DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 90, 1970-1971

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 90, 1970-1971 v^ BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON THURSDAY B 2 FRIDAY -SATURDAY 16 1970-1971 NINETIETH ANNIVERSARY SEASON IP» STRADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO., INC Richard P. Nyquist, President Charles G. Carleton, Vice President 147 Milk Street Boston, Massachusetts 02109 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETIETH ANNIVERSARY SEASON 1970-1971 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President FRANCIS W. HATCH PHILIP K. ALLEN Vice-President HAROLD D. HODGKINSON ROBERT H. GARDINER Vice-President E. MORTON JENNINGS JR JOHN L. THORNDIKE Treasurer EDWARD M. KENNEDY ALLEN G. BARRY HENRY A. LAUGHLIN RICHARD P. CHAPMAN EDWARD G. MURRAY ABRAM T. COLLIER JOHN T. NOONAN MRS HARRIS FAHNESTOCK MRS JAMES H. PERKINS THEODORE P. FERRIS IRVING W. RABB SIDNEY STONEMAN TRUSTEES EMERITUS HENRY B. CABOT EDWARD A. TAFT PALFREY PERKINS RAYMOND S. WILKINS ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR Manager THOMAS W. MORRIS HARRY J. KRAUT Assistant Treasurer Associate Manager, Public Affairs FORRESTER C. SMITH MARY H. SMITH Development Director Concert Manager MARVIN Y. SCHOFER Press and Public Information program copyright © 1971 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS . jftbu*& Fluid and feminine — a new mood by JOHN KLOSS - fine Dacron® and wool jersey softly falling to ankle-length. Young Bostonian Shop, fifth floor Filene's Boston and Branches BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETIETH ANNIVERSARY SEASON 1970-1971 THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC. ABRAM T. COLLIER Chairman ERWIN D. CANHAM Vice-Chairman LEONARD KAPLAN Secretary VERNON ALDEN STEPHEN W. GRANT MRS FRANK G. ALLEN SAMUEL A. GROVES ROBERT C. ALSOP FRANCIS W. HATCH JR OLIVER F. AMES MRS C. D. JACKSON LEO L. BERANEK HOWARD W.JOHNSON DAVID W. BERNSTEIN W.SEAVEY JOYCE MRS CURTIS B. BROOKS MRS LOUIS I. KANE J. CARTER BROWN GEORGE H. KIDDER GARDNER L. BROWN LAWRENCE K. MILLER MRS LOUIS W. CABOT MRS STEPHEN V. C MORRIS MRS NORMAN L CAHNERS JOHN T. G. NICHOLS LEVIN H. CAMPBELL III LOUVILLE NILES JOHN L. COOPER DAVID R. POKROSS ROBERT CUTLER HERBERT W. PRATT NELSON J. DARLING JR NATHAN M. PUSEY HENRY B. DEWEY MRS FAIRFIELD E. RAYMOND RICHARD A. EHRLICH PAUL C. REARDON BYRON K. ELLIOTT MRS GEORGE R. ROWLAND PAUL FROMM DONALD B. SINCLAIR CARLTON P. FULLER MRS LEE STANTON MRS ALBERT GOODHUE JOHN HOYTSTOOKEY MRS JOHN L GRANDINJR ROBERT G. WIESE VINCENT C. ZIEGLER SYMPHONY HALL BOSTON MASSACHUSETTS IS yvH jteflVta Did you ever see polka dot tulips? They're blooming in multi- colors on this white culotte in polyester/cotton, $24, topped by an Arnel® triace- tate shirt, $1 4. Both easy- care, by David H. Smith. Great cruise look. Misses' sizes. Sportswear. BOSTON • CHESTNUT HILL • NORTHSHORE SHOPPING CENTER • SOUTH SHORE PLAZA BURLINGTON MALL • WELLESLEY BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor first violins cellos bassoons Joseph Silverstein Jules Eskin Sherman Walt concertmaster Philip R. Allen chair Ernst Panenka Charles Munch chair Martin Hoherman Matthew Ruggiero Alfred Krips Mischa Nieland Hobart Stephen Max Geber contra bassoon Rolland Tapley Robert Ripley Richard Plaster Roger Shermont Luis Leguia Max Winder Carol Procter Harry Dickson Jerome Patterson horns Gottfried Wilfinger Ronald Feldman James Stagliano Fredy Ostrovsky William Stokking Charles Yancich Leo Panasevich Joel Moerschel Harry Shapiro Noah Bielski David Ohanian Herman Silberman basses Thomas Newell Stanley Benson Paul Keaney Henry Portnoi Sheldon Rotenberg Ralph Pottle William Rhein Alfred Schneider Gerald Gelbloom Joseph Hearne Bela Wurtzler trumpets Raymond Sird Leslie Martin Armando Ghitalla second violins John Salkowski Roger Voisin Barwicki Clarence Knudson John Andre Come Robert Olson Fahnestock chair Gerard Goguen Lawrence Wolfe William Marshall Michel Sasson trombones Ronald Knudsen