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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. -
UC Santa Barbara Electronic Theses and Dissertations
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Franz Liszt's Song Revisions: A Schenkerian Taxonomy Permalink https://escholarship.org/uc/item/39f1m28s Author Vitalino, Michael Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Franz Liszt's Song Revisions: A Schenkerian Taxonomy A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Michael Vitalino Committee in charge: Professor Lee Rothfarb, Chair Professor Pieter van den Toorn Professor Derek Katz June 2014 The dissertation of Michael Vitalino is approved. _______________________________________ Pieter van den Toorn _______________________________________ Derek Katz _______________________________________ Lee Rothfarb, Committee Chair June 2014 Franz Liszt's Song Revisions: A Schenkerian Taxonomy Copyright © 2014 By Michael Vitalino iii DEDICATION To my supportive and loving parents. iv ACKNOWLEDGEMENTS Scholarly success is dependent not only on personal investment, but also on a supportive group of people that assist, instruct, and mentor one throughout the research process. This project is the sum of nearly 8 years work and scholarly dialogue that began during my Master’s degree at the University of Massachusetts, Amherst. Dr. Aleksandra Vojcic first introduced me to Liszt’s songs in searching for a Master’s thesis topic. My research would not exist without her guidance. Together, with the help of Drs. Gary Karpinski and Brent Auerbach, I formulated a working model for comparative analysis of Liszt’s song revisions that became the basis for this dissertation. Since enrolling at the University of California–Santa Barbara, a community of faculty, staff, and students have ceaselessly encouraged my research. -
Music As Evil: Deviance and Metaculture in Classical Music*
Music and Arts in Action | Volume 2 | Issue 1 Music as Evil: Deviance and Metaculture in Classical Music* NATHAN W. PINO Department of Sociology | Texas State University – San Marcos | USA* ABSTRACT This paper aims to apply the sociology of deviance and the concept of metaculture to the sociology of high-art and music. Examples of classical music criticisms over time are presented and discussed. Music critics have engaged in metaculture and norm promotion by labeling certain composers or styles of music as negatively deviant in a number of ways. Composers or styles of classical music have been labeled as not music, not worthy of being considered the future of music, a threat to culture, politically unacceptable, evil, and even criminal. Critics have linked composers they are critical of with other deviant categories, and ethnocentrism, racism, and other biases play a role in critics’ attempts to engage in norm promotion and affect the public temper. As society changes, musical norms and therefore deviant labels concerning music also change. Maverick composers push musical ideas forward, and those music critics who resist these changes are unable to successfully promote their dated, more traditional norms. Implications of the findings for the sociology of deviance and the sociology of music are discussed. *The author would like to thank Erich Goode, David Pino, Aaron Pino, Deborah Harris, and Ian Sutherland for their comments on an earlier version of this paper. *Texas State University - San Marcos, 601 University Drive, San Marcos, Texas 78666, USA © Music and Arts in Action/Nathan W. Pino 2009 | ISSN: 1754-7105 | Page 37 http://musicandartsinaction.net/index.php/maia/article/view/musicevil Music and Arts in Action | Volume 2 | Issue 1 INTRODUCTION The sociology of deviance has generated a large number of ideas, concepts, and theories that are used in other concentration areas within sociology, such as medical sociology, race, ethnicity, and gender studies, criminology, social problems, and collective behavior, among others (Goode, 2004). -
Richard Strauss Reception in America After World War II. My Straussian
