DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 88

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

BOSTON SYMPHONY v^Xvv^JTa Jlj l3 X JlVjl FOUNDED IN 1881 BY HENRY LEE HIGGINSON THURSDAY A SERIES EIGHTY-EIGHTH SEASON 1968-1969 Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 PAIGE OBRION RUSSELL Insurance Since 1876 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor EIGHTY-EIGHTH SEASON 1968-1969 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President HAROLD D. HODGKINSON PHILIP K. ALLEN Vice-President E. MORTON JENNINGS JR ROBERT H.GARDINER Vice-President EDWARD M. KENNEDY JOHN L. THORNDIKE Treasurer HENRY A. LAUGHLIN ABRAM BERKOWITZ EDWARD G. MURRAY ABRAM T. COLLIER JOHN T. NOONAN THEODORE P. FERRIS MRS JAMES H. PERKINS FRANCIS W. HATCH SIDNEY R. RABB ANDREW HEISKELL RAYMOND S. WILKINS TRUSTEES EMERITUS HENRY B. CABOT LEWIS PERRY PALFREY PERKINS EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR Manager JAMES J. BROSNAHAN HARRY J. KRAUT Associate Manager, Associate Manager, Business Affairs Public Affairs MARY H. SMITH MARVIN SCHOFER Concert Manager Press and Public Information program copyright © 1969 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS 3 "A greatest symphony orchestra does now <] and it is headquartered in Boston, Massachus Hi Beetluuw: Sywtyluwi) Wot. 2 The Cmtum ok V^meikm (Sedectawa) Beaton StjHtptoiuj ^ RC/I REDSJAL THE FOUR BRAHMS SYMPHONIES BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF fcT ^ -Mi jfl Red Seal Recordings ItCJI BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor EIGHTY-EIGHTH SEASON 1968-1969 THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC. ABRAM T. COLLIER Chairman ALLEN G. BARRY Vice-Chairman LEONARD KAPLAN Secretary MRS FRANK ALLEN MRS ALBERT GOODHUE OLIVER F. AMES MRS JOHN L. GRANDIN JR LEO L BERANEK STEPHEN W. GRANT GARDNER L. BROWN FRANCIS W. HATCH JR MRS LOUIS W. CABOT MRS C. D. JACKSON MRS NORMAN CAHNERS HOWARD JOHNSON ERWIN D. CANHAM SEAVEY JOYCE RICHARD P. CHAPMAN LAWRENCE K. MILLER JOHN L COOPER LOUVILLE NILES ROBERT CUTLER HERBERT W. PRATT BYRON K. ELLIOTT NATHAN M. PUSEY MRS HARRIS FAHNESTOCK PAUL REARDON CARLTON P. FULLER JOHN HOYT STOOKEY SYMPHONY HALL BOSTON MASSACHUSETTS 5 BOSTON: At the start of The Freedom Trail, 140 Tremont Street, 482-0260. CHESTNUT HILL: 232-8100. NORTHSHORE: 532-1660. SOUTH SHORE PLAZA: 848-0300. BURLINGTON MALL: 272-5010. BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor first violins cellos bassoons Joseph Silverstein Jules Eskin Sherman Walt concertmaster Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofskyt Karl Zeise Rolland Tapley Robert Ripley contra bassoon Roger Shermont Luis Leguia Richard Plaster Max Winder Stephen Geber Harry Dickson Carol Procter horns Gottfried Wilfinger Jerome Patterson James Stagliano Fredy Ostrovsky Ronald Feldman Charles Yancich Leo Panasevich William Stokking Harry Shapiro Noah Bielski Herman Silberman Thomas Newell basses Stanley Benson Paul Keaney Henry Portnoi Ralph Pottle Eiichi Tanaka* William Rhein Alfred Schneider Joseph Hearne trumpets Julius Schulman Bela Wurtzler Armando Ghitalla Gerald Gelbloom Leslie Martin Roger Voisin Raymond Sirdt John Salkowski Andre Come second violins John Barwicki Gerard Goguen Clarence Knudson Buell Neidlinger William Marshall Robert Olson trombones Michel Sasson William Gibson Ronald Knudsen flutes Josef Orosz Leonard Moss Doriot Anthony Dwyer Kauko Kahila William Waterhouse James Pappoutsakis Ayrton Pinto Phillip Kaplan tuba Amnon Levy Chester Schmitz Laszlo Nagy piccolo Michael Vitale timpani Lois Schaefer Victor Manusevitch Everett Firth Max Hobart oboes John Korman percussion Christopher Kimber Ralph Gomberg Charles Smith Spencer Larrison John Holmes Arthur Press Hugh Matheny assistant timpanist violas Thomas Gauger Burton Fine english horn Frank Epstein Reuben Green Laurence Thorstenberg Eugen Lehner harps George Humphrey Bernard Zighera clarinets Jerome Lipson Olivia Luetcke Gino Cioffi Robert Karol Bernard Kadinoff Pasquale Cardillo librarians Vincent Mauricci Peter Hadcock Victor Alpert Earl Hedberg Eb clarinet William Shisler Joseph Pietropaolo Robert Barnes bass clarinet stage manager Yizhak Schotten Felix Viscuglia Alfred Robison personnel manager William Moyer member of the Japan Philharmonic Symphony t Raymond Sird plays on the third stand for part Orchestra participating in a one season ex- of the season, while George Zazofsky is on change with Sheldon Rotenberg. leave of