DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955, Subscription

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955, Subscription SYMPHONY HALL, BOSTON Telephone, Commonwealth 6-1492 SEVENTY-FOURTH SEASON, i954-!955 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1954, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES or the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President . Vice-President Jacob J. Kaplan Richard C. Paine . Treasurer Talcott M. Banks, Jr. C. D. Jackson John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Charles H. Stockton Francis W. Hatch Edward A. Taft Harold D. Hodgkinson Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Thomas D. Perry, Jr., Manager G. Rector J Assistant Assistant W. J. J. Brosnahan, Treasurer N. S. Shirk \ Managers Rosario Mazzeo, Personnel Manager [433] THE LIVING TRUST How It Benefits You, Your Family, Your Estate Unsettled conditions . new inventions . political changes . interest rates and taxes, today make the complicated field of in- vestments more and more a province for specialists. Because of this, more and more men and women, with capital to invest and estates to manage, are turning to the Living Trust. WHAT IT IS The Living Trust is a Trust which you establish to go into effect during your lifetime, as part of your overall estate plan, and for the purpose of receiving professional management for a specified portion of your property. It can be arranged for the benefit of yourself, members of your family, or other individuals or charities —and can be large or small. We will be glad to meet with you and your attorney, in strict con- fidence, to discuss a Living Trust as it fits in with your situation. For an appointment, at your convenience, please write or call the Personal Trust Department of the National Shawmut Bank, Boston, Massachusetts. No obligation, of course. Send for the Shawmut Bank's informative new booklet, "The Living Trust". It tells the whole story. Yours without charge. The National Shawmut Bank of Boston Member Federal Deposit Insurance Corporation [434] : SYMPHONIANA EXHIBITION Etchings by Michel Ciry, loaned by THE TROUSSEAU HOUSE OF BOSTON courtesy of Arthur Heintzelmann and the Boston Public Library, are on view in the Gallery. • • the SALE 15 NEW WORKS COMMISSIONED FOR BOSTON SYMPHONY'S 75TH SEASON that really Is The Boston Symphony Orchestra will celebrate its 75th anniversary with a SALE the 1955-56 season. In honor of the occasion, the Orchestra, its Music Direc- tor, Charles Munch, and the Serge Every item from our regu- Koussevitzky Music Foundation in the Library of Congress have jointly com- lar stocks. Nothing bought missioned fifteen new works by lead- for sale purposes. ing contemporary composers. The amount for each commission, to be shared by the two organizations, will be $2,000. Works for symphony or- chestra of approximately 20-30 min- 20% to 50% OFF utes in length will be written by six European composers, eight from the States from South United and one negligees, teagowns America • Benjamin Britten (England) Henri Dutilleux (France) • silk, nylon lingerie Gottfried von Einem (Austria) Jacques Ibert (France) • household and Darius Milhaud (France) decorative linens Goffredo Petrassi (Italy) Samuel Barber (United States) • children's things Leonard Bernstein (United States) (Wellesley Shop only) Aaron Copland (United States) Howard Hanson (United States) Bohuslav Martinu (United States) Walter Piston (United States) SPECIAL JANUARY William Schuman (United States) Roger Sessions (United States) VALUES in Heitor Villa-Lobos (Brazil) WAMSUTTA The first to be performed will be Martinu's Symphonic Fantasies, already SHEETS • CASES completed. It was Mr. Munch who asked the composer to write the work. MARTEX He will conduct it at the concerts of next week, and in New