Boston Symphony Orchestra Concert Programs, Summer, 1983, Tanglewood
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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
ARSC Journal, Spring 1992 69 Sound Recording Reviews
SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr. -
Boston Symphony Orchestra Concert Programs, Summer
m^^^^j^^fjSjmggU ^^If0jisdii^ Accompanist to Boston Symphony Orchestra Berkshire Festival • Berkshire Music Center and to these Tanglewood 1971 artists Leonard Bernstein • Arthur Fiedler • Byron Janis • Ruth Laredo Seiji Ozawa • Gunther SchuIIer • Michael Tilson Thomas • Earl Wild BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETIETH ANNIVERSARY SEASON 1970-1971 TANGLEWOOD 1971 SEIJI OZAWA, GUNTHER SCHULLER Artistic Directors LEONARD BERNSTEIN Advisor THIRTY-FOURTH BERKSHIRE FESTIVAL THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President ABRAM T. COLLIER HENRY A. LAUGHLIN PHILIP K. ALLEN Vice-President MRS HARRIS FAHNESTOCK EDWARD G. MURRAY ROBERT H. GARDINER Vice-President THEODORE P. FERRIS JOHN T. NOONAN JOHN L. THORNDIKE Treasurer FRANCIS W. HATCH MRS JAMES H. PERKINS ALLEN G. BARRY HAROLD D. HODGKINSON IRVING W. RABB RICHARD P. CHAPMAN E. MORTON JENNINGS JR SIDNEY STONEMAN EDWARD M. KENNEDY TRUSTEES EMERITUS HENRY B. CABOT PALFREY PERKINS EDWARD A. TAFT THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC. ERWIN D. CANHAM Chairman HENRY B. DEWEY LAWRENCE K. MILLER VERNON ALDEN Vice-Chairman RICHARD A. EHRLICH FRANK E. MORRIS LEONARD KAPLAN Secretary/ BYRON K. ELLIOTT MRS STEPHEN V. C. MORRIS HAZEN H. AYER ARCHIE C. EPPS III JOHN T. G. NICHOLS MRS FRANK G. ALLEN PAUL FROMM LOUVILLE NILES ROBERT C. ALSOP CARLTON P. FULLER DAVID R. POKROSS LEO L. BERANEK MRS ALBERT GOODHUE MRS BROOKS POTTER DAVID W. BERNSTEIN MRS JOHN L. GRANDIN HERBERT W. PRATT MRS CURTIS B. BROOKS STEPHEN W. GRANT MRS FAIRFIELD E. RAYMOND J. CARTER BROWN SAMUEL A. GROVES PAUL C. REARDON MRS LOUIS W. -
Michael Morgan Playlist
Maestro Michael Morgan Playlist Details For over thirty years, Michael Morgan has been the Oakland Symphony Conductor and Music Director. Here, he puts together a list of his favorite music with a brief explanation on what this music means to him and his life. 1.) Mahler Symphony No. 7. Leonard Bernstein two of my favorite artists. Old school historically conducts New York Philharmonic. This is the informed performance. recording that started my obsession with this piece. It is an amazing puzzle for the conductor. And, of 7.) Dvorak Symphony No. 7 Witold Rowicki/ course, Bernstein was one of my most important London Symphony Orchestra. The greatest Dvorak mentors. Symphony performed by another of my important teachers: Witold Rowicki, a founder of the Warsaw 2.) Mendelssohn Elijah. Rafael Frubeck de Burgos Philharmonic. with New Philharmonia Orchestra. I adore this piece and the peerless singing of Janet Baker, along with 8.) Bach B minor Mass. John Eliot Gardiner/The the spectacular singing and English diction of Nicolai English Baroque Soloists. A favorite piece led by a Gedda make this just a treasured recording. favorite conductor. But I could endorse any of a number of recordings by early music specialists. 3.) Stephen Foster Song Book. Robert Shaw Chorale. Count this as a somewhat guilty pleasure. I 9.) Schumann Frauenlieben und Leben. Any of the love these songs (unfortunate, outdated, racist recordings by Kathleen Ferrier. The combination of language and all) and the sound Robert Shaw got out Schumann's heartfelt song cycle and the great of his singers is incomparable. Robert Shaw was also English Contralto Kathleen Ferrier is highly moving. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Boston Symphony Orchestra Concert Programs, Summer, 1961-1962
