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Boston Symphony Orchestra Concert Programs, Season 50,1930-1931, Trip

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E. F. ALBEE THEATRE . PROVIDENCE Tuesday Evening, November 18, at 8.15 PR5GRHAAE Mrs* John A* Tuckerman Kenmore 9412 Madame et La Jetme Fille INCORPORATED 130 Newbury Street, Boston Sport Costumes** Day and Evening Dresses also Ready to wear and Made to order clothes for Girls 14 years up Our Gash Policy Permits Moderate Prices Christmas Novelties • •'. jnaLS •"•• MRS. E. N. POTTER, JR. 553 Madison Avenue New York City E. F. ALBEE THEATRE PROVIDENCE FIFTIETH SEASON, 1930-1931 INC. Dr. SERGE KOUSSEVITZKY, Conductor TUESDAY EVENING, NOVEMBER 18, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1930, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT . President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager THE PIANO OF PADEREWSKI/ OF HOFMANN IS WELL WITHIN YOUR REACH No matter what the size of your living-room or the decoration of your music- room, there is a Steinway model that will be appro- priate. There are the hand- some standard cases created in fine woods and ivory, as well as cases inspired by the great periods of art and decoration. • And the owner of one of these beautiful instru- ments need never buy another piano. For every Steinway, re- gardless of size, model or price, is a true Steinway, capable of a half century of perfect service. • Visit the nearest Steinway dealer today, where models of the Instrument of the Immortals A new Steinway Upright piano can d* G% *W ^ be bought for a total as low as * M 3 are on display. Listen to a great plus transportation composition played on a great *4 ^\Q/ i balance in w/0 ClOWn three years piano. It will be a memorable This means that the Steinway Upright experience. may be obtained with a cash deposit of only $87.50. Payment of the bal- ance is made in monthly instalments The Steinway Baby Grand—A Steinway of of under $26.00 over a three-year this size and power ... at $1375 ... is an ex- traordinary value. It may be obtained with a period. Any Steinway may be pur- down payment of $137.50. Payment of balance chased on the plan of 10% down, is made in decreasing monthly instalments of balance in three years. Used pianos under $41.00 over a three-year period. Its beau- tiful finish harmonizes with any plan of interior accepted in partial exchange. decoration. Its size is such as to conserve floor Steinway & Sons, Steinway Hall, 109 space and still retain that beauty and breadth City, just West 57th Street, New York of tone which a true grand piano ought to have. west of Sixth Avenue. There are many Steinway sizes, including period i models.moueiB. ITEINWA7 THE INSTRUMENT OF THE IMMORTALS Represented in Boston and other New England cities by M. bteinert <&. Sons 2 Fiftieth Season, 1930-1931 Dr. SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H. Cherkassky, P Concert-master Kreinin, B. Kassman, N. Hamilton, V. Eisler, D. Theodorowicz, J. Hansen, E. Lauga, N. Fedorovsky, P. Leibovici, J. Pinfield, C. Mariotti, V. Leveen, P. Tapley, R. Thillois, F. Zung, M. Knudson, C. Gorodetzky, L. Mayer, P. Diamond, S. Zide, L. Fiedler, B. Bryant, M. Beale, M. Stonestreet, L. Messina, S. Murray, J. Del Sordo, R. Erkelens, H. Seiniger, S. Violas. Lefranc, J. Fourel, G. Bernard, A. Grover, H. Artieres, L. Cauhape, J. Van Wynbergen, C. Werner, H. Fiedler, A. Avierino, N. Deane, C. Gerhardt, S. Jacob, R. Violoncellos. Bedetti, J. Langendoen, J. Chardon, Y. Stockbridge, C. Fabrizio, E. Zighera, A. Barth, C. Droeghmans, H. Warnke, J. Marjollet, L. Basses. Kunze, M. Lemaire, J. Ludwig, O. Girard, H. Moleux, G Vondrak, A. Oliver, F. Frankel, I. Dufresne, G. Kelley, A. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Polatschek, V. Laus, A. Bladet, G. Devergie, J. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Allegra, E. Panenka, E. (E-flat Clarinet) Bettoney, F. Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Mimart, P. Piller, B. Horns. Horns. Trumpets m Trombones. Boettcher, G. Valkenier, W. Mager, G. Raichman, J. Pogrebniak, S. Schindler, G. Lafosse, M. Hansotte, L. Van Den Berg, C. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Adam, E. Voisin, R. Mann, J. Tubas. Harps. Timpani. Percussiow Sidow, P. Zighera, B. Ritter, A. Sternburg, S. Adam, E. Caughey, E. Polster, M. White, L. