Boston Symphony Orchestra Concert Programs, Season 79, 1959-1960, Subscription
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The Form of the Preludes to Bach's Unaccompanied Cello Suites
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 The orF m of the Preludes to Bach's Unaccompanied Cello Suites Daniel E. Prindle University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Composition Commons, Musicology Commons, Music Practice Commons, and the Music Theory Commons Prindle, Daniel E., "The orF m of the Preludes to Bach's Unaccompanied Cello Suites" (2011). Masters Theses 1911 - February 2014. 636. Retrieved from https://scholarworks.umass.edu/theses/636 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2011 Master of Music in Music Theory © Copyright by Daniel E. Prindle 2011 All Rights Reserved ii THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Approved as to style and content by: _____________________________________ Gary Karpinski, Chair _____________________________________ Miriam Whaples, Member _____________________________________ Brent Auerbach, Member ___________________________________ Jeffrey Cox, Department Head Department of Music and Dance iii DEDICATION To Michelle and Rhys. iv ACKNOWLEDGEMENTS First and foremost, I would like to acknowledge the generous sacrifice made by my family. -
Ruth Hodgkins Is Queen 57 Granted Degrees Biff West and Jackie in Second Winter Percival Q Ueers Aides Commencement Feb.7 Skiing, Basketball Game, President Harold W
V O L . N o. 34 Issue 14 Z413 UNIVERSITY OF NEW HAMPSHIRE, DURHAM, NEW HAMPSHIRE, FEBRUARY IS, 1945 PRICE THREE CENTS Ruth Hodgkins Is Queen 57 Granted Degrees Biff West and Jackie In Second Winter Percival Q ueers Aides Commencement Feb.7 Skiing, Basketball Game, President Harold W. Stoke 17 Vets Among 43 Snow Sculpture and Dance Speaks on “Reflections on Promise Gala Weekend Individualism” in NH Hall New UNH Students Miss Ruth Hodgkins, ’46, of Needham, Forty-seven women and ten men re Seventeen veterans of World War II Mass. and formerly o f Etna, N. H., has ceived degrees from the University of were among the 43 new students enter been chosen to reign as Queen of the New Hampshire at Commencement ex ing the University of New Hampshire annual U N H Winter Carnival and gala ercises held on Wednesday afternoon, with the opening of the second semester Ball. Miss Hodgkins is a member of February 7, in New Hampshire Hall. today, it was announced by Dr. Everett Alpha Xi Delta and an English major. Four degrees were granted in absentia Country Gentlemen” New B. Sackett, registrar and director of ad Aides to the Queen will be Miss Eliza to men in the armed forces who have Name for UNH Dance Band Noted Pianist Gives missions. The ex-servicemen range in beth “ Biff” West, ’48, of Woburn, M ass.; completed requirements for a degree age from 19 to 39, with the average age and Miss Jacqueline Percival, ’45, of Hampton Beach, N. H. while in the service through courses The “Country Gentlement” is the new Concert Here Mar. -
Boston Symphony Orchestra Concert Programs, Season 64,1944-1945, Trip
[Harvard University] as s* ^ ^ BOSTON ^mm SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY L. HIGGINSON SIXTY-FOURTH SEASON ^ 1944-1945 141 Wednesday Evening, January 24 at 8 o'clock Boston Symphony Orchestra [Sixty-fourth Season, 1944-1945] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. KRIPS, A. RESNIKOFF, v. N. Concert-master tapley, r. KASSMAN, CHERKASSKY, , P. LEIBOVICI, J. THEODOROWICZ, J. HANSEN, E. DICKSON, H. FEDOROVSKY, P. ZAZOFSKY, G. EISLER, D. PINFIELD, C. BEALE, M. DUBBS, H. KNUDSON, C. ZUNG, M. MANUSEVITCH, V. GORODETZKY, L. MAYER, P. DIAMOND, S. HILLYER, R. DEL SORDO, R. BRYANT, M. STONESTREET, L. MESSINA, S. SAUVLET, H. MURRAY, J. ERKELENS, H. NAGY, L. Violas LEFRANC, J. FOUREL, G. VAN WYNBERGEN, C. GROVER, H. CAUHAPE, J. ARTIERES, L. BERNARD, A. WERNER, H. LEHNER, E. KORNSAND, E. GERHARDT, S. humphrey , G. Violoncellos BEDETTI, J. LANGENDOEN, J. DROEGHMANS, H. ZIMBLER, J. FABRIZIO, E. ZIGHERA, A. NIELAND, M. ZEISE, K. MARJOLLET, L. Basses MOLEUX, G. JUHT, L. GREENBERG, H. GIRARD, H. BARWICKI, J. DUFRESNE, G. FRANKEL, I. PORTNOI, H. PROSE, P. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. polatschek, v. ALLARD, R. PAPPOUTSAKIS, J. DEVERGIE, J. VALERIO, M. PANENKA, E. KAPLAN, P. LUKATSKY, J. CARDILLO, p. LAUS, A. Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MAZZEO, R. PILLER, B. Horns Trumpets Trombones Timpani VALRENIER, W. mager, g. raichman, j. szulc, r. MACDONALD, w LAFOSSE, M. HANSOTTE, L. POLSTER, M. MEEK, H. VOISIN, R. COFFEY, J. GEBHARDT, W. OROSZ, J. MCCONATHY, O. Harps Percussion ZIGHERA, B. STERNBURG, S. TUBA - CAUGHEY, E. SMITH, c. -