flutes William Gibson Leonard Moss Doriot Anthony Dwyer Ronald Barron William Waterhouse Walter Piston chair Kauko Kahila Ayrton Pinto James Pappoutsakis Amnon Levy Paul Fried tuba Laszlo Nagy Chester Schmitz Michael Vitale piccolo John Korman timpani Lois Schaefer Christopher Kimber Everett Firth Spencer Larrison oboes Ikuko Mizuno percussion Cecylia Arzewski Ralph Gomberg Charles Smith Marylou Speaker John Holmes Arthur Press Wayne Rapier violas assistant timpanist Burton Fine Thomas Gauger english horn Epstein Charles S. Dana chair Frank Reuben Green Laurence Thorstenberg harps Eugene Lehner George Humphrey clarinets Bernard Zighera Jerome Lipson Harold Wright Ann Hobson Robert Karol Pasquale Cardillo Bernard Kadinoff librarians Peter Hadcock Vincent Mauricci Victor Alpert £b clarinet Earl Hedberg William Shisler Joseph Pietropaolo Robert Barnes bass clarinet stage manager Hironaka Sugie* Felix Viscuglia Alfred Robison personnel manager William Moyer k member of the Japan Philharmonic Symphony Orchestra participating in a one season exchange with Yizhak Schotten. i?«*m ii 1 a 1 ira u uu V7vs> ooo personal trust services Are "the usual" trust services what you really want . for yourself . for your family? Many banks have departments that can give you the usuai trust services. But we've been specializing in the business of trusts for nearly a century. Now, to add even greater scope, we're a major component of THE BOSTON COMPANY, INC.'s national organization devoted to the imaginative management of capital. With investment counsel affiliates around the country ... an economic consulting group headed by Pierre Rinfret, advisor to government and industry ... a management consulting group with international capabilities. Few, if any, trust companies can offer this range of supporting capabilities. For further information about these services, please telephone or write John B. Harriman, Vice President. BOSTON SAFE DEPOSIT AND TRUST COMPANY One Boston Place Boston, Massachusetts 02106 (617) 722-7760 The Boston Company's affiliates provide the following services: INVESTMENT COUNSEL • REAL ESTATE INVESTMENT COUNSEL • OIL AND GAS INVESTMENT COUNSEL • PERSONAL FINANCIAL STRATEGIES • TRUST ADMIN- ISTRATION AND PERSONAL BANKING SERVICES • INVESTMENT RESEARCH AND TECHNOLOGY • ECONOMIC COUNSEL • MANAGEMENT CONSULTING CONTENTS Program for February 4, 5 and 6 1971 971 Future programs Friday-Saturday series 1017 Thursday B series 1019 Program notes Tchaikovsky- 'Romeo and Juliet', overture-fantasy 983 by James Lyons Scriabin - Le poeme de I'extase op. 54 986 by John N. Burk Beethoven - Symphony no. 3 in E flat op. 55 'Eroica' 1002 by James Lyons The Guest Conductor 1009 Program Editor ANDREW RAEBURN 969 K3SSK When you feel like laugh ng al I the way to the bank . we're the first people to talk to The First THE FIRST NATIONAL BANK OF BOSTON k*«i NINETIETH ANNIVERSARY SEASON 1970-1971 Thursday evening February 4 1971 at 8.30 Friday afternoon February 5 1971 at 2 o'clock Saturday evening February 6 1971 at 8.30 CLAUDIO ABBADO conductor TCHAIKOVSKY 'Romeo and Juliet', overture-fantasy' SCRIABIN Le poeme de I'extase op. 54 intermission BEETHOVEN Symphony no. 3 in E flat op. 55 'Eroica" Allegro con brio Marcia funebre: adagio assai Scherzo: allegro vivace Finale: allegro molto The concert on Friday will end about 4 o'clock; those on Thursday and Saturday about 10.30. The Boston Symphony Orchestra records exclusively for Deutsche Grammophon BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA* RECORDS 971 's^^^W^^S™* COMPA -. BOSTON; AFF.L.ATE: LOOM,S, SAYLES 4 cS^NVeTtmENT COUNSELORS "My insurance company? New England Life, of course. Why?