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thirteen 98th SEASON BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director EXPERIENCE THE 19™CENTURY One of the gifts of the 19th century (along with Tchaikovsky, Tolstoi, others) was the ritual of the "family silver." It was in those elegant times when bringing out the "family silver" came to mean a profound or joyous occasion was at THE ONE hand, one that called for something beyond the ordinary. CONCESS A few of the more hallowed rituals that evolved over the genera- TO MODEF FOR THE tions are shown below. Next time you take out the Smirnoff Silver (it SILVER traces directly back to the original formula) observe the jewel-like DRINK* flash of icy-cold Silver pouring into your glass. Smooth, with a unique YOUR 90.4 proof. Prepare to taste history. FREEfi TAKES 1 PLACE C THF NORTH El WINTER F CHILLING BOTTLE AN GLASSES k X FREEZING SILVER PLUS A THIRD OF A TURN ON THE PEPPER MILL AND YOU SHOULD BE ABLE TO COUNT THE GRAINS THOROUC-->fc_OT & 3NEBLAO )LIVE CHILL CHILL EVEN FURTHER WITH ONEOUNCEOF ~ ^NoilrM V ANNOUNCING RUNE FURNITURE'S ©GREAT WINTEROF 79 SALE Sale now in progress. BOSTON 81 Arlington St. 426-1500 Mon - Sat 930 am - 5:30 pm; Wed 930 am - 830 pm NATICK 323 Speen St. 655-2200 Mon - Fri 930 am - 8:30 pm. Sat 930 am - 530 pm PAINE© HH BSO CHAMBER MUSIC PRELUDES PERNODmade possible by I fi N€W S€RI€S OF PR€-SVMPHONV I CHRMB6R MUSIC RND DINN€RS RVflllflBl€ TO BSO SUBSCRIB€RS 6 PM Concerts (Followed by Dinners at 7 pm) FEBRUARY 1,3 Schubert String Trio #2 Hindemith String Trio #2 FEBRUARY 22, 24 Beethoven Serenade, op. 25 i Mozart Flute Quartet in C MARCH 1,3 Prokofiev Sonata for Two Violins Prokofiev Flute Sonata APRIL 12, 14 Brahms Sextet, op. 18 APRIL 21 Mozart 6 Major Duo Dvorak Terzetto FOR TICKET INFORMATION PLEASE CALL THE SUBSCRIPTION OFFICE AT 266-1492 Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Eighth Season 1978-1979 The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Sidney Stoneman, Vice-President Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Vice-President Abram T. Collier, Treasurer Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr. Allen G. Barry E. Morton Jennings, Jr. Irving W. Rabb Leo L. Beranek Edward M. Kennedy Paul C. Reardon Mrs. John M. Bradley George H. Kidder David Rockefeller, Jr. Richard P. Chapman Roderick M. MacDougall Mrs. George Lee Sargent George H.A. Clowes, Jr. Edward G. Murray John Hoyt Stookey Albert L. Nickerson Trustees Emeriti Harold D. Hodgkinson John T. Noonan Mrs. James H. Perkins Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager Peter Gelb Joseph M. Hobbs Walter D.Hill Director of Promotion Director of Development Director of Business Affairs Elizabeth A. Young Candice L. Miller Richard C.White Assistant Director Assistant Director Assistant to the of Promotion of Development Manager Elizabeth Dunton Dorothy M. Sullivan Anita R. Kurland Director of Sales Controller Administrator of Youth Activities Charles Rawson James F. Kiley Katherine Whitty Manager of Box Office Operations Manager, Coordinator of Tanglewood Boston Council Niklaus Wyss Donald W. MacKenzie Richard Ortner Advisor for the Operations Manager, A ss is tantAdm in istra to r, Music Director Symphony Hall Berkshire Music Center Michael Steinberg Director of Publications Programs copyright © 1978 Boston Symphony Orchestra, Inc. 3 The Board of Overseers of the Boston Symphony Orchestra Inc. Leo L. Beranek Chairman Mrs. Norman L. Cahners Weston P. Figgins Mrs. Arthur I. Strang Vice Chairman Vice Chairman Secretary Charles F. Adams Mrs. James G. Garivaltis Richard P. Morse John Q. Adams Mrs. Robert Gibb Dr. Barbara W. Newell Mrs. Frank G. Allen Jordan L. Golding Stephen Paine Hazen Ayer Mrs. John L. Grandin David Pokross David W. Bernstein Mrs. Howard E. Hansen William Poorvu David Bird Mrs. Richard D. Hill Harry Remis Gerhard Bleicken Mrs. Amory Houghton, Jr. Mrs. Peter van S. Rice Mrs. Mary Louise Cabot Richard S. Humphrey, Jr. Mrs. Samuel L. Rosenberry Levin H. Campbell, III Mrs. Jim Lee Hunt Mrs. Jerome Rosenfeld Johns H. Congdon Mrs. Louise I. Kane Mrs. George Rowland Arthur P. Contas Leonard Kaplan Mrs. William Ryan Robert Cushman Mrs. F. Corning Kenly Francis P. Sears, Jr. Michael J. Daly Robert Kraft William A. Selke Mrs. C. Russell Eddy Benjamin Lacy GeneShalit Mrs. John Fitzpatrick Mrs. James F. Lawrence Samuel L. Slosberg Paul Fromm Mrs. Warren B. Manhard II Mrs. Edward S. Stimpson Carlton P. Fuller Colman M. Mockler, Jr. D. Thomas Trigg Irs. Thomas J. Galligan, Jr. Mrs. Elting E. Morison Mrs. Donald B. Wilson Mrs. Thomas Gardiner Mrs. Stephen V. C. Morris Roger Woodworth The best ofthe bunch. UnionWarren Savings