absence. CAMBRIDGE COFFEE, TEA & SPICE HOUSE *7Ae %ot/sseau%i/se o/Sos/o/t Gourmet Cookware Wicker Furniture Imported Cheeses And Many, Many Etceteras ^t I liqlitiiqltt . on the holiday scene. Hostess gown of shimmering multi-color lame with "jewel" encrusted deep decolletage and tiny sleeves. Sizes 8-18. $265.00 416 Boylston Street, Boston 54 Central Street, Wellesley SO Westland Ave. • Bay MJm Back (Between Symphony Hall and The Fenway > Old Faithful For over 20 years the Altec "Voice of the Theater" has pro- vided recording studios with the precise reproduction demanded by professional musicians — ex- ceeding any other speaker in this demanding task. MM* New Faithful Now "Voice of the Theater" compo- nents are available in attractively styled cabinets to provide the critical audio- phile with precise musical reproduction in his own home. Waltham Cambridge 677 Main St. 95 Vassar St. 893-4434 864-4434 JORDAN MARSH social scoop . The little black velvet banded with luxurious white mink, most dramatic look of the social season. Sizes 8 to 16,80.00.... Sorry, no mail or phone orders Second Floor — Main Store Boston — Framingham — Peabody — Maiden Braintree — Burlington — Bedford, N. H. THE MAGIC OF JAPAN BEGINS ON JAL You are "in Japan" the moment your kimono-clad host- ess welcomes you aboard a magnificent DC-8 Jet Courier of Japan Air Lines. Relax amid classic surroundings. Refresh yourself with an o-shibori hot towel. Sample warmed sake and tasty Japanese hors d'oeuvres. ..to spark your appetite for JAL's delicious Continental cuisine. Daily service to Tokyo from New York, San Francisco, Los Angeles and Honolulu. All transpacific flights from the continental U.S. touch down in Honolulu, where you may stop over at no extra fare. You may also fly JAL transatlantic direct to London or Paris, and com- pletely around the world. For complete details, see your travel agent. U/XP/XN AIR LINES official airline for EXPO 70 Statler Office Bldg. 20 Providence Street Tel.: 482-5390 11 &<s^££2ft The Boston Globe's music critic, Michael Steinberg, knows the score. His perceptive reviews help keep Boston music on the right beat. There's more to it Maybe that's how come everybody's reading The Globe these days. 12 TICKET RESALE AND RESERVATION PLAN The ticket resale and reservation plan has now operated for the past five seasons and has proved a great success. The Trustees wish again to thank subscribers who have taken part, and to bring it once more to the atten- tion of all other subscribers and Friends. Should you find that you are unable to attend one of the concerts for which you have tickets, the Trustees hope that you will allow others, who cannot obtain tickets for this subscription series, to have the opportunity to hear the Orchestra. You can do this by telephoning Symphony Hall (266-1492), and giving your name and ticket location to the switchboard operator. Your ticket then becomes available for resale, and the income gained is paid to the Pension Fund of the Orchestra. Subscribers who release their tickets for resale will receive a copy of the program of the concert they miss, and written acknowledgment of their gift for their tax records. Those who wish to request tickets for a specific concert should tele- phone Symphony Hall and ask for 'Reservations'. Requests will be attended to in the order in which they are received, and, since the Management has learned by experience how many returned tickets to expect, no reservation will be confirmed unless the caller can be assured of a seat. Tickets ordered in this way may be bought and collected from the box office on the day of the concert two hours before the start of the program. Tickets not claimed half an hour before concert time will be released. Last season the ticket resale and reservation plan helped reduce the Orchestra's deficit by more than $21,900. 13 KEnmore 6-1952 finer f u r s Newbury Street Eighteen Boston, Mass. la maisonette the little house of many designers II5 newbury street, boston personally selected fashions for town and country DECCA STEREO SALE 4.79 NOW 2.89 5.79 NOW 3.49 MINUTE MAN RADIO CO., INC 30 BOYLSTON ST., HARVARD SQ., 864-8727 Largest Co-operative Bank in Massachusetts MERCHANTS CO-OPERATIVE BANK Conveniently located 125 TREMONT AT PARK STREET • BOSTON WHERE YOU ARE ALWAYS WELCOME TO SAVE MONEY Individual Accounts from $10 to $30,000 Joint, Corporation, Pension, Charitable and Retirement Accounts up to $30,000.
Recommended publications