Richard Strauss – Der Komponist und sein Werk MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE Begründet von Thrasybulos G. Georgiades Fortgeführt von Theodor Göllner Herausgegeben seit 2006 von Hartmut Schick Band 77 Richard Strauss Der Komponist und sein Werk Überlieferung, Interpretation, Rezeption Bericht über das internationale Symposium zum 150. Geburtstag München, 26.–28. Juni 2014 Richard Strauss Der Komponist und sein Werk Überlieferung, Interpretation, Rezeption Bericht über das internationale Symposium zum 150. Geburtstag München, 26.–28. Juni 2014 Herausgegeben von Sebastian Bolz, Adrian Kech und Hartmut Schick Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de Juni 2017 Allitera Verlag Ein Verlag der Buch&media GmbH, München © 2017 Buch&media GmbH, München © 2017 der Einzelbeiträge bei den AutorInnen Satz und Layout: Johanna Conrad, Augsburg Printed in Germany · ISBN 978-3-86906-990-6 Inhalt Vorwort . 9 Abkürzungsverzeichnis ............................................. 13 Richard Strauss in seiner Zeit Hans-Joachim Hinrichsen Des Meisters Lehrjahre. Der junge Richard Strauss und seine Meininger Ausbildungszeit bei Hans von Bülow ................................................ 17 Dietmar Schenk Berlins »Richard-Strauss-Epoche«. Richard Strauss und das Musikleben im kaiserlichen Berlin .............. 37 Dörte Schmidt Meister – Freunde – Zeitgenossen. Richard Strauss und Gerhart Hauptmann ............................. 51 Albrecht Dümling »… dass die Statuten der Stagma dringend zeitgemässer Revision -
New Approaches to Melody in 1920S Musical Thought
Sounding Lines: New Approaches to Melody in 1920s Musical Thought The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Probst, Stephanie. 2018. Sounding Lines: New Approaches to Melody in 1920s Musical Thought. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41127157 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 2018, Stephanie Probst All rights reserved. Dissertation Advisor: Professor Suzannah Clark Stephanie Probst Sounding Lines: New Approaches to Melody in 1920s Musical Thought Abstract This dissertation identifies a new concept of melody that emerged in early twentieth- century Germany at the intersection of developments in composition, music theory, philosophy, the visual arts, and psychology. Focusing on the widespread analogy of the line, which came to encapsulate melody as an autonomous, temporally evolving yet coherently perceived musical entity, the study investigates how theorists unleashed melody from the hegemony of nineteenth- century harmony and theorized its structuring principles independently from vertical ties. Recent theories of visualization frame readings of an interdisciplinary body of sources to illuminate the ways in which the melodic line bridged physical and psychological models of music, temporal and spatial perspectives, and theories of visual and aural cognition. The first two chapters chronicle the revival and re-conceptualization of the line in the visual arts and of melody in music around 1900 as parallel developments. -
Boston Symphony Orchestra Concert Programs, Season 54,1934
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephone, Ticket and Administration Offices, Com. 1492 FIFTY-FOURTH SEASON, 1934-1935 CONCERT BULLETIN of the Boston Symphony Orchestra INCORPORATED Dr. SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes By Philip Hale and John N. Burk COPYRIGHT, 1934, BY BOSTON SYMPHONY ORCHESTRA, Inc. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Bentley W. Warren President Henry B. Sawyer Vice-President Ernest B. Dane Treasurer Allston Burr Roger I. Lee Henry B. Cabot William Phillips Ernest B. Dane Henry B. Sawyer N. Penrose Hallowell Edward A. Taft M. A. de Wolfe Howe Bentley W. Warren H. Brennan, Manager G. E. Judd, Assistant Manager [97] • Old Colony Trust Company 17 COURT STREET, BOSTON ft * mftJjESr I .'S^^^^L. 3? »J Executor • Trustee Guardian Conservator • Agent ^Allied with The First National Bank of Boston [98] __^_^__-__^^__ Contents Title Page Page g> Programme 101 Analytical Notes: Bruckner Symphony in E major, No. 7 103 The Life of Bruckner 112 Ravel " Ma Mere VOye " (" Mother Goose ") Five Children's Pieces 12: Rimsky-Korsakov Capriccio Espagnol, Op. 34 130 Entr'acte: Competition Festival for Song Birds . 122 The Next Programme *37 Special Concert Announcements . 138-140 Teachers' Directory 141-144 Personnel Opposite page 144 [99] Chandler & (Eb. Tremont St. at West > . - I mi , ; v:iW>:W:''''-'v lltllll - - < ^ ^ >> •; mm* STOCKINGS are darker this season—to be perfect they must be CqId STripe . .'a'.^T' »V - A CHIFFONS FREE FROM RINGS! $4.00 FREE FROM SHADOWS! 1 [100] ^^M^^MMMB m^mbmhm FIFTY-FOURTH SEASON, NINETEEN HUNDRED THIRTY-FOUR AND THIRTY-FIVE Third Programme FRIDAY AFTERNOON, October 26, at 2:30 o'clock SATURDAY EVENING, October 27, at 8:15 o'clock Bruckner Symphony in E major, No. -
"It Is No Cornmon Mortal Who Speaks to Us in This Music." Anton Bruckner