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. T. : —! America's Finest Pianoforte • • • Jtasxm&lBmttlttt $1575 and upward The Mason & Hamlin Piano today is at the apex of its greatness In beauty of tone, clarity, and in power, it far excels other pianos indeed, it surpasses even its own previous models. Research and experimental work—a constant seeking for something beyond—have brought forth wonderful developments in tone and action. And never before was the mechanical work so fine, so precise, for the question of cost does not enter into the construction of Mason & Hamlin Pianos. The Mason &C Hamlin piano is made for those who appreciate, and who can afford, the very finest ! Lovingly, carefully, each instrument is brought to a finished masterpiece ; there is never a thought of haste nor hurry. Naturally but few can be given to the world each year and the cost must be necessarily higher. But, to the home or studio for- tunate enough to possess a Mason SC Hamlin Piano comes a prestige that no other instrument can bring. Once you have heard this supreme instrument—this long-sought voice of glorious tone—you will know why the true lover of music can never be happy with a piano less perfect. Won't you visit our Piano Salons soon ? Exclusive Rhode Island Representatives For The Following Pianos Of Renown "Mason & Hamlin, Knabe, Chickering, Ivers & Pond, J. & C. Fischer, Marshall & Wendell, Haines Bros., Kohler & Campbell The Incomparable AMPICO PIANO SALONS FOURTH FLOOR — E. F. ALBEE THEATRE . PROVIDENCE Two Hundred and Twelfth Concert in Providence Fiftieth Season, 1930-1931 Dr. SERGE KOUSSEVITZKY, Conductor FIRST CONCERT TUESDAY EVENING, NOVEMBER 18 AT 8.15 PROGRAMME Bach Two Preludes (Arranged for String Orchestra by Pick-Mangiagalli) I. Adagio. II. Vivace. Beethoven . Symphony No. 7 in A major, Opus 92 I. Poco sostenuto; Vivace. II. Allegretto. III. Presto; Assai meno presto; Tempo primo. IV. Allegro con brio. Moussorgsky 'Pictures at an Exhibition," Pianoforte Pieces arranged for Orchestra by Maurice Ravel Promenade—Gnomes—Tuileries—Bydlo—Ballet of Chicks in their Shells—Samuel Goldenberg and Schmuyle — Limoges; the Market-place— Catacombs (Conmortuisin lingua mortua) The Hut on Fowls' Legs—The Great Gate at Kiev. There will be an intermission of ten minutes after the symphony. For the music on these programmes, visit the Music Department at the Providence Public Library 5 ; ' Winter Cruises ON SUMMER SEAS ROUND the WORLD Sailing January 21, 1931 On the North German Lloyd ' " liner ' Columbus — largest, finest, and fastest liner ever to make a world cruise. The great speed of the ship means less time at sea than on any other cruise round the world. MEDITERRANEAN WEST INDIES <LThe only cruise to visit CLFour cruises on the new Nice for its giddy Mardi ' Statendam " — the largest Gras Carnival. Besides that and most luxurious ship to it makes the complete cir- sail on a Caribbean cruise cuit of the Mediterranean. during this Winter. There are ten memorable CUFor a holiday these cruises days in Egypt . three in are unequalled . their lazy the Holy Land. There are days on the great liner are visits to Constantinople ; to pleasant and restful; their ^A. cruise of unusual Athens, Venice and Naples visits to strange foreign cit- completeness & distinction to both Algiers and Tunis ies, interesting and refresh- days in . dur- at Gibraltar and Granada. CTen Japan ing. Their programs include ing Cherry Blossom Season. Lovely Taormina in Sicily Havana (2 days); the Pan- Eleven days in India with is on the program . Ajac- ama Canal, Porto Rico, and trips to the cities cio in Corsica, Napoleon's famous of the Virgin Islands; French the interior. Seven days in birthplace . the islands Martinique; BritishJamaica, China, with a trip to Peking. of Malta and Rhodes . Barbados and Trinidad and historic and picturesque There are visits to places Nassau; Dutch Curacao; that cruises not usually walled cities in Jugoslavia. do Venezuela and black Haiti. reach . Penang, Malacca, Sailing January 31, on the Sailing on December 20 (16 days); Siam, Zamboanga in the January 8 (16 days); January 27 S. S. "Carinthia" Philippines, Macassar (25 days); February 24 (25 days). "Kates, $1000 and upward on %ates, $227.50 and upward the Dutch island of Celebes LAND CRUISES TO . and to Ceylon, Java, LAND CRUISES TO CALIFORNIA Manila, Egypt, etc. With op- MEXICO tional trips to lovely Bali, Through Southern California With Nine Days in Mexico City by Automobile and to stupendous Angkor. 107 days from New York TOURS TO TOURS TO EUROPE to New York SOUTH AMERICA Through Spring & Summer %ates, $2000 and upward Complete Trips of Three Months RAYMOND & WHITCOMB COMPANY AYLSWORTH TRAVEL SERVICE, 36 WEYBOSSET STREET CHURCH TICKET AGENCY, 54 EXCHANGE STKEET Two Preludes (arranged by Riccardo Pick-Mangiagalli for String Orchestra) Johann Sebastian Bach (Bach born at Eisenach on March 21, 1685 ; died at Leipsic on July 28, 1750. Mangiagalli born at Strakonitz, Bohemia, on July 10, 1882, of a Czech father and an Italian mother; living at Milan) Bach's Suites and sonatas for the violin were probably composed during his sojourn at Cothen (1717-23).* His father had played on a stringed instrument and had taught him the violin when he was a young boy.
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  • Music in Houston, 1930-1971