York the week following. He hopes to receive the LUXOR TOWELS remaining works by September of 1955 and will perform most or all of them during the ensuing season. Each 416 Boylston St., Boston score will carry the inscriptions: "Commissioned in celebration of the 54 Centra! St., Wellesley 75th Anniversary of the Boston Symphony Orchestra, Charles Munch, Music Director." L 43! "Dedicated to the memory of Serge Anniversary by Serge Koussevitzky and Natalie Koussevitzky." and performed under his direction. The original manuscript scores will Other works composed for the half- be deposited ultimately in the Serge century season (1930-31) and per- Koussevitzky Collection in the Library formed by Dr. Koussevitzky include: of Congress. Konzertmusik for String and Brass In- The Boston Symphony Orchestra, struments by Paul Hindemith; Sym- since its founding in 1881 by Henry Lee phony (No. 1) by Arthur Honegger; Higginson, has figured prominently in Leggenda Sinjonica by Alexander introducing new works often hotly de- Steinert ; Ode (for the 50th Anniver- bated when first heard, but destined sary of the Boston Symphony Orches- to become classics. Early conductors tra) by Edward Burlingame Hill such as Georg Henschel, Arthur (poem by Robert Hillyer) ; Symphony Nikisch and Wilhelm Gericke suc- No. 2 ("Romantic") by Howard Han- ceeded, over opposition, in making son; Symphony No. 4 by Serge Brahms popular. Karl Muck brought Prokofieff; Metamorphoseon (Theme forward such composers as Strauss and and Variations) by Ottorino Respighi; Debussy. Pierre Monteux, as conduc- Symphony (No. 3) in G minor by Al- tor of the Orchestra from 1919 to 1924, bert Roussel; Overture by Serge Kous- introduced Stravinsky to symphony sevitzky and Symphonic Ode by Aaron concerts, and this composer's Sym- Copland. phony of Psalms was one of the works Under the direction of Charles Munch commissioned for the Orchestra's 50th since 1949, the Boston Symphony Or- (Continued on page 477) Hear these performances come ^ALIVE" with new RCA Victor high fidelity CHARLES MUNCH . Among the exciting performances conducted by Charles Munch which are yours on RCA Victor "New Orthophonic" High Fidelity Records: Berlioz: The Damnation of Faust (com- plete) Berlioz: Romeo and Juliet (complete) Brahms : Concerto No. 2 in B-Flat. Artur Rubinstein, pianist Honegger: Symphony No. 5 Roussel : Bacchus et Ariane Ravel : Pavane for a Dead Princess Charles Munch Conducts French Music . Rhapsodie Espagnole and La Valse (Ravel) rca\/ictor FIRST IN RECORDED MU SI C "New Orthophonic" High Fidelity Recording -ms lusiins voice BRIGGS & BRIGGS, INC. 1 270 Mass. Ave., Harvard Sq., Cambridge, Mass. 436] KIrkland 7-2087 With this one superb Larry Aldrich dress, the door opens on a whole new era of fashion . here is the very first, and very handsome, illustration of the new shape which begins next spring. You who wear it will find your- self at once looking taller and slimmer . your bustline higher, rounder, younger . your waist- line natural, easy and unpinched . your hips smooth and straight. FILENE'S FRENCH SHOPS seventh floor [437] Mr. Steppington Calls the Play Ostensibly, Mr. Steppington to Mr. Steppington's affairs. made the trip to the Old School The interesting booklet, "The to see about the scholarship Living Trust," will be sent free fund he had established there on request. under a Living Trust arrange- ment with Old Colony . , . but you can't blame an old sport WORTHY OF YOUR TRUST for reliving his gridiron days. It's been quite a pleasure to Old Colony Mr. Steppington to watch his Trust Company trust plans — like the scholar- ONE FEDERAL STREET, BOSTON ship fund — bear fruit during T. Jefferson Coolidge Chairman, Trust Committee his lifetime. And helping to Augustin H. Parker, Jr. make his carefully planned President dreams come true is Old Colony, Arthur