DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 25,1905-1906, Trip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 25,1905-1906, Trip INFANTRY HALL, PROVIDENCE. BostonSympIiQnu Dictiestra WILHELM GERICKE, Conductor. Twenty-fifth Season, 1905-1906. PROGRAMME OF THE FIRST CONCERT THURSDAY EVENING, NOVEMBER 2, AT 8.15. Hale. With Historical and Descriptive Notes by Philip Published by C. A. ELLIS, Manager, l A PIANO FOR THE MUSICALLY INTELLIGENT artists' pianos f| Pianos divide into two classes, and popular pianos. The proportion of the first class to the second class is precisely the proportion of cultivated music lovers to the rest of society. A piano, as much as a music library, is the index of the musical taste of its owner. are among the musically intelligent, the ^f If you PIANO is worth your study. You will appreciate the " theory and practice of its makers : Let us have an artist's piano ; therefore let us employ the sci- ence, secure the skill, use the materials, and de- vote the time necessary to this end. Then let us count the cost and regulate the -price" \ In this case hearing, not seeing, is believing. Let us send you a list of our branch houses and sales agents (located in all important cities), at whose warerooms our pianos may be heard. fllnsmt&ijermlh Boston, Mass., 492 Boylston Street New York, 139 Fifth Avenue Chicago, Wabash Avenue and Jackson Boulevard . Boston Symphony Orchestra. PERSONNEL. Twenty=fifth Season, 1905-1906. WILHELM GERICKE, Conductor First Violins. Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F Back, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. Kuntz, D. Hoffmann, J. Fiedler, E. Mullaly, J. Moldauer, A. Strube, G. Rissland, K. Second Violins. Barleben, C. Schuchmann, F. E. Kurth, R. Kuntz, A. Akeroyd, J. Tischer-Zeitz, H. Goldstein, S. Fiedler, B. Fiumara, P. Marble, E. B. Berger, H Traupe, W. Swornsbourne, W. W. Eichler, J. Edw. Vtolas. Zach, M. Sauer, G. F. Hoyer, H. Krauss, 0. H. Ferir, E. Kolster, A. Kluge, M. Gietzen, A. Heindl, H. Zahn, F. Violoncellos. Warnke, H. Loeffler, E. Barth, C. Hadley, A. Keller, J. Nagel, R. Heindl, A. Nast, L. Adamowski, J. Heberlein, H. Basses. Keller, K. Bareither, G. Butler, H. Schurig, R. Kunze, M. Seydel, T. Gerhardt, G. Elkind, S. Flutes. Oboes. Maquarre, A. Brooke, A. Longy, G. Sautet, G. Fox, Paul Maquarre, D. Lenom, C. English Horn Clarinets. Bass Clarinet. Fritz sche, O. Muller, F. Grisez, G. ]Vtimart, P. Vannini, A. Bassoons. CONTRA-BASSOON Sadoni, P. Debuchy, A. Giinzel, F. H Helleberg, J. Regestein, E. Horns. Hackebarth, A Lorbeer, H. Hain, F. Schumann, Hess, M. Phair, J. C Trumpets. Trombones. Hampe, C. Mausebach, A. Kloepfel, L. Mann, J. F. Brenton, H. E. Merrill, C. Kenfield, L. S. Harp. Tuba. Tympani. Drums. Rettberg, A. Ludwig, C. R. Schuecker, H. Dworak, J. F. Cymbals. Triangle, etc. Bass Drum. Castanets. Librarian. Senia, T. Burkhardt, H. Bower, H. Ludwig, C. F. ' Sauerquell, J 3 U.S.A. PIANO that has been manufactured continuously lor over Eighty-two years, which has been honored and distin- guished by States and Sovereigns, by learned societies and World's Expositions, by the greatest contemporaneous mu- sicians who have bestowed upon it the highest testimonials, awards, and decorations, embracing every known method of publicly recog- nizing distinguished merit. The public honors alone include 129 First Medals and Awards. A vast experience is thus exemplified in the Chickering Piano of to-day. CHICKERING & SONS Established 1823 791 TREMONT STREET BOSTON, MASS. ^M^-JSK^J^it^^Ui^^jiiL^^^L^J^L^JJfL^JiK^At^^ Represented in Providence by GOFF & DARLING 1 Boston INFANTRY HALL, Symphony § Providence. T Twenty-fifth Season, J905-J906. OrChCStffl Ninety-ninth Concert in Providence, WILHELM GERICKE, Conductor. FIRST CONCERT, THURSDAY EVENING, NOVEMBER 2, AT 8.15 PRECISELY. PROGRAMME. " ,, Goldmark . Concert Overture in A major, In the Spring, Op. 36 1 Chopin . Concerto for Pianoforte, in E minor, Op. Allegro maestoso. Romance : Larghetto. Rondo : Vivace. Wagner " Waldweben," from " Siegfried" Beethoven Symphony in D major, No. 2, Op. 36 I. Adagio molto ; Allegro con brio. II. Larghetto. III. Scherzo: Allegro; Trio. IV. Allegro molto. SOLOIST t Mme. ANTOINETTE SZUMOWSKA. The pianoforte is a Mason & Hamlin, There will be an intermission of ten minutes before the symphony. 