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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. -
Two Letters by Anton Bruckner
Two Letters by Anton Bruckner Jürgen Thym Bruckner ALS, 13.XI.1883 Lieber Freund! Auf Gerathewohl schreibe ich; denn Ihr Brief ist versteckt. Weiß weder Ihre Adresse noch sonstigen Charakter von Ihnen. Danke sehr für Ihr liebes Schreiben. Omnes amici mei dereliquerunt me! In diesen Worten haben Sie die ganze Situation. Hans Richter nennt mich jetzt musik [alischen] Narren weil ich zu wenig kürzen wollte; (wie er sagt;) führt natürlich gar nichts auf; ich stehe gegenwärtig ganz allein da. Wünsche, daß es Ihnen besser ergehen möge, und Sie bald oben hinauf kommen mögen! Dann werden Sie gewiß meiner nicht vergessen. Glück auf! Ihr A. Bruckner Wien, 13. Nov. 1883 Dear Friend: I take the risk or writing to you, even though I cannot find your letter and know neither your address nor title. Thank you very much for your nice letter. All my friends have abandoned me! These words tell you the whole situation. Hans Richter calls me now a musical fool, because I did not want to make enough cuts (as he puts it). And, of course, he does not perform anything at all; I stand alone at the moment. I hope that things will be better for you and that you will soon succeed then you will surely not forget me. Good luck! Your A. Bruckner Vienna, November 13, 1883 Bruckner, ALS, 27.II.1885 Hochgeborener Herr Baron! Schon wieder muß ich zur Last fallen. Da die Sinfonie am 10. März aufgeführt wird, so komme ich schon Sonntag den 8. März früh nach München und werde wieder bei den vier Jahreszeiten Quartier nehmen. -
Download American Friends Leaflet
≥ HANDS ACROSS THE WATER AMERICAN FRIENDS www.halle.co.uk @the_halle | thehalle | TheHalleOfficial | @the_halle Sir Charles Hallé The Hallé is the only major orchestra in the world named after its founder An Introduction to the Hallé There are three Hallé American Friend levels to choose from and in APPLICATION FORM recognition of your gift, the Hallé offers the following: The Hallé Orchestra (which is a registered charity) was founded in Name: Manchester in the North of England in 1858 in the middle of the industrial Barbirolli, from $1,500 per annum ($1,450 tax deductable) Address: revolution. As one of Europe’s oldest orchestras the Hallé was founded Exclusive access to Archive Newsletter and website pages • City & State: on the basis that the highest quality music should be accessible to all and • Opportunity to explore Hallé archive with personal support from the Archive this remains one of the organizations key principles to this day. Sir Mark Department for research and/or visits to the Archive in Manchester Zip Code: Elder became Music Director of the Halle in 2000 and has deepened and • Season Brochures (annually) and Member’s Newsletter mailing (3 annually) Telephone: extended the orchestra’s reputation as a world class ensemble with an • Acknowledgement of support in Hallé print including concert programmes and on enviable recording profile. The orchestra performs across the UK and the website Email: world and is resident at the internationally renowned Bridgewater Hall in • First press of each new Hallé CD release Company or Foundation (if applicable): • Advanced notice for any performance featuring Sir Mark taking place in US. -
1 the Consequences of Presumed Innocence: the Nineteenth-Century Reception of Joseph Haydn1 Leon Botstein