- S5i'ince 1858 93 NEWBURY STREET ORIGINATED 1858 INDUSTRIAL SCHOOL FOR CRIPPLED CHILDREN 241 ST. BOTOLPH STREET BOSTON Provides For The Handicapped Child In A Free, Private, Day School A 12 Year Academic Program Vocational Training • Recreation Health Program • Transportation The Industrial School for Crippled Children solicits funds for its operation either through Bequests, Annuities or Life Insurance. In case of a life agreement a donor gives capital to the Industrial School for Crippled Children and in return receives income for life. Donors are invited to discuss these matters with the Treasurer. Treasurer, CHARLES E. COTTING, 10 Post Office Square, Boston CHARLES H. TAYLOR MRS. CHARLES E. COTTING President Chairman Ladies Committee 973 into Converse. This past year more collegiate, Olympic and professional athletes wore Converse than any other make. So why shouldn't your whole family be just as well set for whatever games they play. •converse When you're out to beat the world There are discerning devotees who want pre-Symphony dining to be a bravura performance. The Ritz is for them. The Ritz-Carlton
Load more

Recommended publications
  • Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution.
    [Show full text]
  • Symphony (In One Movem Ent), Op
    ONE MOVEMENT SYMPHONIES BARBER SIBELIUS SCRIABIN MICHAEL STERN KANSAS CITY SYMPH ONY A ‘PROF’ JOHNSON RECORDING SAMUEL BARBER First Symphony (In One Movem ent), Op. 9 (1936) Samuel Barber was born on March 9, 1910 in West Chester, Pennsylvania. His father was a physician and his mother a sister of the famous American contralto, Louise Homer. From the time he was six years old, Barber’s musical gifts were apparent, and at the age of 13 he was accepted as one of the first students to attend the newly established Curtis Institute of Music in Philadelphia. There he studied with Rosario Scalero (composition), Isabelle Vengerova (piano), and Emilio de Gogorza (voice). Although he began composing at the age of seven, he undertook it seriously at 18. Recognition of his gifts as a composer came quickly. In 1933 the Philadelphia Orchestra played his Overture to The School for Scandal and in 1935 the New York Philharmonic presented his Music for a Scene from Shelley . Both early compositions won considerable acclaim. Between 1935 and 1937 Barber was awarded the Prix de Rome and the Pulitzer Prize. He achieved overnight fame on November 5, 1938 when Arturo Toscanini conducted the NBC Symphony Orchestra in Barber’s Essay for Orchestra No. 1 and Adagio for Strings . The Adagio became one of the most popular American works of serious music, and through some lurid aberration of circumstance, it also became a favorite selection at state funerals and as background for death scenes in movies. During World War II, Barber served in the Army Air Corps.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 51,1931
    CARNEGIE HALL .... NEW YORK Friday Evening, February 5, at 8.45 Saturday Afternoon, February 6, at 2.30 PROGR7WVE BOSTON SYMPHONY ORCHESTRA: 188M931" By M. A. De WOLFE HOWE Semi'Centennial Edition It is seventeen years since M. A. De Wolfe Howe's history of the Boston Symphony Orchestra was published. The Fiftieth season of the Orches- tra seemed a fitting time to re-publish this prized narrative of its earlier days, and likewise to record, in additional chapters, the last years of Dr. Muck's conductorship, and the years of Henri Rabaud, Pierre Monteux, and Dr. Serge Koussevitzky. New appendices include a complete list of the music played at the regular concerts, giving the dates of performances. The soloists and the personnel through fifty years are also recorded, and the address on Henry Lee Higginson made by Bliss Perry at the Bach Festival, March 25, 1931. Now on sale at the Box Office, or by money order to Symphony Hall, Boston Price $1.50 (postage included) CARNEGIE HALL - - - NEW YORK Forty-sixth Season in New York FIFTY-FIRST SEASON, 1931-1932 INC. Di SERGE KOUSSEVITZKY, Conductor FRIDAY EVENING, FEBRUARY 5, at 8.45 AND THE SATURDAY AFTERNOON, FEBRUARY 6, at 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1932, BY BOSTON SYMPHONY ORCHESTRA, INC. Dr. SERGE KOUSSEVITZKY Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H. Cherkassky, P. Concert-mastei Kassman, N. Hamilton, V. Eisler, D. Theodorowicz, ] Hansen, E. Lauga, N. Fedorovsky, P. Leibovici, J. Pinficld, C.
