DOCSLIB.ORG

Symphony Hall. Boston Huntington and Massachusetts Avenues

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Symphony Hall. Boston Huntington and Massachusetts Avenues SYMPHONY HALL. BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephones Ticket Office j ]^^^^ g ' 1492 Branch Exchange | Administration Unices ) THIRTY- THIRD SEASON. 1913 AND 1914 Dr. KARL MUCK. Conductor etiKeaif^;'SJ(SIH. Q£)(BJ icer WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON. DECEMBER 26 . AT 2.30 O'CLOCK SATURDAY EVENING. DECEMBER 27 AT 8.00 O'CLOCK COPYRIGHT, 1913, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER " u S>P teir the Symplhoiiy Concert a prolonging of musical pleasure by home-firelight awaits the owner of a " Baldw^in. The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus — De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, w^ho have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. 366 FIFTH AVENUE. NEW YORK CITY 614 Thirty-third Season, 1913-1914 Dr. KARL MUCK. Conductor PEEf lEL Violins. Witek, A. Roth, 0. Concert-master. Kuntz, D. Noack, S. ^ •16g-TREM0?{T-3T- • • D05T0?lMfl5S- The leadership of the Chlckering Piano has never been better exemplified than in our Anniversary Grand, here shown. Its moderate size but serves to impress the user with its power and brilliancy of tone, while the de- sign and finish of the case fit it to a niche in any home. 616 THIRTY-THIRD SEASON. NINETEEN HUNDRED THIRTEEN AND FOURTEEN eetL Rchemrsal aimdl Concert FRIDAY AFTERNOON. DECEMBER 26. at 2.30 o'clock SATURDAY EVENING. DECEMBER 27. at 8.00 o'clock Humperdinck Prelude to "Hansel und Gretel" Ravel Ma Mere I'Oye ("Mother Goose"), 5 Pieces Enfantines First Time in Boston I. Pavane de la Belle au Bois Dormant (Pavane of the Sleeping Beauty). II. Petit Poucet (Hop o' my Thumb). III. Laideronnette, Imperatrice des Pagodes (Laideronnette, Empress of the Pagodes). IV. Les Entretiens de la Belle et de la Bete (The Conversations of Beauty and the Beast). V. Le Jardin Feerique (The Fairy Garden). Juon . "Vaegtervise" (Watchman's Song), Fantasy on Danish Folk-songs, Op. 31 First Time in Boston Mendelssohn .... Concerto in E minor for violin. Op. 64 I. Allegro molto appassionato. II. Andante. III. Allegretto non troppo : Allegro molto vivace. Berlioz Overture to "Rob Roy" SOLOIST Mr. SYLVAIN NOACK There will be an intermission of ten minutes before the concerto The doors of the hall will be closed during the performance of each nutttber OH the programme. Tliose who wish to leave before the end of the concert are requested to do so in an interval between the numbers. City of Boston, Revised Regulation of August 5, 1898.—Chapter 3. relating to the covering of the head in places of public amusement Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in an> seat therein provided for spectators, it being understood that a low head covering without projection, which dees not obstruct such view, may be worn. Attest: J, M. GALVIN. City Clerk. 617 £a^9 A NDER 202 BOYLSTON STREET BOSTON Our Novelty Department is full of many new and beautiful things especially chosen abroad for Christmas gifts. As there are but few duplicates in the assortment, an early selection is advised. Gift Store To the seeker for unusual gifts, we offer jewelry and merchandise which represent the utmost in the jeweler's and silversmith's art, gathered from the world's markets. You are invited to visit our store, whether intending to purchase or not, and examine our interesting dis- play of Dieunonds and Pearls, Watches and Watch Brace- lets, Gold Jewelry, Cut Glass, Sterling Silverware, Chafing Dish Accessories, Choice Imported China, Clocks, Bronzes, Umbrellas, and Leather Goods; also Armenian and Abedone Pearl Jewelry, of which we make a specialty. OWtitt^^^tu^ Wecarry an exceptional line of 24 WINTER STREET. BOSTON beautiful Diamona and Pearl Jewelry from the simplest to the Established 91 Years most elaborate designs. 