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Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
iMffi BOSTON SYMPHONY TRA **** ft %?% Levine James | Music Dim "fe Bernard Haitink Cone1 \cvuu Seiji Ozawa Music Diircti « he Clarendon BACK BAY The Way to Live ; 'j v 11 B 1 1 1 1 1 # iilf)I « 1 1 '" ' ; ! i m r m if l Dill H incut ** IE DIC | m ''IS !! 1 iS a . i! W i PIE i w: i«. 1 114 IE fc, IBS OP 1 iir; * ! : jjj E*. aiwi ill yiM " r i. *' ; - '' • J £j L : • ' liur m §ii !! !l Hi v ii I J!! '! iii ni" fill «• «*« il 1191 III I INTRODUCING FIVE STAR LIVINGtm WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOR CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com U t I^^J^ BRELATED DC/\L COMPANIES, UPh REGISTER : U.S. GREEN BUILDING COUNCIL WITH ANTI SILVER CERTIFICATION whic The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, No Fe subject to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or described. being Void where prohibite agency has judged the merits or value, if any, of this property. This is not an offer where registration is required prior to any offer made. Table of Contents Week 6 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 29 A BRIEF HISTORY OF SYMPHONY HALL 35 THIS WEEK'S PROGRAM 36 THE PROGRAM IN BRIEF Notes on the Program 37 Johannes Brahms 49 Richard Strauss 65 To Read and Hear More.. -
Walter Peck Stanley, Cour.Se For
1905. a NEW-YORK DAILY TRIBUNE. SUNDAY. MARCH 5. Musical. recital in Mendelssohn Hall on Tuesday after- Musical. noon. March 21, at 3 o'clock. He will be as- MUSIC NOTES. by Harris, pianist. risted Victor MME. ZILPHA BARNES WOOD PIANO Privetto School of Music. VIRGILAM* XCSOOE. OF PI 111. SCHOOL Becker, Special Vir*;i PERFORMANCE. Uf-orge the popular concert ticket Paplla and Courses In the method and iorto* aante. prepared for Church. Concert. Oratorio Ing a broad artistic repertoire. *-Talr- More Russian fluent, 1b to have a testimonial concert in Men- Op^ra. Opera Clauses now being formed. Applicants Musical Art Concert— to Join th. Opera C'iass can enter at any time. MR C. VIKCIt.GORDON. delssohn Hall on Wednesday evening, March 29. Concert I"lanl«t and Taacawr Calendar. 68 West 39tli St. 'Phone 140}— ~52!2-.^*wM VIRGIL. Dirrrtnr and .... a, Mtisic^A Shortened Mr. Becker has been connected with music In 3Sth. Tnnced Technlo:and Interpretation. 10 XV?*t lEth St. v.ays for nearly He was at «unday— Ca/nfgle Hal!, afternoon. recital of many forty years. ~ Metropolitan. Thomas, ' violin inu.«ir by KiiKrorsp Ysaye; one time librarian for the late Theodore MISS CLAYS Adelaide C. Okell,"* p. m.. concert, at popular concert _. .-.Certlflcatad Pupil of Tei^a. Carreflo. Opera House. 830 after which he opened the first branch MUSIC, _, PIANIST AND TEACHER. S»n«l for s WEST END CONSERVATORY OF **"**•= 67 ClrenUr prices. ticket office in this rlty. This was 660 WEST EM) CORNER 87TU ST. WEST EIGHTY-FOURTH STREET, jr. -
Eugene Ormandy Commercial Sound Recordings Ms
Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985 -
A Hero's Work of Peace: Richard Strauss's FRIEDENSTAG