  • ARSC Journal

    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
  • Elliott Carter Works List

    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) ..................................................
  • Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance

    Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance

    CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K.
  • Historic Houses of Worship in Boston's Back Bay David R. Bains, Samford

    Historic Houses of Worship in Boston's Back Bay David R. Bains, Samford

    Historic Houses of Worship in Boston’s Back Bay David R. Bains, Samford University Jeanne Halgren Kilde, University of Minnesota 1:00 Leave Hynes Convention Center Walk west (left) on Boylston to Mass. Ave. Turn left on Mass. Ave. Walk 4 blocks 1:10 Arrive First Church of Christ Scientist 2:00 Depart for Trinity Church along reflecting pool and northeast on Huntington Old South Church and Boston Public Library are visible from Copley Square 2:15 Arrive Trinity Church 3:00 Depart for First Lutheran Walk north on Clarendon St. past Trinity Church Rectory (n.e. corner of Newbury and Clarendon) First Baptist Church (s.w. corner of Commonwealth and Clarendon) Turn right on Commonwealth, Turn left on Berkley. First Church is across from First Lutheran 3:15 Arrive First Lutheran 3:50 Depart for Emmanuel Turn left on Berkeley Church of the Covenant is at the corner of Berkley and Newbury Turn left on Newbury 4:00 Arrive Emmanuel Church 4:35 Depart for Convention Center Those wishing to see Arlington Street Church should walk east on Newbury to the end of the block and then one block south on Arlington. Stops are in bold; walk-bys are underlined Eight streets that run north-to-south (perpendicular to the Charles) are In 1857, the bay began to be filled, The ground we are touring was completed by arranged alphabetically from Arlington at the East to Hereford at the West. 1882, the entire bay to near Kenmore Sq. by 1890. The filling eliminated ecologically valuable wetlands but created Boston’s premier Victorian The original city of Boston was located on the Shawmut Peninsula which was neighborhood.
  • JS BACH (1685-1750): Violin and Oboe Concertos