618 Preludb to "Hansel und Gretel" . Engelbert Humperdinck (Born at Siegburg (Rhineland), September i, 1854; now living in Berlin.) " Hansel und Gretel," a fairy opera in three scenes, was produced at the Court Theatre in Weimar on December 23, 1893. Miss Schubert was the first Hansel, and Richard Strauss was the conductor. The success of the opera was immediate. On December 30, 1893, the opera was produced at Munich with Miss Borchers as Hansel and Miss Dressier as Gretel. It was then produced in Carlsruhe, Darmstadt, BerHn (October 13, 1894), Dresden, Vienna, Stuttgart, Brunswick, Dessau. In 1894 it was performed four hundred and sixty-nine times in Germany alone. The libretto by Adelheid Wette, a sister of the composer, was soon translated into French by Catulle Mendes for per- formance in Paris, but the opera was not produced there until May 30, 1900 (Mme. de Craponne, Hansel; Miss Rioton, Gretel; Mme. (then Miss) Delna, the Witch; Delvoye, Peter; Andr6 Messager, conductor). The first performance in English was on December 26, 1894, Q-t Daly's Theatre, London. The translation of the libretto was by Con- stance Bache. The cast was as follows: Peter, Charles Copland; Gertrude, JuUa Lennox; Hansel, Maria Elba; Gretel, Jeanne Douste;* the Witch, Edith Miller; the Sandman, Marie du Bedat; the Dewman, *Jeanne Douste, pianist and singer, was a sister of Louise Douste. The two were brought to this coun- try by Colonel Mapleson in the fall of 1878, when Jeanne was about eight years old. Arditi then conducted her first concert tour. The sisters made their last appearance in Boston during the season of 1886-87. MO^ITZ MOSZKOW; ^^Hbf^'^^^H Jessie Huddleston. Luigi Arditi conducted. On the same evening Mozart's " Bastien and Bastienne" preceded Humperdinck's opera, and was also performed for the first time in England. "Hansel und Gretel" was moved to the Gaiety, Ivondon, on January 28, 1895, and on April 18, 1895, to the Savoy Theatre. The first performance of the opera in the United States was in English and at Daly's Theatre, New York, October 8, 1895, by an English company brought from London by Sir Augustus Harris. Anton Seidl conducted, and the cast was as follows : Peter, Jacques Bars ; Gertrude, Alice Gordon; Han=el, Marie Elba; Gretel, Jeanne Douste; the Witch, Louise Meisslinger; the Sandman, Cecil Brani; the Dewman, Edith Johnson. The first performance of the opera in Boston was in English at the Hollis Street Theatre, January 21, 1896. WiUiam G. Dietrick was the conductor. The cast was as follows: Peter, Jacques Bars; Gertrude, Mary Linck; Hansel, Marie Elba; Gretel, Jessie Huddleston; the Witch, Louise Meisslinger; the Sandman, Grace Damien; the Dewman, Edith Johnson. There was a comparatively small orchestra, and there had been little time for rehearsal. It was said that the score used was one condensed by the composer. • The opera in German was performed at the Boston Theatre by the Metropolitan Opera House Company, April 6, 1907. Alfred Hertz conducted, and the cast was as follows: Peter, Mr, Goritz; Gertrude, Miss Weed; Hansel, Miss Mattfeld; Gretel, Miss Alten; the Witch, Mme. Jacoby; the Sandman, Miss Moran; the Dewman, Miss Shearman. The opera was performed at the Boston Opera House by the Metro- politan Company, January 15, 1910. Mr. Hertz conducted. The singers were Mr. Mtihlmann, and Mmes. Wickham, Mattfeld (Hansel), \ Alten (Gretel), Meitschik, Snelling, Sparkes. There have been later performances there by the Boston Opera House Company. * * * The Prelude was performed in Boston for the first time by the Boston Woman's Orchestra, Arthiur Thayer conductor, April 30, 1895, but not with a complete orchestra. The overture was played at a Melba concert in Music Hall, November 7, 1895 (Landon Ronald conductor); at a concert of the Boston Symphony Orchestra, December 23, 1897 (Emil Paur conductor) ; at a Jordan Hall Orchestra concert, January 31, 1907 (Wallace Goodrich conductor); and again at a concert of the Boston Symphony Orchestra, December 23, 24, 19 10 (Mr. Fiedler conductor). The Prelude was played in New York at a concert conducted by Walter Damrosch, December 7, 1894. * * The Prelude is scored for piccolo, two flutes, two oboes, two clarinets, 620 IT WB^p JT W L.