DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip KRUEGER AUDITORIUM NEWARK, NJ. Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor fhvgrmmtt* of GRAND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, DECEMBER 9 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY, New York, Cincinnati, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, 0. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Hori<r. Bass Clarinet. Contra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz, Lorbeer, H. Gebhardt, W. Mann, J. Miiusebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhard*. H, Librarian. Sauerquell, J. 3 Hthe ©fttrittrttig Ptano Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S.A. Represented in New York by JOHN WANAMAKER, Broadway and ioth Street DOSlOn KRUEGER AUDITORIUM, Symphony i newark. /~\ Twenty-seventh Season, t 907-1908. *• r-» !-• /^ ^ "" *• «1 Dr. KARL MUCK, Conductor. GRAND CONCERT, MONDAY EVENING, DECEMBER 9, AT 8.15 PRECISELY. PROGRAMME. D'Indy .. "Wajlenstein," Trilogy, after the Dramatic Poem of Schiller, Op. 12 I. Wallenstein's Camp. II. Max and Thekla (The Piccolomini). III. The Death of Wallenstein. Grieg .... Concerto in A minor, for Pianoforte, Op. 16 I. Allegro molto moderato. II. Adagio. III. Allegro moderato molto e marcato. Schumann ..... Overture to "Genoveva," Op. 81 SOLOIST, OLGA SAMAROFF, The pianoforte is a Steinway* There will be an intermission of ten minutes before the concerto. 5 . The vast majority of so-called Player-Pianos are merely COMBINATIONS of a Player and a Piano. The Player, originally devised as a SEPARATE instrument, to play the piano from the keyboard, is in these instances ADAPTED to the INTERIOR of the piano* This is obviously the vorong principle, since the mechanism originated and patented for one purpose cannot be PERFECTLYadapted to another. The AlITOTONE The Piano ALL Can Play {either by hand or by perforated music-rolls) Was conceived, not as two separate instruments, but as a complete whole, the entire player mechanism being newly devised expressly for the Autotone. This results in the greatest possible harmony and responsiveness between the piano and the included ability to play it. Only by these means can such perfect effects be secured. You should satisfy yourself on these points by calling at our warerooms or at the warerooms of our representative. THE ACCENTOR which accomplishes the " human touch "— which gives the instant ability to properly accent-is found only in the AUTOTONE All makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST ESTAB. HARDMAN, PECK & CO. 1842 138 Fifth Avenue (corner 19th*Street), New York 524 Fulton Street, Brooklyn "WaUvENstein," Trilogy (after the Dramatic Poem op Schiller). Vincent d'Indy (Born at Paris, March 27, 1852*; now living in Paris.) The first work of Vincent d'Indy that was performed in Paris was ,, his "Ouverture des Piccolomini, which was produced at a Pasdeloup concert, January 25, 1874. This overture, the second part of the "Wallenstein" trilogy, showed, it is said, the marked influence of Schumann. It was afterwards changed materially, thoroughly rewritten. The "Wallenstein" trilogy was begun in 1873-74. It was com- pleted about 1 88 1. The third movement, "La Mort de Wallenstein/ ' was first per- formed at a Pasdeloup concert ("Concert Populaire") in Paris, March 14, 1880. The first movement, "Le Camp de Wallenstein," was first performed at a concert of the National Society, Paris, April 12, 1880. It was per- formed March 30, 1884, at a Concert Populaire, Pasdeloup conductor, in Paris. There were performances of this or that movement at the concerts of the National Society in Paris, at Angers, and at Antwerp, but the first performance of the trilogy, complete, was at a Lamoureux concert in Paris, March 4, 1888. The first performance of the trilogy in the United States was at one of Anton Seidl's concerts in Steinway Hall, New York, December 1, 1888. Among the other performances in the United States are the follow- ing: Chicago: Chicago Orchestra, Theodore Thomas conductor, "Wallenstein's Camp," October 27, 1900; the complete trilogy, April 6, * This year is given by the composer. The catalogue of the Paris Conservatory gives 1851, and 1851 is given by Adolphe Jullien, who says he verified the date by the register of d'Indy's birth. HEW SONGS for CONCERT and RECITAL DSE ![ We have this season a very large number of interesting compositions by such leading Composers as A. WOODFORDE-FINDEN, LIZA LEHMANN, LAURA LEMON, GRAHAM PEEL, ROGER QUILTER, HAMILTON HARTY, E. ELGAR, E. GERMAN, NOEL JOHNSON, R. BARTHELEMY, F. P. TOSTI, LANDON