5 HARDMAN PIANO THE genius employed for the past sixty- four years in the manufacture of these instruments has produced a piano with a pure musical tone. Besides possessing this tone they have a peculiar feature in that they actually improve with use. Established in 1842. Booklets of information. Hardman, Peck ^f Co., Makers Fifth Avenue and 19th Street, New York Represented in Providence by GOFF & DARLING 276 Westminster Street "' Overture, "In the Spring," Op. 36 Carl Goldmark (Born at Keszthely, Hungary, May 18, 1830; still living at Vienna.) This overture was first played at Vienna, December 1, 1889, at a Philharmonic Concert. Goldmark was then known chiefly as the com- poser of the opera, "The Queen of Sheba," and the concert overtures, ' ' ' ' ' ' • ' Sakuntala ' and Penthesilea. ' The overtures, ' Prometheus Bound and "Sappho," were not then written. There was wonder why Gold- mark with his love for mythology, his passion for Orientalism in music, should be concerned with the simple, inevitable phenomenon of spring, as though there were place in such an overture for lush harmonic pro- gressions and gorgeously sensuous orchestration. Consider the list of his works: his operas, "The Queen of Sheba," "Merlin," are based on legend; "The Cricket on the Hearth" is a fanciful version of Dickens's tale; the opera, "The Prisoner of War," is the story of the maid for whose dear sake Achilles sulked; and "Gotz von Berlichingen (1902) was inspired by Goethe. Of his two symphonies, the more famous, the "Country Wedding," might be celebrated in a pleasure- ground of Baghdad rather than in some Austrian village. And what are the subjects of his overtures? Sakuntala, who loses her ring and is beloved by the great king Dushianta; Penthesilea, the Lady of the Ax,—and some say that she invented the glaive, bill, and halberd,—the Amazon queen, who was slain by Achilles and mourned amorously by him after he saw her dead, the woman whose portrait is in the same gallery with the likenesses of Temba-Ndumba, Judith, Tomyris, Candace, Jael, Joan of Arc, Margaret of Anjou, Semiramis, the Woman of Saragossa, Mary Ambree, Penthesilea, a heroine of Masochismus; Prometheus bound in a cleft of a rock in a distant desert of Scythia, defying Jove, the heaving earth, the bellowing thun- der, the whirling hurricane* the firmament embroiled with the deep; MINIATUfiE ORCHESTRAL SCOBES LATEST ADDITIONS HAYDN. Symphony in G, " The Surprise." " Symphony, " The Oxford." CHERUBINI. Overture, "Anacreon." " Overture, " Die Abenceragen." " Overture, " Der Wassertrager." " " Overture, " Medea GLINKA. Overture, " La Vie pour le Czar." " Overture, " Ruslan and Ludmila." CORNELIUS. Overture, " The Barber of Bagdad." " Overture, " Der Cid." SCHUMANN. Overture, " Genoveva." " " Overture, " Manfred MOZART. Fifth Concerto for Violin and Orchestra. " Sixth Concerto for Violin and Orchestra. " Twenty-sixth Piano Concerto (Coronation). TO BE HAD OF ALL LEADING DEALERS OR BOOSEY & COMPANY, 9 East 17th Street, NEW YORK Seventy Scottish Songs Edited with Accompaniments by HELEN HOPEKIRK Scotland has ever been one of the fflj To the student of folk-music most fruitful and interesting of countries. The origin of Scottish folk-music is very remote, some of it dating from the time when the most primitive scale forms were in use. fl Mention of Scottish music recalls to many merely a few such songs as " Auld Lang Syne," "The Blue Bells of Scotland," "Annie Laurie," etc. These, however, are not the most signifi- cant; in fact, the most beautiful songs are often the ones that are least known. The music of the Gael is most interesting on ac- count of its weird, emotional quality. Their melodies are full of the long, tender, melancholy northern twilights. 