Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006 Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC. Find out more at www.bidmc.harvard.edu or call 800-667-5356. Beth Israel Deaconess A teaching hospital of Harvard Medical School Medical Center of Affiliated | Official Hospital the Boston Red S with Joslin Clinic | A Research Partner of the Dana-Farber/Harvard Cancer Center James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 125th Season, 2005-2006 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice- Chairman Diddy Cullinane, Vice-Chairman Roger T. Servison, Vice-Chairman Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer Harlan E. Anderson Eric D. Collins Shari Loessberg, Edward I. Rudman George D. Behrakis Cynthia Curme ex-officio Hannah H. Schneider Gabriella Beranek William R. Elfers Robert J. Mayer, M.D. Arthur I. Segel Mark G. Borden Nancy J. Fitzpatrick Nathan R. Miller Thomas G. Sternberg Jan Brett Charles K. Gifford Richard P. Morse Stephen R. Weber Samuel B. Bruskin Thelma E. Goldberg Ann M. Philbin, Stephen R. Weiner Paul Buttenwieser George Krupp ex-officio Robert C. Winters James F. Cleary Life Trustees Vernon R. Alden Julian Cohen Edna S. Kalman Peter C. Read David B. Arnold, Jr. Abram T. Collier George H. Kidder Richard A. Smith J. P. Barger Mrs. Edith L. Dabney Harvey Chet Krentzmanf Ray Stata Leo L. Beranek Nelson J. Darling, Jr. R. Willis Leith, Jr. John Hoyt Stookey Deborah Davis Berman Nina L. Doggett Mrs. August R. Meyer John L. Thorndike Jane C. Bradley Mrs. John H. Fitzpatrick Mrs. Robert B. Newman Dr. Nicholas T. Zervas Peter A. Brooke Dean W. Freed William J. Poorvu Helene R. Cahners Avram J. Goldberg Irving W Rabb Other Officers of the Corporation Mark Volpe, Managing Director Thomas D. May, Chief Financial Officer Suzanne Page, Clerk of the Board Board of Overseers of the Boston Symphony Orchestra, Inc. Shari Loessberg, Chair William F. Achtmeyer John P. Eustis II Renee Landers John Reed Joel B. Alvord Pamela D. Everhart Robert J. Lepofsky Carol Reich Marjorie Arons-Barron Judith Moss Feingold Christopher J. Lindop Donna M. Riccardi Diane M. Austin Steven S. Fischman John M. Loder Susan Rothenberg Lucille M. Batal John F. Fish Edwin N. London Alan Rottenberg Maureen Scannell Lawrence K. Fish Jay Marks Joseph D. Roxe Bateman Myrna H. Freedman Jeffrey E. Marshall Kenan Sahin George W Berry Carol Fulp Carmine Martignetti Ross E. Sherbrooke James L. Bildner Dr. Arthur Gelb Joseph B. Martin, M.D. Gilda Slifka Bradley Bloom Stephanie Gertz Thomas McCann Christopher Smallhorn Alan Bressler Robert P. Gittens Joseph C. McNay Charles A. Stakely Michelle Courton Paula Groves Albert Merck Jacquelynne M. Stepanian Brown Michael Halperson Dr. Martin C. Mihm, Jr. Patricia L. Tambone Gregory E. Bulger Virginia S. Harris Robert Mnookin Wilmer Thomas William Burgin Carol Henderson Paul M. Montrone Samuel Thorne Rena F. Clark Roger Hunt Robert J. Morrissey Diana Osgood Tottenham Carol Feinberg Cohen William W Hunt Robert T. O'Connell Joseph M. Tucci Mrs. James C. Collias Ernest Jacquet Norio Ohga Paul M. Verrochi Charles L. Cooney Everett L. Jassy Joseph Patton Matthew Walker Ranny Cooper Charles H. Jenkins, Jr. Ann M. Philbin Larry Weber James C. Curvey Paul L. Joskow May H. Pierce Robert S. Weil Tamara P. Davis Stephen R. Karp Claudio Pincus David C. Weinstein Mrs. Miguel de Stephen Kay Joyce L. Plotkin James Westra Braganca Brian Keane Dr. John Thomas Mrs. Joan D. Wheeler Disque Deane Cleve L. Killingsworth Potts, Jr. Richard Wurtman, M.D. Paul F. Deninger Douglas A. Kingsley Dr. Tina Young Poussaint Dr. Michael Zinner Alan Dynner Robert Kleinberg James D. Price D. Brooks Zug Ursula Ehret-Dichter Peter E. Lacaillade Patrick J. Purcell Overseers Emeriti Helaine B. Allen Mrs. Thomas Mrs. Gordon F. Kingsley John Ex Rodgers Caroline Dwight Bain Galligan, Jr. David I. Kosowsky Mrs. Jerome Rosenfeld Sandra Bakalar Mrs. James Garivaltis Robert K. Kraft Roger A. Saunders Mrs. Levin H. Jordan Golding Benjamin H. Lacy Lynda Anne Schubert Campbell Mark R. Goldweitz Mrs. William D. Larkin Mrs. Carl Shapiro Earle M. Chiles Mrs. Haskell R. Gordon f Hart