-S [— J jii BEGINNING MONDAY, DECEMBER 29 A Sale That Has Been a Full Year in Preparation. Exceptional Offerings of Choicest Domestic Undermuslins and also of The Best French Hand-made, Hand-embroidered Undermuslins in this country. Every Department enters into this Sale by Contributing Remarkable Price Concessions. miattft^a Opposite Boston Common 154-155-156-158 TREMONT STREET PARIS LONDON BERLIN DUBLIN VIENNA 621 — two bassoons, four horns, two trumpets, three trombones, bass tuba, a set of three kettledrums, triangle, tambom-ine, cymbals, and the usual strings. It is freely constructed from thematic material that occurs in the opera. The prelude opens Ruhige, nicht zu langsame Bewegung (Tran- quillo non troppo lento), C major, 4-4, with the Prayer played in full harmony and softly by horns and bassoons. This theme is developed by strings and other groups of instruments. The movement changes to B major, Munter (Vivace), 2-2. The trumpet has a vigorous staccato theme against chords in the wood-wind and strings pizzicati. A more agitated motive is developed with many ascending and descending chromatic scales.
Load more

Recommended publications
  • Current Trends in the Implementation of Educational Concerts of Symphony Orchestras: a Review of Literature LEONI HADJITHOMA European University, Cyprus
    Min-Ad: Israel Studies in Musicology Online, Vol. 15, 2018 (2) Materials of the First International Conference on Music Education in the Community “Traditions, Challenges and Innovations,” Tel-Aviv – Jerusalem, May 14-17, 2017 Current Trends in the Implementation of Educational Concerts of Symphony Orchestras: A Review of Literature LEONI HADJITHOMA European University, Cyprus Abstract: This presentation focused on the current trends in the implementation of educational concerts of symphony orchestras. The aim was to collect, organize and present innovative approaches on how to design enjoyable educational concerts for students and provide them with memorable experiences. Data was collected from orchestra websites, reports, books and published thesis and doctoral dissertations. Results show that educational concerts are usually designed by a conductor often in collaboration with the director of the music education department of an orchestra. Teacher and student resources, and teacher training are provided to prepare the students for the experience. The choice of repertoire depends on the learning objectives of each concert, but the musical tastes and needs of the students should always be taken into consideration. The students are actively engaged in various ways during the concert. Assessment of educational concerts is carried out and the results are used internally for improvement of future concerts. Keywords: educational concerts, symphony orchestra, trends Introduction Many symphony orchestras include in their annual programs educational concerts for students in collaboration with schools to educate the audience of the future and enrich the services they offer to the public. At the same time, educational concerts are an important part of the music curriculum in education and give students the opportunity to gain additional experiences, while interacting with the community they belong to.
    [Show full text]
  • BIOGRAPHICAL DICTIONARY of THEATRE ORGANISTS Hillfasig
    scale lowered a half-step to the major triad. chords do not have to be played in root posi­ The following are some of the most frequent­ tion (with the name of the chord as the lowest ly used four-note chords: note). Once you have found the correct notes for any chord, practice it in all positions (in­ 7 1 3 5 7b versions) in both hands, e.g. 07 = G B D F 6 1 3 5 6 in Root Position, B D F G in First Inversion, Major 7 (maj. 7) 1 3 5 7 D F G B in Second Inversion, and F G B D in Minor 7 (m7) 1 3b 7b 5 Third Inversion. Minor 6 (m6) 1 3b 5 6 As a very general note: Most organists pre­ Diminished 7 (dim. 7) 1 3b 5b 7bb fer to play all of their accompaniment chords (7bb 6) = between the two Fs on either side of Middle C. The above ten formulas represent the ten Chords normally sound best in this range. basic types of chords. There are many others Also keeping them close together enables the necessary for advanced study. But consider, player to connect one chord smoothly into the by memorizing these ten rules you will be able next. As you practice your chords in all inver­ to form 120 chords! Of course, the most easily sions, remember to use finger substitution to With recalled chords will be those you use most achieve an unbroken, legato sound. often in your repertoire. We will continue with some of the more ad- HILLfASIG It is also important to note that these vanced chords in the next issue.