1§ In her interesting prefatory essay on Scottish music the com- piler of this collection has endeavored to explain the misconception that has arisen from the association of two racially different peoples, the Celtic Scot and the Saxon Scot, so as to help to a better appreciation of their music. The translations from the Gaelic have been made with the greatest care or selected from sources less calculated to rob either words or music of their haunt- ing beauty. The banal " arrangements " found in most editions are conspicuously absent, for artistic accompaniments for each song have been written byMme. Hopekirk,— written, too, with the deep sympathy and understanding of a Scot and with the artistry of an accomplished musician. C[ These Seventy Songs have been gathered from the Lowlands, the Highlands, the remote mountainous regions, and from the Western Isles, and are loved and sung wherever there beats a Scottish heart. IJ Published in The Musicians Library in two edi- tions, for high voice and for low voice. Cfl Price in heavy paper, cloth back, $1.50; in cloth, full gilt, $2.50, postpaid. OLIVER DITSON COriPANY, Boston C. H. DITSON & CO., New York J. E. DITSON & CO., Philadelphia LYON & HEALY, Chicago Order of your home dealer or the above houses Sappho, "the little woman with black hair and a beautiful smile," with her marvellous song "Made of perfect sound and exceeding passion." And for his latest overture, "In Italy" (1904), Goldmark endeavored to warm his blood by thinking of Italy. The composer of "Sakuntala," "The Queen of Sheba," and "The Country Wedding/' a composer of an overture to "Spring"! His music was as his blood, —half Hungarian, half Hebraic. His melodies were like unto the century-old chants solemnly intoned by priests with drooping eyes, or dreamed of by the eaters of leaves and flowers of hemp. His harmonies, with their augmented fourths and diminished sixths and restless shiftings from major to minor, were as the stupe- fying odors of charred frankincense and grated sandal-wood.
Load more

Recommended publications
  • The Year's Music
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c.
    [Show full text]
  • 4.Murtomäki 2017.10192 Words
    Sibelius in the Context of the Finnish-German History Veijo Murtomäki Introduction The life and career of a composer cannot be considered as an isolated case without taking into account the wider context. The history of ideas and ideologies is always part of any serious enquiry into an artist’s personal history. Therefore we must bear in mind at least four points when considering the actions of artist and his or her country. Firstly, as the eminent Finnish historian Matti Klinge has observed, "the biggest challenge for understanding history is trying to situate oneself in the preconditions of the time-period under scrutiny while remembering that it did not know what the posterity knows."[1] Writing history is not primarily a task whereby the historian provides lines for actors to speak, but rather is an attempt to understand and explain why something happened, and to construct a context including all of the possible factors involved in a certain historical process. Secondly, supporting (or not opposing) an ideology prevailing at a certain time does not mean that the supporter (or non-opponent) is committing a crime. We could easily condemn half of the European intellectuals for supporting Fascism, Nazism, Communism or Maoism, or just for having become too easily attracted by these – in their mind – fascinating, visionary ideologies to shape European or world history. Thirdly, history has always been written by the winners – and thus, historiography tends to be distorted by exaggerating the evil of the enemy and the goodness of the victor. A moral verdict must be reached when we are dealing with absolute evil, but it is rare to find exclusively good or bad persons or civilizations; therefore history is rarely an issue of black and white.