A HERO’S WORK OF PEACE: RICHARD STRAUSS’S FRIEDENSTAG BY RYAN MICHAEL PRENDERGAST THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Adviser: Associate Professor Katherine R. Syer ABSTRACT Richard Strauss’s one-act opera Friedenstag (Day of Peace) has received staunch criticism regarding its overt militaristic content and compositional merits. The opera is one of several works that Strauss composed between 1933 and 1945, when the National Socialists were in power in Germany. Owing to Strauss’s formal involvement with the Third Reich, his artistic and political activities during this period have invited much scrutiny. The context of the opera’s premiere in 1938, just as Germany’s aggressive stance in Europe intensified, has encouraged a range of assessments regarding its preoccupation with war and peace. The opera’s defenders read its dramatic and musical components via lenses of pacifism and resistance to Nazi ideology. Others simply dismiss the opera as platitudinous. Eschewing a strict political stance as an interpretive guide, this thesis instead explores the means by which Strauss pursued more ambiguous and multidimensional levels of meaning in the opera. Specifically, I highlight the ways he infused the dramaturgical and musical landscapes of Friedenstag with burlesque elements. These malleable instances of irony open the opera up to a variety of fresh and fascinating interpretations, illustrating how Friedenstag remains a lynchpin for judiciously appraising Strauss’s artistic and political legacy. -
4373 MUSICAL-PT/Jr
C M Y K musical musicalVISITORS TO BRITAIN VISITORS musicalVISITORS Over the centuries Britain has attracted many musical visitors. This book tells the stories of the many composers who visited – a varied and often eccentric collection of individuals. lisztThe earliest were invited by royalty with musical tastes; some were refugees from religious TO and political oppressions; others came as spies, a few to escape from debt and even murder chopincharges. However, the main motive was a possibility of financial reward. BRITAIN The rise in the nineteenth century of the celebrity composer, who was often also a conductor, is also traced. With the development of new forms of transport, composers TO DAVID GORDON • PETER GORDON were able to travel more extensively, both from the Continent and from the USA. New BRITAIN wagneropportunities were also presented by the opening of public halls, where concerts could be held, as well as the growth of music festivals. In the twentieth and twenty-first centuries the aeroplane has enabled a regular influx of composers, and the book ends with a liszt consideration of the universalising of music as well as the impact of new forms, such as mozartjazz. chopin Musical Visitors to Britain is a fascinating book which should appeal to both the general handelreader and those with a special interest in music history. David Gordon is one of the leading harpsichordists in the UK, and performs with violinists wagner DAVID GORDON DAVID haydnAndrew Manze, Nigel Kennedy and the baroque orchestra English Concert, specialising in PETER GORDON improvisation. He is also a jazz pianist, and has given many workshops on aspects of Renaissance, baroque and jazz improvisation. -
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S918E52 1910 ?mC EiaHTE MUSIC KT K/V RICHARO STRAUSS BERLIN, ADOLPH FtfRSTN ER Presented to the LIBRARY of the UNIVERSITY OF TORONTO from the estate of Robert A. Fenn &*** ELEKTRA ELEKTRA TRAGEDY IN ONE ACT By HUGO VON HOFMANNSTHAL <ENOLISH VERSION By ALFRED KALISCH) MUSIC BY RICHARD STRAUSS OP.LVIII PRICE sh I/- NET PROPERTY OF THE PUBLISHER FOR ALL COUNTRIES ADOLPH FQRSTNER BERLIN W. - PARIS ALL RIGHTS RESERVED COPYRIGHT INCLUDING RIGHT OF PERFORMANCE 1910 BY ADOLPH FQRSTNER A. 5845 F. ALL RIGHTS OF PUBLIC PERFORMANCE RESERVED. DR. RICHARD STRAUSS. DRAMATIS PERSONAE Klytemnestra Mezzo soprano Elektpa 1 TT ~ f Soprano* < ^ 4.1. 4 ?Her Daughters c Chrysothemis / V Soprano Aegistheus Tenor Orestes Baritone The Guardian of Orestes Bass The Confidante Soprano The Trainbearer Soprano A young Servant Tenor An old Servant Bass The Overseer Soprano f 1. Contralto Five Maid Servants J 2. 