    Music in Houston, 1930-1971

    MUSIC IN HOUSTON, 1930-1971 With Annotated Index Donald William Looser, Ph.D. Revised 2020 by Donald W. Looser All rights reserved TABLE OF CONTENTS CHAPTER ONE: WORLD ENOUGH AND TIME, 1929-1936….………..……..1 SUMMARY…………………………………………………………………….27 CALENDARS………………………………………………………..……29-34 CHAPTER TWO: THE FLEDGLING YEARS, 1936-1948……………….….…35 SUMMARY…………………………………………………………………….64 CALENDARS…………………………………………….……………….67-80 CHAPTER THREE: GREAT EXPECTATIONS, 1948-1955………………..….81 SUMMARY……………………….………………………………………….113 CALENDARS………………………………………………………….116-131 CHAPTER FOUR: THE THREEPENNY OPERA, 1955-1961……………… 132 SUMMARY……………………………………….………………………….162 CALENDARS………………………………………………………….166-183 CHAPTER FIVE: A MAN FOR ALL SEASONS, 1961-1966……….………..184 SUMMARY…………………………………………………………….…….220 CALENDARS………………………………………………………….224-242 CHAPTER SIX: THE SOUND AND THE FURY, 1966-1969………...……..243 SUMMARY…………………………………………………………………..261 CALENDARS………………………………………………………....264-280 CHAPTER SEVEN: THE FULLNESS OF TIME, 1966-1972………..………281 SUMMARY…………………………………………………………………..303 CHAPTER EIGHT: THE HEART OF THE MATTER: A SUMMARY…...……305 BIBLIOGRAPHY..………………………………………………….……..….325-345 INDEX (ANNOTATED)…………………..……..………………….………..347-437 CHAPTER ONE WORLD ENOUGH AND TIME 1929-1936 Houston in 1930 was one of two major American cities that had doubled its population since 1920.1 Houston had already ridden the crest of every major economic boom since the city’s founding —cotton, rice, lumber, cattle, and oil.2 It was a restless city, full of self-reliance and optimism—a city, though only one hundred years old, like an adolescent on the brink of maturity, pervaded by a sense of wonder and confident of its limitless future. Houston had been labeled a “whiskey and trombone” town—a montage of brassy frontierism and established gentility. Though Southern in its refinement, Houston was Western in its aggressiveness. Only years before, it had drawn the ocean fifty miles to its door, grabbing the torch of leadership from the once-strategic Galveston and creating for itself the nation’s third largest port.
  • Jascha Heifetz Collection ARS.0046