    [Show full text]
  • (MTO 21.1: Stankis, Ravel's ficolor
    Volume 21, Number 1, March 2015 Copyright © 2015 Society for Music Theory Maurice Ravel’s “Color Counterpoint” through the Perspective of Japonisme * Jessica E. Stankis NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.stankis.php KEYWORDS: Ravel, texture, color, counterpoint, Japonisme, style japonais, ornament, miniaturism, primary nature, secondary nature ABSTRACT: This article establishes a link between Ravel’s musical textures and the phenomenon of Japonisme. Since the pairing of Ravel and Japonisme is far from obvious, I develop a series of analytical tools that conceptualize an aesthetic orientation called “color counterpoint,” inspired by Ravel’s fascination with Chinese and Japanese art and calligraphy. These tools are then applied to selected textures in Ravel’s “Habanera,” and “Le grillon” (from Histoires naturelles ), and are related to the opening measures of Jeux d’eau and the Sonata for Violin and Cello . Visual and literary Japonisme in France serve as a graphical and historical foundation to illuminate how Ravel’s color counterpoint may have been shaped by East Asian visual imagery. Received August 2014 1. Introduction It’s been given to [Ravel] to bring color back into French music. At first he was taken for an impressionist. For a while he encountered opposition. Not a lot, and not for long. And once he got started, what production! —Léon-Paul Fargue, 1920s (quoted in Beucler 1954 , 53) Don’t you think that it slightly resembles the gardens of Versailles, as well as a Japanese garden? —Ravel describing his Le Belvédère, 1931 (quoted in Orenstein 1990 , 475) In “Japanizing” his garden, Ravel made unusual choices, like his harmonies.
    [Show full text]
  • 100 Years of Extraordinary Historical Highlights from the Baltimore Symphony Orchestra Archives
    100 Years of Extraordinary Historical Highlights from the Baltimore Symphony Orchestra Archives 1910s 1915 – Through a $6,000 grant from the city of Baltimore, the Baltimore Symphony Orchestra is founded as a branch of the city’s Department of Municipal Music, making it the only major American orchestra to be fully funded as a municipal agency. 1916 – On February 11, the Baltimore Symphony Orchestra performs its inaugural concerts to a standing- room-only crowd at The Lyric, under the direction of Music Director Gustav Strube. All three concerts comprising the first season at the Lyric are sold out. 1920s 1924 – On February 16, the BSO hosts its first children’s concert. The Baltimore Symphony youth concert series is the first to be established by an American orchestra. 1926 – The Baltimore Symphony makes its initial broadcast performance on WBAL Radio. 1930s 1930 - George Siemonn becomes the second music director of the orchestra. He conducts his opening concert, with the musicians now numbering 83, on November 23. 1935 - In late February, George Siemonn reluctantly resigns as music director and is replaced by Ernest Schelling. Forty-four musicians apply for the position. Schelling is well-known for his children’s concert series at Carnegie Hall. 1937 - Sara Feldman and Vivienne Cohn become the first women to join the Baltimore Symphony. The older members of the orchestra are supportive, but union members picket the hall with signs saying, “Unfair to Men,” which is reported in the New York Times. 1937 - Ernest Schelling becomes ill and is replaced by Werner Janssen. The dynamic young conductor and his wife, the celebrated film star Ann Harding, receive an enthusiastic response when they arrive in Baltimore.