3. Mezzo soprano 4. 5. [ Soprano Men Servants and Maid Servants. Scene: Mykene. The inner bounded the back the and courtyard t by of palace, low buildings in which the servants live. Maid servants at the draw-well at the front of the stage to the left. The Overseer is among them. First Maid Servant (lifting her pitcher). Where stays Elektra? Second Maid Servant. Is it not the season, The season when she for her father howls, That all the walls re-echo? {Elektra runs out of the house which is already growing dark. All turn to look at her. Elektra darts back like an animal to its lair, one arm held before her face.) First Maid Servant, Did you not see what looks she gave us? Second Maid Servant. -
Interfaces. a Journal of Medieval European Literatures, Offering Free Availability for All
vol 1 · 2015 Histories of Medieval European Literatures New Patterns of Representation and Explanation Lucio Fontana, Concetto Spaziale, 1968, idropittura su tela, 73 × 92 cm. cat. gen. 68 B 16 © Fondazione Lucio Fontana, Milano Published by Histories of Medieval Università degli Studi di Milano, Dipartimento di Studi letterari, filologici e linguistici: European Literatures riviste.unimi.it/interfaces/ Edited by Paolo Borsa New Patterns of Representation Christian Høgel Lars Boje Mortensen Elizabeth Tyler and Explanation Initiated by Centre for Medieval Literature (SDU & York) with a grant from the The Danish National Research Foundation vol 1 · 2015 università degli studi di milano, dipartimento di studi letterari, filologici e linguistici centre for medieval literature Contents Paolo Borsa, Christian Høgel, What is Medieval European Literature? 7–24 Lars Boje Mortensen, and Elizabeth Tyler Simon Gaunt French Literature Abroad Towards an Alternative History of French Literature 25–61 Panagiotis Agapitos Contesting Conceptual Boundaries Byzantine Literature and its History 62–91 Stephan Müller Gute Geschichte/n Literarische Selbsterfindungen und die Geschichte der Literatur des Mittelalters 92–109 Pavlína Rychterová Genealogies of Czech Literary History 110–141 Benoît Grévin Les frontières du dictamen Structuration et dynamiques d’un espace textuel médiéval (XIIIe-XVe s.) 142–169 Enrico Fenzi Translatio studii e translatio imperii Appunti per un percorso 170–208 Ryan Szpiech From Founding Father to Pious Son Filiation, Language, and Royal -
6 X 10.Long.P65
Cambridge University Press 978-0-521-02774-8 - Richard Strauss: Man, Musician, Enigma Michael Kennedy Index More information index Aagard-Oestvig, Karl, 196, 212 Annunzio, Gabriele d’, 175, 187 Abendroth, Walther, 290–1 Arnim, Achim von, 103, 202 Adam, Adolphe, 105 Artôt de Padilla, Lola, 193 Adler, Guido, 295 Aschenbrenner, Carl, 19, 27 Adler, Hans, 374 Asow, Dr Erich Müller von, 18, 347 Adolph, Dr Paul, 262, 285, 298, 299 Astruc, Gabriel, 144 Adorno, Theodor, on R.S., 224 Auber, Daniel, 16–17, 32, 48, 130, 316, 366 Ahlgrimm, Isolde, 353 Audibert, Comte d’, 368 Ahna, Major General Adolf de (father-in- law), 58, 81–3 Bach, Johann Sebastian, 4, 128, 395; Well- Ahna, Mädi de (sister-in-law), 81–2 Tempered Clavier, 15 Ahna, Maria de (mother-in-law), 58 Baden-Baden, 28 Ahna, Pauline de. See Strauss, Pauline Bahr, Hermann, 96, 199, 231, 341; works Aibl, Joseph, 34, 109 on R.S. libretto, 196 Albert, Eugen d’, 32, 56 Bakst, Léon, 186 Albert, Hermann, 328 Bantock, Sir Granville, 284 Allen, Sir Hugh, 312 Bärmann, Carl, 20 Allgemeiner Deutscher Musikverein, 73, Barrymore, Lionel, invites R.S. to 108, 153, 306 Hollywood, 372–3 Allgemeine Musikzeitung, 33, 62, 290 Basile, Armando, 381 Altenberg, Peter (Richard Englander), 148 Bayreuth, 8, 26, 47, 54, 55, 57, 60, 61, 68, Alvary, Max, 68 83, 85, 86, 143, 281, 287; R.S. first Alwin, Carl, 94, 212, 222, 224, 238, 255, conducts at, 78; R.S. conducts Parsifal 256, 329 at, 276–7; Pauline sings at, 66, 78 Ampico (piano rolls, Chicago 1921), 406 Beardsley, Aubrey, 148 Amsterdam. -