    [Show full text]
  • LOUISE ALDER | JOSEPH MIDDLETON Serge Rachmaninoff, Ativanovka, Hisfamily’S Country Estate,C
    RACHMANINOFF TCHAIKOVSKY BRITTEN GRIEG SIBELIUS MEDTNER LOUISE ALDER | JOSEPH MIDDLETON Serge Rachmaninoff, at Ivanovka, his family’s country estate, c. 1915 estate,c. country hisfamily’s atIvanovka, Serge Rachmaninoff, AKG Images, London / Album / Fine Art Images Lines Written during a Sleepless Night – The Russian Connection Serge Rachmaninoff (1873 – 1943) Six Songs, Op. 38 (1916) 15:28 1 1 At night in my garden (Ночью в саду у меня). Lento 1:52 2 2 To Her (К ней). Andante – Poco più mosso – Tempo I – Tempo precedente – Tempo I (Meno mosso) – Meno mosso 2:47 3 3 Daisies (Маргаритки). Lento – Poco più mosso 2:29 4 4 The Rat Catcher (Крысолов). Non allegro. Scherzando – Poco meno mosso – Tempo come prima – Più mosso – Tempo I 2:42 5 5 Dream (Сон). Lento – Meno mosso 3:23 6 6 A-oo (Ау). Andante – Tempo più vivo. Appassionato – Tempo precedente – Più vivo – Meno mosso 2:15 3 Jean Sibelius (1865 – 1957) 7 Våren flyktar hastigt, Op. 13 No. 4 (1891) 1:35 (Spring flees hastily) from Sju sånger (Seven Songs) Vivace – Vivace – Più lento – Vivace – Più lento – Vivace 8 Säv, säv, susa, Op. 36 No. 4 (1900?) 2:32 (Reed, reed, whistle) from Sex sånger (Six Songs) Andantino – Poco con moto – Poco largamente – Molto tranquillo 9 Flickan kom ifrån sin älsklings möte, Op. 37 No. 5 (1901) 2:59 (The girl came from meeting her lover) from Fem sånger (Five Songs) Moderato 10 Var det en dröm?, Op. 37 No. 4 (1902) 2:04 (Was it a dream?) from Fem sånger (Five Songs) Till Fru Ida Ekman Moderato 4 Edvard Grieg (1843 – 1907) Seks Sange, Op.
    [Show full text]
  • AFE EPOSIT 0. American Organ and Piano Co
    KUNKEL'S MUSICAL REVIEW, JANUARY, 1889. 1 MAJOR AND MINOR. 1\lme. Scalchl will be heard during the winter months at the Moritz RosAnthal, the Ronmanean pianist, opened his en· Imperial Opera house in St. Petersburg. gagement in this country in Boston. He has a wonderful technical skill and is meeting with the most pronounced "Esclarmonde" is the name of a new four net opera by They a.re endeavoring to abolish the encore system in En- success. Massenet. gland. It would be a boon in mauy ways. At the second symphonic concert of the Russian Musica Sembrich received $2,400 for two engagements at Co· Adele A us Der Ohe gave the sixty-eighth piano forte re- Society, at St. .Petersburg, Rubinstein's·new symphonic poem penhagen. cital of the Ladies' Musical Society of Omaha. "Don Qui 11:ote," was col(;.ly received, though it is said to pos· Madame Patti sang at the Paris Grand Opera, under the sess considerable merit. Pauline Lucca says that her coming to America will end composer's baton, the part of Juliet in M. Gounod's opera. he~ career on the stage. One more has been added to the settings of Goethe's Faust. At her Sixth Piano Recital, comprising works of American that of Max Zenger. The others are by Spohr, Voss, Bishop, Mr. an · ~ Mrs. Henschel will leave England in March for a composers only, MRs. 'l'HoMs of N. Y., played E. R. Kroeger's Beaucourt, Blum, Bertin, Meyer, Ku~ler. rle Pallaert, Gordigi- long tour m the United States.