L. Coburn, Jr. who devotes meticulous care Chairman,TrustInvestmentCommittee Allied withTuE First National Bank of Boston [438] . SEVENTY-FOURTH SEASON • NINETEEN HUNDRED FIFTY-FOUR AND FIFTY-FIVE Tenth Program FRIDAY AFTERNOON, December 31, at 2:15 o'clock SATURDAY EVENING, January 1, at 8:30 o'clock Pfitzner Overture to "Das Christelflein," Op. 20 Brahms Violin Concerto in D major, Op. 77 I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace INTERMISSION Bach Chorale Prelude and Chorale "The Old Year is Past" (with chorus) (Arranged by Charles Munch) Honegger A Christmas Cantata (First performance in America) Baritone solo: MAC MORGAN THE CECILIA SOCIETY CHORUS, Hugh Ross, Conductor SOLOIST JOSEPH SZIGETI The first part of each Saturday evening concert will be broadcast (8:30-9:30 E. S. T.) on the NBC Network (Boston Station WBZ) Both concerts entire will be broadcast from Station WGBH-FM. This program will end about 4:05 o'clock on Friday Afternoon, 10:20 o'clock on Saturday Evening. BALDWIN PIANO RCA VICTOR RECORDS [439] Darford Casual Classics are ours aloni You who take pride in wearing timeless classics of good quality and impeccable taste will welcome the addition of our exclusive Darford Classics to your wardrobe. The apparel and accessories which bear the Darford label prove the lasting satisfaction, the true economy of good taste. BOSTON AND CHESTNUT HILL [440] OVERTURE TO "DAS CHRISTELFLE1N" ("The Little Christ Elf") —A Christmas Fairy Tale, Op. 20 By Hans Pfitzner Born in Moscow,* May 5, 1869; died in Salzburg, May 22, 1949 Das Christelflein, Weihnachtsmarchen, set to a play by Use von Stach, was com- posed as incidental music in 1906 and first produced in Munich December 11 of that year. (The Overture alone was introduced by E. N. Reznicek in Berlin on No- vember 23.) In 1917 the composer rewrote his score as an opera in two acts. The Overture was performed by the Boston Symphony Orchestra, November 15, 1907 and repeated October 18-19, 1 9 12 > when Karl Muck was conductor. The Overture is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, harp, timpani and triangle.
Load more

Recommended publications
  • Einem Gottfried
    EINEM VON GOTTFRIED Compositore austriaco (Berna 24 I 1918 - Waldviertel 12 VII 1966) Dapprima autodidatta, Gottfried von Einem studiò con Boris Blacher e sviluppò in seguito un equilibrato linguaggio musicale. Nel 1938 iniziò la sua carriera come istruttore di canto all'Opera di Berlino e come assistente al Festival di Bayreuth. Durante il nazionalsocialismo venne più volte arrestato. Dopo la guerra Einem rivestì varie funzioni sia al Festival di Salisburgo, sia alle Festwochen di Vienna. Dal 1963 al 1972 insegnò alla Musikhochschule di Vienna, dal 1964 fu membro della Akademie der Kunste di Berlino e dal 1965 al 1970 presidente dell'Akademie fur Musik austriaca. 1 DANTONS TOD Di Gottfried von Einem (1918-1996) libretto proprio e di Boris Blacher, dal dramma di Georg Büchner (La morte di Danton) Opera in due atti e sei quadri Prima: Salisburgo, Felsenreitschule, 6 agosto 1947 Personaggi: Georges Danton (Bar); Julie, sua moglie (Ms); Camille Desmoulins e Jean Hérault de Séchelles, deputati (T); Lucille, moglie di Camille (S); Maximilien Robespierre (T); Saint-Just (B); Simon, suggeritore (B); due becchini (T); una dama (S); una popolana (A); uomini e donne del popolo In Dantons Tod non si saluta solo un esordio teatrale particolarmente felice, tanto da decretare all’autore fama subitanea, ma anche l’inizio della consuetudine salisburghese (mai più abbandonata) di inserire ogni anno nel Festival un’opera contemporanea in ‘prima’ assoluta. Il soggetto di Büchner venne scelto sull’onda emotiva suscitata dal fallito attentato a Hitler nel 1944; ad approntare la versione ridotta fu Boris Blacher, maestro di Einem e futuro dedicatario dell’opera.
