DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 44,1924-1925, Trip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 44,1924-1925, Trip SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, November 6, at 8.00 ,jgr BOSTON SYMPHONY ORCHESTRA mc. FORTY-FOURTH SEASON <* I924^J925 ^ PRoGRZWIE 21 iTIfli'MIVIfl STEINWAY STEINERT JEWETT WOODBURY PIANOS DUOART Reproducing Pianos Pianola Pianos *% VICTROLAS VICTOR RECORDS DeForest Radio Merchandise ML STEINERT & SONS 162 Boylston Street 35 Arch Street BOSTON, MASS. SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-FOURTH SEASON, 1924-1925 INC. SERGE KOUSSEVITZKY, Conductor SEASON 1924-1925 THURSDAY EVENING, NOVEMBER 6, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1924, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE . " . Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH ARTHUR LYMAN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1 — 1 E. i TH£ INSTRUMENT OF THE IMMORTALS IT IS true that Rachmaninov, Pader- Each embodies all the Steinway ewski, Hofmann—to name but a few principles and ideals. And each waits of a long list of eminent pianists only your touch upon the ivory keys have chosen the Steinway as the one to loose its matchless singing tone, perfect instrument. It is true that in to answer in glorious voice your the homes of literally thousands of quickening commands, to echo in singers, directors and musical celebri- lingering beauty or rushing splendor ties, the Steinway is an integral part the genius of the great composers. of the household. And it is equally true that the Steinway, superlatively fine as it is, comes well within the There is a Steinway dealer in your range of the moderate income and community or near you through 'whom meets all the requirements of the you may purchase a new Steinway modest home. piano 'with a small cash deposit, and This instrument of the masters has the balance will be extended over a been brought to perfection by four period of two years.* Used pianos generations of the Steinway family. accepted in partial exchange. But they have done more than this. They have consistently sold it at the Prices: $875 and up lowest possible price. And they have Plus transportation given it to the public upon terms so convenient that the Steinway is well Steinway & Sons, Steinway Hall within your reach. Numerous styles 109 East Fourteenth St., New York and sizes are made to suit your home. Forty-fourth Season, 1924-1925 SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Siegl, F. Kassman, N. Cherkassky, P. Leveen, P. Mariotti, V. Thillois, F. Gorodetzky, L. Kurth, R. Riedlinger, H. Murray, J. Goldstein, S. Bryant, M. Knudsen, C. Stonestreet, L. Tapley, R. Del Sordo, R. Messina, S. Diamond, S. Erkelens, H. Seiniger, S. Violas. Fourel, G. Werner, H. Grover, H. Fiedler, A. Artieres, L. Van Wynbergen, C. Shirley, P. Mullah/, J. Gerhardt, S. Kluge, M. Deane, C. Zahn, F. Violoncellos. Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendoen, J. Schroeder, A. Barth, C. Stockbridge, C. Fabrizio, E. Marjollet, L. Basses. Kunze, M. Seydel, T. Ludwig, 0. Kelley, A. Girard, H. Keller, K. Gerhardt, G. Frankel, I. Demetrides, L. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Bladet, G. Lenom, C. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Vannini, A. Bettoney, F. Piccolo. English Horns. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Mimart, P. PiUer, B. Speyer, L. Horns. Horns. Trumpets. Trombones. Wendler, G. Valkenierj W. Mager G. Hampe, C. Schindler, G. Gebhardt, W. Mann, J. Adam, E. Hess, M. Van Den Berg, C. Schmeisser, K. Mausebach, A. Lorbeer, H. Hain, F. Perret, G. Kenfield, L. Kloepfel, L. Tuba. Harps. Timpani. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Zahn, F. Savitzkaya, M. Polster, M. Sternburg, S. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J 3 DAI B U E L L Dai Buell, to whom Philip Hale accredits "feminine elegance," achieved as sensational a triumph abroad as has been accorded an American artist in years. This pianist is one of the host of internationally famous musicians who record their art for THE AMPICO Miss Buell's first recording, "Toccata" by Paradies, is a most impressive revelation of the personality capturing power of this incomparable, re-enacting piano. The spirited perform- ance of this composition, so replete in rhythmic crystalline- colored charm, makes the hearer happier for having experi- enced it and Ampico owners have another gem awaiting them. Other recordings by Miss Buell are in preparation and will soon be issued. S (_X"5 ESTABLISH ED 1813 ( \^J 169 Tremont Street, Boston PIANOS OF ALL PRICES — EACH PRE-EMINENT IN ITS CLASS 4 SANDERS THEATRE .... CAMBRIDGE HARVARD