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Boston Symphony Orchestra Concert Programs, Season 65,1945-1946

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SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-FIFTH SEASON, 1945-1946 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1945, BY BOSTON SYMPHONY ORCHESTRA, IflC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Oliver Wolcott G. E. Judd, Manager [389] &&©@@©@©©@@©@©©@@@®@@@@©&&&&&&&>&U © © © © © © © © ® © © © © © © © © Time for Review? © Are your plans for the ultimate distribu- tion of your property up-to-date? Changes * in your family situation caused by deaths, © births, or marriages, changes in the value © of your assets, the need to meet future taxes © . these are but a few of the factors that © suggest a review of your will. © to •St We invite you and your attorney make IT* use of our experience in property manage- ment and settlement of estates by discuss- ing your program with our Trust Officers. PERSONAL TRUST DEPARTMENT The Rational Shawmut Bank 40 Water Street^ Boston Member Federal Deposit Insurance Corporation Capital $10,000,000 Surplus $20,000,000 "Outstanding Strength" for 108 Years &l&WWWWWWy&WWWWWWy»W SYMPHONIANA Faure Festival at Harvard Prokofieff's Fifth in New York Prokofieff in a New Mood Exhibition FAURE FESTIVAL AT HARVARD Although recognized as a composer who has exerted a far-reaching influence on the direction of contemporary music, Gabriel Faure is known in the United States chiefly through his lesser works, and it is with this in mind that Harvard University, in its forthcoming festival celebrating the 100th anniversary of the birth of Faure, will offer a notable group of soloists with orchestra and chorus in a series of five programs rep- resenting the "greater" Faure. The first program on Tuesday, No- vember 27, consists of music from "Pelleas et Melisande" excerpts from "Promethee" and "Shylock," and a com- plete performance of the famed Requiem, This concert takes place in the Harvard Memorial Church at 8:15 p.m. and like all other events in the festival, is open to the public without charge. On Wednesday afternoon, November 28 at 4 :30 p.m. in Paine Hall, the first of two programs of Faure's chamber music will be given. The program offers the Second Violin Sonata and the Trio for Violin, 'Cello and Piano. Wednesday night's program in Sanders Theater in- cludes the song cycles "Cinq Melodies de Venise" and "La Bonne Chanson." A second chamber music concert fol- lows on Thursday night in Sanders Theater, offering the First Piano Quin- tet and the Second Piano Quintet, as well as a number of songs with instru- mental accompaniment. The Festival will be brought to an end on Friday night, November 30 in Sanders Theater j ' with a concert performance of the opera "Penelope" with soloists, chorus, or- chestra and narrator. PROKOFIEFF'S FIFTH IN NEW YORK "The Boston Symphony Orchestra, under Serge Koussevitzky, gave its first local concert of the season last night in Carnegie Hall. Featured on the pro- gram was the Fifth Symphony of Pro- kofieff, which received its first New York hearing. This novelty was pre- [39i 3 ceded by the same composer's Clas- sical' symphony and followed by the Second symphony by Sibelius. "The juxtaposition of the two Pro- kofieff compositions was a happy idea on the part of the conductor. Since the 'Classical' symphony was the first and the Fifth symphony the latest of the composer's works in the genre, their performance made clear his growth in his art over the years. "Both were written in a world in turmoil, the 'Classical' during the first World War and the Fifth symphony in 1944, while Russia was still at grips with the Nazis. The elegant refinements of the earlier symphony with its at- tempt to recapture the Mozartean idiom in more modern terms, without a hint of Mozart's subtlety and depth, failed to reflect in the slightest any emotional reaction to the great con- flict then confronting humanity. But the Fifth symphony tells a different story. "Here Prokofieff comes to grips with humanity in its tremendous struggle, and does so with telling sympathy in music of extraordinary vitality. Not suffering and sorrow dominate the work, however, but the sense of power felt by his race and the overwhelming joy experienced in its realization of certain victory over its foes and the forces of evil. "Dr. Koussevitsky, always a cham- pion of Prokofieff's music from the start of the composer's career, led his men in a superb performance of this new and stirring creation. It was played with splendid virtuosity and brought out to the full the vivid coloring and varied moods of the richly scored opus." — Noel Straus, New York Times (November 15). PROKOFIEFF IN A NEW MOOD WARM ROBES "Serge Prokofieff, two of whose sym- for mother and child phonies were included in last night's Wool flannels and quilts concert of the Boston Symphony Or- Model sketched in pure wool flannel. chestra at Carnegie Hall, is clearly the Red, navy, rose or delft blue with top, by our foreign standards, among contrasting piping. composers of Soviet Russia. Unless, of course, some unusually accomplished 2-6 $15 7-14 $18.50 master is being concealed from us. But 12-20 $25 if the aim of Soviet musicians is as I think it is, to be broadly expressive without falling into either finickiness 91{a6aima/{nc; or banality, then certainly there is no The Trousseau House of Boston other body of musical work in contem- porary Russia comparable to that oil 41B BDYLSTDN STREET Prokofieff. WELLESLEY - HYANNIS - PALM REACH "His 'Classical' Symphony, which opened the program, has long been [392] popular among both musicians and lay- men. Written some thirty years ago, it is still fresh in feeling and in texture, lively, gay, cheerful and soundly built. His latest work in that form, num- bered Five, which was given locally last night for the first time, though considerably more somber of content, is no less vigorous or pleasing and quite as admirably shaped. "It is probably the most dignified of all Prokofieff's works. By dignified I mean that it is introspective and con- tained rather than picturesque. There is virtually no local-color music in it, no landscape, painting, no deliberate Russianism, save in the last movement. And its continuous lyricism is neo-Ro- mantic rather than neo-classical in feel- ing. ... "His Fifth Symphony, however, is a departure. It is the first symphonic work by any composer of impression- istic-and-neoclassic formation to follow whole-heartedly the neo-Romantic es- thetic of strictly personal lyricism. It achieves, indeed, an abundance of lyrical feeling quite surprising from an author formed on the objective techniques. And the absence of color- istic orchestration is equally notable. The sound of the work is not drab, by any means, or unvaried. But it is dark in color, like a Rouault canvas (let us carry the comparison no farther). It sings constantly, but it makes no effort to glitter or to shine. And its form is no modernistic version of clas- sical procedure but the real thing itself, at least in spirit, simple, straightfor- for wardly continuous and self-contained." women who recognize and — Virgil Thomson, appreciate fine clothes . New York Herald-Tribune (November 15). Fredleys will always have the perfect costume for an EXHIBITION important occasion ... a A group of original modern French suit ... a gown ... a coat or lithographs is on display in the First hat . created with imagina- Balcony Gallery. The collection, lent to the Orchestra anonymously for this tion and individuality . occasion, includes the work of Anguetin, Bonnard, Cassatt, Cezanne, Cheret, fashioned with knowing care by Daumier, Gauguin, Manet, Matisse, Renoir, Rouault, Steinlen, Henri de superb designers to please the Toulouse-Lautrec, Veber, Vertes, and most discriminating Vouillard. tastes . in WeWe^ey, [39s ] The First National Bank of Boston Presents a Second Season of Concerts "Sunday at 4:30" Arthur Fiedler Conducting an £nlai~ged Orchestra To be broadcast each Sunday Afternoon at 4:30 over Station WBZ, Boston, 1030 on your dial Old Colony Trust Company ONE FEDERAL STREET, BOSTON T. Jefferson Coolidge Channing H. Cox Chairman President Allied with The First National Bank of Boston [394] SIXTY-FIFTH SEASON • NINETEEN HUNDRED FORTY-FIVE AND FORTY-SIX Seventh Programme FRIDAY AFTERNOON, November 23, at 2:30 o'clock SATURDAY EVENING, November 24, at 8:30 o'clock PAUL PARAY, Conducting Franck Symphony in D minor I. Lento; allegro non troppo II. Allegretto III. Allegro non troppo INTERMISSION Faure Suite from the Incidental Music to Maeterlinck's Tragedy, "Pelleas et Prelude quasi adagio Melisande," Op. 80 "Fileuse," Andantino quasi allegretto Sicilienne Ravel "La Valse," Choreographic Poem Debussy "Prelude a l'apres-midi d'un Faune" (Eclogue by Stephane Mallarme) Dukas "L'Apprenti Sorcier" ("The Sorceror's Apprentice") Scherzo, after a ballad by Goethe BALDWIN PIANO This programme will end about 4:30 o'clock on Friday Afternoon, 10:30 o'clock on Saturday Evening. [395] /TlafaA^ and $750 $850 A treasured collection of five-stripe plus 20% tax beaver seven-stripe sheared Canadian to make the coats, beautifully manipulated luxury fur. most of the luminous sheen of this the group. Sizes for juniors and misses in Store D-37 Fur Salon, Third Floor, Jordan's Main [396] : : PAUL PARAY Paul Paray was born at Le Treport, France, May 24, 1886.
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  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS

    Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS

    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
  • Programmheft Sommersemester 2002

    Programmheft Sommersemester 2002

    Programmheft Internetversion www.uni-hamburg.de/akamusik/programmheft_2002_2.pdf 1 PROGRAMMFOLGE Claude Debussy Nocturnes (1899) Nuages Fêtes Sirènes Florent Schmitt Chansons à quatre voix op.39 (1903-05/1931) Pause Hector Berlioz Sara la Baigneuse op.11 (1834/1850) Gabriel Fauré Masques et bergamasques op.112 (1864-9/1919) Ouverture Pastorale Madrigal op.35 Menuet Gavotte Pavane op.50 Charles Gounod Ainsi que la brise légère (1859) (Finale des II. Aktes von Faust) www.uni-hamburg.de/akamusik/programmheft_2002_2.pdf 2 CLAUDE DEBUSSY (1862 - 1918) von Wiebke Preuß (Chor) Claude Debussy wurde am 22. August 1862 in Saint-Germain-en-Laye nahe Paris geboren. Mit neun Jahren erhielt er Klavierstunden. Seine erste Lehrerin, eine Schülerin Chopins, erkannte sein musikalisches Talent und erreichte, dass er 1872 am Pariser Conservatoire Unterricht erhielt (Klavier und Harmonielehre). 1879 erhielt er das Angebot, Nadedja von Meck - die Förderin Tschaikowskys - als Musiklehrer und Pianist auf ihren Reisen nach Florenz, Venedig, Wien und Moskau zu begleiten. Wiederholte Reisen bis 1882 boten zugleich Gelegenheiten, Musik anderer Länder kennen zu lernen, speziell Musik russischer Komponisten wie Mussorgski, den Debussy besonders schätzte. 1884 erhielt er für die Kantate L´enfant prodigue den ersten Prixe de Rome, die höchste französische Auszeichnung für junge Künstler. Das muss für ihn ein sehr zwiespältiges Erfolgserlebnis gewesen sein: er hatte mit dem verlorenen Sohn seinen (sich freilich erst entwickelnden) eigenen Stil verleugnet und ein „gefälliges“, eher konventionelles Stück geschrieben. Der Preis verhieß einen dreijährigen Arbeitsaufenthalt in Rom, den er widerwillig antrat. Er verließ Italien vorzeitig. Bald distanzierte er sich auch vom Conservatoire. Fortan trat er nur noch selten als Pianist in Erscheinung und verstand sich als Komponist.