    [Show full text]
  • Interpreting Race and Difference in the Operas of Richard Strauss By
    Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler.
    [Show full text]
  • Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List)
    Oliver Rathkolb Honours and Awards (Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List) A compilation of the bearers of rings of honour was produced in preparation for the Vienna Philharmonic's centennial celebrations.1 It can not currently be reconstructed when exactly the first rings were awarded. In the archive of the Vienna Philharmonic, there are clues to a ring from 19282, and it follows from an undated index “Ehrenmitglieder, Träger des Ehrenrings, Nicolai Medaillen“3 that the second ring bearer, the Kammersänger Richard Mayr, had received the ring in 1929. Below the list of the first ring bearers: (Dates of the bestowal are not explicitly noted in the original) Dr. Felix von Weingartner (honorary member) Richard Mayr (Kammersänger, honorary member) Staatsrat Dr. Wilhelm Furtwängler (honorary member) Medizinalrat Dr. Josef Neubauer (honorary member) Lotte Lehmann (Kammersängerin) Elisabeth Schumann (Kammersängerin) Generalmusikdirektor Prof. Hans Knappertsbusch (March 12, 1938 on the occasion of his 50th birthday) In the Nazi era, for the first time (apart from Medizinalrat Dr. Josef Neubauer) not only artists were distinguished, but also Gen. Feldmarschall Wilhelm List (unclear when the ring was presented), Baldur von Schirach (March 30, 1942), Dr. Arthur Seyß-Inquart (March 30, 1942). 1 Archive of the Vienna Philharmonic, Depot State Opera, folder on the centennial celebrations 1942, list of the honorary members. 2 Information Dr. Silvia Kargl, AdWPh 3 This undated booklet was discovered in the Archive of the Vienna Philharmonic during its investigation by Dr. Silvia Kargl for possibly new documents for this project in February 2013. 1 Especially the presentation of the ring to Schirach in the context of the centennial celebration was openly propagated in the newspapers.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
    BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SEVENTY-SEVENTH SEASON I 957- I 958 Carnegie Hall, New York Boston Symphony Orchestra (Seventy-seventh Season, 1957-1958) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster Albeit Bernard George Zazofsky Rolland Tapley George Humphrey Contra-Bassoon Norbert Lauga Jerome Lipson Richard Plaster Vladimir Resnikoff Robert Karol Reuben Horns Harry Dickson Green Gottfried Wilfinger Bernard Kadinoff James Stagliano Vincent Charles Yancich Einar Hansen Mauricci Joseph Leibovici John Fiasca Harry Shapiro Earl Hedberg Harold Meek Emil Kornsand Paul Keaney Roger Shermont Violoncellos Osbourne McConathy Minot Beale Samuel Mayes Herman Silberman Alfred Zighera Trumpets Stanley Benson Jacobus Langendoen Leo Panasevich Roger Voisin Mischa Nieland Andr6 Come Sheldon Rotenberg Karl Zeise Armando Ghitalla Fredy Ostrovsky Josef Zimbler Gerard Goguen Clarence Knudson Bernard Parronchi Trombones Pierre Mayer Martin Hoherman Manuel Zung Louis Berger William Gibson Samuel Diamond Richard Kapuscinski William Moyer Kauko Kahila Victor Robert Ripley Manusevitch Josef Orosz James Nagy Winifred Winograd Melvin Bryant Flutes Tuba Lloyd Stonestreet Doriot Anthony Dwyer K. Vinal Smith Saverio Messina James Pappoutsakis William Waterhouse Phillip Kaplan Harps William Marshall Bernard Zighera Leonard Moss Piccolo George Madsen
    [Show full text]
  • Music on the Eve of the Third Reich