The Role of the Third Horn in the Orchestra's Horn Section
THE ROLE OF THE THIRD HORN IN THE ORCHESTRA'S HORN SECTION ANGELIKI POULIMENOU Degree Project, Master of Fine Arts in Music, Symphonic Orchestra Performance Autumn Semester 2015 1 Degree Project, 30 higher education credits Master of Fine Arts in Music, Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg Autumn Semester 2015 Author: Angeliki Poulimenou Title: The role of the third horn in the orchestra's horn section Supervisor: Joel Speerstra Examiner: Anders Hultqvist Abstract: This thesis reflects research about the horn section and mainly the role of the third horn in the orchestra's horn section, and is also a documentation of my personal experience. For several years I was the third horn player at the National Radio Symphony Orchestra of Greece (ERT) and I try to explore this position as much as I can, and aim to help not only young horn players who are auditioning for this chair, but also young composers and conductors to reach a closer understanding of the function of the horn section. For my research, I studied historical and musicological elements, I read orchestration books, I held interviews with great horn players, I studied scores, I wrote down my own personal experiences and reflections and I played in all four horn positions in the orchestra, observing at the same time the different roles of each chair. Key words: French Horn, Third Horn, Role of the Third Horn, Orchestra, Horn Section, The Unsung Hero, Orchestration, High Horn. 2 INTRODUCTION - ACKNOWLEDGEMENTS This thesis is part of my Master’s degree in Symphonic Orchestra Performance (horn) at the University of Gothenburg, where I am studying as a scholar of the Onassis Foundation. -
Proms 2014 Page 1 of 7
Proms 2014 Page 1 of 7 Prom 1: First Night of the Proms Proms Chamber Music 1: Les Arts Florissants Prom 9: Brahms & Janáček Friday 18 July Monday 21 July Thursday 24 July 7.30pm ± c9.10pm 1.00pm ± c2.00pm 7.30pm ± c9.45pm Royal Albert Hall Cadogan Hall Royal Albert Hall Elgar Rameau Brahms The Kingdom, Op. 51 (90 mins) Pièces de clavecin en concerts (53 mins): Piano Concerto No. 1 in D minor (49 mins) Erin Wall soprano (Blessed Virgin) Premier concert : La Coulicam, La Livri - Rondeau gracieux, Le INTERVAL Catherine Wyn-Rogers mezzo-soprano (Mary Magdalene) Vézinet Janáček Andrew Staples tenor (St John) Deuxième concert : La Laborde, La Boucon, L©Agaçante, Premier Glagolitic Mass (original version, reconstructed P. Wingfield) (43 Christopher Purves baritone (St Peter) Menuet et Deuxième Menuet mins) BBC National Chorus of Wales Troisième concert : La Lapoplinière, La Timide, Premier Barry Douglas piano BBC Symphony Chorus Tambourin et Deuxième Tambourin en Rondeau Mlada Khudoley soprano BBC Symphony Orchestra Quatrième concert : La Pantomime, L©Indiscrète, La Rameau Yulia Matochkina mezzo-soprano Sir Andrew Davis conductor Cinquième concert : La Forqueray, La Cupis, La Marais Mikhail Vekua tenor Les Arts Florissants Yuri Vorobiev bass Paolo Zanzu harpsichord/director London Symphony Chorus Prom 2: Elgar, Tchaikovsky, Mussorgsky & Liszt London Symphony Orchestra Saturday 19 July Valery Gergiev conductor 7.30pm ± c10.25pm Prom 5: Beethoven, Dvořák & R.Strauss Royal Albert Hall Monday 21 July 7.30pm ± c9.50pm Prom 10: Elgar, Walton, Moeran & David Horne Elgar Royal Albert Hall Friday 25 July Military March, ©Pomp and Circumstance© in G major, Op 39.4 (6 7.30pm ± c9.50pm mins) Richard Strauss Royal Albert Hall Tchaikovsky Till Eulenspiegels lustige Streiche (18 mins) Fantasy-Overture ©Romeo and Juliet© (20 mins) Dvořák Walton Liszt Concerto for Violin in A minor, Op. -