UNIVERSITY Boston Symphony Orclnesfra Forty-fourth Season, 1924-1925 SERGE KOUSSEVITZKY, Conductor SECOND CONCERT THURSDAY EVENING, NOVEMBER 6 AT 8.00 PROGRAMME Bach, C. P. E. Concerto for Orchestra in D major (Arranged by Maximilian Steinberg) I. Allegro moderato. II. Andante lento moto. in. Allegro. Wagner . Bacchanale, "Der Venusberg" from "Tannhauser" Moussorgsky . Prelude to the Opera "Khovantchina" Rimsky-Korsakov . "The Flight of the Bumble Bee," Scherzo from "Tsar Saltan" Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo. II. Andante moderato. III. Allegro giocoso. IV. Allegro energico e passionate There will be an intermission of ten minutes before the symphony 5 The new Boston office of the Raymond &l Whitcomb Company. is very conveniently located at 165 Tremont Street {Telephone: Beach 6964) Here you will receive expeditious attention and courteous information in regard to any of our travel activities for 1924-25 ROUND SOUTH AMERICA CRUISE S.S. "Resolute"—January 24, 1925—65 days MEDITERRANEAN CRUISES S.S. "Samaria"—February 5, 1925—66 days S.S. "Reliance"— March 28, 1925 —40 days WEST INDIES CRUISES S.S. "Reliance"—January 13 (16 days)—January 31 (26 days) February 28 (26 days) Tours to Europe, California and Hawaii, Florida and Cuba "INDIVIDUAL TRAVEL SERVICE" : Concerto, D major, tor Orchestra: arranged by Maximilian Oseevitsch Steinberg Carl Philipp Emanuel Bach (Bach, born at Weimar, March 8, 1714; died at Hamburg, December 14, 1788) (Steinberg, born at Vilna, on June 22, 1888) Mr. Koussevitzky heard this concerto played by violon, quinton, viol d'amour, viola de gamba and bass viol at a concert of the Society of Ancient Instruments in Paris. He was so pleased that he took the music and purposed to make an orchestral arrangement, but he finally entrusted the task to Steinberg who arranged it for these instruments flute, two oboes, bassoon, horn and strings. The concerto was probably composed by Bach at Hamburg. * * * Steinberg, after graduation from the Gymnasium in 1901, attended the University at Leningrad until 1906, and the Conservatory until 1908. His teachers were Rimsky-Korsakov and Glazunov. At last accounts, he was teacher of composition and orchestration at this Conservatory. Glazunov brought out fragments from Steinberg's ballet in 1907 at a concert of the Royal Music Society. The list of his works includes two symphonies: No. 1, in D, Op. 3; No. 2, B-flat minor, Op. 8; "Dramatic Fantasie," Op. 9; Prelude for orchestra, Op. 7; Variations for orchestra, Op. 2 and Op. 10; String Quartet in A, Op. 5; Four melodies for soprano or tenor, Op. 1; Four melodies for soprano or tenor (text by K. D. Balmont), Op. 6; "The Watersprite" (poem by Lermontov), for solo soprano, female chorus, and orchestra, Op. 4. His ballet "Midas," second of three episodes from Ovid's "Metamor- phoses," picturing the contest of Apollo and Pan, was performed at Paris on June 2, 1914; at London on June 18, 1914. In both cities, Mme. Karsavina danced as an Oread; Adolf Bolm as Midas. The stage setting was by Bakst; the chorography by Fokine. Stravinsky com- posed in 1908 at Oustilong his "Fireworks"* for the wedding of Stein- berg and the daughter of Rimsky-Korsakov. After the latter's death, Steinberg edited his unpublished works, including his treatise on orches- tration. * * * The third son of Johann Sebastian Bach was Philipp Emanuel Bach, known as the "Berlin Bach" or "Hamburg Bach." He was destined for the law. His father sent him to the Thomas Schule in Leipsic to study philosophy. The young man afterwards studied law at the Universities of Leipsic and Frankfort-on-the-Oder. His father, Sebas- tian, did not give him a rigorous musical training, and the son's early inclinations led him to the "galant" school of French clavecin music; but when he went to Frankfort he was a cultivated musician and a brilliant performer on the clavecin. At Frankfort he established and conducted a singing society. In 1738 he moved to Berlin and was appointed chamber clavecinist to Frederick the Great. It was his painful duty to accompany that monarch when he indulged himself in flute diversions. Frederick's musical ardor was cooled somewhat by the Seven Years' War, and Bach left Berlin in 1767 to take G. F. *"Fireworks" was performed in the United States for the first time by the Russian Symphony Orchestra in New York on December 1, 1910. The first performance in Boston was by the Philhar- monic Society of New York on October 30, 1914. The piece was played in Boston by the Boston Symphony Orchestra on December 12, 1914. Telemann's place at Hamburg as music director in a church. He held this position to his death, which resulted from pulmonary consump- tion.