Cambridge University Press 978-0-521-58052-6 - Haydn Studies Edited by W. Dean Sutcliffe Excerpt More information 1 The consequences of presumed innocence: the nineteenth-century reception of Joseph Haydn1 leon botstein 1 The Haydn paradox: from engaged affection to distant respect The mystery that plagues the contemporary conception and recep- tion of Haydn and his music has a long and remarkably unbroken history. Perhaps Haydn experienced the misfortune (an ironic one when one con- siders the frequency of premature deaths among his great contemporaries or near contemporaries) of living too long.Years before his death in 1809 he was considered so old that the French and English had already presumed him dead in 1805.2 Many wrote condolence letters and a Requiem Mass was planned in Paris. Haydn’s music was both familiar and venerated. Raphael Georg Kiesewetter (1773–1850), writing in Vienna in 1846, reflected the perspective of the beginning of the nineteenth century in his Geschichte der europaeisch-abendlaendischen oder unsrer heutigen Musik. Haydn had ‘ele- vated all of instrumental music to a never before anticipated level of perfec- tion’. Haydn had a ‘perfect knowledge of instrumental effects’ and with Mozart (for whom Haydn was the ‘example and ideal’) created a ‘new school which may be called the German or ...the “Viennese”school’.Theirs was the ‘golden age’ of music. Most significantly, Haydn’s instrumental works represented the standard of what was ‘true beauty’in music.3 Lurking beneath Kiesewetter’s praise of Haydn (and his discreet expressions of doubt about the novelties of Haydn’s successors, including 1 This essay is an expanded and revised form of my essay entitled ‘The Demise of Philosophical Listening’, in Elaine Sisman, ed., Haydn and his World (Princeton: Princeton University Press, 1997), pp. -
Felix Weingartner La
Felix Weingartner La Vie l naquit le 2 juin 1863 à Zara (Zadar en Yougoslavie) de parents autrichiens issus d’une lignée aristocratique. A l’âge de 7 ans, sa découverte du Don Giovanni de I Mozart lui donna l’envie de devenir chef d’orchestre. En 1881, il entra au Conservatoire de Leipzig où il eut comme professeur Carl Reinecke, directeur de l’orchestre du Gewandhaus, commença à composer, devint en 1883 l’élève de Liszt à Weimar et écrivit son premier opéra Sakuntala. La composition fut pour lui un « devoir sacré » tout au long de son existence mais la direction d’orchestre resta le moyen de gagner sa vie. En 1884, il fut nommé chef de chœur et chef d’orchestre au Théâtre municipal de Koenigsberg ; en 1885-1887, il devint second chef à l’Opéra de Dantzig et resta deux saisons à Hamburg. Sa nomination comme premier chef à Mannheim en octobre 1889 fut importante car elle lui permit de donner des concerts avec l’Académie de Musique. En avril 1891, son arrivée à l’Opéra Royal de Berlin fut une reconnaissance de ses talents mais, en raison de constantes intrigues et la préférence donnée à Karl Muck, il démissionna au début de 1898. Durant seize ans, il dirigea l’Orchestre Royal, donnant des exécutions d’un niveau artistique jamais entendu à Berlin, ce qui lui donna une énorme réputation de chef de concert. Les invitations furent nombreuses : Paris (dès 1898), Bruxelles, Londres, etc. Des cycles complets des symphonies de Beethoven firent de lui l’interprète par excellence de ce compositeur. -
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. -
Vienna Philharmonic Orchestra Probably No Individual Composer Has Ever En- Gether, “I Was Leader of the Second Violins
CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, February 25, 2011, 8pm Franz Schubert (1797–1828) anything else, he learned it all from God him- Zellerbach Hall Symphony No. 2 in B-flat major, D. 125 self”) and the famed Antonio Salieri (“You can do everything, you are a genius”), but also by his Composed in 1815. fellow students. Josef von Spaun, who became a lifelong friend, wrote of their school days to- Vienna Philharmonic Orchestra Probably no individual composer has ever en- gether, “I was leader of the second violins. Little gendered such an avalanche of new music as Schubert stood behind me and fiddled. [Many Semyon Bychkov, conductor flowed from Franz Schubert’s pen in 1815. There orchestras, except for the cellists, performed are almost 200 separate works from that one standing until the mid-19th century.] Very soon, year: the Second and Third Symphonies, a string I noticed that the little musician far surpassed quartet, two piano sonatas and four other large me