DOCSLIB.ORG

Symphony Hall, Boston Huntington and Massachusetts Avenues

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Symphony Hall, Boston Huntington and Massachusetts Avenues SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 Boston Symplioiiy Orchestra INCORPORATED PIERRE MONTEUX. Conductor FORTY-FIRST SEASON. 1921-1922 Programme WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1922, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA. Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager VHE INSTRUMENT OF THE IMMORTALS HALF a century ago Anton Rubinstein, like his immortal con- temporaries, Wagner and Liszt, pronounced the Steinway "unrivalled" among pianos. Today Sergei Rachmaninoff, the greatest Russian pianist since Rubinstein, has said: "Only upon a Steinway can the works of the masters be played with full artistic justice." Generation after generation the Steinway stands supreme — the chosen piano of the masters — the immortal instrument of the Immortals of Music. STEINWAY & SONS, STEINWAY HALL 107 109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE oey Orchestra Forty-first Season. 1921-1922 PIERRE MONTEUX, Conductor PERSONNEL le highest excellence in every detail of its con- struction, and the lasting beauty of its musical voice, have caused the CHICKERING PIANO to sought after by THE be OLDEST true music lovers for IN AMERICA nearly a Hundred Years. THE BEST To-day it is a finer in- IN THE WORLD strument than at any time in its long and illustrious career ooo \Vith the AMPICO it is endowed "^ith playing of the greatest Pianists in the World.c>oo*ooo y/.:^ RETAIL WAREROOMS, 169 TREMONT STREET. BOSTON 1420 FORTY-FIRST SEASON, NINETEEN HUNDRED TWENTY-ONE and TWENTY-TWO Tweety-tlinrd Progranmie FRIDAY AFTERNOON. APRIL 21, at 2.30 o'clock SATURDAY EVENING, APRIL 22. at 8.00 o'clock Converse ...... Symphony No. 2 in E major I. Moderate e Maestoso; Allegro con fuoco. II. Andante expressivo; Allegro molto quasi; Presto; Andante expressivo. III. Andante sostenuto molto; Allegro molto con spirito. (First Performance) Introduction and Bacchanale (Act I, Scene I) "Tannhauser" (Paris Version) I "Forest Murmers" from "Siegfried" (Act II) Wagner . \^ Siegfried's Passing Through the Fire to Briinn- hilde's Rock ("Siegfried," Act III, Scene 2), Morning Dawn and Siegfried's Journey up the Rhine; Close ("Dusk of the Gods") There will be an Intermission of ten minutes after the symphony City of Boston, Revised Regulation of August 5. 1898,—Chapter 3. relating to the covering of the head in places of public amusement Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibitian or parformince in such place of any person seated in any seat therein provided for spectators, it bang understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN. City Cleric. The works to be played at these concerts may be seen in the Allen A. Browi Music Collection of the Boston Public Library one week before the concert. 1922 North Cape Cruise Sailing direct from New York, June 28, on the lux- urious S.S. "Osterley" the Raymond-Whitcomb 1922 North Cape Cruise visits the most fascinating places of Iceland, Norway, Sweden, Denmark, Belgium, England. Including North Cape, the Fjords, Christ- iania, Copenhagen, Zeebrugge, London, with gen- I erous shore excursions into the Glorious Northland. Rates, $675 up, include homeward passage on the Aquitania, Mauretania or Laconia. De Luxe "Europe" Tours Raymond-Whitcomb Europe Tours assure you of the best accommodations and