    [Show full text]
  • Toscanini IV – La Scala and the Metropolitan Opera
    Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 33,1913-1914, Trip
    DETROIT ARMORY Under the Auspices of the Detroit Orchestral Association Dl RECTORS EXECUTIVE COMMITTEE H. President WILLIAM MURPHY, NEWTON J. COREY, FREDERICK M. ALGER, Vice-President LEM W. Secretary and Manager BOWEN Treasurer CHARLES L. FREER CHARLES MOORE, EDWIN S. GEORGE JOHN SCOTT, Auditor WILFRED C. LELAND J. HARRINGTON WALKER Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE SATURDAY EVENING, JANUARY 31 AT 8.15 COPYRIGHT, 1913, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER -^-rrrrm ra m 1 W?% No Piano of American make has been so favored by the musical pub- lic as this famous old Boston make. The world's greatest musicians have demanded it and discriminating people have purchased it. THE CHICKERING PIANO enjoys the distinction of being the recipient of 129 First Medals and Awards for Superiority Its wonderful tone and action call it to the studio to stimulate and encourage the pupil, and it is sought by teachers and musical people when the best is desired. HUDSON COMPANY DETROIT, MICHIGAN mm*4 DETROIT ARMORY Thirty-third Season, 19! 3-191 Dr. KARL MUCK, Conductor SATURDAY EVENING, JANUARY 31 AT 8.15 PROGRAMME Glazounoff . Symphony in B-flat major, No. 5, Op. 55 I. Moderate- maestoso; Allegro. II. Scherzo: Moderato; Pochissimo meno mosso. III. Andante. IV. Allegro maestoso. Brahms . " Tragic" Overture, Op. 81 Juon "Vaegtervise" (Watchman's Song), Fantasy on Danish Folk-songs, Op. 31 First Time in Detroit Dvorak . Dramatic Overture, "Husitska," Op. 67 There will be an intermission of ten minutes after the symphony 3 a prolonging of musical pleasure by home-firelight awaits the owner of a " Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art.
    [Show full text]
  • REHEARSAL and CONCERT
    Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-FOURTH SEASON, I 904-1905. WILHELM GERICKE, CONDUCTOR {programme OF THE FIFTH REHEARSAL and CONCERT VITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, NOVEMBER J8, AT 2.30 O'CLOCK. SATURDAY EVENING, NOVEMBER J9, AT 8.00 O'CLOCK. Published by C'A. ELLIS, Manager. 265 CONCERNING THE "QUARTER (%) GRAND" Its Tone Quality is superior to that of an Upright. It occupies practically no more space than an Upright. It costs no more than the large Upright. It weighs less than the larger Uprights. It is a more artistic piece of furniture than an Upright. It has all the desirable qualities of the larger Grand Pianos. It can be moved through stairways and spaces smaller than will admit even the small Uprights. RETAIL WARE ROOMS 791 TREMONT STREET BOSTON Established 1823 : TWENTY-FOURTH SEASON, J904-J905. Fifth Rehearsal and Concert* FRIDAY AFTERNOON, NOVEMBER J8, at 2.30 o'clock- SATURDAY EVENING, NOVEMBER t% at 8.00 o'clock. PROGRAMME. Brahms ..... Symphony No. 3, in F major, Op. go I. Allegro con brio. II. Andante. III. Poco allegretto. IV. Allegro. " " " Mozart . Recitative, How Susanna delays ! and Aria, Flown " forever," from " The Marriage of Figaro Wolf . Symphonic Poem, " Penthesilea," after the like-named' tragedy of Heinrich von Kleist (First time.) " Wagner ..... Finale of " The Dusk of the Gods SOLOIST Mme. JOHANNA GADSKI. There will be an intermission of ten minutes after the Mozart selection. SPECIAL ANNOUNCEMENT. By general desire the concert announced for Saturday evening, Decem- ber 24, '* Christmas Eve," will be given on Thursday evening, December 2a.
