, baritone 3. That’s Got ’Em—Rag (1919) (Wilbur C. Sweatman) 2:26 4. Honey Lamb (ballad, 1914) (Al. Johns) 3:26 Anita Johnson, soprano 5. Brazilian Dreams (tango-intermezzo, 1914) (Will H. Dixon) 3:59 6. Down in Honky Tonky Town (one-step, 1916) (Chris Smith) 2:04 7. Returned: A Negro Ballad (1902) (Will Marion Cook) 6:23 Anita Johnson, soprano; Rick Benjamin, piano 8. The Bell Hop Rag (1914) (Frederick M. Bryan) 3:28 9. Black Patti Waltzes (1896) (Will Accooe) 6:16 10. Goodnight Angeline (1919) (James Reese Europe) 3:08 Robert Mack, tenor 11. The Castle Walk (one-step, 1914) (James Reese Europe–Ford T. Dabney) 2:46 12. Aunt Hagar’s Children Blues (1921) (W.C. Handy) 2:39 Linda Thompson Williams, blues singer 13. Valse Angelique (1913) (J. Tim Brymn) 3:56 14. At the Ball, That’s All (1913) (J. Leubrie Hill) 2:37 Edward Pleasant, baritone 15. When the Moon Shines (from the 1904 revival of In Dahomey) (James J. Vaughan) 3:53 Anita Johnson, soprano 16. Oh! You Devil (rag, 1909) (Ford T. Dabney) 3:35 17. -
Programme Archive
Programme Archive DATE NOTES or TITLE PROGRAMME CONDUCTOR Vaughan Williams: Five Mystical Songs Serenade to Music 23 March 2019 Music and Mysticism Finzi: God is Gone Up + Eclogue Mark Jordan Tavener: Song for Athene Parry: Blest Pair of Sirens 26 January 2019 Choral Workshop Mozart: Requiem Mark Jordan & Alex Aitken 08 December 2018 Christmas with MK Chorale Festive family concert of carols old and new…. Mark Jordan Gjeilo: Sunrise Mass 17 November 2018 Northern Lights Vasks: Pater Noster Mark Jordan Grieg: Holberg Suite 27 June 2018 Rossini: Petite Messe Solennelle Mark Jordan Handel: Coronation Anthems 1-3 17 March 2018 Kings & Crowns Mark Jordan D'Astorga: Stabat Mater 27 January 2018 Choral Workshop Jenkins: The Armed Man Mark Jordan & Alex Aitken 16 December 2017 Christmas with MK Chorale Festive family concert of carols old and new…. Janet Lincé 19 November 2017 (Joint Concert with Danesborough Chorus) Brahms: Ein deutsches Requiem Ian Smith (Danesborough) Duruflé: Requiem Duruflé: Quatre Motets sur des thèmes grégoriens 24 June 2017 A Duruflé Feast Saint-Saens: Ave Maria Victoria Ely Duparc: L'invitation au voyage Gounod: Avant quitter ces lieux Duruflé: Suite Opus 5 Bernstein: Chichester Psalms Vaughan Williams: Festival Te Deum 18 March 2017 Inspiring Spring Elgar: Give unto the Lord Victoria Ely Britten: Te Deum in C & Antiphon Holst: Short Festival Te Deum Family concert of Christmas music, readings & 17 December 2016 Christmas with the Chorale Victoria Ely carols for choir and audience Puccini: Messa di Gloria Verdi: Pater -
Bruckner Latin Motets
BRUCKNER LATIN MOTETS LATVIAN RADIO CHOIR SIGVARDS KL‚ AVA ANTON BRUCKNER 2 ANTON BRUCKNER (1824–1896) 1 Os Justi (WAB 30) 4:10 2 Christus factus est (WAB 11) 5:28 3 Locus iste (WAB 23) 3:13 4 Ave Maria (WAB 6) 4:05 5 Libera me (F minor) (WAB 21) 2:18 Kronstorfer Messe (Messe in D, ohne Gloria & Credo) (WAB 146) 6 I. Kyrie 1:39 7 II. Sanctus 1:35 8 III. Benedictus 1:06 9 IV. Agnus Dei 2:22 10 Tantum Ergo (WAB 32) 3:07 11 Tantum Ergo (WAB 41) 2:19 12 Tantum Ergo (WAB 42) 2:42 13 Tantum Ergo (WAB 43) 1:35 14 Virga Jesse (WAB 52) 3:51 15 Pange lingua et Tantum ergo (WAB 33) 5:30 16 Salvum fac populum tuum (WAB 40) 3:23 17 Tota pulchra es Maria (WAB 46) 5:20 (Tenor: Jānis Kurševs) 18 Vexilla Regis (WAB 51) 4:55 KRISTĪNE ADAMAITE, organ (5, 12, 13 & 17) LATVIAN RADIO CHOIR SIGVARDS KĻAVA, conductor 3 horal music formed an important part of the output of Anton Bruckner (1824–1896) C throughout his career, yet it was in a way doubly disadvantaged. Firstly, Bruckner’s status as a composer in Vienna in his lifetime was eclipsed by the near-worshipful adulation afforded to Johannes Brahms (1833–1897). Secondly, choral music as a genre was underappreciated. In a stark contrast to the golden age of Renaissance choral polyphony, the 19th century preferred symphonic music (genres such as the suite, overture, fantasy, solo concerto and of course the symphony itself), chamber music was thriving in music-making in bourgeois homes, salons of the nobility and concert halls, and opera and ballet were hugely popular.