D. Leavitt L. Scott Singleton Joan P. Curhan John Hamill Frederick H. Mrs. Micho Spring Phyllis Curtin Deborah M. Hauser Lovejoy, Jr. Mrs. Arthur I. Strang Betsy P. Demirjian Mrs. Richard D. Hill Diane H. Lupean Robert A. Wells JoAnne Walton Dickinson Marilyn Brachman Mrs. Charles P. Lyman Mrs. Thomas H.P Phyllis Dohanian Hoffman Mrs. Harry L. Marks Whitney Goetz B. Eaton Lola Jaffe Barbara Maze Margaret Williams- Harriett Eckstein Michael Joyce John A. Perkins DeCelles George Elvin Martin S. Kaplan Daphne Brooks Prout Mrs. Donald B. Wilson J. Richard Fennell Mrs. S. Charles Kasdon Robert E. Remis Mrs. John J. Wilson Peter H.B. Richard L. Kaye Mrs. Peter van S. Rice Frelinghuysen tDeceased Officers of the Boston Symphony Association of Volunteers Ann M. Philbin, President William S. Ballen, Executive Olga Eldek Turcotte, Executive Vice-President/Tanglewood Vice-President/Administration Sybil Williams, Secretary Linda M. Sperandio, Executive William A. Along, Treasurer Vice-President/Fundraising Judy Barr, Nominating Chair Audley H. Fuller, Membership Lillian Katz, Hall Services Rosemary Noren, Symphony Shop Pattie Geier, Education and Lisa A. Mafrici, Public Relations Staffing Outreach Joseph Russo, Special Projects Table of Contents BSO News 5 On Display in Symphony Hall 6 Announcing the BSO's 2006-2007 Subscription Season 8 BSO Music Director James Levine 10 The Boston Symphony Orchestra 12 This Week's Boston Symphony Orchestra Program 15 Notes on the Program 17 Featured Artists 45 2005-2006 Season Summary 57 Symphony Hall Exit Plan 94 Symphony Hall Information 95 This week's Pre-Concert Talks are given by Robert Kirzinger, BSO Publications Associate. Program copyright ©2006 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston Cover photograph by Michael Lutch/Orchestra image (inset) a collage of the BSO in 1882 under Georg Henschel Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity- Tony Beadle, Manager, Boston Pops Thomas D. May, Chief Financial Officer Anthony Fogg, Artistic Administrator Peter Minichiello, Director of Development Marion Gardner-Saxe, Director of Human Resources Kim Noltemy, Director of Sales and Marketing Ellen Highstein, Director of Tanglewood Music Center Caroline Taylor, Senior Advisor to the Position endowed in honor of Edward H. Linde Managing Director by Alan S. Bressler and Edward I. Rudman Ray F. Wellbaum, Orchestra Manager Bernadette M. Horgan, Director of Media Relations ADMINISTRATIVE STAFF/ARTISTIC Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain • Karen Leopardi, Artist Assistant • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Benjamin Schwartz, Assistant to the Artistic Administrator ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coordinator • Jake Moerschel, Stage Technician • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Leslie D. Scott, Assistant to the Orchestra Manager BOSTON POPS Dennis Alves, Director of Artistic Programming Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Margo Saulnier, Artistic Coordinator • Jeff Swallom, Administrative Coordinator BUSINESS OFFICE Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, StaffAccountant • Wendy Gragg, Budget Assistant • Michelle Green, Executive Assistant to the Chief Financial Officer • Minnie
Recommended publications
  • The Role of Harmony and Timbre in Maurice Ravel's Cycle Gaspard De
    Miljana Tomić The role of harmony and timbre in Maurice Ravel’s cycle Gaspard de la Nuit in relation to form A thesis submitted to Music Theory Department at Norwegian Academy of Music in partial fulfilment of the requirements of the degree of Master’s in Applied Music Theory Spring 2020 Copyright © 2020 Miljana Tomić All rights reserved ii I dedicate this thesis to all my former, current, and future students. iii Gaspard has been a devil in coming, but that is only logical since it was he who is the author of the poems. My ambition is to say with notes what a poet expresses with words. Maurice Ravel iv Table of contents I Introduction ............................................................................................................ 