Load more

Recommended publications
  • Symphony Shopping
    Table of Contents | Week 1 7 bso news 15 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 a message from andris nelsons 22 this week’s program Notes on the Program 24 The Program in Brief… 25 Dmitri Shostakovich 33 Pyotr Ilyich Tchaikovsky 41 Sergei Rachmaninoff 49 To Read and Hear More… Guest Artist 55 Evgeny Kissin 58 sponsors and donors 78 future programs 82 symphony hall exit plan 83 symphony hall information the friday preview talk on october 2 is given by bso director of program publications marc mandel. program copyright ©2015 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo of Andris Nelsons by Chris Lee cover design by BSO Marketing BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate 135th season, 2015–2016 trustees of the boston symphony orchestra, inc. William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D.
    [Show full text]
  • Program Notes
    with the NASHVILLESYMPHONY CLASSICAL SERIES THURSDAY, FEBRUARY 21, AT 7 PM | FRIDAY & SATURDAY, FEBRUARY 22 & 23, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CONCERT PARTNER ALBAN GERHARDT, cello AARON JAY KERNIS Symphony No. 4, “Chromelodeon” Out of Silence Thorn, Rose | Weep, Freedom (after Handel) Fanfare Chromelodia SAMUEL BARBER This weekend's performances are made Concerto for Cello and Orchestra, Op. 22 possible through the generosity of Allegro moderato Drs. Mark & Nancy Peacock. Andante sostenuto Molto allegro ed appassionato Alban Gerhardt, cello – INTERMISSION – LUDWIG VAN BEETHOVEN Symphony No. 7 in A Major, Op. 92 Poco sostenuto – Vivace Allegretto Presto Allegro con brio This concert will last 1 hour and 55 miutes, including a 20-minute intermission. INCONCERT 33 TONIGHT’S CONCERT AT A GLANCE AARON JAY KERNIS Symphony No. 4, “Chromelodeon” • New York City-based composer Kernis has earned the Pulitzer Prize in Music and the prestigious Grawemeyer Award, as well a 2019 GRAMMY® nomination for Best Contemporary Classical Composition. (Winners had not yet been announced at the time of the program guide’s printing.) He also serves as workshop director for the Nashville Symphony’s Composer Lab & Workshop. • The title of his latest symphony, “Chromelodeon,” comes from an unusual word previously used by maverick American composer Harry Partch to describe one of his musical inventions. As defined by the composer, this word aptly describes his own creation here: “chromatic, colorful, melodic music performed by an orchestra.” • The idea of color is especially significant in Kernis’ work, as the composer has synesthesia, a condition that associates specific notes and chords and with distinct colors.