Bank l i Grotrian Schiedmayer August-Forster TAe World's finest ^tbm Qettnany Come and discover what European masters have known for over a century . .the incomparable excellence of sound and craftsmanship of Grotrian, Schiedmayer and August- Forster pianos. Our spacious showroom is in nearby Woburn and abounds with the world's most prestigious instruments, including pre-owned Steinways. With special pre- arrangement, concert grands are available for short-term performances at schools, churches and concert halls. Our complete services include sales, service, rebuilding, tuning and in-home repairs. East Coast Piano & Organ 21 Wheeling Avenue, Woburn, Mass, 935-3870 BSO BSO/100 Reaches $10 Million Mark The Boston Symphony's centennial fund drive reached $10,000,000 during December 1978, a milestone in the BSO/100 program. The campaign now enters Phase III in pursuit of the final $5.7 million needed to attain the total goal of $15.7 million. The Leadership portion of the program (donors of $100,000 or more) is making excellent progress under the guidance of Fran Fahnestock and George Clowes. To date, $1.3 million of the $4.7 million aimed at from the Leadership category has been received in gifts and pledges. The Advance Gift category, under the direction of Jane Bradley and Vernon Alden, has made substantial gains, with $800,000 having been contributed toward a goal of $1.7 million. Special thanks to Jordan Golding for his important support in the Advance category. The Major Gift division, headed by Sue Hall and Robert Kraft, continues to move smoothly ahead, with $200,000 in gifts and pledges so far. Our sincere thanks to all involved in this very important undertaking! BSO Members Live on WGBH-89.7-FM Live interviews with BSO members on Saturday mornings continue in the eleven-to-noon time slot of WGBH-FM's Morning Pro Musica, hosted by Robert J. Lurtsema. Those coming up include principal violist Burton Fine on 10 February, Music Director Seiji Ozawa on 17 February, principal cellist Jules Eskin on 24 February, and principal bass player Edwin Barker on 3 March. This series of interviews is made possible by grants from BASF Systems and Pastene Wine and Food. Chamber Concerts Reminder to Thursday 'C and Saturday 'Even' Chamber Series subscribers— your series' next Pernod-sponsored Pre-Symphony Chamber Concerts in the Cabot-Cahners Room are at 6 p.m. on Thursday, 22 February and Saturday, 24 February. The program is Beethoven's Op. 25 Serenade and Mozart's C major Quartet for Flute and Strings. Tennstedt Autographs Klaus Tennstedt, who will be guest conductor with the BSO from 21 February through 3 March, will be at the Harvard Coop to autograph records on Thursday, 21 February at 1 p.m. So far there are just two, both on Angel— Mahler's Symphony No. 1, and the Schumann and Grieg Piano Concertos with Horacio Gutierrez as soloist—but Klausketeers will be happy to know that by fall they can add Schumann's Rhenish Symphony, the Beethoven Fifth, the Mahler Fifth with the Adagio from the Symphony No. 10, and the Brahms Piano Concerto No. 1 in D minor with Garrick Ohlsson to their collections. .%£**• Live Musiclb Go. The unique combination of direct and reflected sound is what gives a live performance its depth, richness and excitement. Instead of bringing an orchestra into your living room, bring home a pair of Bose Direct/Reflecting®speakers. Photo Courtesy of the Civic Symphony Orchestra of Boston Friends' Page More on the Marathon 23 March will mark the opening of the ninth Musical Marathon. From modest beginnings, the Marathon has grown to become the Friends' major effort on behalf of the annual Giving Campaign. This year's goal of $175,000 is a formida- ble one, but it will be met and, we hope, surpassed, thanks to the dedication of our supporters. Hundreds of volunteers are being called upon along with profes- sionals, business people, and others to achieve this end. The center of the complex Marathon machine is, of course, WCRB/102.5 FM, the radio station from which, since its inception, the Marathon has reached out to the world. Richard L. Kaye, Executive Vice-President of WCRB, plans every minute of our three days' air time and does much of the announcing and inter- viewing on the air as well. The organization of this year's schedule seems almost beyond managing, for it involves two broadcasting focal points: the Cabot- Cahners Room at Symphony Hall and the rotunda at Quincy Market. And then there's coordinating local efforts with our two other FM stations, WQRC-FM-100 on Cape Cod and WBRK/101.7 FM in the Berkshires, which will carry some of our proceedings each day.
Recommended publications
  • Mahler's Symphony No. 10