    [Show full text]
  • Abraham Ojanperän Vaikutus Suomalaiseen Kirkkomusiikkiin 37 Tekijän Nimi Lukukausi Teresa Ahola Kevät 2020 Aineryhmän Nimi Kirkkomusiikki
    ABRAHAM OJANPERÄN VAIKUTUS SUOMALAISEEN KIRKKOMUSIIKKIIN Taideyliopiston Sibelius-Akatemia Klassisen musiikin osasto Kirkkomusiikin ja urkujen aineryhmä, Kuopio Kirjallinen työ (SKM-25) Teresa Ahola 2020 Tutkielman tai kirjallisen työn nimi Sivumäärä Abraham Ojanperän vaikutus suomalaiseen kirkkomusiikkiin 37 Tekijän nimi Lukukausi Teresa Ahola Kevät 2020 Aineryhmän nimi Kirkkomusiikki Käsittelen työssäni Abraham Ojanperän elämänhistoriaa ja hänen vaikutustaan suomalaiseen kirkkomusiikkiin. Tiesin etukäteen Ojanperän olleen kanttori ja laulunopettaja. Kiinnostuin aiheesta, kun kotikunnallani järjestettiin suuri oopperaprojekti, Abrahamin pidot. Aihe on alkanut kiinnostamaan minua yhä enemmän, kun olen saanut selville tietoja Abraham Ojanperästä. Kerron ensin Ojanperän eri elämänvaiheista, hänen opiskelustaan ja urasta musiikin parissa kanttorina ja laulunopettajana. Sen jälkeen tutkin Ojanperän yhteyksiä aikansa säveltäjiin ja muihin muusikkoihin, erityisesti kirkkomuusikoihin. Etsin myös tietoa Ojanperän lauluoppilaista. Tutkin työssäni, onko Ojanperä myötävaikuttanut suomalaisen, suomenkielisen kirkkomusiikin syntymiseen tai julkaisemiseen, ja minkälaisia vaikutuksia suomalaiseen musiikkikulttuuriin hänellä on ollut. Työssäni käytän lähteenä Anna-Maija Näsäsen kirjoittamaa teosta Abraham Ojanperä, laulajan elämä, Iikka Niemelän lukuisia kirjoituksia Ojanperän elämään liittyen sekä erilaisia lehtiartikkeleita ja muita lyhyempiä tekstejä, jotka löysin Limingan kirjaston arkistokansiosta. Ojanperästä on kirjoitettu melko vähän. Sibelius-Akatemiassa
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 25,1905-1906, Trip
    ACADEMY OF MUSIC, PHILADELPHIA. BostonSympRony Qrctiestia WILHELM GERICKE, Conductor. Twenty-first Season in Philadelphia* PROGRAMME OF THE FIRST CONCERT MONDAY EVENING, NOVEMBER 6, AT 8. J 5 PRECISELY. Hale. With Historical and Descriptive Notes by Philip Published by C. A. ELLIS, Manager. l A PIANO FOR THE MUSICALLY INTELLIGENT classes, artists' pianos If Pianos divide into two and popular pianos. The proportion of the first class to the second class is precisely the proportion of cultivated music lovers to the rest of society. A piano, as much as a music library, is the index of the musical taste of its owner. are among the musically intelligent, the ^f If you PIANO is worth your study. You will appreciate the " theory and practice of its makers : Let us have an artist's piano ; therefore let us employ the sci- ence, secure the skill, use the materials, and de- vote the time necessary to this end. Then let us count the cost and regulate the -price." Tf In this case hearings not seeing, is believing. Let us send you a list of our branch houses and sales agents (located in all important cities), at whose warerooms our pianos may be heard. Boston, Mass., 492 Boylston Street New York, 139 Fifth Avenue Chicago, Wabash Avenue and Jackson Boulevard Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKE, Conductor First Viouns Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F Back, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. Kuntz, D. Hoffmann, J Fiedler, E. Mullaly, J. Moldauer, A. Strube, G.
    [Show full text]
  • A Sermon Series at Huntersville Lutheran Solus Christus | Christ
    A Sermon Series at Huntersville Lutheran SOLus Christus | Christ Alone 10.25.20 Huntersville Lutheran A Changeless Message for A Changing Community Worshipping at the Brick Row Bible Class @ 8:45 | Worship @ 9:30am Huntersvillelc.com | 248-807-3057 | [email protected] elcome! Thank you for joining us for worship this morning. Our service is centered W on our Savior, Jesus Christ, who lived, died, and rose from the dead so that we would have eternal life in him. God reveals this soul saving message in his Word. We gather to find strength though God’s powerful and holy Word. Take a few moments to familiarize yourself with the order of service, readings, and hymns, and fill out the take action card. May God bless our time together this morning. About Our Worship The gospel is the good news about what Jesus did to be the Savior for sinners. It is also the power of God—the very thing he uses to work faith in our hearts and transform our lives. Therefore, gospel-centered worship places the gospel in central focus. This order of service is called the liturgy. In the message, in specially selected Scripture readings, and in carefully crafted songs, prayers, and creeds, the liturgy proclaims the good news about Jesus from start to finish. Gospel-centered worship is also designed to include the participation of the entire assembly (including children). For Your Convenience Restrooms are located through the doors at the rear of the building, to the right. Follow the arrows once you are in the hallway.