comprehensive itiner- aries. This year especially: new treasures, battle- fields and the "Passion Play" at Oberammergau. Round the World Cruises Two Round the World Cruises, Jan. 9 and 16, 1<)23, burning ships, S.S. "Resolute" (20,000 tons displacement) of th United American Lines, and the commodious S. S. Send for the^Booklet you Raymond & Whitcomb Co. 17 Temple Place, Boston Telephone, Beach 6964 — — —— : — Sy.mi'Iiony No. 2, E .majou . Frederick Sheitterd Converse (Roni at Nowtnii, Mass., January IH, 1871; now living in Boston.) Mr Coiivorsc lias written too modc^stly as follows coiiccriiiiig his new syiiiplioiiy : '•My new symphony is in E major and in three movements "I. Moderate e maestoso ; Allegro con fnoco. "II. Andante es])ressivo; Allegro molto qnasi presto; Andante molto sostenuto. "III. Andante sostennto molto; Allegro molto con spirito. "It is scored for the nsual orchestra with English horn, bass clarinet, donble-bassoon, except that I have omitted all percussion instruments save the kettledrums, because I am tired of the cheap, conventional effects obtained by their use. There are modern con- ventions as well as ancient. "There is no progrannne to my symphony, although it is a succes- sion of many moods of suffering, of resolute defiance, of consolation, hope, and joy, which moods all of us experience in life; to which I have tried to give expression in this form. I do not like too literal musical analysis,—I would rather let the music speak for itself, so will not attempt to put tags on my themes, or explain their various SONGS by aA GOATLEY "Altogether unusual in the season's output." Musical America . what she has to say in music is "different" Musical Courier A GARDEN IS A LOVESOME THING (2 keys) 50 Sung by Vera Curtis, Cecil Fanning, Alice MoncrieT, Olive Nevin, Claude Warford Deliglittully simple, a tenderly expressed slow movement with a big opportunity for fine legato singing —Musical America. NOW THAT APRIL'S THERE (3 keys) 60 Sun? by Alice Moncrieff and Mme. Clara Poole A remarkably rhytlunic iiuiividviaUty, We cm h.irdiy think of a better setting for this Foem, full of optimism an^l jnyous, out loor spirits. Musiad America. SONGS OF SAPPHO (2 keys) Each .53 WHAT THE WEST WIND WHI5P-RS A BENEDICTION THE COURTYARD H:.SP^RU3 LOV£ FLUTES Sung by Cecil Arden, Mme. Fdmunds-Hemingway, Olive Nevin, Gladys Van der Beeck Full of sraec and v\ta\it.y .—-Musical Courier THE WOOD ANEMONE (2 keys) Sung by Harriet Story Macfarlane 50 A bright, dainty song, with catchy melody and charming accompaniment.- Pact/ic Coast Musician^ PIPE OUT, YE SILVER FLUTES (2 keys) 60* Sung by Marie Tiffany and Frank Parker' A song of spirited character suggesting the cheer of spring and gaiety of flowers dancing in the breeze and of frolicking brooks. An exceedingly effective song. Pacific Coast Musician. JUST ISSUED LIFE (2 keys) Sung by Florence Otis 53 FUTILITY (2 keys) 50 THE WHITE BIRCH (2 keys) . .5^ THE ARTHUR" R SOIMIDT CO,, 120 Boylston St. (li'\('l()|)iii(Mi1s. I only hope tlial llic imisic will not he horiiig to niiiuv niHl that some will ho moved hy it.'' * These compositions of Mr. ('on\('i'se have heen played in B(jston at concerts of the Boston Symphony Orchestra. Those played for the first time are starred. 1899, January 14, first movement of Symphony in D minor, Op. 7 (first time in Boston) ; first performance at tlie Munich Hoch-Schule, July 14, 1898. 1900, December 22, "The Festival of Pan," Romance for Orchestra, Op. 9.* 1903, April 11, "Endymion's Narrative." Komauce for Orchestra, Op. 10.