RONALD, G. H. CLUTSAM, STEPHEN ADAMS, etc. If Ask your dealer for a selection of these, or write direct to the Publishers, BOOSEY & COMPANY, 9 East Seventeenth St, New York City 7 MATHUSHEK & SON Grand and Upright Pianos EDWARD W. LINTNER 607 Broad Street NEWARK, N.J. Telephone, 2479-L Next to Hahne's — — " — — " 1901; Theodore Thomas's Orchestra, as it is now called, Frederick A. Stock conductor, "Wallenstein's Camp," April 6, 1907. Cincinnati: Cincinnati Orchestra, Mr. Van Der Stucken conductor, "Wallenstein's Camp," December 19, 1903, January 27, 1906. * * * It seems that, when "The Death of Wallenstein" was first performed in Paris, there was an argument, an explanatory programme, for a contemporary reviewer then discussed the possibility of translating into music "Reves h£roiques de gloire et de liberte," "Trahison," "Mort," while he admitted d'Indy's success in the sections, "Souvenir de Thecla and "Triomphe." The score of the trilogy is without a programme of any sort whatever. * * Hugues Imbert's sketch of the trilogy was Englished by Stanley V. Makower as follows: "The distinguishing feature of the symphonic music of Vincent d'Indy is that it paints with forcible truth, marvellous vividness, and astonishing vigor the various episodes in the drama of Schiller. For instance, in the first part, 'Le Camp,'* after the slow valse, comes the James Churchill's translation into English of " Wallenstein's Camp" is thus prefaced: "The Camp of Wallenstein is an introduction to the celebrated tragedy of that name, and, by its vivid portraiture of the state of the General's army, gives the bestclue to the spell of his gigantic power. The blind belief entertained in the unfailing success of his arms, and in the supernatural agencies by which that success is secured to him; the unrestrained indulgence of every passion, and utter disregard of all law, save that of the camp; a hard oppression of the peasantry and plunder of the country; have all swollen the soldiery with an idea of interminable sway. "Of Schiller's opinion concerning the Camp, as a necessary introduction to the tragedy, the following passage, taken from the Prologue to the first representation, will give a just idea and may also serve as a motto to the work: '"Not He it is, who on the tragic scene Will now appear—but in the fearless bands Whom his command alone could sway, and whom His spirit fired, you may his shadow see, Until the bashful Muse shall dare to bring Himself before you in a living form; For power it was that bore his heart astray His Camp, alone, elucidates his crime.' JUST PUBLISHED BY G. SCHIBMEB, 35 UNION SQUABE, NEW YORK Ufye HISTORY of MUSIC A HANDBOOK AND GUIDE FOR STUDENTS By WALDO SELDEN PRATT Professor of Music and Hymnology in Hartford Theological Seminary, Lecturer on Music His- tory at Smith College and at the Institute of Musical Art of the City of M New York. Author of Musical Ministries in the Church." Octavo, cloth. Price, $3.00 net This work fills a gap in musical literature.
Load more

Recommended publications
  • UNIVERSITY of CALIFORNIA Los Angeles
    UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism.
    [Show full text]
  • The a Lis Auth Szt P Hen Pian Ntic No T Cho Trad Opin Diti N an on Nd
    THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 1 2 THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION 3 4 THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 5 Published in 2008 by Wensleydale Press ABN 30 628 090 446 165/137 Victoria Street, Ashfield NSW 2131 Tel +61 2 9799 4226 Email [email protected] Designed and printed in Australia by Wensleydale Press, Ashfield Copyright © Gerard Carter 2008 All rights reserved. This book is copyright. Except as permitted under the Copyright Act 1968 (for example, a fair dealing for the purposes of study, research, criticism or review) no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior permission. Enquiries should be made to the publisher. ISBN 978-0-9805441-2-1 This publication is sold and distributed on the understanding that the publisher and the author cannot guarantee that the contents of this publication are accurate, reliable, complete or up to date; they do not take responsibility for any loss or damage that happens as a result of using or relying on the contents of this publication and they are not giving advice in this publication. 6 7 8 CONTENTS Chapter 1: Introduction ... 11 Chapter 2: Chopin and Liszt as composers ...19 Chapter 3: Chopin and Liszt as pianists and teachers ... 29 Chapter 4: Chopin tradition through Mikuli ... 55 Chapter 5: Liszt tradition through Stavenhagen and Kellermann ..