    Mahler's Symphony No. 10

    SCHEDULE OF EVENTS WEDNESDAY, MAY 17, 7:30PM [Concert] Gordon Gamm Theater at The Dairy Center • G. Kurtág: Signs, Games, Messages (Jelek, Játékok és Üzenetek) • D. Matthews: Romanza for Violin and Piano, op 119a (U.S. Premiere) • G. Mahler/A. Schnittke: Piano Quartet in a (fragments) • F. Schubert: String Quintet in C, D. 956, Op. posth. 163 THURSDAY, MAY 18, 1:30PM [Master Class] Boulder Public Library • The Conducting Fellows, Kenneth Woods, David Matthews and Mahler specialists. • Mahler: Lieder eines fahrenden Gesellen– Chamber version (Schoenberg) FRIDAY, MAY 19, 2:00PM [FILM] BOEDECKER THEATRE AT THE DAIRY CENTER, BOULDER • Ken Russell’s Mahler SATURDAY, MAY 20, [Symposium] (speaker order subject to change) • Morning Session – 8:30am – C-199 – Imig Building, CU Boulder • Frans Bouwman ”Transcribing Mahler 10: what does it show?” • David Matthews ”Mahler’s 10th Symphony – Restored to Life” • Kenneth Woods, Artistic Director and Conductor, Colorado MahlerFest “A Conductor’s Perspective on the Tenth Symphony” • Jerry Bruck assisted by Louise Bloomfield In“ Search of Mahler: A Personal Recollection” • Lunch – Atrium Lobby, ATLAS building, University of Colorado • Afternoon Session – 1:30pm - Rm 102 – ATLAS Building, CU Boulder • Panel Discussion with David Matthews, Kenneth Woods and Donald Fraser • Jason Starr’s “For the Love of Mahler – The Inspired Life of Henry-Louis de La Grange” Presented in Memory of Henry-Louis de La Grange SATURDAY, MAY 20, 7:30 PM [Orchestral Concert] Macky Auditorium, University of Colorado SUNDAY, MAY 21, 3:30 PM [Orchestral Concert] Macky Auditorium, University of Colorado • Sir Edward Elgar (arr. David Matthews): String Quartet in e, opus 83 – arranged for string orchestra (2010) (US Premiere) • Gustav Mahler: Symphony No.
  • “Tragic” Mistake