    [Show full text]
  • PROGRAM NOTES Igor Stravinsky Concerto for Piano and Wind
    PROGRAM NOTES by Phillip Huscher Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Concerto for Piano and Wind Instruments Stravinsky began this piano concerto in the summer of 1923 and completed it on April 21, 1924; he was the soloist at the first performance, conducted by Serge Koussevitzky, on May 22, 1924, in Paris. The orchestra consists of two flutes and piccolo, two oboes and english horn, two clarinets, two bassoons and contrabassoon, four horns, four trumpets, three trombones and tuba, timpani, and double basses. Performance time is approximately twenty minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Stravinsky’s Concerto for Piano and Wind Instruments were given at Orchestra Hall on January 30 and 31, 1935, with Jane Anderson and Jean Williams as soloists (the work was performed twice; once before and once after intermission) and Eric DeLamarter conducting. Stravinsky himself conducted the work at Orchestra Hall on November 7 and 8, 1940, with Jane Anderson as soloist. Our most recent subscription concert performances were given on March 3, 4, 5, and 8, 2005, with Pierre-Laurent Aimard as soloist and David Robertson conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on July 10, 1993, with Peter Serkin as soloist and Libor Pešek conducting. Stravinsky would offer a handful of ways to define the word “concerto” before his career was over. This work for piano and winds was the first, and it was followed by pieces that look back as far as the eighteenth-century concerto grosso and others that help us to hear the original meaning of the word (from the Italian concertare, to join together, and the Latin concertare, to fight or contend) in new ways.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 60,1940-1941, Trip
    Ara&^mg of MnBxt • Irnnklyn >> BOSTON SYMPHONY ORCnESTRS FOUNDED [N 1881 DY HENRY L. HICGINSON A SIXTIETH SEASON 1940-1941 Friday Evening, November 22 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Soqety of Brooklyn Boston Symphony Orchestra [Sixtieth Season, 1940-1941] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. KRIPS, A. RESNIKOFF, V. Concert-master R. GUNDERSEN, KASSMAN, N. CHERKASSKY, P. LEIBOVia, J. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. EISLER, D. PINFIELD, C. BEALE, M. SAUVLET, H. KNUDSON, C. ZUNG, M. LEVEEN, P. GORODETZKY, L. MAYER, P. DIAMOND, S. del sordo, r. FIEDLER, B. BRYANT, M. STONESTREET, L. messina, s. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger> s. DUBBS, H. Violas LEFRANC, J. FOUREL, G. van wynbergen, c. GROVER, H. CAUHAPE, J. ARTIERES, L. bernard, a. WERNER, H. LEHNER, E. KORNSAND, E. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, J. LANGENDOEN, J. droeghmans, h. STOCKBRIDGE, C. FABRIZIO, E. ZICHERA, A. CHARDON, Y. ZEISE, K. MARJOLLET, L. zimbler, j. Basses MOLEUX, G. JUHT, L. GREENBERG, H. GIRARD, H. barwicki, j. dufresne, g. frankel, i. PAGE, W. PROSE, P. Flutes Oboes Clarinets Bassoons laurent, g. GILLET, F. polatschek, v. ALLARD, R. pappoutsakis, j. DEVERGIE, J. valerio, m. panenka, e. KAPLAN, P. lukatsky, j. cardillo, p. LAUS, A. Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MAZZEO, R. FILLER, B. Horns Horns Trumpets Trombones valkenier, w. SINGER, J. MAGER, G. raichman, j. macdonald, w. LANNOYE, M LAFOSSE, M. hansotte, l. VOISIN, R. L. lilleback, w. SINGER, J.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 68, 1948-1949
    BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HI -"'"M'C SIXTY-EIGHTH SEASON 1948-1949 Tuesday Evening Series Boston Symphony Orchestra [Sixty-eighth Season, 1948-1949] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL VlOUNS Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhap£ Ernst Panenka Alfred Krips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Rolland Taplcy Albert Bernard Contra-Bassoon Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey Horns Paul Cherkassky Louis Artieres Harry Dubbs Charles Van Wynbergen Willem Valkeniei James Stagliano Vladimir Resnikoff Hans Werner Principals Joseph Leibovici Jerome Lipson Harry Shapiro Siegfried Gerhardt Einar Hansen Harold Meek Daniel Eisler Violoncellos Paul Keaney Norman Carol Walter Macdonald Carlos Pinfield Samuel Mayes Osbourne McConathy Alfred Zighera Paul Fedorovsky Harry Dickson Jacobus Langendoen Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmans Roger Voisin Karl Zeise Clarence Knudson Principals Pierre Mayer Josef Zimbler Marcel Lafosse Manuel Zung Bernard Parronchi Harry Herforth Samuel Diamond Enrico Fabrizio Renl Voisin Leon Marjollet Victor Manusevitch Trombones James Nagy Flutes Jacob Raichman Leon Gorodetzky Georges Laurent Lucien Hansotte Raphael Del Sordo James Pappoutsakis John Coffey Melvin Bryant Phillip Kaplan Josef Orosz John Murray Lloyd Stonestreet Piccolo Tuba Henri Erkelens George Madsen Vinal Smith Saverio Messina Herman Silberman