1 1.1 Preface ........................................................................................................................... 1 1.2 Presentation of the research questions ..................................................................... 1 1.3 Context, relevance, and background for the project .............................................. 2 1.4 The State of the Art ..................................................................................................... 4 1.5 Methodology ................................................................................................................ 8 1.6 Thesis objectives ........................................................................................................ 10 1.7 Thesis outline ............................................................................................................
    [Show full text]
  • Artistic Hybridism in Stravinsky's Renard
    Russia ‘Reimagined’: Artistic Hybridism in Stravinsky’s Renard (1915 -1916) © 2005 by Helen Kin Hoi Wong In his Souvenir sur Igor Stravinsky , the Swiss novelist Ramuz recalled his first impression of Stravinsky as a Russian man of possessiveness: What I recognized in you was an appetite and feeling for life, a love of all that is living.. The objects that made you act or react were the most commonplace... While others registered doubt or self-distrust, you immediately burst into joy, and this reaction was followed at once by a kind of act of possession, which made itself visible on your face by the appearance of two rather wicked-looking lines at the corner of your mouth. What you love is yours, and what you love ought to be yours. You throw yourself on your prey - you are in fact a man of prey. 1 Ramuz’s comment perhaps explains what make Stravinsky’s musical style so pluralistic - his desire to exploit native materials and adopt foreign things as if his own. When Stravinsky began working on the Russian libretto of Renard in 1915, he was living in Switzerland in exile, leaving France where he had established his career. As a Russian avant-garde composer of extreme folklorism (as demonstrated in the Firebird , Petrushka and the Rite ), Stravinsky was never on edge in France. His growing friendship with famous French artists such as Vati, Debussy, Ravel, Satie, Cocteau and Claudel indicated that he was gradually being perceived as part of the French artistic culture. In fact, this change of perception on Stravinsky was more than socially driven, as his musical language by the end of the War (1918) had clearly transformed to a new type which adhered to the French popular taste (as manifested in L'Histoire du Soldat , Five Easy Pieces and Ragtime ).
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1982
    BOSTON SWPHONY ORCHESTRA SEIJI OZAWA. Musk: Director - -t- " I Yes, if you're lucky! When you plan a Berkshire vacation, you're apt to neai^Sorry we're booked" m<|re than once. Simply because tourists value our country cnafm blended with cosmopolitan culture. We at Foxhollow hate the thought of your missing out on the Berkshire experience, so we're delighted to introduce our time-shared vacation home concept which provides you with superb accommodations at a fraction of their normal cost All yours ... a contemporary resort dwelling built on a renowned 280 acre country estate with stables, swimming, tennis, sailing, skiing and more. Savor authentic New England cuisine in our elegant dining room. Then enjoy a nightcap and entertainment in our Hunt's End Lounge. Breathe deeply . our air holds that special Berkshire magic. Imaginary voices of yesterday's literary giants mingle with the melodic strains of today's performers. Don't risk missing a Berkshire summer. Stop by and let us explain how you can share the Foxhollow experience. Same time next year? Guaranteed! The Ponds at Foxhollow . come share it with us. Route 7, Lenox, Massachusetts 01240 Tel. (413) 637-2706 1-800-292-6631 (in Massachusetts), 1-800-628-5990 (out of state) Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Hundredth Birthday Season, 1981-82 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M.