    [Show full text]
  • May 2020 Personnel Actions
    SUMMARY OF PERSONNEL ACTIONS REGENTS AGENDA May 2020 ANN ARBOR, DEARBORN, AND FLINT CAMPUSES – Recommendations for approval 1. Promotions to the ranks of professor and associate professor, 2020 - 2021. ANN ARBOR CAMPUS – Recommendations for approval 2. New appointments and promotions for regular associate and full professor ranks, with tenure. *(1) Chen, Jiande, Ph.D., professor of internal medicine, with tenure, effective April 1, 2020. (2) Foster, Margaret, associate professor of classical studies, with tenure, College of Literature, Science, and the Arts, effective August 31, 2020. (3) Fresco, David M., Ph.D., professor of psychiatry, with tenure, Medical School, effective June 1, 2020. (4) Karnovsky, Alla, Ph.D., associate professor of computational medicine and bioinformatics, with tenure, Medical School, effective June 1, 2020. *(5) Kleindorfer, Dawn O., M.D., chair, Department of Neurology, professor of neurology, with tenure, effective May 1, 2020, and Robert W. Brear Professor of Neurology, Medical School, effective May 1, 2020 through August 31, 2025. (6) Matthews, Jamaal Sharif, associate professor of education, with tenure, School of Education, effective August 31, 2020. (7) Ready, Jonathan L., professor of classical studies, with tenure, College of Literature, Science, and the Arts, effective August 31, 2020. (8) Zerkel, David, professor of music, with tenure, School of Music, Theatre & Dance, effective August 31, 2020. 3. New appointments and promotions for regular associate and full professor ranks, without tenure. (1) Perkins, Douglas F., associate professor of music, without tenure, School of Music, Theatre & Dance, effective August 31, 2020. * Interim Approval Granted 1 SUMMARY OF PERSONNEL ACTIONS REGENTS AGENDA May 2020 ANN ARBOR CAMPUS – Recommendations for approval 4.
    [Show full text]
  • Jean Sibelius Jean Sibelius (1865–1957)
    SIBELIUS TAPIOLA | EN SAGA | 8 SONGS ANNE SOFIE VON OTTER Finnish Radio Symphony Orchestra HANNU1 LINTU JEAN SIBELIUS JEAN SIBELIUS (1865–1957) 1 Tapiola, Op. 112 (1926) 18:14 2 En Saga, Op. 9 (1892, rev. 1902) 18:40 (clarinet: Christoffer Sundqvist; viola: Ilari Angervo) Eight Songs Orchestrated by Aulis Sallinen (b. 1935) 3 De bägge rosorna (The Two Roses), Op. 88 No. 2 5:40 4 Sippan (The Anemone), Op. 88 No. 4 1:31 5 Dold förening (Hidden Connection), Op. 86 No. 3 1:05 6 Under strandens granar (Under the Fir Trees on the Shore), Op. 13 No. 1 1:07 7 Kyssens hopp (The Kiss’s Hope), Op. 13 No. 2 1:11 8 Hennes budskap (Her Message), Op. 90 No. 2 2:35 9 Men min fågel märks dock icke (But my Bird is Nowhere to be Seen), Op. 36 No. 2 2:14 10 Jägargossen (The Young Huntsman), Op. 13 No. 7 2:41 Orchestrations commissioned by the Finnish Radio Symphony Orchestra and Hannu Lintu. Premiered by Anne Sofie von Otter on 6th December 2015 Anne Sofie von Otter, mezzo-soprano Finnish Radio Symphony Orchestra Hannu Lintu, conductor 3 Jean Sibelius (1865–1957) is appreciated first and foremost as a composer of symphonies, but he was equally ambitious and productive in writing tone poems. In fact, his single-movement Seventh Symphony Op. 105 (1924) and the tone poem Tapiola Op. 112 (1926) demonstrate just how close these two genres came to merging in his output. Tone poems linked Sibelius to the radical Romantic composers of the 19th century: programme music allowed composers to expand their musical idiom and to break out of the bounds of formal structures.