    [Show full text]
  • Sophie Menter Zählte in Den Letzten Jahrzehnten Des 19
    Menter, Sophie standensein nicht in Unzufriedenheit mündet.“ (César Cui in „Nedelja“ [„Die Woche“] vom 18. Februar 1884, zit. n. Vinocour 2006, S. 61) Profil Sophie Menter zählte in den letzten Jahrzehnten des 19. Jahrhunderts zu den großen Virtuosinnen und herausra- genden Liszt-Interpretinnen, die von London bis St. Pe- tersburg über 40 Jahre das Publikum zu Begeisterungs- stürmen hinriss. Sophie Menter wurde u. a. von Friedrich Niest in Mün- chen und Carl Tausig in Berlin ausgebildet und musizier- te häufig gemeinsam mit Franz Liszt an zwei Flügeln, der sie als Pianistin sehr schätzte. Ihre Interpretationen sei- ner Werke, darunter besonders das Klavierkonzert Es- Dur, wurden legendär. Entsprechend wurde Sophie Men- ter von Beginn ihrer Karriere an von konservativer Seite angegriffen, die ihr zu wenig musikalische Sensibilität und zu viel Kraft vorwarf. Während ihrer Zeit als Hofpianistin am Hof von Löwen- berg lernte sie den Cellisten David Popper kennen, den Die Pianistin Sophie Menter. Fotografie Wegner &amp; Mottu, sie 1872 heiratete und mit dem sie nach ihrer Ernennung Amsterdam und Utrecht, o.D. zur k.k. Hofpianistin 1877 vermutlich nach Pest zog. Von 1884 bis 1887 war Sophie Menter Professorin am Konser- Sophie Menter vatorium in St. Petersburg, wo sie die Klavierklasse von Ehename: Sophie Menter-Popper Louis Brassin übernahm, zu deren Schüler u. a. Vasilij Sa- pellnikoff und Vasilij Safnov gehörten. Nach ihrer Rück- * 17. Juli 1846 in M&uuml;nchen, Deutschland kehr aus St. Petersburg und der Scheidung von David † 23. Februar 1918 in Stockdorf bei M&uuml;nchen, Popper 1886 ließ sie sich auf Schloss Itter bei Kitzbühel Deutschland in Tirol nieder und unternahm von dort aus ihre Konzert- reisen nach Russland und England.