    [Show full text]
  • Orchestra" Hall (Paradise Theatre) H&BS No
    ■Orchestra" Hall (Paradise Theatre) H&BS No. - MICH-271 3Tli.;'Woodward Avenue . Detroit WaynS.'-County; ' •Michigan .■/■•'"•■ O'^i PHOTOGRAPHS WRITTEN HISTORICAL AMD DESCRIPTIVE DATA Historic American Buildings Survey Office of Archeology and Historic Preservation Department of the Interior Washington, D. C. 2O2U0 5, MICH ,*7-~ \y ^m HISTORIC AMERICAN BUILDINGS SURVEY HABS No. MICH-271 ORCHESTRA EALL (Now Orchestra Hall - Paradise Theatre) Location: 3711 Woodward Avenue, at the northwest corner of Parsons Street, Detroit, Wayne County, Michigan. USGS Detroit Quadrangle, Universal Transverse Mercator Coordinates: If. 330360.1*690 3^0 Present Owner: The Save Orchestra Hall Committee, Inc., 3711 Wood- ward Avenue, Detroit, Michigan. Present Use: Performing arts and concert hall, now called Orchestra Hall - Paradise Theatre. Restoration is in progress. Statement of Orchestra Hall resembles the typical theatre of its Significance: day, with a restrained and elegant adaptation of Renaissance style that preceded the exhuberant eclecticism of the next decade. It was designed with emphasis on concert requirements, but was fully equipped also for use as a motion-picture theatre. Its appearance and superb acoustics re- 1% flect the ability of C. Howard Crane, a Detroit architect who became one of the most notable national and international architects of the "Movie Palace." Crane's Orchestra Hall, Detroit's first true concert hall, was considered to be one of the finest in the country. Built originally to obtain the services of Ossip Gabrilowitsch as permanent conductor of the Detroit Symphony Orchestra, during his tenure the hall was the scene of performances by many renowned artists. Later, as the Paradise Theatre, it offered outstanding concert jazz.
    [Show full text]
  • Season 2015-2016 the Philadelphia Orchestra
    Season 2015-2016 The Philadelphia Orchestra Tuesday, May 24, at 7:30 National Centre for the Performing Arts, Beijing, China Yannick Nézet-Séguin Conductor Lang Lang Piano Sibelius Finlandia, Op. 26 Rachmaninoff Piano Concerto No. 1 in F-sharp minor, Op. 1 I. Vivace II. Andante III. Allegro vivace Intermission Rimsky-Korsakov Sheherazade, Op. 35 I. The Sea and Sinbad’s Ship (Largo e maestoso)—Allegro non troppo II. The Tale of the Kalander Prince (Lento— Allegro molto III. The Young Prince and the Young Princess (Andantino quasi allegretto) IV. Festival at Baghdad—The Sea—The Ship Is Wrecked—Conclusion (Allegro molto) The Philadelphia Orchestra The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of imagination and innovation on and off the concert stage. The Orchestra is transforming its rich tradition of achievement, sustaining the highest level of artistic quality, but also challenging—and exceeding—that level by creating powerful musical experiences for audiences at home and around the world. Music Director Yannick Nézet-Séguin’s highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike since his inaugural season in 2012. Under his leadership the Orchestra returned to recording, with two celebrated CDs on the prestigious Deutsche Grammophon label, continuing its history of recording success. The Orchestra also reaches thousands of listeners on the radio with weekly Sunday afternoon broadcasts on WRTI-FM.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 53,1933-1934, Trip