The University's Strongest All Y
MEMORI[AL §TAIIJ)I[UM DlEDHCATHON November Fifteenth Nineteen Hundred and Twenty-four ][LLINO][§ versus M][NNE§OTA II Statistics Of Wodd War Service II ~ UNIVERSITY of MINNESOTA Killed in Action 53 Lives lost 98 Undergraduates in Service : 1350 Alumni and Former Students in Service .. 2177 Faculty in war work (military and administrative) 125 Total 3527 Collegiate S.A.T.C. 3252 Vocational S.A.T.C. 2931 Total 6183 Grand total, University of Minnesota 9710 STATE OF MINNESOTA Number in Service 118000* Lives lost 3500* ' * Estimated from incomplete compilations by Minnesota War Records Commission Down thankful centuries they press- Then carve upon a silent sky These dead at country's call; The prayer they surely give: For men they were, and would no less That we, who reap the victory, Than offer up their all. May learn like men to live. President Lotus D. Coffman The New Stadium-What and Why By LOTUS D. COFFMAN President of the University HE SPLENDID MEMORIAL which we dedicate today commem T orates the l!nstinte~ s~rvic: and sacrifice. of Minnesota~s who have given their hves In war for their country. It IS a monument to the University men and women who died, and also. to all from this great state who made the final sacrifice . It is a memorial not only to those whose lives were part of the W orid War's cost, but to all Minnesotans, in that or other wars, whose loyalty to the United States of America has been expressed in terms that are perfectly unmistakable. -
Basketball & Hockey
."/ . \,"/' University of Minnesota BLUELINE, BACK COURT CLUBS OFFER FANS OPPORTUNITY FOR FIRST -HAND, INSIDE INFORMATION - BASKETBALL - - HOCKEY- Basketball fans, here is your opportunity to be in on the The Gopher Blueline Club is in its sixth year of opera very latest word on college and professional basketball. tion. It has had five successful years of meetings on Fridays at Jax Cafe in northeast Minneapolis. All the Attend the fine luncheon meetings of the Gopher Back members and guests have had many enjoyable luncheon Court Club at Jax Cafe. meetings throughout the Gopher hockey seasons - good Bill Fitch, Minnesota's exciting new basketball coach, laughs, some entertaining speakers, and many high school is the featured speaker at each meeting and will keep you and Gopher stars. completely informed on the Gophers and their upcoming In five years, the club has donated nearly $2,000.00 to opponents. Visiting coaches will olso'take port in the hockey scholarships at Minnesota. programs. Many other outstandi ng sports personal ities participate. The area's top high school basketball players Hear current comments from Gopher Coach Glen Sonmor, are present to be honored. views from the visiting collegiate coaches, and also pay tribute to outstanding high school hockey athletes in the The remaining luncheon meetings: area who are worthy of recognition by our Blueline organi. Tuesday, January 21 zation. Tuesday, January 28 Tuesday, February 11 REMAINING BLUELINE SCHEDULE: Tuesday, February 18 Tuesday, March 4 Fri., Jan. 24 ( Mich Tech) Fri., Feb. 14 ( Michigan) Tuesday, March 11 Fri., Feb. 7 (UMD) Fri., Feb. 28 ( Colorado Coli.) Remember, the place is Jax Cafe, 1922 University Ave.