* 1905, January 21, Two Poems. "Night" and "Day," for Pianoforte and Orchestra, Op. 11* (suggested by Walt Whitman), Mr. Gebhard pianist. 1906, March 3, "La Belle Dame sans merci" (after the poem of Keats), Ballade for Baritone Solo and Orchestra, Op. 12 (Mr. Bispham baritone, first public performance in Boston) ; first performance by the Boston Sym- phony Orchestra at Providence, R.I., March 1, 1906. 1907, January 26, "The Mystic Trumpeter." Orchestral Fantasy, after the poem by Walt AVhitman, Op. 19 (flr.st time in Boston) ; first performance by the Philadelphia Orchestra at Philadelphia, March 3. 1905. 1908, March 7, "Jeanne d'Arc," Dramatic Scenes for Orchestra, Op. 23. From the music written for Percy Mackaye's drama produced by Miss Marlowe and Mr. Sothern (Philadelphia, October 15, 1906; Boston, January 1, 1907). The Suite was played in Boston at a Jordan Hall orchestral concert. January 10, 1907, and afterwards revised. 1910, April 9, "Endymion's Narrative." 1912, February 10, "Ormazd, Symphonic Poem" ; first performance by the St. Louis Symphony Orchestra, January 26. 1912. 1915, March 6, "Ormazd." THE "wm gi^,.a,:nd QUALITY and REPUTATION enable you to know in advance that the ¥OSe is a most satisfactory piano. WE CHALLENGE COMPARISON VOSE & SONS PIANO CO. 160 Boylston St., Boston, Mass. L. P. Hollander Co. Established 1848 l.ncli.co' '')lqIs mid Coats ;[. RT, TRAVEL and sm:[ie!',t wear ' Many In:lG(0:;.i;i(i'' ' My Tailored, in the Most Dislii ...A son 202 BOYLSTON STREET and PARK SQUARE BOSTON Unequalled Parking Facilities at Both Entrances Here are some charming Victor Records you will like to have in your library: Mignon, Polonaise .... Galli-Curci 74653 $1.75 Rienzi Overture. Part 1 - Philadelphia Orchestra 74602 1.75 Rienzi Overture. Part 2 - " " 74603 1.75 Cease Thy Singing, Maiden Fair, McCormack-Kreisler 87574 1 .50 Boheme. soave fanciulla - - Melba-Caruso 95200 2.50 1 Hear a Thrush at Eve - - - McCormack 64340 1.25 TREMONT TALKING MACHINE COMPANY (Victor Specialists for over Twenty Years) 177 TREMONT STREET—NEXT TO TREMONT THEATRE 1917, April 27, "Ave atque Vale," Tone Poem for Orchestra; first perform- ance by the St. Louis Symphony Orchestra, January 26, 1917.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 31
    CONVENTION HALL . ROCHESTER Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Programme WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 29 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds.
    [Show full text]
  • Albert Pinkham Ryder 1 S Two Wagnerian Paintings: the Flying Dutchman and Siegfried and the Rhine Maidens
    ABSTRACT Title of Thesis: Albert Pinkham Ryder 1 s Two Wagnerian Paintings: The Flying Dutchman and Siegfried and the Rhine Maidens Sharon Dale Carman, Master of Arts, 1988 Thesis directed by: John Peters-Campbell, Assistant Professor, Art History Albert Pinkham Ryder (1847-1917) has traditionally been regarded as an anomalous figure in the history of art. A small, but growing, body of scholarship has recently been devoted to correcting this view of the artist and to establishing his relationship to the aes- thetic currents of his time. This study explores the influence on his art of Ryder's environment, late nineteenth-century New York. Two of Ryder's paintings, each based on an incident in an opera by Richard Wagner, are examined: Siegfried and the Rhine Maidens, drawn from Gotterdammerung; and The Flying Dutchman, inspired by Der fliegende Hollander. The history