    17 Music on the Eve of the Third Reich MICHAEL MEYER Das Husikleben ist kein Leben flir die Husik. Theodor \l, Adornol Ohne eine traßende Gemeinschaft, die dahintersteht, ist das musikalische Kunstwerk--im eigentlichen Sinne ein Gemeinschaftswerk--nicht lebensfähig. llilhelm Furt\vlinßler2 In view of its probler.1s, tenuousness, and brevity, and its proximity and special relationship to the Third Reich, the Heimar Republic has commonly been called a crisis state. Humerous contemr>orary commentators and later historians have examined ti1e economics, politics, and culture of Germany between 1919 and 1933 in terms of liberal, democratic, socialist, and conservative principles that were instituted to varying degrees in the period, only to then be abolished or channeled into the totalitarian dictatorship of Hational Socialism in 1933. The ideals reemerged and were reinstituted in the nost-Horld lvar II era, aßain in various combinations in both German successor states, and became the ideological framework for the historical analyses of conditions in the 1/eimar Republic. In sympathy wi th select lveimar ideals and horrified over the Third Reich, postwar and Holocaust historiaas have not been able to deal with the lleimar Republic discretely. Cultural achievement, tiwugh acbwwledged, consistently has been seen through the shadow of Auschwitz. Yet, the sense of dool'l, crisis, and failure is not the exclusive product of retrospection; it is contained in self-conscious lleinar commentary and introspection. A creature of nomentous historical forces and circumstance, the lleimar Republic :1ad i ts Vernunftrepublikaner who entertairred reservations ab out the new order but accepted it. Proßressive intellectuals shared with them a historical perspective, one of 316 Towards the Holocaust comparison and contradiction; a v ie~• of existence that stressed change, to some, even considered to be its essential feature.
    [Show full text]
  • Download Booklet
    Richard Wagner (181 –188) Library The Mastersingers of Nuremberg Photo Music drama in three acts Arts & Libretto by the composer, English translation by Frederick Jameson, Music revised by Norman Feasey and Gordon Kember agner Hans Sachs, cobbler Norman Bailey bass-baritone Lebrecht © Veit Pogner, goldsmith Noel Mangin bass W Kunz Vogelgesang, furrier David Kane tenor Konrad Nachtigal, tinsmith Julian Moyle bass Sixtus Beckmesser, town clerk Derek Hammond-Stroud baritone Fritz Kothner, baker David Bowman bass Balthasar Zorn, pewterer John Brecknock tenor Ulrich Eisslinger, grocer David Morton-Gray tenor Augustin Moser, tailor Mastersingers Dino Pardi tenor Hermann Ortel, soapmaker James Singleton bass CHARD Hans Schwarz, stocking weaver Gerwyn Morgan bass Hans Foltz, coppersmith Eric Stannard bass RI Walther von Stolzing, a young knight from Franconia Alberto Remedios tenor David, Sachs’ apprentice Gregory Dempsey tenor Eva, Pogner’s daughter Margaret Curphey soprano Magdalene, Eva’s nurse Ann Robson mezzo-soprano Nightwatchman Stafford Dean bass Sadler’s Wells Opera Chorus Sadler’s Wells Opera Orchestra Leonard Hancock assistant conductor Reginald Goodall COmpacT DISC ONE Time Page Time Page 1 Prelude 10: �p ��� ��� 11 ‘By silent hearth, one winter’s day’ 9:01 �p 91� Walther, Sachs, Beckmesser, Kothner, Vogelgesang, Nachtigal Act I 12 ‘To make your footsteps safe and sure’ :22 �p 99�� 2 ‘As to thee our Saviour came’ :00 �p ��� ��� Kothner, Walther, Beckmesser Congregation TT 74:34 3 ‘Oh stay! A word! one single word!’ 9:� �p ��� ���
    [Show full text]
  • Pfitzner Palestrina
    PFITZNER PALESTRINA Liner notes, sung texts English (p.6), German (p.21), full tracklist (p.37) LINER NOTES Introduction composed a Scherzo in C minor for Orchestra, incidental music to "I have heard Hans Pfitzner's musical legend 'Palestrina' three Ibsen's "Feast af Solhaug" and a Cello Sonata, Op.1, first performed times so far, and it seems strange how effortless this austere and in Frankfurt in 1891. He spent the period 1892-93 teaching at the bold work has managed to find a niche for itself amongst my Conservatory in Koblenz, completing his first opera, "Der arme personal possessions. This work, intended as the embers of the Heinrich", a work heavily indebted