    [Show full text]
  • Autographs – Auction November 8, 2018 at 1:30Pm 1
    Autographs – Auction November 8, 2018 at 1:30pm 1 (AMERICAN REVOLUTION.) CHARLES LEE. Brief Letter Signed, as Secretary 1 to the Board of Treasury, to Commissioner of the Continental Loan Office for the State of Massachusetts Bay Nathaniel Appleton, sending "the Resolution of the Congress for the Renewal of lost or destroyed Certificates, and a form of the Bond required to be taken on every such Occasion" [not present]. ½ page, tall 4to; moderate toning at edges and horizontal folds. Philadelphia, 16 June 1780 [300/400] Charles Lee (1758-1815) held the post of Secretary to the Board of Treasury during 1780 before beginning law practice in Virginia; he served as U.S. Attorney General, 1795-1801. From the Collection of William Wheeler III. (AMERICAN REVOLUTION.) WILLIAM WILLIAMS. 2 Autograph Document Signed, "Wm Williams Treas'r," ordering Mr. David Lathrop to pay £5.16.6 to John Clark. 4x7½ inches; ink cancellation through signature, minor scattered staining, folds, docketing on verso. Lebanon, 20 May 1782 [200/300] William Williams (1731-1811) was a signer from CT who twice paid for expeditions of the Continental Army out of his own pocket; he was a selectman, and, between 1752 and 1796, both town clerk and town treasurer of Lebanon. (AMERICAN REVOLUTION--AMERICAN SOLDIERS.) Group of 8 items 3 Signed, or Signed and Inscribed. Format and condition vary. Vp, 1774-1805 [800/1,200] Henry Knox. Document Signed, "HKnox," selling his sloop Quick Lime to Edward Thillman. 2 pages, tall 4to, with integral blank. Np, 24 May 1805 * John Chester (2). ALsS, as Supervisor of the Revenue, to Collector White, sending [revenue] stamps and home distillery certificates [not present].
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 46,1926-1927, Trip
    E. F. ALBEE THEATRE . PROVIDENCE Tuesday Evening, February 15, at 8.15 PRSGRKttttE 5* c « ill . // cries tuhen IfeeI like cry- ing, it singsjoyfully when Ifeel like singing. It responds—like a human being—to every mood. " 1 love the Baldivin Piano. V^-^^ rn- a-^-v^j Vladimir de Pachmann loves the Baldwin piano. Through the medium of Baldwin tone, this most lyric of contemporary pianists discovers complete revealment of his musical dreams. For a generation de Pachmann has played the Baldwin; on the concert stage and in his home. That love- liness and purity of tone which appeals to de Pach- mann and to every exacting musician is found in all Baldwins, alike in the Concert Grand, in the smaller Grands, in the Uprights. The history of the Baldwin is the history of an ideal. jfctitarin AM. Hume Music Co. 194-196 Boylston Street Boston E. F. ALBEE THEATRE PROVIDENCE FORTY-SIXTH SEASON, 1926-1927 INC. SERGE KOUSSEVITZKY, Conductor A 1 ]f 1 ill 'W \J) 1% L^» j&i C\ 11 TUESDAY EVENING, FEBRUARY 15, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1927, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager After more than half a century on Fourteenth Street, Steinway Hall is now located at 109 West 57th Street.