    ACADEMY OF MUSIC . BROOKLYN Friday Evening, March 2, at 8.15 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonio Society of Brooklyn V} m I 3T '£ BOSTON SYMPHONY ORCHESTRA INC. FIFTY-THIRD SEASON 1933-1934 Bostoe Symphony Orchestra Fifty-third Season, 1933-1934 Dr. SERGE KOUSSEVITZKY. Conductor Violins. Burgin, R. Elcus, G. Lauga, N. Sauvlet, H. Resnikoff, V. Concert-master Gundersen, R. Kassman, N. Cherkassky, P. Eisler, D. Theodorowicz, J. Tapley, R. Mariotti, V. Fedorovsky, P. Knudson, C. Leibovici, J. Pinfield, C. Leveen, P. Hansen, E. Zung, M. Del Sordo, R. Gorodetzky, L Mayer, P. Diamond, S. Bryant, M. Fiedler, B. Zide, L. Beale, M. Stonestreet, L. Messina, S. Murray, J. Erkelens, H. Seiniger, S. Violas. Lefranc, J. Fourel, G. Bernard, A. Grover, H. Artieres, L. Cauhape, J. Van Wynbergen C. Werner, H. Avierino, N. Deane, C. Gerhardt, S. Jacob, R. Violoncellos. Bedetti, J. Langendoen, Chardon, Y. Stockbridge, C. Fabrizio, E. Zighera, A. Barth, C. Droeghmans, H. Warnke, J. Marjollet, L Basses. Kunze, M. Lemaire, J. Ludwig, O. Girard, H. Vondrak, A. Moleux, G. Frankel, I. Dufresne, G. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Polatschek, V. Laus, A. Bladet, G. Devergie, J. Valerio, M. Allard, R. Amerena, P. Stanislaus, H. Mazzeo, R. Panenka, E. Arcieri, E. Piccolo. English Horn. Bass Clarinet. Contra-Bassoon Battles, A. Speyer, L. Mimart, P. Piller, B. Horns. Horns. Trumpets. Trombones. Boettcher, G. Valkenier, W. Mager, G. Raichman, J. Macdonald, W. Lannoye, M. Lafosse, M. Hansotte, L. Valkenier, W. Singer, J. Grundey, T. Kenfield, L. Lorbe:r, H.
    [Show full text]
  • Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season
    Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season January 11, 12 and 13, 2019 MARKUS STENZ, CONDUCTOR BEHZOD ABDURAIMOV, PIANO CLAUDE DEBUSSY La cathédrale engloutie (arr. Matthews) SERGEI RACHMANINOFF Concerto No. 2 in C minor for Piano and Orchestra, Opus 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando Mr. Abduraimov Intermission FERRUCCIO BUSONI Berceuse élégiaque, Poem for Orchestra, Opus 42 ALEXANDER SCRIABIN The Poem of Ecstasy (Symphony No. 4), Opus 54 Jan. 11-13, 2019, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA CLAUDE DEBUSSY La cathédrale engloutie, Arranged for Orchestra by Colin Matthews Claude Debussy was born in St. Germain-en-Laye (near Paris) on August 2, 1862, and died in Paris on March 25, 1918. He composed La cathédrale engloutie (“The Sunken Cathedral”) in 1910, which is part of the first book of his Préludes for Piano, and it was premiered by Debussy at the Société Musicale Indépendente in Paris on May 25, 1910. The arrangement heard this weekend was premiered in Manchester by the Hallé Orchestra with conductor Sir Mark Elder on May 6, 2007. These performances mark the Pittsburgh Symphony premiere of the work. The score calls for two piccolos, two flutes, alto flute, two oboes, English horn, two clarinets, bass clarinet, contra bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps, celesta and strings. Performance time: approximately 6 minutes. “The sound of the sea, the curve of the horizon, the wind in the leaves, the cry of a bird enregister complex impressions within us,” Debussy told an interviewer when he was at work on his Préludes.