of opera in nineteenth- century New York helps to explain how an American painter came to be influenced by such distinctly German operatic themes. German immigration patterns are linked with changes in operatic taste, and the interest of native intellectuals in Wagner's music and ideas is discussed. Wagnerian staging tradition is posited as a source for the compositions of both Siegfried and the Rhine Maidens and The Flying Dutchman. It is demonstrated that the set designed by Josef Hoffmann for the original Bayreuth pro­ duction of Gotterdammerung, Act III, Scene I, served as the specific compositional basis for Ryder's Siegfried and the Rhine Maidens. ALBERT PINKHAM RYDER'S TWO WAGNERIAN PAINTINGS: THE FLYING DUTCHMAN AND SIEGFRIED AND THE RHINE MAIDENS by Sharon Dale Carman 111 Thesis submitted to the Faculty of the Graduate School of The University of Maryland in partial fulfillment of the requirements for the degree of Master of Arts 1988 C-, ( \ I ~·1 '" I () ,,.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 28,1908-1909, Trip
    MECHANICS HALL . WORCESTER Twenty-eighth Season, I908-J909 Ionian ^ptpfjmuj GDrdf^fra MAX FIEDLER, Conductor ffrogramm? of a?* Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, APRIL 20 AT 8. J 5 PRECISELY COPYRIGHT, 1908, BY C. A. ELLIS MANAGER PUBLISHED BY C. A. ELLIS, Mme. CECILE CHAMINADE The World's Greatest Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE ^^ Piano. THE JOHN CHURCH CO., 37 West 3*d Street New York City REPRESENTED BY THE JOHN CHURCH CO., 37 West 32d Street, New York City Boston Symphony Orchestra PERSONNEL TWENTY-EIOHTH SEASON, 1908-1909 MAX 1FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J, Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noach, S. Mahn, F. Eichheim, H, Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, K Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C.
    [Show full text]
  • Syapnony Orcncstrh ")>
    BOSTON SYAPnONY ORCnCSTRH ")> PRoGRSnAE 124:^ The DURABILITY of PIANOS and the permanence of their tone quality surpass anything that has ever before been obtained, or is possible under any other conditions. This is due to the Mason & Hamlin system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construc- tion—The Mason & Hamlin Tension Resonator Catalogue Mailed on Jtpplication Old Pianos Taken in Exchange MASON & HAMLIN COMPANY Established i854 Opp. Institute of Technologfy 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON 6-MASSACHUSETTS AVENUES , - Ticket Office, 1492 , „ Telephones^ i [^Back Bay j Administration Offices. 3200 ( TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor Programme af tijp Twenty-fourth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, APRIL 29 AT 2.30 O'CLOCK SATURDAY EVENING, APRIL 30 AT 8.00 O'CLOCK C/ COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1797 Mme. TERESA CARRENO On her tour this season will use exclusively ^^ Piano. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY G. L SCHIRMER & CO., 338 Boyiston Street, Boston, Mass. 1798 Boston S3rmphony Orchestra PERSONNEL \^ pw iw iw iw iw iw im w» w» #m wi »w r« #m,w»^»m^iv« n^.^^ ikam ^A^nnnz^l H Perfection m Piano Making THE Quarter Grand Style V, in figured Makogany, price $650 It is tut FIVE FEET LONG and in Tonal Proportions a Masterpiece or piano Duilamg. It IS Cnickering & Sons most recent triumph, tke exponent of EIGHTY-SEVEN YEARS experience m artistic piano builamg', ana tne lieir to all tne qualities that tne name oi its makers implies.