    JS BACH (1685-1750): Violin and Oboe Concertos

    BACH 703 - J. S. BACH (1685-1750) : Violin and Oboe Concertos Johann Sebastian Bach was born on March 21 st , l685, the son of Johann Ambrosius, Court Trumpeter for the Duke of Eisenach and Director of the Musicians of the town of Eisenach in Thuringia. For many years, members of the Bach family throughout Thuringia had held positions such as organists, town instrumentalists, or Cantors, and the family name enjoyed a wide reputation for musical talent. By the year 1703, 18-year-old Johann Sebastian had taken up his first professional position: that of Organist at the small town of Arnstadt. Then, in 1706 he heard that the Organist to the town of Mülhausen had died. He applied for the post and was accepted on very favorable terms. However, a religious controversy arose in Mülhausen between the Orthodox Lutherans, who were lovers of music, and the Pietists, who were strict puritans and distrusted art. So it was that Bach again looked around for more promising possibilities. The Duke of Weimar offered him a post among his Court chamber musicians, and on June 25, 1708, Bach sent in his letter of resignation to the authorities at Mülhausen. The Weimar years were a happy and creative time for Bach…. until in 1717 a feud broke out between the Duke of Weimar at the 'Wilhelmsburg' household and his nephew Ernst August at the 'Rote Schloss’. Added to this, the incumbent Capellmeister died, and Bach was passed over for the post in favor of the late Capellmeister's mediocre son. Bach was bitterly disappointed, for he had lately been doing most of the Capellmeister's work, and had confidently expected to be given the post.
  • Repertoire List

    Repertoire List

    APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.
  • And the Spirit Will Lead You… S I Write, the Mountains and Hills of Increasingly Gray Snow Acontinue to Line the Streets Around Copley Square

    And the Spirit Will Lead You… S I Write, the Mountains and Hills of Increasingly Gray Snow Acontinue to Line the Streets Around Copley Square

    Winter 2015 TrinityLife Volume 2, No. 2 And the Spirit Will Lead You… s I write, the mountains and hills of increasingly gray snow Acontinue to line the streets around Copley Square. Pedestrians bustle along shrouded in their jackets and layers of wool. Getting to church on Sundays has often proved daunting, but despite winter’s !erce moods, life at Trinity has been moving forward with remarkable energy. The Rev. Samuel We at Trinity are T. Lloyd III calling this a “Year of Rector Discovery,” a phrase that resonates in more ways than one. We recently “discovered” the latent power of hosting a public conversation as we gathered for the !rst Anne Berry Bonnyman Symposium, addressing Winter roared through New England in late January and February of 2015. Here, the challenges of racism in our country. Trinity rises from the snowbanks from the intersection of Clarendon Street and And we St. James Avenue. Photo by parishioner Monte Agro. What are gathered for we learning an all-parish ranging conversations of the Mission building we call our spiritual home, about living in dinner and Task Force, the Building Committee, and the ways in which we are being community with cabaret that and the Liturgy Study Group will be called to reach out and serve our each other? Who used nearly helping to chart the future into which community outside our doors. does God want us God is calling us. every space in The groups haven’t been charged to become? the church and Several people have asked me in primarily to develop plans for next gave us a taste recent months what exactly these steps, but to discern where God’s of Mardi Gras fun as Lent loomed on planning groups are trying to Spirit is leading our congregation in the horizon—another discovery.
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present

    FRENCH SYMPHONIES from the Nineteenth Century to the Present

    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
  • Discours Prononcé Par M. Laurent

    Discours Prononcé Par M. Laurent

    INSTITUT DE FRANCE ACADEMIE DES BEAUX-ARTS NOTICE SUR LA VIE ET LES TRAVAUX DE M. Marcel LANDOWSKY (1915-1999) par M. Laurent PETITGIRARD Lue à l’occasion de son installation comme membre de la Section de Composition musicale SEANCE DU MERCREDI 12 DECEMBRE 2001 Monsieur le Président, Messieurs les Secrétaires perpétuels, Chers confrères, Chers amis, Marcel Landowski aurait certainement apprécié que son successeur soit reçu par un grand sculpteur et je remercie de tout cœur Jean Cardot pour ses propos chaleureux. Dès son enfance, Marcel Landowski est impressionné par la puissance de travail de son père, Paul Landowski, qu'il décrit ainsi: "C’est dans son atelier, en le voyant travailler douze heures par jour aux grandes œuvres qu’il a sculptées et qu’il remettait vingt fois sur le chantier, que j’ai, du moins je l’espère, appris la valeur du travail et du vrai métier". Marcel Landowski aura le privilège d’y passer de longs moments, et l’on imagine sans peine l’influence qu’a pu avoir sur un jeune garçon à la sensibilité exacerbée la vision de la gigantesque tête de sept mètres de haut du Christ du Mont Corcovado que son père sculptait pour la baie de Rio de Janeiro. Sa mère, Amélie, femme d’une grande culture, lui donnera le goût d’un univers secret, très dense et nourri de réflexion intellectuelle. Deux autres femmes, Nadine, sa sœur aînée, peintre et sa grand-mère, allaient avoir sur lui une pondérante. C’est à Lamaguère, le domaine de son grand-père Jean Cruppi, ministre de la troisième République, situé devant la chaîne des Pyrénées, au bord de la Garonne, que sa grand-mère Louise va lui donner ses premiers cours de piano et de solfège.
  • Ambassador Auditorium Collection ARS.0043