    [Show full text]
  • “The Jazz Problem”: How U.S. Composers Grappled with the Sounds of Blackness, 1917—1925 Stephanie Doktor Cumming, Georgia
    “The Jazz Problem”: How U.S. Composers Grappled with the Sounds of Blackness, 1917—1925 Stephanie Doktor Cumming, Georgia Bachelor of Arts, Vocal Performance, University of North Georgia, 2003 Master of Arts, Musicology, University of Georgia, 2008 Master’s Certificate, Women’s Studies, University of Georgia, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia December, 2016 iv © Copyright by Stephanie DeLane Doktor All Rights Reserved December 2016 v For Hillary Clinton and Terry Allen, who both lost the race but the fight still rages on vi ABSTRACT My dissertation tracks the development of jazz-based classical music from 1917, when jazz began to circulate as a term, to 1925, when U.S. modernism was in full swing and jazz had become synonymous with America. I examine the music of four composers who used black popular music regularly: Edmund Jenkins, John Powell, William Grant Still, and Georgia Antheil. For each composer, whose collections I consulted, I analyze at least one of their jazz-based compositions, consider its reception, and put it in dialogue with writings about U.S. concert music after World War I. Taken together, these compositions contributed to what I call the Symphonic Jazz Era, and this music was integral to the formation of American modernism. I examine how these four composers grappled with the sounds of blackness during this time period, and I use “the Jazz Problem” as an analytic to do so. This phrase began to circulate in periodicals around 1923, and it captured anxieties about both the rise of mass entertainment and its rootedness in black cultural sounds in the Jim Crow era.
    [Show full text]
  • THE BEAST with FIVE FINGERS: the UNSEEN MAN in HOLLYWOOD a Memoir Judith Aller
    44 CHICAGOQUARTERLYREVIEW THE BEAST WITH FIVE FINGERS: THE UNSEEN MAN IN HOLLYWOOD a memoir Judith Aller ago, Victor Aller was sure he could pull it off. “You only S get one chance,” he reminded himself. The piano tuner, Howard Jackson, put his tools away and sat down nearby, his eyes – and those of director Robert Florey and the rest of his crew – on Aller. Aller moved center-stage to the piano. Standing over the keyboard, head down, left hand extended, he put on an earphone, nodded at the crew and crawled beneath the piano. He pumped the pedal, checking for noise that could spoil the take. Special effect man William McGann cloaked Aller in black velvet so only his extended hand could be seen. Then: “Vic, are you ready?” Contorting his body and arm—left hand on the keyboard, right hand on the pedal— Aller answered: “Yeah, sure.” He waited a beat for the sound of the click-track: one, two, three as the camera rolled. His hand and wrist moved together with Chaconne—his hand a thing of grotesque beauty—his well- The scene above occurred during the shooting of The Beast With Five Fingers in which Victor Aller had the starring role. Though he was unseen, buried in a cloak of a sort, as the disembodied hand of the title, he played with remarkable ease underneath the piano. The scene of his “severed” hand playing the Bach Chaconne was a virtuoso stunt that was never done before or since. (There THE BEAST WITH FIVE FINGERS 45 was a similar movie by Oliver Stone called The Hand in 1981, but Stone had the advantage of digital technology to animate his murderous beast, which belonged not to a musician but a cartoonist.) Someone watching The Beast With Five Fingers today will surely wonder how it was done, in the pre-digital era and accomplished with serious purpose by an artist hidden from sight on camera, beneath a grand piano.