    [Show full text]
  • Israël Veut Un « Changement Complet » De La Politique Menée Par L'olp
    LeMonde Job: WMQ0208--0001-0 WAS LMQ0208-1 Op.: XX Rev.: 01-08-97 T.: 11:23 S.: 111,06-Cmp.:01,11, Base : LMQPAG 27Fap:99 No:0328 Lcp: 196 CMYK CINQUANTE-TROISIÈME ANNÉE – No 16333 – 7,50 F SAMEDI 2 AOÛT 1997 FONDATEUR : HUBERT BEUVE-MÉRY – DIRECTEUR : JEAN-MARIE COLOMBANI Les athlètes Israël veut un « changement complet » à Athènes de la politique menée par l’OLP Rigor Mortis a Brigitte Aubert Participation record Benyamin Nétanyahou exige de Yasser Arafat qu’il éradique le terrorisme a aux championnats ISRAÉLIENS et responsables de Jérusalem. Les premiers accusent Le premier ministre a mis Yasser maine. « On ne peut faire avancer du monde l’Autorité palestinienne se sont l’OLP de ne pas en faire assez dans Arafat en demeure d’éradiquer le le processus diplomatique alors que renvoyés, jeudi 31 juillet, la res- la lutte contre le terrorisme ; les terrorisme et a juré qu’il n’y aurait l’Autorité palestinienne ne prend une nouvelle inédite ponsabilité de l’attentat qui, la seconds affirment que la politique pas de reprise des conversations pas les mesures minimales qu’elle qui s’ouvrent samedi veille, a fait quinze morts et plus du gouvernement de Benyamin israélo-palestiniennes tant qu’Is- s’est engagée à prendre contre les de cent cinquante blessés sur un Nétanyahou favorise la montée raël ne jugerait pas l’action de foyers du terrorisme », a dit M. Né- dames a des marchés les plus populaires de des extrémistes palestiniens. l’OLP satisfaisante dans ce do- tanyahou. « Il faut un changement du noir La pollution peut complet de politique de la part des Palestiniens, une campagne vigou- perturber les épreuves reuse, systématique et immédiate pour éliminer le terrorisme », a-t-il Les Dames a lancé, jeudi soir, à la télévision.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • Liszt and Christus: Reactionary Romanticism
    LISZT AND CHRISTUS: REACTIONARY ROMANTICISM A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Robert Pegg May 2020 Examining Committee Members: Dr. Maurice Wright, Advisory Chair, Music Studies Dr. Michael Klein, Music Studies Dr. Paul Rardin, Choral Activities Dr. Christine Anderson, Voice and Opera, external member © Copyright 2020 by Robert Pegg All Rights Reserved € ii ABSTRACT This dissertation seeks to examine the historical context of Franz Lizt’s oratorio Christus and explore its obscurity. Chapter 1 makes note of the much greater familiarity of other choral works of the Romantic period, and observes critics’ and scholars’ recognition (or lack thereof) of Liszt’s religiosity. Chapter 2 discusses Liszt’s father Adam, his religious and musical experiences, and his influence on the young Franz. Chapter 3 explores Liszt’s early adulthood in Paris, particularly with respect to his intellectual growth. Special attention is given to François-René, vicomte de Chateaubriand and the Abbé Félicité de Lamennais, and the latter’s papal condemnation. After Chapter 4 briefly chronicles Liszt’s artistic achievements in Weimar and its ramifications for the rest of his work, Chapter 5 examines theological trends in the nineteenth century, as exemplified by David Friedrich Strauss, and the Catholic Church’s rejection of such novelties. The writings of Charles Rosen aid in decribing the possible musical ramifications of modern theology. Chapter 6 takes stock of the movements for renewal in Catholic music, especially the work of Prosper Gueranger and his fellow Benedictine monks of Solesmes, France, and of the Society of Saint Cecilia in Germany.
    [Show full text]