    [Show full text]
  • Josef Hofmann 1 Josef Hofmann
    Josef Hofmann 1 Josef Hofmann Josef Casimir Hofmann (originally Józef Kazimierz Hofmann; January 20, 1876 – February 16, 1957) was a Polish-American virtuoso pianist, composer, music teacher, and inventor. Biography Josef Hofmann was born in Podgórze, near Kraków, Austria-Hungary (now Poland) in 1876. His father was the composer, conductor and pianist Kazimierz Hofmann, and his mother the singer Matylda Pindelska. A child prodigy, he gave a debut recital in Warsaw at the age of 5, and a long series of concerts throughout Europe and Scandinavia, culminating in a series of concerts in America in 1887-88 that elicited comparisons with young Mozart and young Mendelssohn.[1] Anton Rubinstein took Hofmann as his only private student in 1892 and arranged the debut of his pupil in Hamburg, Germany in 1894. Hofmann toured and performed extensively over the next 50 years as one of the most celebrated pianists of the era.[2] In 1913, he was presented with a set of keys to the city of St. Petersburg, Russia. As a composer, Hofmann published over one hundred works, many of those under the pseudonym Michel Dvorsky, including two piano concertos and ballet music. He made the United States his base during World War I and became a US citizen in 1926. In 1924, he became the first head of the piano department at the inception of the Curtis Institute of Music, Philadelphia, and became the Institute's director in 1927 and remained so until 1938. He was instrumental in recruiting illustrious musicians such as Efrem Zimbalist, Fritz Reiner, Marcella Sembrich, and Leopold Auer as Curtis faculty.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
    INFANTRY HALL . PROVIDENCE Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor ffragntmm? at % Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, FEBRUARY 12 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY, New York, Cincinnati, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E.- Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 30,1910-1911, Trip
    NEW NATIONAL THEATRE, WASHINGTON Thirtieth Seaion, 1910- WU MAX FIEDLER, Conductor Programme nf % FIRST MATINEE WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, NOVEMBER 8 AT 4.30 COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER OPERA AMERICA AND ABROAD Mr. H. WINFRED GOFF Frau CLARA WALLENTHIN- Miss EDITH DE LYS London Covent Garden STRANDBERG Stockholm London Covent Garden two seasons America Savage Grand Opera Royal Opera and Dresden Milan Florence Brussels Rome etc. Mrs. CLARA SEXTON- At present singing in Germany Mr. EARL W. MARSHALL CROWLEY Italy Florence Milan Miss LAURA VAN KURAN Italy Florence etc. Barcelona Now singing in America Italy Florence Now in America Now in Italy Mrs. ALICE BENSON Mrs. LOUISE HOMER Mr. MYRON W. WHITNEY KRAFT France Nantes At present with Aborn Grand Opera Co. New York Paris London Brussels Now with Lilian Nordica and Opera Boston Chicago Now singing in New York Metropolitan Opera Co. Concert Co. Italy Mme. LENA ABARBANELL Miss FANNY B. LOTT Miss BLANCH FOX (VOLPINI) Austria Hungary Germany etc. Italy Palermo Rimini Pisa etc. Italy Venice Milan Vercelli etc. Metropolitan Opera Co. New York Now singing in Italy American Grand Opera Cos. New Nowsinging "Madam Sherry" N.Y. Miss EDITH FROST STEWART York Chicago San Francisco etc. Mr. HENRY GORRELL To create title role in Victor Her- Miss MARY CARSON (KIDD) Italy Florence Genoa Torino etc. bert's new opera " When Sweet Six- Italy Milan etc. Now singing in Italy teen "now rehearsing in New York Now singing in Italy Mr. FLETCHER NORTON Miss BERNICE FISHER Miss ROSINA SIDNA Now singing in New York With the Boston Opera Co.
    [Show full text]
  • 222 Tonkünstler-Versammlung Weimar, [23.] 24. – 27. [28.] Mai 1884
    222 Tonkünstler-Versammlung Weimar, [23.] 24. – 27. [28.] Mai 1884 1. Aufführung Weimar, Großhzgl. Hoftheater, Freitag, 23. Mai, 18:30 Uhr 1. a) musikalische Einleitung Ltg.: a) und c) Eduard Lassen Franz Liszt: Die Ideale, Symphonische Dichtung Sol.: b) Louise Hettstedt (die Musik, Rez.), Hauptthema Rosa Lüdt (die Poesie, Rez.), Hildegard b) An der Ilm, scenischer Prolog Jenicke (Nymphe der Ilm, Rez.) Text: Adolf Stern BühnGestalt.: von den Sol. bekränzte Büste c) musikalischer Beschluß Franz Liszts Franz Liszt: Die Ideale, Symphonische Dichtung Hauptthema 2. Franz Liszt: Die heilige Elisabeth, Oratorium (scenische Ltg.: Eduard Lassen Aufführung) Sol.: Ferdinand Wiedey (Landgraf), Rudolf von Milde (ungarischer Magnat), Martha Norris (die junge Elisabeth), Karl Scheidemantel (Landgraf Ludwig), Louise Schärnack (Landgräfin Sophie), von Milde jun. (Kaiser Friedrich II.), Frl. Meibauer (Elisabeth) 2. Aufführung: Erstes Concert [auch: I. Kammermusik-Concert ] Weimar, Erholung, großer Saal, Samstag, 24. Mai, 11:00 Uhr Konzertflügel: Julius Blüthner, Leipzig 1. Franz Liszt: Sonate für Pianoforte in einem Satz h-Moll, Sol.: Arthur Friedheim (Kl.) An Robert Schumann 2. Gesänge für Mezzosopran und Pianoforte Sol.: Magda Bötticher (Mez.), Aleksandr Il’ic Hermann Zopff: Ziloti (Kl.) a) Bilder des Orients Concertino op. 34 Nr. 4 Text: Heinrich Wilhelm August Stieglitz ( ≡) b) Schlummerlied op. 38 Nr. 6 Text: Heinsius ( ≡) c) Franz Liszt: „So sah ich denn auf Erden Engelsfrieden“, Sonett Text: Francesco Petrarca, Übs.: Peter Cornelius ( ≡ dt.) 3. Edvard Hagerup Grieg: Sonate für Violoncello und Sol.: Friedrich Grützmacher d. Ä. (Vc.), Pianoforte a-Moll op. 36 Margarete Stern (Kl.) 1. Allegro agitato 2. Andante molto tranquillo 3. Allegro molto e marcato 4. Hans Frhr.