Boston Symphony Orchestra Concert Programs, Season 71, 1951
BOSTON SYMPHONY ORCHESTRA SEVENTY-FIRST SEASON 1951-1952 Veterans Memorial Auditorium, Providence Boston Symphony Orchestra (Seventy-first Season, 1951-1952) CHARLES MUNCH, Music Director RICHARD BURGIN, i4550ciate Conductor PERSONNEL Violins Violas Bassoons Richard Biirgin, Joseph de Pasquale Raymond AUard Concert -master Jean Cauhap6 Ernst Panenka Alfred Krips Georges Fourel Theodore Brewster Gaston Elcus Eugen Lehner Rolland Tapley Albert Bernard Contra-Bassoon Norbert Lauga George Humphrey Boaz Piller George Zazofsky Jerome Lipson Louis Arti^res Paul Cherkassky Horns Harry Dubbs Robert Karol Reuben Green James Stagliano Vladimir Resnikoff Harry Shapiro Joseph Leibovici Bernard KadinofI Harold Meek Einar Hansen Vincent Mauricci Paul Keaney Harry Dickson Walter Macdonald V^IOLONCELLOS Erail Kornsand Osbourne McConathy Samuel Mayes Carlos Pinfield Alfred Zighera Paul Fedorovsky Trumpets Minot Beale Jacobus Langendoen Mischa Nieland Roger Voisin Herman Silberman Marcel Lafosse Hippolyte Droeghmans Roger Schermanski Armando Ghitalla Karl Zeise Stanley Benson Gottfried Wilfinger Josef Zimbler Bernard Parronchi Trombones Enrico Fabrizio Raichman Clarence Knudson Jacob Leon Marjollet Lucien Hansotte Pierre Mayer John Coffey Manuel Zung Flutes Josef Orosz Samuel Diamond Georges Laurent Victor Manusevitch Pappoutsakis James Tuba James Nagy Phillip Kaplan Leon Gorodetzky Vinal Smith Raphael Del Sordo Piccolo Melvin Bryant George Madsen Harps Lloyd Stonestrect Bernard Zighera Saverio Messina Oboes Olivia Luetcke Sheldon Rotenbexg Ralph Gomberg -
Timeline: Music Evolved the Universe in 500 Songs
Timeline: Music Evolved the universe in 500 songs Year Name Artist Composer Album Genre 13.8 bya The Big Bang The Universe feat. John The Sound of the Big Unclassifiable Gleason Cramer Bang (WMAP) ~40,000 Nyangumarta Singing Male Nyangumarta Songs of Aboriginal World BC Singers Australia and Torres Strait ~40,000 Spontaneous Combustion Mark Atkins Dreamtime - Masters of World BC` the Didgeridoo ~5000 Thunder Drum Improvisation Drums of the World Traditional World Drums: African, World BC Samba, Taiko, Chinese and Middle Eastern Music ~5000 Pearls Dropping Onto The Jade Plate Anna Guo Chinese Traditional World BC Yang-Qin Music ~2800 HAt-a m rw nw tA sxmxt-ib aAt Peter Pringle World BC ~1400 Hurrian Hymn to Nikkal Tim Rayborn Qadim World BC ~128 BC First Delphic Hymn to Apollo Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Epitaph of Seikilos Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Magna Mater Synaulia Music from Ancient Classical Rome - Vol. 1 Wind Instruments ~ 30 AD Chahargan: Daramad-e Avval Arshad Tahmasbi Radif of Mirza Abdollah World ~??? Music for the Buma Dance Baka Pygmies Cameroon: Baka Pygmy World Music 100 The Overseer Solomon Siboni Ballads, Wedding Songs, World and Piyyutim of the Sephardic Jews of Tetuan and Tangier, Morocco Timeline: Music Evolved 2 500 AD Deep Singing Monk With Singing Bowl, Buddhist Monks of Maitri Spiritual Music of Tibet World Cymbals and Ganta Vihar Monastery ~500 AD Marilli (Yeji) Ghanian Traditional Ghana Ancient World Singers -
Boston Symphony Orchestra Concert Programs, Season 56,1936-1937, Subscription Series
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephone, Ticket and Administration Offices, Com. 1492 FIFTY-SIXTH SEASON, 1936-1937 CONCERT BULLETIN of the Boston Symphony Orchestra INCORPORATED SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes By John N. Burk COPYRIGHT, 1936, BY BOSTON SYMPHONY ORCHESTRA, Inc. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Bentley W. Warren .... President Henry B. Sawyer Vice-President Ernest B. Dane . Treasurer Allston Burr Roger I. Lee Henry B. Cabot Richard C. Paine Ernest B. Dane Henry B. Sawyer Alvan T. Fuller PierpOnt L. Stackpole N. Penrose Hallowell Edward A. Taft M. A. De Wolfe Howe Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [473] . Old Colony Trust Company 17 COURT STREET, BOSTON The principal business of this company is 1 Investment of funds and management of property for living persons. 2. Carrying out the provisions of the last will and testament of deceased persons. Our officers would welcome a chance to dis- cuss with you either form of service. ^Allied with The First National Bank a/' Boston [ 474 ] SYMPHONIANA Debussy and Koussevitzky — Rach- maninoff — "Music and the Multitude" DEBUSSY AND KOUSSEVITZKY In the winter of 1913 Debussy was invited by Koussevitzky to conduct a concert of his own music in Moscow and another in St. Petersburg. The com- poser was received with immense en- thusiasm by his many Russian admirers. The programme of the concert is here reproduced: Mf.TBF-PTblM • This and^other hand ClMfOHHHECKIH KOHUEPTb. -made ; c m, Glass; also unusual and attrac- UiKAfO. -
Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
*l'\ fr^j BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 G> X will MIIHIi H tf SEVENTY-SEVENTH SEASON 1957-1958 BAYARD TUCEERMAN. JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT 8. TUCEERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mast. LA fayette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1958, 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 Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. -
Boston Symphony Orchestra Concert Programs, Season 57,1937-1938, Subscription Series
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth i4g2 FIFTY-SEVENTH SEASON, 1937-1938 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1937, BY BOSTON SYMPHONY ORCHESTRA, Inc. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Bentley W. Warren President Henry B. Sawyer Vice-President Ernest B. Dane Treasurer Allston Burr M. A. De Wolfe Howe Henry B. Cabot Roger I. Lee Ernest B. Dane Richard C. Paine Alvan T. Fuller Henry B. Sawyer N. Penrose Hallowell Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [*9S] . Trust Company 17 COURT STREET, BOSTON The principal business of this company is: 1 Investment of funds and management of property for living persons. 2. Carrying out the provisions of the last will and testament of deceased persons. Our officers would welcome a chance to dis- cuss with you either form of service. <lAHied with The First National Bank of Boston [!94] : SYMPHONIANA Albert Roussel TAILORED Jacques Fevrier and Ravel's Concerto Mozart and Strauss to the Queen's taste Exhibition of Etchings The "Romeo and Juliet" Records ALBERT ROUSSEL April 5, 1869-August 23, 1937 L'ART D'ALBERT ROUSSEL VIVRA TOUJOURS. SA MUSIQUE EST UNE PAGE INEFFACABLE DANS LE LIVRE DOR DE L'ART MUSICAL FRANCAIS. SON GENIE CREATEUR GARDE "L'ELAN VITAL" INVISIBLE, PULSATIF ET SCINTILLANT DE LA PERFEC- TION ORGANIQUE. LA MORT D'ALBERT ROUSSEL LAISSE UN VIDE IRREMEDIABLE DANS LE MONDE MUSICAL, AINSI QUE DANS LA VIE PRIVEE DE TOUS CEUX QUI L'ONT CONNU. -
Violin Concerto in D Major Composed in 1931 Igor
VIOLIN CONCERTO IN D MAJOR COMPOSED IN 1931 IGOR STRAVINSKY BORN IN LOMONOSOV, RUSSIA, JUNE 17, 1882 DIED IN NEW YORK CITY, APRIL 6, 1971 Some of the most famous violin concertos, such as those by Mozart, were written by composers who played the instrument and who possessed first-hand knowledge of its potential. Concertos by a virtuoso violinist like Paganini show even greater evidence of knowing the best ways to exploit the fiddle to full effect, even if the profundity of the compositions themselves do not match the brilliance of the technical virtuosity they exhibit. And then there are those composers who rely on the kindness of others, sometimes strangers, calling upon them to help mold their musical ideas into idiomatic string writing. Joseph Joachim provided just such wise counsel for Brahms, Dvořák, Bruch, and other 19th-century masters, so much so that at times he approached becoming co-composer. One of the most fruitful partnerships to emerge in the 20th century was between Igor Stravinsky and the Polish-American violinist Samuel Dushkin (1891-1976). The result of their first collaboration in 1931 was the celebrated Concerto we hear performed tonight, a work that initiated a 40-year friendship, lasting until the composer’s death, and that resulted in other compositions, transcriptions, and numerous performances together. “A CLOSE FRIENDSHIP” By 1930 Stravinsky had already written a number of concertos, all of them keyboard works intended for his own use in concert. When the music publisher Willy Strecker approached him with a commission for Dushkin, Stravinsky was initially skeptical. He had never met Dushkin, nor heard him play. -
PROGRAM NOTES Johann Sebastian Bach Orchestral Suite No. 1 in C
PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Orchestral Suite No. 1 in C Major, BWV 1066 The dating of Bach’s four orche stral suites is uncertain. The first and fourth are the earliest, both composed around 1725. Suite no. 1 calls for two oboes and bassoon, with strings and continuo . Performance time is approximately twenty -one minutes. The Chicago Symphony Orchestra’s fir st subscription concert performances of Bach’s First Orchestral Suite were given at Orchestra Hall on February 22 and 23, 1951, with Rafael Kubelík conducting. Our most recent subscription concert performances were given on May 15, 16, and 17, 2003, with D aniel Barenboim conducting. Today it’s hard to imagine a time when Bach’s name meant little to music lovers, and when his four orchestral suites weren’t considered landmarks. But in the years immediately following Bach’s death in 1750, public knowledge o f his music was nil, even though other, more cosmopolitan composers, such as Handel, who died only nine years later, remained popular. It’s Mendelssohn who gets the credit for the rediscovery of Bach’s music, launched in 1829 by his revival of the Saint Ma tthew Passion in Berlin. A great deal of Bach’s music survives, but incredibly, there’s much more that didn’t. Christoph Wolff, today’s finest Bach biographer, speculates that over two hundred compositions from the Weimar years are lost, and that just 15 to 20 percent of Bach’s output from his subsequent time in Cöthen has survived. -
Elizabeth Sprague Coolidge Foundation Collection
Elizabeth Sprague Coolidge Foundation Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 1980 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2012562124 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu012012 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2012 Revised 2014 Collection Summary Title: Elizabeth Sprague Coolidge Foundation Collection Span Dates: 1894-1953 Bulk Dates: (bulk 1920-1953) Call No.: ML29 Creator: Coolidge, Elizabeth Sprague, 1864-1953 Extent: 56,680 items Extent: 109 containers Extent: 48.50 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2012562124 Summary: Elizabeth Sprague Coolidge was a composer, pianist, and patron of music. In 1925, she created the Elizabeth Sprague Coolidge Foundation at the Library of Congress in support of chamber music. The collection contains Coolidge's correspondence to and from many of the prominent musical artists of the first half of the twentieth century. Extensive correspondence between Coolidge and Library of Congress librarians and administrators is also included. The remaining materials in the collection, including photographs, scrapbooks, business papers, programs, publicity materials, iconography, realia, and clippings, are available for research and will be incorporated into the finding aid at a later date. Music manuscripts of works commissioned by Elizabeth Sprague Coolidge or the Elizabeth Sprague Coolidge Foundation in the Library of Congress comprise a substantial portion of the collection and are cataloged individually. -
Brandenburg Concerto No. 3, 3Rd Movement
BRANDENBURG CONCERTO No. 3 rd (3 movement: “Allegro”) 2 J. S. Bach (1718) BRANDENBURG CONCERTO NO. 3 3rd movement, “Allegro” By Johann Sebastian Bach (Germany) Baroque (ca. 1718) LESSON INTRODUCTION Important Terms and Concepts ∗ Concerto grosso: a type of piece in which multiple soloists perform with an orchestra ∗ Major scale: A scale is an ordered succession of pitches, arranged in a specific pattern of whole (W) or half (H) steps. A major scale follows the pattern WWHWWWH and is often sung as “Do Re Mi Fa Sol La Ti Do” ∗ Tempo: the speed of music o Adagio: slow, stately, leisurely o Allegro: quickly BEHIND THE MUSIC Johann Sebastian Bach (1685 – 1782) is widely considered to be one of the most important composers in the history of Western music. His father was a The Discovery concerts on respected violinist and January 26 - 27, 2017, will violist, but both his feature J. S. Bach’s “Air “ from mother and father died Symphonic Suite No. 3. when he was around 10 Register your class for this free concert today!! years old. Bach moved in with his brother, who was a professional church organist, and in the Amplify Curriculum: copyright 2016 Shreveport Symphony Orchestra www.shreveportsymphony.com 3 following years, he studied organ, clavichord, violin, and composition of music. Bach later served for the courts, where he was obligated to compose a great deal of instrumental music: hundreds of pieces for solo keyboard, concertos, orchestral dance suites, and more! In a tribute to the Duke of Brandenburg in 1721, Bach created the "Brandenburg Concertos.” These concertos represent a popular music style of the Baroque era, the concerto grosso, in which a group of soloists play with a small orchestra.