to Wagner, in 1893. Later that romantic world of Schopenhauer and Wagner with its Düreresque year Pfitzner successfully conducted a concert of the Berlin and Faustian overtones, its metaphysical aura, its ethos of Philharmonic Orchestra entirely devoted to works from his pen. crucifixion, death and entombment, and its amalgam of music, Having become kapellmeister of the Municipal Theatre in Mainz pessimism and humour, is far from insignificant. Its appearance at without receiving a salary in the autumn of 1894, he went on to this point of time gives me solace and a pleasant sense of total direct the premiere of "Der arme Heimich" there on 2 April 1895. affinity; reflecting my own notion of humanity, it makes me feel During that year he began to take an interest in the theme of more positive, delivering me from polemics. Here is a great subject Palestrina. which I can gratefully embrace, until my feelings have calmed and I In 1897 the Stern Conservatory in Berlin engaged him as professor am my normal self again, and which allows me to dismiss he more of composition, a post he was to occupy for the next ten years.
    [Show full text]
  • Toccata Classics TOCC 0125 Notes
    P ERNEST KRENEK: MUSIC FOR CHAMBER ORCHESTRA by Peter Tregear The Austrian-born composer Ernst Krenek (1900–91) has been described, with good reason, as a compositional ‘companion of the twentieth century’.1 Stretching over seventy years of productive life, his musical legacy encompasses most of the common forms of modern western art music, from string quartets and symphonies to opera and electronic music. Moreover, it engages with many of the key artistic movements of the day – from late Romanticism and Neo- classicism to abstract Expressionism and Post-modernism. The sheer scope of his music seems to reflect something profound about the condition of his turbulent times. The origins of Krenek’s extraordinary artistic disposition are to be found in the equally extraordinary circumstances into which he was born. He came to maturity in Vienna in the dying days of the First World War and the Austro-Hungarian Empire and, with its collapse in 1919, the cultural norms that had nurtured Vienna’s enviable musical reputation all but disappeared. In addition, by this time, new forms of transmission of mass culture, such as the wireless, gramophone and cinema, were transforming the ways and means by which cultural life could be both propagated and received. As an artist trying to come to terms with these changes, Krenek was doubly fortunate. Not only was he generally recognised as one of the most gifted composers of his generation; he was also an insightful thinker about music and its role in society. Right from the moment in 1921 when, in the face of growing tension between himself and his composition teacher Franz Schreker, he set out on a full-time career as a composer, he determined that he would be more than just as a passive reflector of the world around him; he would be both its witness and conscience.
    [Show full text]
  • The Modernist Kaleidoscope: Schoenberg's Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elain
    The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Sarah Elaine Neill 2014 Abstract Much of our understanding of Schoenberg and his music today is colored by early responses to his so-called free-atonal work from the first part of the twentieth century, especially in his birthplace, Vienna. This early, crucial reception history has been incredibly significant and subversive; the details of the personal and political motivations behind deeply negative or manically positive responses to Schoenberg’s music have not been preserved with the same fidelity as the scandalous reactions themselves. We know that Schoenberg was feared, despised, lauded, and imitated early in his career, but much of the explanation as to why has been forgotten or overlooked.