    " class="panel-rg color-a">[Show full text]
  • THE CAPITAL, Country and the Remedits Applied by the Demo- Mr
    VOLUME VI. WASHINGTON CITY, D. C., AUGUST 20,1876. NUMBER 25. Mr. Randall's review of thè condition of the ME. HOVEY'S EXAMINATION QUESTIONS. the city of London was not and could not have been reign of Victoria, being then thirty-two years of age, THE CAPITAL, country and the remedits applied by the Demo- Mr. Hovey having invited and defied criticism built on the Cumberland lakes? why the Qity of Con- Mr. Disraeli made his first speech, which was a, stantinople was not and could not have been builtln PUBLISHED WEEKLY, cratic doctors will also meet with general con- of his " parts of speech" and the character of lamentable failure. He closed it, however, by say- Central Asia? or why a Sioux Indian was not and sideration. his questions in the examination of school child- ing, "I am not surprised at the reception I have BY THE could not have been born a Polish Jew, a Scottish experienced. I have begun • several times many " In reviewing the action of the House an im- ren, a contributor has favored us with the fol- Highlander or an Indian Brahmin? things, and I have often succeeded at last. I shall Capital Publishing Company, partial judgment will accord to that body the lowing letter, vihich will be satisfactory to all of If Mr. Hovey should accuse me of having misap- sit down now, but the time will come when you will praise due to its successful investigations and prehended or misconstrued the meaning of hisques- 927 D street, Washington, D. 0. our readers except the gentleman who is the hear me "—a prediction which has been most mem- exposures of frauds which, like some secret victim of his own vanity : tion, my reply is, that I challenge himself to furnish orably fulfilled.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 33,1913-1914, Trip
    ACADEMY OF MUSIC, PHILADELPHIA Twenty-ninth Season in Philadelphia Dr. KARL MUCK, Conductor IP 8 m me WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, FEBRUARY 16 AT 8.15 COPYRIGHT, 1914, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER ICl1 ww% The Talking Machine You Want is to be found at Heppe's Whether it be an ordinary Victor or a superB Victrola, every artistic possibility of the Talking Machine is assured when it comes from Heppe's. Experts adjust every machine that leaves our establishment and our service is best because we are both wholesale and retail distributors. LOWEST FACTORY PRICES GUARANTEED, WHETHER YOU BUY FOR CASH OR ON TIME Victors, $ 10 to $ 60 Victrolas, $15 to $200 D)IO 1117-1119 Chestnut Street, 6th and Thompson Streets Wholesale and Retail, Victor and Edison fp/fQ fl" • v ©stoa -' i. mesiom Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor PERSONNEL Violins. Witek, A. Roth, O. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Noack, S. Koessler, M. Bak, A. Traupe, W. Goldstein, H. Rissland, K. Ribarsch, A. Baraniecki, A. Siilzen, H. Habenicht, W. Fiedler, B. Berger, H. Tischer-Zeitz, H. Fiumara, P. Spoor, S. Hayne, E. Goldstein, S. Griinberg, M. Kurth, R. Gerardi, A. Ringwall, R. Pinfield, C. E. Gewirtz, J. Violas. Ferir, E. Werner, H. Wittmann, F. Pauer, O. H. Van Wynbergen, C. Gietzen, A. Schwerley, P. Berliner, W. Forster, E. Bljumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Warnke, J. Urack, 0. Nagel, R.
    [Show full text]
  • C K’NAY C (To Her) C (Poem by A