    “Tragic” Mistake

    UNDOING A “TRAGIC” MISTAKE DETERMINING THE INNER-MOVEMENT ORDER OF MAHLER’S SIXTH SYMPHONY A critical examination of the evidence by Jerry Bruck New York City October 19th, 2002 A publication of THE KAPLAN FOUNDATION 450 Park Avenue New York City © Jerry Bruck, 2002 I. OVERVIEW Nearly a century has passed since Gustav Mahler composed his Sixth Symphony, yet confusion still persists among conductors, scholars and biographers regarding the order of its inner movements. Mahler began work on the symphony in 1903, first composing a Scherzo and an Andante as the central pair of its eventual four-movement structure, framing them with the remaining movements the following year. He then reversed this “S-A” order of inner movements before the symphony’s premiere in 1906, and thereafter never reverted to their previous arrangement. It was not until 1919, almost a decade after Mahler’s death, that the conductor Willem Mengelberg queried Mahler’s widow about the order of these inner movements. Her response: “First Scherzo, then Andante” prompted him to alter the “A-S” order of his conductor’s score, igniting a controversy that has spanned the decades since. With the publication in 1963 of the first Critical Edition of the Sixth by the Internationale Gustav Mahler Gesellschaft (IGMG), the matter seemed settled at last. In his introduction, IGMG founder-editor Erwin Ratz stated that the thematic similarities between the symphony’s opening movement and its Scherzo, commented upon during rehearsals for its premiere, had prompted Mahler to succumb to the advice of “outside influences” to transpose the Sixth’s inner movements.
  • Interpreting Race and Difference in the Operas of Richard Strauss By

    Interpreting Race and Difference in the Operas of Richard Strauss By

    Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler.
  • Vienna Philharmonic Orchestra Probably No Individual Composer Has Ever En- Gether, “I Was Leader of the Second Violins

    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.
  • Der Auftakt 1920-1938

    Der Auftakt 1920-1938

    Der Auftakt 1920-1938 The Prague music journal Der Auftakt [The upbeat. AUF. Subtitle: “Musikblätter für die tschechoslowakische Republik;” from volume seven, issue two “Moderne Musikblätter”]1 appeared from December 1920 to April 1938.2 According to Felix Adler (1876-1928), music critic for the Prague journal Bohemia and editor of the first eight issues of AUF,3 the journal was formed out of the Musiklehrerzeitung [Journal for music teachers] (1913-16, organ of the Deutscher Musikpädagogischer Verband [German association for music pedagogy] in Prague) and was to be a general music journal with a modern outlook and with a concern for the interests of music pedagogues.4 Under its next editor, Erich Steinhard, AUF soon developed into one of the leading German-language modern music journals of the time and became the center of Czech-German musical collaboration in the Czechoslovakian Republic between the wars.5 Adolf Weißmann, eminent music critic from Berlin, writes: “Among the journals that avoid all distortions of perspective, the Auftakt stands at the front. It has gained international importance through the weight of its varied contributions and the clarity of mind of its main editor.”6 The journal stopped publication without prior announcement in the middle of volume eighteen, likely a result of the growing influence of Nazi Germany.7 AUF was published at first by Johann Hoffmanns Witwe, Prague, then, starting with the third volume in 1923, by the Auftaktverlag, a direct venture of the Musikpädagogischer Verband.8 The journal was introduced as a bimonthly publication, but except for the first volume appearing in twenty issues from December 1920 to the end of 1921, all volumes contain twelve monthly issues, many of them combined into double issues.9 The issues are undated, but a line with the date for the “Redaktionsschluss” [copy deadline], separating the edited content from the 1 Subtitles as given on the first paginated page of every issue.
  • Toscanini in Stereo a Report on RCA's "Electronic Reprocessing"

    Toscanini in Stereo a Report on RCA's "Electronic Reprocessing"