Anton Bruckner 2II suffering. The savage and freguently irresponsible battles fought in the name of Wagner in Vienna ofte n victimized the innocent. Be ~ ~~ cause Bruckner had iden tified himself so unmistakably with the W agnerian cause, he became the object for the most violent attacks on the part of those powerful forces in Vienna bent on destroying W agner and Wagnerism. Eventually the triumph of W agner in Vienna was complete, creating an atmosphere in which Bruckner could be "It is no cornmon mortal who speaks to us in this music." appraised without venom or prej udice; aod, by the same token, eventually Bruckner came ioto his own. LUDW IG SPEIDEL He stemmed from a family of humble schoolteachers. It was for the teaching profession that he was trained, though an exceptional talent for music aod a pronounced distaste for all other subjects were evident in him from chil dhood. He was playing the violin and com posing tunes when he was only four. His talent impressed his cousin, BORN: Ansfelden, Austria, September 4, r824. who began teaching him to play the organ, together with composition DIED: Vienna, October II, 1896. and theory. In his thirteenth year, on the death of his father, Bruckner MAJOR WORKS: Ch amber Music-String Q uintet in F maj or. was sent to the secular m usic school of St. Florian as choirboy. T here, CllOral Music-3 Masses; Requiem in D minor; Te Deum; for a period of four years, he received an intensive musical training. Ave Marias, cantatas, male choruses, hymns, offertories, and T he original plan to make him a schoolteacher was not abandoned. -
Guest Artist Recital: Valerie Errante, Soprano Valerie Errante
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 1-30-1996 Guest Artist Recital: Valerie Errante, soprano Valerie Errante Robert Wason Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Errante, Valerie and Wason, Robert, "Guest Artist Recital: Valerie Errante, soprano" (1996). All Concert & Recital Programs. 5374. https://digitalcommons.ithaca.edu/music_programs/5374 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. LIEDER AUS DER MUNCHENER SCHULE 1871 - 1914 VALERIE ERRANTE, SOPRANO ROBERT WASON, PIANO SONGS OF: ALEXANDER RITTER LUDWIG THUILLE WALTER COURVOISIER RUDI STEPHAN Lieder aus der Mii11che11er Sc/111/e The unity of music and words at the heart of a great song is one of the most basic and universal forms of artistic expression. Whether we speak of the music of ancient cultures, opera throughout its four-hundred-year history, the monuments of sacred music, or any popular musica form--including American popular music--the musical expression of a text is central. Songs ma of texts that deal with timeless human concerns expressed musically in the most direct fashion have the potential to reach large and diverse audiences, and that is precisely the potential of the songs of the Munich School. While virtually unknown today, these songs are the flowering of the richest period of German song--a "Lyrical Culture," as the French-German poet Rene Schikele christened it. -
Aesthetics and Ideology in the Fin-De-Siecle Mozart Revival *
Aesthetics and Ideology in the Fin-de-Siecle Mozart Revival * By Leon Botstein Back to Mozart? Why back? Why to Mozart? ... If we observe the major works of music that have been written since the death of Wagner, we find that there is much to be praised, . : . but neverthe less one cannot suppress the feeling, however unclear, that in gen eral terms, something is wrong and somewhere things are rotten in the\development of music today.... None of the great masters is as far removed from us as Mozart. ... The public ... closes its eyes in wonderment when one speaks of him but remains distant when his works are played. It would behoove us first to find Mozart again before debating whether one can return to him.... The deep satisfaction for which we yearn is denied us by the newest music of today.... We are aroused, not satisfied; fired up but not warmed; entranced but not elevated. Music has become hysterical like an unhappy woman who has been wrongly imprisoned for a long time. Music must become healthy again .... With our modern means of expression we must create once more in the spirit of Mozart: that would most likely be the right answer. If we truly look deeply into the wondrously translucent child-like eyes of Mozart's art, can we still speak of a "return?" I think the more truthful answer should be "Forward to Mozart!"! These words were written around 1910 by Felix Weingartner (1863- 1942), the eminent Austrian conductor and composer. Though he began his career under the spell of Liszt and Wagner, by the time he was called to succeed Gustav Mahler at the Imperial Opera in Vienna in 1907 he had established a reputation as both a reformer and a reactionary. -