Music Shed — Tanglewood Lenox, Massachusetts Thursday, August 2, 1962, at 8:00 For the Benefit of the Berkshire Music Center THE BOSTON POPS ARTHUR FIEDLER, Conductor Soloist EARL WILD, Piano PROGRAM *The Stars and Stripes Forever Sousa *Suite from "Le Cid" Massenet Castiliane — Aragonaise — Aubade — Navarraise #Mein Lebenslauf ist Lieb' und Lust, Waltzes Josef Strauss Pines of Rome Respighi I. The Pines of the Villa Borghese II. The Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way Intermission *Concerto in F for Piano and Orchestra Gershwin I. Allegro II. Adagio; Andante con moto III. Allegro agitato Soloist: Earl Wild *Selection from "West Side Story" Bernstein I Feel Pretty — Maria — Something's Coming — Tonight — One Hand, One Heart — Cool — A-mer-i-ca Mr. Wild plays the Baldwin Piano Baldwin Piano *RCA Victor Recording Special Event at Tanglewood Thursday, August 23 A GALA EVENING of Performances by the Students For the Benefit of the Berkshire Music Center ORDER OF EVENTS 4 :00 Chamber Music in the Theatre 5 :00 Music by Tanglewood Composers in the Chamber Music Hall 6:00 Picnic Hour 7 :00 Tanglewood Choir on the Main House Porch 8 :00 The Berkshire Music Center Orchestra Concert in the Shed In Mahler's Third Symphony, with the Festival Chorus and Florence Kopleff, Contralto Conductor—Richard Burgin Admission tickets . (All seats unreserved except boxes) $2.50 — Box Seats $5.00 Grounds open for admission at 3 :00 p.m. REMAINING FESTIVAL CONCERTS (The final concerts of Charles Munch as Music Director of the Boston Symphony Orchestra) EVENINGS — 8 :00 P.M. -
A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018)
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 4-2018 State of the Art: A Sampling of Twenty-First- Century American Baroque Flute Pedagogy Tamara Tanner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, and the Music Performance Commons Tanner, Tamara, "State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018). Student Research, Creative Activity, and Performance - School of Music. 115. https://digitalcommons.unl.edu/musicstudent/115 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY by Tamara J. Tanner A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Flute Performance Under the Supervision of Professor John R. Bailey Lincoln, Nebraska April, 2018 STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY Tamara J. Tanner, D.M.A. University of Nebraska, 2018 Advisor: John R. Bailey During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors. -
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
Berlioz's Les Nuits D'été
Berlioz’s Les nuits d’été - A survey of the discography by Ralph Moore The song cycle Les nuits d'été (Summer Nights) Op. 7 consists of settings by Hector Berlioz of six poems written by his friend Théophile Gautier. Strictly speaking, they do not really constitute a cycle, insofar as they are not linked by any narrative but only loosely connected by their disparate treatment of the themes of love and loss. There is, however, a neat symmetry in their arrangement: two cheerful, optimistic songs looking forward to the future, frame four sombre, introspective songs. Completed in 1841, they were originally for a mezzo-soprano or tenor soloist with a piano accompaniment but having orchestrated "Absence" in 1843 for his lover and future wife, Maria Recio, Berlioz then did the same for the other five in 1856, transposing the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or, optionally, contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". However, after a long period of neglect, in their resurgence in modern times they have generally become the province of a single singer, usually a mezzo-soprano – although both mezzos and sopranos sometimes tinker with the keys to ensure that the tessitura of individual songs sits in the sweet spot of their voices, and transpositions of every song are now available so that it can be sung in any one of three - or, in the case of “Au cimetière”, four - key options; thus, there is no consistency of keys across the board. -
Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991, Subscription