in rhythmic surety. This aroused my interest PROGRAM piano works, two Masses, four choral composi- and made me realize with what animation the tions, five operas and 146 songs, eight coming in lad, who seemed otherwise quiet and indifferent, a single day in May. Schubert capped the year’s gave himself up to the impression of the beauti- Franz Schubert (1797–1828) Symphony No. 2 in B-flat major, D. 125 (1815) activities by producing Der Erlkönig on New ful symphonies which we played.” The school or- Year’s Eve. He was 18. chestra tackled works by Haydn, Mozart (“You Largo — Allegro vivace A year earlier, in the autumn of 1814, could hear the angels sing,” Schubert wrote of Andante Schubert had been exempted from compul- the G minor Symphony) and early Beethoven, Menuetto: Allegro vivace sory 13-year (!) military service because of his as well as such lesser masters as Krommer, Presto vivace short stature (barely five feet) and terrible eye- Kozeluch, Méhul and Weigl. -
Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List)
Oliver Rathkolb Honours and Awards (Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List) A compilation of the bearers of rings of honour was produced in preparation for the Vienna Philharmonic's centennial celebrations.1 It can not currently be reconstructed when exactly the first rings were awarded. In the archive of the Vienna Philharmonic, there are clues to a ring from 19282, and it follows from an undated index “Ehrenmitglieder, Träger des Ehrenrings, Nicolai Medaillen“3 that the second ring bearer, the Kammersänger Richard Mayr, had received the ring in 1929. Below the list of the first ring bearers: (Dates of the bestowal are not explicitly noted in the original) Dr. Felix von Weingartner (honorary member) Richard Mayr (Kammersänger, honorary member) Staatsrat Dr. Wilhelm Furtwängler (honorary member) Medizinalrat Dr. Josef Neubauer (honorary member) Lotte Lehmann (Kammersängerin) Elisabeth Schumann (Kammersängerin) Generalmusikdirektor Prof. Hans Knappertsbusch (March 12, 1938 on the occasion of his 50th birthday) In the Nazi era, for the first time (apart from Medizinalrat Dr. Josef Neubauer) not only artists were distinguished, but also Gen. Feldmarschall Wilhelm List (unclear when the ring was presented), Baldur von Schirach (March 30, 1942), Dr. Arthur Seyß-Inquart (March 30, 1942). 1 Archive of the Vienna Philharmonic, Depot State Opera, folder on the centennial celebrations 1942, list of the honorary members. 2 Information Dr. Silvia Kargl, AdWPh 3 This undated booklet was discovered in the Archive of the Vienna Philharmonic during its investigation by Dr. Silvia Kargl for possibly new documents for this project in February 2013. 1 Especially the presentation of the ring to Schirach in the context of the centennial celebration was openly propagated in the newspapers. -
Hammerklavier’) (Orch
110913 bk Hammerk US 18/05/2004 11:22am Page 4 The Fifth Symphony, transferred from U.S. Columbia “Full-Range” label pressings, is the last of Weingartner’s four traversals of the work on disc. Earlier in this series, his third version from the previous year with the British ADD Symphony Orchestra was presented (8.110861). Although that 1932 recording is now commonly considered the Great Conductors • Weingartner conductor’s best, the present version, which contains the first movement repeat not included there, has been part of 8.110913 the “official canon” in all previous LP and CD reissues. Together with the Naxos CDs containing the nine symphonies and various overtures and the disc with the Third Piano Concerto and the Triple Concerto, this release completes Weingartner’s recorded repertoire of the composer with whom he remains most closely identified. Mark Obert-Thorn BEETHOVEN GREAT CONDUCTORS · WEINGARTNER Symphony No. 5 BEETHOVEN (1770-1827): Sonata No. 29 in B flat major, Op. 106 (‘Hammerklavier’) (orch. Weingartner) 41:46 Sonata No. 29 1 Allegro 9:26 2 Scherzo: Assai vivace 2:32 3 Adagio sostenuto 16:59 4 Largo - Allegro risoluto 12:49 ‘Hammerklavier’ Royal Philharmonic Orchestra Recorded 26th, 27th, 28th and 31st March 1930 in Central Hall, Westminster (orchestrated by Weingartner) Matrices: WAX 5487-1, 5488-1, 5489-4, 5490-3, 5492-1, 5498-2, 5499-2, 5485-3, 5486-2, 5491-2 First issued on Columbia LX 43 through 47 5 Overture to The Creatures of Prometheus, Op. 43 4:29 London Philharmonic Orchestra Recorded 14th November, 1933 in EMI Abbey Road Studio No. -