    [Show full text]
  • May, 1952 TABLE of CONTENTS
    111 AJ( 1 ~ toa TlE PIANO STYI2 OF AAURICE RAVEL THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Jack Lundy Roberts, B. I, Fort Worth, Texas May, 1952 TABLE OF CONTENTS LIST OFLLUSTRTIONS. Chapter I. THE DEVELOPMENT OF PIANO STYLE ... II. RAVEL'S MUSICAL STYLE .. # . , 7 Melody Harmony Rhythm III INFLUENCES ON RAVEL'S EIANO WORKS . 67 APPENDIX . .* . *. * .83 BTBLIO'RAWp . * *.. * . *85 iii LIST OF ILLUSTRATIONS Figure Page 1. Jeux d'Eau, mm. 1-3 . .0 15 2. Le Paon (Histoires Naturelles), mm. la-3 .r . -* - -* . 16 3. Le Paon (Histoires Naturelles), 3 a. « . a. 17 4. Ondine (Gaspard de a Nuit), m. 1 . .... 18 5. Ondine (Gaspard de la Nuit), m. 90 . 19 6. Sonatine, first movement, nm. 1-3 . 21 7. Sonatine, second movement, 22: 8. Sonatine, third movement, m m . 3 7 -3 8 . ,- . 23 9. Sainte, umi. 23-25 . * * . .. 25 10. Concerto in G, second movement, 25 11. _Asi~e (Shehdrazade ), mm. 6-7 ... 26 12. Menuet (Le Tombeau de Coupe rin), 27 13. Asie (Sh6hlrazade), mm. 18-22 . .. 28 14. Alborada del Gracioso (Miroirs), mm. 43%. * . 8 28 15. Concerto for the Left Hand, mii 2T-b3 . *. 7-. * * * .* . ., . 29 16. Nahandove (Chansons Madecasses), 1.Snat ,-5 . * . .o .t * * * . 30 17. Sonat ine, first movement, mm. 1-3 . 31 iv Figure Page 18. Laideronnette, Imperatrice des l~~e),i.......... Pagodtes (jMa TV . 31 19. Saint, mm. 4-6 « . , . ,. 32 20. Ondine (caspard de la Nuit), in. 67 .. .4 33 21.
    [Show full text]
  • Volume 65, Number 08 (August 1947) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1947 Volume 65, Number 08 (August 1947) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 65, Number 08 (August 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/181 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. XUQfr JNftr o 10 I s vation Army Band, has retired, after an AARON COPLAND’S Third Symphony unbroken record of sixty-four years’ serv- and Ernest Bloch’s Second Quartet have ice as Bandmaster in the Salvation Army. won the Award of the Music Critics Cir- cle of New York as the outstanding music American orchestral and chamber THE SALZBURG FESTI- BEGINNERS heard for the first time in New York VAL, which opened on PIANO during the past season. YOUNG July 31, witnessed an im- FOB portant break with tra- JOHN ALDEN CARPEN- dition when on August TER, widely known con- 6 the world premiere of KEYBOARD TOWN temporary American Gottfried von Einem’s composer, has been opera, “Danton’s Tod,” By Louise Robyn awarded the 1947 Gold was produced.
    [Show full text]
  • Journal of the American Theatre Organ Society
    JOURNAL OF THE AMERICAN THEATRE ORGAN SOCIETY ----------------- -- ------------------- Orbir ID™e ecrronic 1yn~e1izer ~UJ ~ -~oture01pinel organ equoJ... ~e nevve1rwoy lo mo <emu1ic ~romWur i~zec Now with the Orbit III electronic synthesizer from slowly, just as the theatre organist did by opening and Wurlitzer you can create new synthesized sounds in­ closing the chamber louvers. stantly ... in performance . And with the built-in Orbit III synthesizer, this This new Wurlitzer instrument is also a theatre organ, instrument can play exciting combinations of synthe­ with a sectionalized vibrato/tremolo, toy counter, in­ sized, new sounds, along with traditional organ music. A dependent tibias on each keyboard and the penetrating built-in cassette player/recorder lets you play along with kinura voice that all combine to recreate the sounds of pre-recorded tapes for even more dimensions in sound. the twenty-ton Mighty Wurlitzers of silent screen days. But you 've got to play the Orbit III to believe it. And it's a cathedral/classical organ, too, with its own in­ Stop in at your Wurlitzer dealer and see the Wurlitzer dividually voiced diapason, reed, string and flute voices. 4037 and 4373. Play the eerie, switched-on sounds New linear accent controls permit you to increase or of synthesized music. Ask for your free Orbit III decrease the volume of selected sections suddenly, or demonstration record. Or write: Dept. T0-473 WURLilzER ® The Wurlitzer Company, DeKalb , Illinois 60115. hn.4'the "·ag cover- Photo ... The 4/18 Wurlitzer at the Oaks Park Roller Rink in Portland, will be one of the instruments heard at the National Convention July 25th.
    [Show full text]