    [Show full text]
  • Composer/Author
    composer/author title festival year artist ABDEL WAHAB, Mohammed Ya Msafer Wahdak 2011 Gilbert Yammine, qanun ABE, Keiko Memories of the Seashore 1995 Evelyn Glennie / Philip Smith ABE, Keiko Michi 1995 Evelyn Glennie / Philip Smith ABE, Keiko Vaiatios o Japaese Childes Sogs 1995 Evelyn Glennie / Philip Smith ADAM, Adolphe Charles Pas de deu fo Le Cosai 1997 Moscow Classical Ballet ADAM, Adolphe Charles Suite fo At II Giselle 1997 Moscow Classical Ballet ADAM, Adolphe Charles Giselle 1998 Irek Mukhamdov & Company (Margarita Kullik / Aidar Akhmetov) ADAM, Adolphe Charles / Marius Le Corsaire (pas de deux) 2004 Hungarian Dance Academy PETIPA ÅHLÉN, D. Sommarpsalm 2005 Harmony of Voices cond. Fredrik Malmberg AHMAD, Zakaria Ghanili shouwaii (Sing to me softly) 2005 The Oriental Arabic Orchestra cond. Dr Walid Gholmieh AIBLINGER, Johann Kaspar Thee Piees fo the Mass i A 1997 The Vienna Boys Choir AITKIN, Robert Icicle 2008 Wissam Boustany AKIN, C. Küheylan (pure bred Arab horse) 1995 Leyla Pinar Al KHATIB, Ali Andalusian 2005 The Oriental Arabic Orchestra cond. Dr Walid Gholmieh Al SOUNBATI, Ryad Longa Ryad 2005 The Oriental Arabic Orchestra cond. Dr Walid Gholmieh ALBENIZ, Isaac Asturias 1995 Evelyn Glennie / Philip Smith ALBENIZ, Isaac Granada 1999 Polish Guitar Quartet ALBENIZ, Isaac Cordoba 2000 Slava Grigoryan ALBENIZ, Isaac La Torre Bermeja 2000 Slava Grigoryan ALBENIZ, Isaac Sevilla 2000 Slava Grigoryan ALBINONI, Tomaso Adagio 2000 Primo Allegro ALBINONI, Tomaso Concerto for oboe in D minor, op. 9 No. 2 2001 Arcata Stuttgart ALBINONI, Tomaso Adagio in G minor 2006 The Swingle Singers ALBINONI, Tomaso Adagio g-moll 2009 Czech Chamber Philharmonic Alexandre GUILMANT, Michel Dance Suite 2005 Ekaterina Melnikova CORRETTE, Jean-Philippe RAMEAU, Joseph HAYDN AL-SOUMBATI, Riad Lissafaker 1999 Iman Homsi ALVÉN, Hugo Aftonen 2005 Harmony of Voices cond.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 31,1911
    INFANTRY HALL . PROVIDENCE Thirty-first Seaion, WJ-J9J2 MAX FIEDLER, Conductor Programme of % FOURTH CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, FEBRUARY J 3 AT 8.15 COPYRIGHT, 1911, BY C A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says: "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the "wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds.