    Toscanini in Stereo a report on RCA's "electronic reprocessing" MARCH ERS 60 CENTS FOR STEREO FANS! Three immortal recordings by Arturo Toscanini and the NBC Symphony have been given new tonal beauty and realism by means of a new RCA Victor engineering development, Electronic Stereo characteristics electronically, Reprocessing ( ESR ) . As a result of this technique, which creates stereo the Toscanini masterpieces emerge more moving, more impressive than ever before. With rigid supervision, all the artistic values have been scrupulously preserved. The performances are musically unaffected, but enhanced by the added spaciousness of ESR. Hear these historic Toscanini ESR albums at your dealer's soon. They cost no more than the original Toscanini monaural albums, which are still available. Note: ESR is for stereo phonographs only. A T ACTOR records, on the 33, newest idea in lei RACRO Or AMERICA Ask your dealer about Compact /1 CORPORATION M..00I sun.) . ., VINO .IMCMitmt Menem ILLCr sí1.10 ttitis I,M MT,oMC Mc0001.4 M , mi1MM MCRtmM M nm Simniind MOMSOMMC M Dvoìtk . Rn.psthI SYMPHONY Reemergáy Ravel RRntun. of Rome Plue. of Rome "FROM THE NEW WORLD" Pictures at an Exhibition TOSCANINI ARTURO TOSCANINI Toscanini NBC Symphony Orchestra Arturo It's all Empire -from the remarkable 208 belt- driven 3 -speed turntable -so quiet that only the sound of the music distinguishes between the turntable at rest and the turntable in motion ... to the famed Empire 98 transcription arm, so perfectly balanced that it will track a record with stylus forces well below those recommended by cartridge manufacturers. A. handsome matching walnut base is pro- vided.
  • Britten Curriculum Upload

    Britten Curriculum Upload

    Young Person’s Guide to the Orchestra Concept by Daniel Meyer Curriculum Designed by Steven Weiser and the Erie Philharmonic Education Committee Table of Contents 1. Pre-Tests • Grades K-2 all lessons combined • Lesson 1 (Grades 3+) • Lesson 2 (Grades 3+) • Lesson 3 (Grades 3+) 2. CD Track Listing and Listening Guide for Teachers 3. Map of the Orchestra 4. History of the Erie Philharmonic 5. Lesson 1 • Lesson Plan • Orchestra Map Exploration • Identifying Instruments 6. Lesson 2 • Lesson Plan • Sound Exploring • Young Person’s Guide to the Orchestra 7. Game Break • Maze - Grades K-2, 3+ • Word Search - Grades K-2, 3+ • Coloring - all Grades 8. Brief History of the Warner Theatre 9. Lesson 3 • Musical Characteristics SPONSORED BY 10. What to Expect at the Concert 11. Post-Tests • Grades K-2 all lessons combined • Lesson 1 (Grades 3+) • Lesson 2 (Grades 3+) • Lesson 3 (Grades 3+) Pre-Test (Grades K-2) Name ______________________ 1. Can you name an instrument from the orchestra? 2. Can you name one of the families of the orchestra? 3. Can you name an instrument that has strings? 4. Can you name an instrument that is made of brass? Pre-Test Lesson 1 (Grades 3+) Name ______________________ 1. Can you list the 4 families of a symphony orchestra? 1. 2. 3. 4. 2. Can you name these instruments? ______________ ______________ _________________ 3. Is this instrument from the Brass or Woodwind family? _______________________________ 4. Is this instrument from the Percussion or String family? ____________________________ 5. What does a string player use to create a sound on their instrument? ____________________________________________________ 6.
  • Boston Symphony Orchestra Concert Programs, Season 69, 1949-1950, Subscription