&Bmm HHH 110th Season 19 9 0-91 Boston Symphony Orchestra Seiji Ozawa, Music Director 90th Anniversary of Symphony Hall m<K Only The few will own an aldemars. Only the few will seek the exclusivity that comes with owning an Audemars Piguet. Only the few will recognize wn more than a century of technical in- f\Y novation; today, that innovation is reflected in our ultra-thin mech- Memars Piguet anical movements, the sophistica- tion of our perpetual calendars, and more recently, our dramatic new watch with dual time zones. Only the few will appreciate The CEO Collection which includes a unique selection of the finest Swiss watches man can create. Audemars Piguet makes only a limited number of watches each year. But then, that's something only the few will understand. SHREVECRUMP &LOW JEWELERS SINCE 1800 330BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • 1-800-225-7088 THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. -
2016 Program Booklet
Rebecca Penneys Piano Festival Fourth Year July 12 – 30, 2016 University of South Florida, School of Music 4202 East Fowler Avenue, Tampa, FL The family of Steinway pianos at USF was made possible by the kind assistance of the Music Gallery in Clearwater, Florida Rebecca Penneys Ray Gottlieb, O.D., Ph.D President & Artistic Director Vice President Rebecca Penneys Friends of Piano wishes to give special thanks to: The University of South Florida for such warm hospitality, USF administration and staff for wonderful support and assistance, Glenn Suyker, Notable Works Inc., for piano tuning and maintenance, Christy Sallee and Emily Macias, for photos and video of each special moment, and All the devoted piano lovers, volunteers, and donors who make RPPF possible. The Rebecca Penneys Piano Festival is tuition-free for all students. It is supported entirely by charitable tax-deductible gifts made to Rebecca Penneys Friends of Piano Incorporated, a non-profit 501(c)(3). Your gifts build our future. Donate on-line: http://rebeccapenneyspianofestival.org/ Mail a check: Rebecca Penneys Friends of Piano P.O. Box 66054 St Pete Beach, Florida 33736 Become an RPPF volunteer, partner, or sponsor Email: [email protected] 2 FACULTY PHOTOS Seán Duggan Tannis Gibson Christopher Eunmi Ko Harding Yong Hi Moon Roberta Rust Thomas Omri Shimron Schumacher D mitri Shteinberg Richard Shuster Mayron Tsong Blanca Uribe Benjamin Warsaw Tabitha Columbare Yueun Kim Kevin Wu Head Coordinator Assistant Assistant 3 STUDENT PHOTOS (CONTINUED ON P. 51) Rolando Mijung Hannah Matthew Alejandro An Bossner Calderon Haewon David Natalie David Cho Cordóba-Hernández Doughty Furney David Oksana Noah Hsiu-Jung Gatchel Germain Hardaway Hou Jingning Minhee Jinsung Jason Renny Huang Kang Kim Kim Ko 4 CALENDAR OF EVENTS University of South Florida – School of Music Concerts and Masterclasses are FREE and open to the public Donations accepted at the door Festival Soirée Concerts – Barness Recital Hall, see p. -
N Ew Y O R K F Lu T E F a Ir 2021
The New York Flute Club Nancy Toff, President Deirdre McArdle, Flute Fair Program Chair The New York Flute Fair 2021 A VIRTUAL TOOLBOX with guest artist Julien Beaudiment Principal flutist, Lyon (France) Opera Orchestra Saturday and Sunday, April 10 and 11, 2021 via Zoom NEW YORK FLUTE FAIR 2021 BOARD OF DIRECTORS NANCY TOFF, President PATRICIA ZUBER, First Vice President KAORU HINATA, Second Vice President DEIRDRE MCARDLE, Recording Secretary KATHERINE SAENGER, Membership Secretary MAY YU WU, Treasurer AMY APPLETON JEFF MITCHELL JENNY CLINE NICOLE SCHROEDER RAIMATO DIANE COUZENS LINDA RAPPAPORT FRED MARCUSA JAYN ROSENFELD JUDITH MENDENHALL RIE SCHMIDT MALCOLM SPECTOR ADVISORY BOARD JEANNE BAXTRESSER ROBERT LANGEVIN STEFÁN RAGNAR HÖSKULDSSON MICHAEL PARLOFF SUE ANN KAHN RENÉE SIEBERT PAST PRESIDENTS Georges Barrère, 1920-1944 Eleanor Lawrence, 1979-1982 John Wummer, 1944-1947 John Solum, 1983-1986 Milton Wittgenstein, 1947-1952 Eleanor Lawrence, 1986-1989 Mildred Hunt Wummer, 1952-1955 Sue Ann Kahn, 1989-1992 Frederick Wilkins, 1955-1957 Nancy Toff, 1992-1995 Harry H. Moskovitz, 1957-1960 Rie Schmidt, 1995-1998 Paige Brook, 1960-1963 Patricia Spencer, 1998-2001 Mildred Hunt Wummer, 1963-1964 Jan Vinci, 2001-2002 Maurice S. Rosen, 1964-1967 Jayn Rosenfeld, 2002-2005 Harry H. Moskovitz, 1967-1970 David Wechsler, 2005-2008 Paige Brook, 1970-1973 Nancy Toff, 2008-2011 Eleanor Lawrence, 1973-1976 John McMurtery, 2011-2012 Harold Jones, 1976-1979 Wendy Stern, 2012-2015 Patricia Zuber, 2015-2018 FLUTE FAIR STAFF Program Chair: Deirdre McArdle