5060113445056.Pdf
THE GERMAN ORGAN SONATA IN THE NINETEENTH CENTURY: A GENRE IN A STATE OF FLUX by Jan Lehtola This recording presents four composers, three of whom are seldom featured as writers for the organ. Eduard Adolf Tod (1839–1872), Ludwig Thuille (1861–1907), Carl Reinecke (1824–1910) and August Gottfried Ritter (1811–1885) were all prominent musicians in their day, and each contributed to the musical life of his locality. What is striking is that, although Thuille and Reinecke were not organists, their only organ works are sonatas. Tod and Ritter, on the other hand, were both celebrated concert organists, and organ music occupies an obvious place in their output – but even their most important solo works are restricted to sonatas, to large-scale forms. As a genre, the organ sonata is neither rare nor particularly unusual. The first sonatas to test the organist’s technique were by Johann Sebastian Bach (1685–1750). The next major composer to try his hand at the genre was Felix Mendelssohn (1809–47). From then onwards, the sonata became more of a rule than an exception, and the following generations embraced it wholeheartedly: Josef Rheinberger (1839–1901) wrote twenty sonatas, Gustav Adolf Merkel (1827–85) nine, Christian Fink (1831–1911) five, Richard Bartmuss (1859–1910), August Gottfried Ritter and Otto Dienel (1839–1905) four each and Carl Piutti (1846–1902) and William Humphreys Dayas (1864–1903) two.1 Numerous others, such as Rudolf Dost (1877–1948), Julius Reubke (1834–1858) and Richard Stöhr (1874–1967), composed only one. Instrumental music underwent considerable development in the nineteenth century, apace with that of the symphony orchestra. -
Der Organist Der St. Marienkirche Otto Dienel (1839–1905) Erwähnung, Bei Dem Straube Auch Zeitwei- Se Unterricht Hatte
14 der Organist der St. Marienkirche Otto Dienel (1839–1905) Erwähnung, bei dem Straube auch zeitwei- se Unterricht hatte. Die immense Arbeitsfülle Reimanns blieb nicht ohne Folgen, im Winter 1904/05 erlitt er einen anzuneh- menden Kreislaufzusammenbruch. Seine Gesundheit stellte sich nicht wieder her, am 24. Mai 1906 starb Heinrich Reimann in Berlin, wahrscheinlich an einem Gehirnschlag. Wenngleich als Komponist selbst im Bereich der Orgelmusik heute nur von untergeordneter Bedeutung, bleibt Reimanns Verdienst um die Schaffung der spätromantischen „Choralphantasie“, auf der Max Reger seine großen Opera 40 Nr. 1 und 2 sowie op. 52 Nr. 2 und Nr. 3 aufbaut und diese Form zur Vollendung und zugleich zum Abschluss führt. Als wohl einflussreichster Lehrer des jungen Karl Straube ist er zugleich für die Rezeption des Reger’schen Orgelwerks und der bis heute weiter wirkenden „Straube-Tradition“ von größter Bedeutung. Ein eigentlicher Reger-Dirigent war Felix Mottl (1856-1911) nicht – zu vielbeschäftigt war er, so dass ihm zu Proben kaum die Zeit blieb. Der am 24. August 1856 in Unter St. Veit bei Wien Geborene war der dritte Sohn des fürstlich Palm’schen Kammerdieners Peter Mottl und seiner Frau Anna (geb. Tschurschitschek) wurde mit zehn Jahren Wiener Sängerknabe und studierte ab 1870 Harmonielehre und Kontrapunkt bei Anton Bruckner und Instrumentation und Dirigieren bei Otto Dessoff. Seine Begeisterung für die Oper ließ sich schon bald daran ablesen, dass er allein im Jahr 1873 sechsmal Tannhäuser und neunmal Lohengrin besuchte. Im selben Jahr war er Mitbegründer des Wiener Akademischen Richard-Wagner-Vereins. 1875 lernte er Wagner, der in Wien gastierte, bei Proben kennen und war fasziniert; bei späteren Opernproben hospitierte er abermals bei Wagner und machte sich extensive Notizen, die in seine späteren Neuausgaben von Wagner-Werken einflossen. -
Fourth Rehearsal and Concert
SYMPHONY HALL, BOSTON HUNTINGTON (S- MASSACHUSETTS AVENUES _, , ( Ticket Office, 1492 Telephones, ) ^^^^„ , ^^^^ j Administration Offices, 3200 | TWENTY-SEVENTH SEASON, 1907-1908 DR. KARL MUCK, Conductor Fourth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, NOVEMBER 1 AT 2.30 O'CLOCK SATURDAY EVENING, NOVEMBER 2 AT 8.00 O'CLOCK PUBLISHED BY C. A. ELLIS, MANAGER 233 PlAHO. 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 G. L SCHIRMER & COMPANY, 38 Huntington Avenue, Boston, Mass. 234 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. Theodorewicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Stnibe, 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. Violoncellos. Wamke, H. Nagel, R. Barth, C. Loeffler, E.