    K ney C k’NAY C (To Her) C (poem by A. Belïy [(A.) BAY-lee] set to music by Sergei Rachmaninoff [sehr-GAYEE rahk-MAH-nyih-nuff]) Kaan C JindÍich z Albestç Kàan C YINND-rshihk z’AHL-bess-too KAHAHN C (known also as Heinrich Kàan-Albest [H¦N-rihh KAHAHN-AHL-besst]) Kabaivanska C Raina Kabaivanska C rah-EE-nah kah-bahih-WAHN-skuh C (known also as Raina Yakimova [yah-KEE-muh-vuh] Kabaivanska) Kabalevsky C Dmitri Kabalevsky C d’MEE-tree kah-bah-LYEFF-skee C (known also as Dmitri Borisovich Kabalevsky [d’MEE-tree bah-REE-suh-vihch kah-bah-LYEFF-skee]) C (the first name is also transliterated as Dmitry) Kabasta C Oswald Kabasta C AWSS-vahlt kah-BAHSS-tah Kabelac C Miloslav Kabelá C MIH-law-slahf KAH-beh-lahahsh Kabos C Ilona Kabós C IH-law-nuh KAH-bohohsh Kacinskas C Jerome Ka inskas C juh-ROHM kah-CHINN-skuss C (known also as Jeronimas Ka inskas [yeh-raw-NEE-mahss kah-CHEEN-skahss]) Kaddish for terezin C Kaddish for Terezin C kahd-DIHSH (for) TEH-reh-zinn C (a Holocaust Requiem [{REH-kôôee-umm} REH-kôôih-emm] by Ronald Senator [RAH-nulld SEH-nuh-tur]) C (Kaddish is a Jewish mourner’s prayer, and Terezin is a Czechoslovakian town converted to a concentration camp by the Nazis during World War II, where more than 15,000 Jewish children perished) Kade C Otto Kade C AWT-toh KAH-duh Kadesh urchatz C Kadesh Ur'chatz C kah-DEHSH o-HAHTSS C (Bless and Wash — a prayer song) Kadosa C Pál Kadosa C PAHAHL KAH-daw-shah Kadosh sanctus C Kadosh, Sanctus C kah-DAWSH, SAHNGK-tawss C (section of the Holocaust Reqiem — Kaddish for Terezin [kahd-DIHSH (for) TEH-reh-zinn]
    [Show full text]
  • Twenty-Fourth Rehearsal and Concert
    SYMPHONY HALL, BOSTON HUNTINGTON & MASSACHUSETTS AVENUES Telephones Ticket Office ) j fc * ^ Branch Exchange ( Administration Offices ) THIRTY-FIRST SEASON, 1911 AND 1912 MAX FIEDLER, Conductor Programme at % Twenty-fourth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MAY 3 AT 2.30 O'CLOCK SATURDAY EVENING, MAY 4 AT 8.00 O'CLOCK COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 1541 : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann 's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds.
    [Show full text]
  • Realism and Naturalism
    ~~fAif{l,istory ot i~t~; Design and I;echnology in_ -· .. r. ····-· Eil[o]:ie,:arJd the --v~i't~-d~~,i~f~~- - CHAPTER SEVEN Realism and Naturalism Newworldviews developed in the mid- to late nineteenth century that changed many philosophical and scientific trends in Europe and the United States. Archaeological and scientific discoveries and changing economic structures during the industrial revolu­ tion encouraged intellectuals, politicians, scientists, and artists to question points of view rooted in the power structures of religious hierarchies, monarchies, and govern­ ments. The application of the scientific method, early developments in sociology, and widespread political and economic injustices changed the function of the artist. Theatre artists became interested in projecting a point ofview that was relevant to contemporary audiences. The styles ofromanticism and classicism gave way to realism and naturalism, and these new styles took two different major tracks: historically accurate "period," or antiquated, stories and realistic drama that focused on contemporary social issues. t I The political turmoil of the r84os began to undermine both romanticism and clas­ 1',,, sicism as attention was shifted increasingly to inequities in society. As a result, around r8so, emphasis began to shift to realism and eventually naturalism and remained there throughout the last halfof the nineteenth century. By the mid-r84os, both classicism and romanticism had lost much of their appeal for most writers and designers in Europe and the United States. They were replaced by interest in historical accuracy: insistence on archaeological precision in the architecture depicted in stage settings; exactness in the representation of such stage properties as furniture, draperies, and all details of orna­ mentation; accuracy of costumes in terms of decoration, style, and shape; and armor and weaponry of the correct period and design.