    [Show full text]
  • Leonard Slatkin
    MANHATTAN SCHOOL OF MUSIC SALUTES MSM ICON Leonard Slatkin IN CELEBRATION OF HIS 75TH BIRTHDAY MSM SYMPHONY ORCHESTRA Leonard Slatkin (HonDMA ’13), Conductor Alec Baldwin (HonDMA ’12), Narrator Frederick Zlotkin, cello With special guests Sir James Galway and Lady Jeanne Galway, flute This concert marks the launch of the MSM Icons performance series celebrating acclaimed MSM alumni and trustees with exceptional international music careers. Friday, October 18, 2019 | 7:30 PM Neidorff-Karpati Hall Friday, October 18, 2019 | 7:30 PM Neidorff-Karpati Hall MSM SYMPHONY ORCHESTRA Leonard Slatkin (HonDMA ’13), Conductor Alec Baldwin (HonDMA ’12), Narrator Frederick Zlotkin, cello With special guests Sir James Galway and Lady Jeanne Galway, flute PROGRAM WILLIAM SCHUMAN New England Triptych (1910–1992) Be Glad Then America When Jesus Wept Chester MIKHAIL GLINKA Kamarinskaya (Fantasy on Two Russian Folksongs) (1804–1857) MODEST ALTSCHULER A Soldier Song (1873–1963) MAURICE RAVEL Pièce en forme de habanera (1875–1937) Mr. Zlotkin, cello CINDY MCTEE Shenandoah (b. 1953) Sir Galway and Lady Galway, flute LEONARD SLATKIN The Raven (b. 1944) Mr. Baldwin, Narrator DANIEL SLATKIN In Fields (b. 1994) FELIX SLATKIN Fisher’s Hornpipe (1915–1963) (Adapted by Cindy McTee) Wistful Haven Carmen’s Hoedown MSM SYMPHONY ORCHESTRA Leonard Slatkin (HonDMA ’13), Conductor VIOLIN 1 Clara Hong Ju Jeon CELLO Nuri Lim, Daejon, South Korea Esther Seitz, principal concertmaster Eunyoung Kim Edinburg, Texas Seoul, South Korea Seoul, South Korea Magalí Toy Hajung Cho TaTan
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Reassessing a Legacy: Rachmaninoff in America, 1918–43 A dissertation submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2008 by Robin S. Gehl B.M., St. Olaf College, 1983 M.A., University of Minnesota, 1990 Advisor: bruce d. mcclung, Ph.D. ABSTRACT A successful composer and conductor, Sergei Rachmaninoff (1873–1943) fled Russia at the time of the Bolshevik Revolution never to return. Rachmaninoff, at the age of forty-four, transformed himself by necessity into a concert pianist and toured America for a quarter of a century from 1918 until his death in 1943, becoming one of the greatest pianists of the day. Despite Rachmaninoff‘s immense talents, musicologists have largely dismissed him as a touring virtuoso and conservative, part-time composer. Rather than using mid-twentieth-century paradigms that classify Rachmaninoff as a minor, post-Romantic, figure, a recent revisionist approach would classify Rachmaninoff as an innovator. As one of the first major performer-composers in America to embrace recording and reproducing technology, along with the permanence and repetition it offered, Rachmaninoff successfully utilized mass media for twenty-five years. Already regarded as a conductor and composer of appealing music, Rachmaninoff extended his fame by recording and performing his own works, and those of others.
    [Show full text]
  • Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season
    Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season January 25 and 27, 2019 LONG YU, CONDUCTOR INON BARNATAN, PIANO QIGANG CHEN Wu Xing (“The Five Elements”) Shui (Water) Mu (Wood) Huo (Fire) Tu (Earth) Jin (Metal) SERGEI RACHMANINOFF Concerto No. 1 in F-sharp minor for Piano and Orchestra, Opus 1 I. Vivace II. Andante III. Allegro vivace Mr. Barnatan Intermission ANTONÍN DVOŘÁK Symphony No. 9 in E minor, Opus 95, “From the New World” I. Adagio — Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco Jan. 25-27, 2019, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA QIGANG CHEN Wu Xing (“The Five Elements”) Qigang Chen was born in Shanghai on August 28, 1951. He composed Wu Xing in 1998 and 1999, and it was premiered in Paris by Didier Benetti and the Orchestra National de France on May 21, 1999. These performances mark the Pittsburgh Symphony premiere of the work. The score calls for piccolo, three flutes, three oboes, E-flat clarinet, three clarinets, bass clarinet, three bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, percussion, harp, piano, celesta and strings. Performance time: approximately 11 minutes. “His compositions display real inventiveness, very great talent and a total assimilation of Chinese thinking to European musical concepts. He is endowed with exceptional intelligence and an excellent internal ‘ear.’ I hold him in high esteem, and wish him the greatest success, for he deserves it.” Olivier Messiaen offered this encomium shortly before his death, in 1992, about his last student, the only one he accepted after retiring from the faculty of the Paris Conservatoire in 1978 — Shanghai-born composer Qigang Chen.
    [Show full text]