    [Show full text]
  • Ballet? Y First the Ballerina Glides Across the Stage, Her Arms M Making Lovely Lines in the Air
    My First alle B Album t What is Ballet? Firs The ballerina glides across the stage, her arms My t making lovely lines in the air. A beautiful tune comes from the strings of the large orchestra. She is the Sleeping Beauty: she was put into a allet deep magic sleep by the wicked witch. But she B lbum has now been woken by her handsome prince, A and he dances joyfully with her, athletic and strong. Another time, she is Princess Odette from Swan Lake, and around her the other dancers – swans in white chiffon – weave patterns in time to the music. And yet another time, she is the Sugar Plum Fairy celebrating the joy of Christmas in The Nutcracker. This is ballet, the classical dance that, once seen, is never forgotten. Even though today we have film and video games, ballet is still a powerful vision of beauty and excitement. The dancers use the strength of an athlete, the balance of a gymnast and the sensitivity of a violinist to tell stories through their dancing. Here is some of the best music which has propelled dancers for hundreds of years. 2 Tchaikovsky Swan Lake Stravinsky The Firebird 1 Scene 2:37 3 Scene I. The Firebird’s Dance 1:19 Keyword: Oboe Keyword: Fire Swan Lake is a ballet from Russia about a prince called Siegfried. In the forest he finds A firebird is a brightly coloured magical bird that comes a mysterious lake where swans are swimming, led by a beautiful but sad swan wearing out of the fire.
    [Show full text]
  • Part V Soloists, Guest Ensembles, and Guest Conductors, 1926-2001
    174 Part V Soloists, Guest Ensembles, and Guest Conductors, 1926-2001 The following list does not include soloists for staged opera performances. I have also excluded soloists who performed art songs or chamber works. This list does include “Pops” performers, even though their repertoire might be listed only as “selections” and thus excluded from Part II. See the table of contents (p.iii) for the organization of the following. Pippa Borisey (Steenbock Award - twice) Piano Beethoven, Concerto No.1 for Piano and Steve Allen Orchestra (first mvt.) / 3/11/84(y) Pops soloist / 5/7/77(p) Schumann, Concerto for Piano and Orchestra Augustin Anievas (first mvt.) / 5/18/86(y) Rachmaninoff, Rhapsody on a Theme of Paganini, Gerald Borsuk for Piano and Orchestra / 10/24/70 Beethoven, Concerto No.2 for Piano and Claudio Arrau Orchestra (first mvt.) / 2/19/35 Beethoven, Concerto No.5 for Piano and Gershwin, Concerto in F for Piano and Orchestra / Orchestra, "Emperor" / 2/3/79 4/11/51 David Askins (Steenbock Award) John Browning Mozart, Concerto No.20 for Piano and Orchestra, Barber, Concerto for Piano and Orchestra / K.466 (first movement) / 4/6/74(y) 10/9/99 Emmanuel Ax Beethoven, Concerto No.3 for Piano and Chopin, Concerto No.1 for Piano and Orchestra / Orchestra / 12/8/73 9/29/79 Mozart, Concerto No.23 for Piano and Orchestra, Paul Badura-Skoda K.488 / 10/15/77 Beethoven, Concerto No.5 for Piano and Prokofiev, Concerto No.3 for Piano and Orchestra Orchestra, "Emperor" / 4/10/68 / 4/27/91 Allen Barker Ravel, Concerto in D Major for Piano Left Hand,
    [Show full text]
  • Elliott Carter Works List
    W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) ..................................................