    Boston Symphony Orchestra Concert Programs, Season 69, 1949-1950, Subscription

    aammeaam SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SIXTY-NINTH SEASON, 1949-1950 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, I95O, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown. Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers 897] " p^^^iQ © © © © © Only © » you can decide © © © Whether your property is large or small, it rep- © resents the security for your family's future. Its ulti- © © mate disposition is a matter of vital concern to those © you love. © © To assist you in considering that future, the Shaw- © mut Bank has a booklet: "Should I Make a Will?" © © It outlines facts that everyone with property should © know, and explains the many services provided by © this Bank as Executor and Trustee. © © Call at any of our 28 convenient offices, write or telephone © for our booklet: "Should I Make a Will?" © © © © © The Optional © © © Shawmut Bank © 40 Water Street, Boston © Member Federal Deposit Insurance Corporation © © Capital and Surplus $30,000,000 © "Outstanding Strength" for 114 Years © © ©@©©©©©©©©©©@©©©©@©©©©©©©©©©©©© [898] SYMPHONIANA Broadcast from the New Organ Pictures within Pictures C^handlanaier s Tremont and West Streets BROADCAST FROM THE NEW ORGAN Next Sunday morning, at 9:15 (Local Station WEEI), the weekly broadcast by E.
  • High-Fidelity-1955-D

    High-Fidelity-1955-D

    br t /i, r,r, A DVORAK DISCOGRAPHY by Harold C. Schonberg 1 the mAC,Azine fort music listeneQs OecemBEa www.americanradiohistory.com how to select the best suited to your needs Standard Plastic -Base Audiotape meets strength and immunity to temperature all the requirements of the professional and humidity. Like all "Mylar" Audio - RELATIVE STRENGTH OF TAPE or home recordist to excellent advantage, tape, it will not dry out or embrittle BASE MATERIALS (at 75° F) providing unsurpassed recording quality with age. at minimum cost. It has consistently set II 50% Humidity the highest performance standards in Super -Thin Audiotape, on 1/2 -mil 90% Humidity radio stations, sound studios and record "Mylar," doubles the footage obtainable manufacturing companies throughout the on a standard reel. Its use, however, is where Yield Strength Breaking Strength world. The standard 11 /2 -mil cellulose limited to special applications acetate base has ample strength for greatly increased playing time justifies trouble -free operation under all normal a sacrifice of mechanical strength and some increase in print- through. ME" operating conditions. AUDIOTAPE, STANDARD PLASTIC BASE of the base material, there LR Audiotape offers two important ad- Regardless 4.2 lb. 7.6 lb. is only one Audiotape quality -the fin- vantages which, for many applications, 4.1 Ib. 7.6 Ib. more than outweigh the slight addi- est obtainable. All tapes are precision LR AUDIOTAPE, 1-MIL "MYLAR" tional cost per foot. First, it gives 50% coated with the same carefully formu- oxide and meet the same exacting more uninterrupted playing time on a lated 6.3 Ib.
  • A Bruckner Odyssey: the Ninth Symphony Sir Simon Rattle Talks

    A Bruckner Odyssey: the Ninth Symphony Sir Simon Rattle Talks

    A Bruckner Odyssey: The Ninth Symphony Sir Simon Rattle talks about the four movement version © Aart van der Wal, June 2012 Last month EMI Classics released their CD with Bruckner's Ninth Symphony in the four movement version, a live recording by the Berlin Philharmonic Orchestra conducted by Sir Simon Rattle. Early June, Simon Rattle was here, in Rotterdam, on a European tour with the Orchestra of the Age of Enlightenment and French pianist Pierre-Laurent Aimard. He conducted a programme with music by exclusively French impressionists (Fauré, Ravel and Debussy). Very early in the morning, on the day after the concert I met him in his hotel to talk about his Bruckner recording. (Click also here: Anton Bruckner: Symphony No 9 EMI Classics 9 52969 2 (CD) in D minor WAB 109 - The unfinished Finale) (Also available in SACD format) Live-recording, 7th-9th February 2012, Philharmonie, Berlin Obsession "The first thing I noticed when studying this Bruckner Ninth finale were those strange transition passages you can find in any typical Bruckner finale. But here, in the Ninth, I strongly felt as if Bruckner was obsessed with the last things in life, or maybe even the very last thing he could possibly hold onto this. As if he was thinking that when he could hold onto this, work on this, he could find his way out of this obsession. There is absolutely no doubt in my mind that Bruckner was going through an existential crisis within himself. However, there is also no doubt that he was dealing with a compositional crisis, as many composers do, also composers who are writing finales for their symphonies.
  • Conductor Willem Mengelberg, 1871-1951 Conductor Willem Mengelberg, 1871-1951