    [Show full text]
  • THE PIANO BOOK Pianos, Composers, Pianists, Recording Artists, Repertoire, Performing Practice, Analysis, Expression and Interpretation
    THE PIANO BOOK pianos, composers, pianists, recording artists, repertoire, performing practice, analysis, expression and interpretation GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 2 THE PIANO BOOK 3 4 THE PIANO BOOK pianos, composers, pianists, recording artists, repertoire, performing practice, analysis, expression and interpretation GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 5 Published in 2008 by Wensleydale Press ABN 30 628 090 446 165/137 Victoria Street, Ashfield NSW 2131 Tel +61 2 9799 4226 Email [email protected] Designed and printed in Australia by Wensleydale Press, Ashfield Copyright © Gerard Carter 2008 All rights reserved. This book is copyright. Except as permitted under the Copyright Act 1968 (for example, a fair dealing for the purposes of study, research, criticism or review) no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior permission. Enquiries should be made to the publisher. ISBN 978-0-9805441-0-7 This publication is sold and distributed on the understanding that the publisher and the author cannot guarantee that the contents of this publication are accurate, reliable, complete or up to date; they do not take responsibility for any loss or damage that happens as a result of using or relying on the contents of this publication and they are not giving advice in this publication. 6 INTRODUCTION ACCENT ACTION ALBERT D’ ALBERTI BASS ALKAN ALTENBURG AMERICAN TERMS ANSORGE
    [Show full text]
  • En Afton På Röda Kvarn. Svensk Stumfilm Som Musikdrama
    En afton på Röda Kvarn. Svensk stumfilm som musikdrama Wallengren, Ann-Kristin 1998 Document Version: Förlagets slutgiltiga version Link to publication Citation for published version (APA): Wallengren, A-K. (1998). En afton på Röda Kvarn. Svensk stumfilm som musikdrama. Lund University Press. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Ann-Kristin Wallengren En afton på Röda Kvarn Svensk stumfilm som musikdrama LITTERATUR TEATER FILM, NYA SERIEN 17 Red: Eva Hættner Aurelius, Per Rydén, Margareta Wirmark En afton på Röda Kvarn Svensk stumfilm som musikdrama Ann-Kristin Wallengren Lund University Press Box 141 S-221 00 Lund Sweden ©Ann-Kristin Wallengren Art nr 205 24 ISSN 0347-7770 ISBN 91-7966-524-1 Printed in Sweden Team Offset Malmö 1998 2 3 Ann-Kristin Wallengren En afton på Röda Kvarn.
    [Show full text]
  • The Crystal Palace Saturday Concerts, 1865–1879: a Case Study of the Nineteenth-Century Programme Note
    The Crystal Palace Saturday Concerts, 1865–1879: A Case Study of the Nineteenth-Century Programme Note Bruno Benjamin Bower Awarding Institution: Royal College of Music PhD January 2016 Abstract In recent decades, historical concert programmes have emerged as a fascinating resource for cultural study. As yet, however, little detailed work has been done on the programme notes that these booklets contained. This thesis concentrates on the notes written for the Crystal Palace Saturday Concerts between 1865 and 1879. The series held an important place in London concert life during this period, and featured a number of influential authors in the programmes, such as George Grove, August Manns, James William Davison, Edward Dannreuther, and Ebenezer Prout. Grove in particular made use of his notes as part of entries in the first edition of the Dictionary of Music and Musicians. Close critical readings of the Saturday Concert booklets illustrate the complex combination of context, content, and function that the programme notes represented. These readings are supported by short histories of the series, the programme note, and the various authors, along with a study of the audience through booklet construction and advertising. A database covering the repertoire performed and programme note provision during the case-study period is included on the attached CD. Programme notes that outlined pre-existing or newly-invented plots make it clear that one of their functions was to give music a narrative. Even notes that did not contain stories per se were filled with material that served a very similar purpose. The most obvious examples were explanations of how the work was created, and it’s place in history.
    [Show full text]