    [Show full text]
  • Sounding Nostalgia in Post-World War I Paris
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 122, 2002
    2002-2003 SEASON JAMES LEVINE MUSIC DIRECTOR DESIGNATE BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR SEIJI OZAWA MUSIC DIRECTOR LAUREATE BOSTON SYM PHON ORCHESTRA Bring your Steinway: With floor plans from 2,300 Phase One of this magnificent to over 5,000 square feet, property is 100% sold and you can bring your Concert occupied. Phase Two is now Grand to Longyear. being offered by Sotheby's Enjoy full-service, single- International Realty and floor condominium living at its Hammond Residential Real absolute finest, all harmoniously Estate. Priced from $1,500,000. located on an extraordinary eight-acre Call Hammond Real Estate at gated community atop prestigious (617) 731-4644, ext. 410. Fisher Hill. LONGYEAR. at Ijrisner Jiill BROOKLINE They created symphonies too. Only they used wood and &old paint. Not to mention silver, bronze, lapis lazuli and carnelian. Don't miss your chance to see The Quest for Immortality: Treasures of Ancient E&ypt, the largest collection of Egyptian artifacts ever seen in North America. This exclusive, limited-time exhibit features over 100 objects that hold deep meaning below their beautiful surfaces. For tickets BjSKSKPN ...: -. ~ or membership information visit wvAv.mos.org/quest or call 61/- 723-2500 (TTY: 617-589-0417). MMORlALlTY Treasures of Ancient Eeupt immmmmmi I Museum of Science .Eastern The Quest for Immortality is organized by the United Exhibits " Gr< National Gallery of Art, Washington, in association with the Suprer Audio tour provided by Antenna Audio. James Levine, Music Director Designate Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 122nd Season, 2002-2003 Trustees of the Boston Symphony Orchestra, Inc.
    [Show full text]
  • Press Kit: VINCI, the Art of Museums
    PRESS KIT VINCI, the art of museums Press kit /// VINCI, the art of museums /// June 2013 1 Introduction The Museum concept was first introduced in Europe, primarily in France, at the end of the 18th century for reasons that originally had nothing to do with economics or urban amenity. Until the 1950s, the purpose of the museum was exclusively conservation, in a continuation of the 19th century tradition of private collections. The real museum revolution originated primarily in the United States, where Peggy Guggenheim laid the foundations for the 20th century museum industry, and was also driven by democratisation and the development of cultural industries in Europe. Today, the number, role and visibility of these institutions have undergone radical change. No longer exclusively focused on conservation, the museum has become a flagship institution that lends resonance to the community. Cultural activities create economic value and give cities momentum. Culture also promotes social inclusion when approached as a way to improve "living together". The museum is now seen as an urban landmark and a driver of urban life. With its innovative and bold architecture, the museum is often a work of art in its own right. Building or renovating a museum is therefore a high profile but complex operation. The success of such projects requires broad vision, acknowledged capabilities in advanced technology engineering, sophisticated resources, flawless coordination and total commitment to managing people. On the strength of these qualities, VINCI companies regularly work on exceptional museum projects around the world. Their design, building, network and maintenance expertise makes all the difference in the demanding museum market.
    [Show full text]
  • ARSC Journal
    THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 50,1930
    PRSGREttAE TO THE MUSIC LOVER The BRAMBACH Grand is truly a great instrument. It is made of the finest mate- rials by an organization that is 107 years old. $ In the making of BRAMBACH Pianos 675 there is no thought of quantity ... no con- sideration of numbers. Each instrument is only an entity in itself ... 4 ft. 10 in. an individual unit, as long carefully wrought, as deftly constructed, and containing the same measure of imagination and idealism as any other masterpiece of art. Convenient Terms CCtlARYEY® 144 Boylston Street Tel. HANcock 5180 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 Boston Symphony Orchestra INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTIETH SEASON, 1930-1931 Programme WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1931, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL WILLIAM PHILLIPS M. A. DE WOLFE HOWE EDWARD M. PICKMAN JOHN ELLERTON LODGE HENRY B. SAWYER BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1625 ^fr THE STEINWAY, GRACEFULLY DECORATIVE, BEAUTIFUL OF TONE, 1% EASILY WITHIN YOUR REACH You can have a Steinway in your living-room now by making a 10% first payment, and the balance will be extended over a period of three years ! Make a visit to your nearest Steinway dealer today and select your instrument. • There are Steinways of various sizes and prices, but there is never any variation in quality.
    [Show full text]
  • Composition Catalog
    1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound.
    [Show full text]