    Conductor Willem Mengelberg, 1871-1951 Conductor Willem Mengelberg, 1871-1951

    Conductor Willem Mengelberg, 1871-1951 Conductor Willem Mengelberg, 1871-1951 Acclaimed and Accused Volume 1 Frits Zwart Amsterdam University Press This publication was made possible by the Willem Mengelberg Stiftung (Switzerland). Original publication: Frits Zwart, Willem Mengelberg: Een biografijie 1871-1920. Prometheus Amsterdam, 1999 [ISBN 978 90 533 3849 0] and Willem Mengelberg: Een biografijie 1920-1951. Prometheus Amsterdam, 2016 [ISBN 978 90 351 4472 9] © Frits Zwart, 1999 and 2016 Translated by Cynthia Wilson For Marja, and for Johannes, Annemarie, Marijn and Joanne Cover illustration: Willem Mengelberg conducting the Fifth Symphony by Ludwig van Beethoven, Gebouw voor Kunsten & Wetenschappen, The Hague Photo: Erich Salomon Cover design: Gijs Mathijs Ontwerpers, Amsterdam Lay-out: Crius Group, Hulshout ISBN 978 94 6298 605 3 e-ISBN 978 90 4853 729 7 (pdf) DOI 10.5117/9789462986053 NUR 661 © Frits Zwart / Amsterdam University Press B.V., Amsterdam 2019 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every efffort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Table of Contents
  • Berio Morton Feldman

    Berio Morton Feldman

    NEWS AND IMUSIKNFORMATION FROM UNIVERSAL EDITIOBLATTERN 4 Umberto Eco on LuCIANO BERIO MORTON “American Sublime” FELDMAN ARNOLD 100th anniversary of the “scandal concert” SCHÖnbERG JAY “Metamorphosis of sound” SCHWARTZ Kim Kowalke on KURT WEILL JANUARY SUNDAY 14; 18:00 Sunday 28; 18:00 • OMAGGIO A BERIO IV OMAGGIO A BERIO VII FRIDAY 18; 21:30 ANDREA LUCCHESINI piano REMIX ENSEMBLE CASA DA MÚSICA OMAGGIO A BERIO I Programme: Jonathan Stockhammer conductor ORQUESTRA SINFÓNICA DO PORTO CASA DA MÚSICA Luciano Berio: 2 Encores: Brin, Leaf Programme: Christoph König conductor Luciano Berio: 2 Encores: Erdenklavier, Luciano Berio: Tempi Concertati Programme: Wasserklavier Luciano Berio: 4 Dédicaces Luciano Berio: 1 Encore: Luftklavier Luciano Berio: 1 Encore: Feuerklavier SATURDAY 19; 18:00 JUNE OMAGGIO A BERIO II FRIDAY 26; 21:00 • REMIX ENSEMBLE CASA DA MÚSICA OMAGGIO A BERIO V TUESDAY 11; 21:00 Peter Rundel conductor 1st part OMAGGIO A BERIO VIII Lise Milne voice REMIX ENSEMBLE CASA DA MÚSICA REMIX ENSEMBLE CASA DA MÚSICA Programme: Jonathan Stockhammer conductor Emilio Pomàrico conductor Luciano Berio: Recital for Cathy Jonathan Ayerst piano Stephanie Wagner flute Programme: Programme: Luciano Berio: Points on the curve to find… Luciano Berio: Serenata for flute 2nd part and 14 instruments ORQUESTRA SINFÓNICA DO PORTO CASA DA MÚSICA APRIL THEATRE OF VOICES • Lothar Zagrosek conductor SATURDAY 13; 18:00 Programme: OMAGGIO A BERIO III Luciano Berio: Sinfonia OCTOBER ORQUESTRA SINFÓNICA DO PORTO CASA DA MÚSICA • Olari Elts conductor SATURDAY