    [Show full text]
  • Gary Hickling Collection on Lotte Lehmann ARS.0002
    http://oac.cdlib.org/findaid/ark:/13030/kt0g5022vw Online items available Guide to the Gary Hickling Collection on Lotte Lehmann ARS.0002 Andrea Castillo Stanford Archive of Recorded Sound Stanford University Libraries Braun Music Center 541 Lasuen Mall Stanford, CA 94305-3076 Phone: (650) 723-9312 Fax: (650) 725-1145 Email: [email protected] URL: http://www-sul.stanford.edu/depts/ars/ © 2006 The Board of Trustees of the Leland Stanford Junior University. All rights reserved. Guide to the Gary Hickling 1 Collection on Lotte Lehmann ARS.0002 Guide to the Gary Hickling Collection on Lotte Lehmann Collection number: Stanford Archive of Recorded Sound Stanford University Libraries Stanford, California Processed by: Andrea Castillo Date Completed: October 2006 Encoded by: Ray Heigemeir © 2006 The Board of Trustees of the Leland Stanford Junior University. All rights reserved. Descriptive Summary Title: Gary Hickling Collection on Lotte Lehmann Dates: 1926- 1995 Creator: Gary Hickling Collection Size: 6 linear ft. (15 boxes) Repository: Stanford Archive of Recorded Sound Stanford University Libraries Stanford, California 94305-3076 Abstract: Includes correspondence and research notes related to Hickling's discography of Lehmann performances; documemts and articles; and various sound recordings. Languages: Languages represented in the collection: English Access Collection is open for research. Listening appointments may require 24 hours notice. Contact the Archive Operations Manager. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation Gary Hickling Collection on Lotte Lehmann, Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 79, 1959-1960
    S E V E N T Y - N I N T H SEASON, 1959-196 o Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1960, 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 Henry A. Laughlin Theodore P. Ferris 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. Perry, Jr., Manager S. Shirk Norman James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 1*473] CAN YOU DESCRIBE A LIFE INSURANCE TRUST? ® If you are unaware of the many advantages of a Life Insurance Trust, it may be that a talk with a Shawmut Trust Officer would show you precisely how this type of protection would best suit your insurance needs. For example, your life insurance can very easily be arranged to provide life-long support for your widow plus a substantial inheritance for your children. In Shawmut's Personal Trust Department we would be glad to discuss your complete insurance program . with you, your life insurance counsellor and your attorney, or simply write for a copy of our brochure "A Modern Life Insurance Program." Naturally, there would be no obligation.
    [Show full text]
  • Dietrich Fischer-Dieskau, Polar Music Prize Laureate 2005 Fischer
    Dietrich Fischer-Dieskau, Polar Music Prize Laureate 2005 Fischer-Dieskau´s talent for music was manifest at an early age. He took piano lessons and started to study singing in 1941 with Prof. Georg A. Walter. The following year he became a student of Prof. Hermann Weissenborn at the College of Music in Berlin. His first public appearance took place in 1942 at the church hall in Berlin- Zehlendorf, where he sang Schubert´s Winterreise with interruptions for air-raid warnings. After graduating from high school in 1943 he was called up for military service and spent the time until 1947 as a prisoner of war in Italy. There he continued with his singing studies on his own. He resumed his studies with Prof. Weissenborn during the years 1947-48. His real career as a singer began in 1947 when, without prior rehearsal, he substituted for a soloist who had taken ill, in Brahms´ “Ein Deutsches Requiem” in Badenweiler. His official debut as a singer took place in the autumn of 1947 with a song recital in Leipzig, and shortly after that he made a successful appearance at the Titania Palace in Berlin. In the same year he made his first phonograph recording of “Winterreise”. In the autumn of 1948 he was engaged as a lyric baritone at the Städtische Oper in Berlin, where his first appearance, as Posa in Verdi´s opera “Don Carlos” under the baton of Ferenc Fricsay, aroused a great deal of public attention. Then there were guest performances at the opera houses in Vienna and Munich, and from 1951 on also in England, Holland, Switzerland, France and Italy.
    [Show full text]