On the Performance of Beethoven's Symphonies
MT 85 W52 1900Z MUSI Digitized by tine Internet Archive in 2010 with funding from University of Toronto http://www.archive.org/details/onperformanceofOOwein ON THE PERFORMANCE OF BEETHOVEN'S SYMPHONIES BY FELIX WEINGARTNER TRANSLATED BY JESSIE CROSLAND, M.A. EDWIN F. KALMUS PUBLISHER OF MUSIC NEW YORK, N. Y. •/ e 3 INTRODUCTION. The secret of the artistic rendering of musical composi- tions, and hence the secret of the conductor's art, lies in the style. The reproducing artist, in this case the con- ductor, must have absorbed into himself, so to speak, the peculiarity of each master and each masterpiece, and his ren- dering must be subordinate to this peculiarity even in the smallest details. As regards the time, the phrasing, the treat- ment of the sounds in the orchestra and even th^^technical manipulation, the conductor must assume a different personal- ity according as he is conducting the Eroica or the Pasto- rale, Tristan or the Meistersingcr, according as he is trying to reproduce Haydn or Beethoven, Berlioz or Wagner. I believe I am not going too far when 1 say that a conductor of genius unites in himself just as many personalities as he reproduces masterpieces. One of the essential conditions of the style of an execu- tion must be clearness, and this is the quality which will occupy us here with regard to Beethoven's Symphonies. This is precisely the point in which these greatest of all orchestral compositions offer the greatest difficulty, for even a perfectly correct rendering does not always make the in- tentions of the master as clear as they become by the read- ing of the score, or even by the playing of the pianoforte extracts. -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F. -
Wagner 1900 (Oxford, 9-11 Apr 18)
Wagner 1900 (Oxford, 9-11 Apr 18) Faculty of Music and Jesus College, University of Oxford, Apr 9–11, 2018 Registration deadline: Mar 18, 2018 Merel van Tilburg Wagner 1900. An interdisciplinary conference featuring two performances Registration is now open for ‘Wagner 1900’, an interdisciplinary conference hosted by Jesus Col- lege and the Faculty of Music at the University of Oxford on 9-11 April 2018. With a rich academic programme, Wagner 1900 will investigate the impact of Richard Wagner on fin-de-siècle Vienna in music, history, politics, the visual arts, theatre and German culture. The conference features two performances: Kokoschka’s Doll/The Art of Love (2017), Holywell Music Room, 10 April Kokoschka’s Doll, commissioned from John Casken by the ensemble Counterpoise, investigates the tempestuous love affair between Alma Mahler and Oskar Kokoschka. The singer/narrator will be the distinguished bass Sir John Tomlinson. The first half of the programme sets the scene with a sequence of music and text featuring the work of Gustav and Alma Mahler, Wagner and Zemlinsky, under the title The Art of Love: Alma Mahler’s Life and Music. The sequence, per- formed by the mezzo-soprano Rozanna Madylus, incorporates an unpublished song by Alma previ- ously unperformed in the UK. Isolde (1903/2018), Sheldonian Theatre, 11 April Isolde combines a historical perspective on the landmark Mahler/Roller production of Tristan und Isolde in Vienna (1903) with a bold new interpretation of the opera, performed in an intimate cham- ber reduction, focusing on the character of Isolde. The performance will be conducted by John Warner and directed by Cecilia Stinton, with Kirstin Sharpin (Isolde) and Mae Heydorn (Brangäne).