    Jascha Heifetz Collection ARS.0046

    http://oac.cdlib.org/findaid/ark:/13030/c80k2gqb No online items Guide to the Jascha Heifetz Collection ARS.0046 Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound 2011 [email protected] URL: http://library.stanford.edu/ars Guide to the Jascha Heifetz Collection ARS.0046 1 ARS.0046 Language of Material: English Contributing Institution: Archive of Recorded Sound Title: Jascha Heifetz Collection creator: Pfeiffer, John Identifier/Call Number: ARS.0046 Physical Description: 27 box(es)22 boxes of 10" and 12" sound discs; 5 boxes of 12" open reel tapes Date (inclusive): 1911-1972 Abstract: The collection contains primarily sound recordings of performances of Jascha Heifetz, but it also includes recordings of other artists, some of whom were collaborators with Heifetz, as well as one recording of his teacher, Leopold Auer. There are 924 recordings on 10" and 12" sound discs, including test pressings, instantaneous discs and commercially released records. Most of the discs are 78 rpm recordings, but there are also a few 33 1/2 rpm 12" discs. In addition to audio discs, the collection contains 88 recordings on magnetic tape which consist of 1/4" tape on 10" reels. 61 of the tapes were made between December 14, 1954 and November 21, 1972. 27 of the tapes are undated. The collection also includes a computer-generated inventory of the collection prepared by the donor. Language of Material: English, French, German, Spanish, Hungarian, Arabic, Italian, Japanese Stanford Archive of Recorded Sound Stanford University Libraries Stanford, California 94305-3076 Arrangement The recordings are arranged in three series: Series 1: 10" discs; Series 2: 12" discs; Series 3: Open Reel Tapes.
  • On the Record: Interpreting Recorded Orchestral Excerpts for the Oboe, 1910 – 2016

    On the Record: Interpreting Recorded Orchestral Excerpts for the Oboe, 1910 – 2016

    ON THE RECORD: INTERPRETING RECORDED ORCHESTRAL EXCERPTS FOR THE OBOE, 1910 – 2016 A Monograph Submitted to the Temple University Graduate Board By Meghan Woodard In Partial Fulfillment of the ReQuirements for the Degree DOCTOR OF MUSICAL ARTS August 2017 Doctoral Advising Committee: Dr. Steven Zohn, Advisory Chair, Music Studies: Music History Dr. Matthew Brunner, Instrumental Studies Dr. Charles Abramovic, Keyboard Studies Dr. Cynthia Folio, Outside Reader, Music Studies Chair: Music Theory © Copyright 2017 by Meghan Woodard All Rights Reserved ii ABSTRACT This monograph analyzes recordings of three orchestral excerpts for the oboe made between 1910 – 2016 and studies trends in interpretation, showing how performance practice is continually evolving as musical tastes change. The chosen excerpts span several style periods from the early nineteenth century to the twentieth century. The first excerpt, the cadenza from the Allegro con brio movement of the Fifth Symphony by Beethoven, has been under-studied by oboists and musicologists and yet it plays a pivotal role in the first movement of this iconic piece. The second excerpt, the Adagio solo from the second movement of Brahms’s Violin Concerto, has much room for individual interpretation and soloistic freedom on the part of the both the oboe and violin soloists. Finally, recordings of the technically-challenging twentieth-century excerpt, the “Prélude” solo from le tombeau de Couperin by Ravel, show how standards of musical perfection have been raised overtime as a result of the recording industry. Preference is given to recordings from countries with strong traditions in oboe performance, such as the United States, England, Germany, and France.