    [Show full text]
  • De Muzikale Geschiedenis Van De Festspiele, Aflevering 1 Door Johan Maarsingh
    De muzikale geschiedenis van de Festspiele, aflevering 1 door Johan Maarsingh Dit is het begin van een serie artikelen over de geschiedenis van de Bayreuther Festspiele aan de hand van geluidsopnamen. Beeldopname kwam er pas in 1978 (Tannhäuser in de regie van Götz Friedrich, gedirigeerd door Sir Colin Davis), ruim een eeuw na de door Richard Wagner georganiseerde Festspiele met de wereldpremière van de complete Ring des Nibelungen. Aan het begin van “Wagner in Bayreuth” staat echter Beethovens Negende symfonie. Dit werk dirigeerde Wagner voor het laatst in zijn leven op 22 mei 1872, in het Markgräfliches Opernhaus. Op zijn negenenvijftigste verjaardag heeft Wagner toen ook de eerste steen gelegd van zijn Festspieltheater. Dat werk stond eveneens op het programma toen de Bayreuther Festspiele in 1951 werden heropend. Het is het eerste werk dat in het Festspielhaus echt helemaal compleet voor de grammofoonplaat is vastgelegd. Veel later zou blijken dat de plaat een compilatie bevat van de echte uitvoering met opnamen gemaakt tijdens repetities. Commerciële opnamen voor langspeelplaat of cd komen tot stand door meerdere voorstellingen op te nemen. De eerste opnamen We gaan terug naar het Bayreuth van Cosima en Siegfried Wagner (beiden overleden in 1930) voor opnamen op de 78t-plaat. In 1927 heeft de komst van de microfoon kort tevoren de geluidskwaliteit van plaatopnamen aanzienlijk verbeterd. Reden voor Columbia om korte fragmenten uit de Ring en Parsifal op de plaat te zetten. Dat het net de twee werken van Wagner zijn die in Bayreuth in wereldpremière gingen is puur toeval. In 1927 regisseerde Siegfried Wagner een nieuwe productie van de Tristan en daarvan worden grote delen in 1928 op de plaat gezet.
    [Show full text]
  • Die Meistersinger, New York City, and the Metropolitan Opera: the Intersection of Art and Politics During Two World Wars
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2016 Die Meistersinger, New York City, and the Metropolitan Opera: The Intersection of Art and Politics During Two World Wars Gwen L. D'Amico Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1221 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] DIE MEISTERSINGER, NEW YORK CITY, AND THE METROPOLITAN OPERA: THE INTERSECTION OF ART AND POLITICS DURING TWO WORLD WARS by GWEN D’AMICO A dissertation submitted to the Graduate Faculty in Musicology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 ii © 2016 Gwen D’Amico All Rights Reserved iii Die Meistersinger, New York City, and The Metropolitan Opera: The Intersection of Art and Politics During Two World Wars By Gwen D’Amico This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _______________________"""""""""""""""""""""""""""""""""""""""""""__________________________________" Date Norman Carey " " " " " " " Chair of Examining Committee ______________________"""""""""" " " _____________________________________" Date Norman Carey " " " " " " " Executive Officer Supervisory Committee Allan Atlas, Advisor Bruce MacIntyre, First Reader Nicholas Vazsonyi THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Die Meistersinger, New York City, and The Metropolitan Opera: The Intersection of Art and Politics During Two World Wars By Gwen D’Amico Advisor: Professor Allan Atlas In 1945, after a five-year hiatus, the Metropolitan Opera returned Richard Wagner’s Die Meistersinger von Nürnberg to its stage.
    [Show full text]
  • Richard Wagner's Jesus Von Nazareth
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Richard Wagner's Jesus von Nazareth Matthew Giessel Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3284 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Matthew J. Giessel 2013 All Rights Reserved Richard Wagner’s Jesus von Nazareth A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University by Matthew J. Giessel B.A., Virginia Commonwealth University, 2009 Director: Joseph Bendersky, Ph.D. Professor, Department of History, Virginia Commonwealth University Thesis Committee: Second Reader: John Powers, Ph.D. Assistant to the Chair, Department of History, Virginia Commonwealth University Third Reader: Paul Dvorak, Ph.D. Professor Emeritus, School of World Studies, Virginia Commonwealth University Virginia Commonwealth University Richmond, Virginia December 2013 ii Acknowledgment τῇ Καλλίστῃ: ὁ ἔρως ἡμῶν ἦν ἀληθινός. “Jede Trennung giebt einen Vorschmack des Todes, — und jedes Wiedersehn einen Vorschmack der Auferstehung.” iii Table of Contents Abstract…………………………………………………………………………………………....v Introduction………………………………………………………………………………………..1
    [Show full text]