    Ambassador Auditorium Collection ARS.0043

    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity.
  • Boston Symphony Orchestra Concert Programs, Summer, 1963-1964

    Boston Symphony Orchestra Concert Programs, Summer, 1963-1964

    ewoo %,m A.-;£> r^ u* BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF ^ Music Director -T^jj^i % Berkshire Festival 1963 I^^HMMUBBI^BB AN INVITATION TO HEAR THE DEBUT RECORDING BY LORIN HOLLANDER WITH THE BOSTON SYMPHONY UNDER THE DIRECTION OF ERICH LEINSDORF mmmv«Mx::miiWmi :: W>i Lorm Hollander was the first soloist chosen by Mr. " Leinsdorf to record with "The Aristocrat of Or- SSI»Y«M6 chestras." is in The album recorded RCA Victor's Dello Joio/ Fantasy and Variations new DYNAGROOVE system and captures to per- Ravel/Concerto in G Boston Symphony Orch./Leinsdorf fection Hollander's dazzling performance of The Aristocrat of Orchestras Ravel's Concerto in G , and the first recorded per- formance of Dello Joio's Fantas y, composed es- " pecially for Mr. Hollander. Acclaimed as . the outstanding member of his generation," watch for more recordings by Hollander and by the Boston Lorin Hollander Symphony under Mr. Leinsdorf's direction, exclu- sively on the Red Seal label. This album is avail- RCA VICTOR able in Living Stereo, Mono. Hi-Fi and on Tape. THE MOST TRUSTED NAME IN SOUND ^l, i Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor Berkshire Festival, Season ig6^ TWENTY-SIXTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS SEVENTH WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, 1963 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C Paine Abkam Berkowitz E.. Morton Jennings, Jr. Sidney R. Rabb Theodore P.
  • Lorin Hollander

    Lorin Hollander

    Lorin Hollander Lorin Hollander (born July 19, 1944) is an American Rudolf in 1966 presented by the Department of State.[13] classical concert pianist. He has performed with virtually His appearances in Europe began in 1965, when he all of the major symphony orchestras in the United States made a recording in London of Aram Khachaturian's pi- and many around the world.[1] A New York Times critic ano concerto and Ernest Bloch's Scherzo Fantasque with has called him, “the leading pianist of his generation.”[2] the Royal Philharmonic Orchestra and conductor André Previn. In 1968 he debuted with the Concertgebouw Orchestra. Among many others, Hollander has per- formed with the orchestras of Boston, Chicago, Cleve- 1 Early life land, Dallas, Detroit, Los Angeles, New York, Philadel- phia, Pittsburgh, San Francisco and Washington’s Na- Lorin Hollander was born in New York City into a Jewish tional Symphony, and internationally with the London family. His father, Max Hollander, was associate concert- Philharmonic, Royal Concertgebouw, Orchestre de la Su- master of the NBC Symphony Orchestra under Arturo isse Romande, Jerusalem Symphony Orchestra, ORTF Toscanini.[1] Lorin Hollander was a child prodigy and and New Tokyo Philharmonic.[12] gave his first public performance at age five playing ex- In 1969, Lorin Hollander gave the first public classical cerpts of Bach’s The Well-Tempered Clavier, and at age recital using the Baldwin Electric Concert Grand at the eleven, he made his Carnegie Hall debut with the National Fillmore East.[14] In 1971 he was the first classical pianist Orchestral Association.[1][3] to give street concerts in East Harlem and in Queens, un- He studied with Eduard Steuermann[4] from age eight and der the auspices of the Department of Cultural Affairs.[15] took courses at what is now the Juilliard Pre-College at Hollander premiered Norman Dello Joio's “Fantasy and age eleven.