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 63
    THE JUHIOIt ifAGUE MtESENTS THE COMMUNITY CONCERT SEkl ES • I : ! Cttitg Att&tt0rtum • g^prngfirlft Boston Symphony Orchestra SIXTY-THIRD SEASON, 1943-1944 SERGE KOUSSEVITZKY, Conductor TUESDAY EVENING, January 4 The Programme has been changed as follows: Prokofieff "Classical" Symphony, Op. 25 I. Allegro II. Larghetto III. Gavotta: non troppo allegro IV. Finale: molto vivace Debussy Two Nocturnes Nuages Fetes RiMSKY-KoRSAKOv Capriccio Espagnol, Op. 34 Alborada — Variations — Alborada — Scene and Gypsy Song — Fandango of the Asturias INTERMISSION Beethoven Symphony No. 7 in A major. Op. 92 I. Poco sostenuto; Vivace II. Allegretto III. Presto; Assai meno presto; Tempo primo IV. Allegro con brio Tne Community Concert Association Sponsored by THE JUNIOR LEAGUE OF SPRINGFIELD Presents The Boston Sympnony Orcnestra SERGE KOUSSEVITZKY, Conductor MUNICIPAL AUDITORIUM Springfield, Massacnusetts January 4-, 1944 Springfield Community Concert Association OFFICERS President, Mr. Raymond T. King First Vice-President, Mrs. Donald A. Benjamin Second Vice-President, Mrs. Carl Ekberg Treasurer, Mr. George C. Stebbins Executive Secretary, Mrs. Willard D. Leshure Recording Secretary, Mrs. Russell F. Swett Corresponding Secretary, Mrs. Reynolds G. Clark DIRECTORS Mrs. Chester B. Bulkley Mrs. Corydon K. Litchard Mrs. C Castle Day Mrs. John H. Mitchell Mr. Benjamin B. Kalman Mr. Hans Passburg ARTIST COMMITTEE Mrs. John H. Mitchell, Chairman Miss Hazel Clark Mrs. Frederick B. Robinson Rev. James Gordon Gilkey, D. D. Dr. George L. Schadt Mr. Benjamin B. Kalman Miss Ursula Toomey Mr. Hans Passburg Mrs. Janet Wallace SCHOLARSHIP COMMITTEE Mrs. Carl Ekberg, Chairman Mr. Milton Berliner Mr. Paul Craig Miss Hazel Clark Miss Ursula Toomey Mr. Willard Clark Miss Gladys Waldron Mr.
    [Show full text]
  • Leonard Bernstein's the Age of Anxiety
    PHILIP GENTRY Leonard Bernstein’s The Age of Anxiety: A Great American Symphony during McCarthyism In 1949, shortly after Harry Truman was sworn into his first full term as president, a group of American writers, artists, scientists, and other public intellectuals organized a “Cultural and Scientific Conference for World Peace,” to be held at the Waldorf-Astoria Hotel in New York City. They were joined by a number of their counterparts in the Soviet Union, or at least as many as could procure a visa from the US State Department. Most prominent among the visitors was composer Dmitri Shostakovich, who through an interpreter delivered a lecture on the dangers of fascist influence in music handcrafted for the occasion by the Soviet govern- ment. The front-page headline in the New York Times the next morning read, “Shostakovich Bids All Artists Lead War on New ‘Fascists.’”1 The Waldorf-Astoria conference was at once the last gasp of the Popu- lar Front, and the beginning of the anticommunist movement soon to be known as McCarthyism. Henry Wallace’s communist-backed third- party bid for the presidency the previous fall had garnered 2.4 percent of the popular vote, but the geopolitical tensions undermining the Popu- lar Front coalition since the Nazi-Soviet Pact of 1939 were out in plain view a decade later. Once-communist intellectuals, like Irving Kristol and Dwight MacDonald, vigorously protested Stalinist influence on the conference, and in an ominous preview of the populist attraction of an- ticommunism, thousands of New Yorkers protested on the streets out- side.
    [Show full text]
  • Leonard Bernstein , 72, Music's Monarch, Dies HENAHAN, DONAL
    Document 1 of 1 Leonard Bernstein , 72, Music's Monarch, Dies HENAHAN, DONAL. New York Times [New York, N.Y] 15 Oct 1990: .1. Abstract Throughout his Philharmonic years, he kept his ties with Broadway and the show-business friends he had made before he became an internationally adulated maestro. He had already written music for the musical version of ''Peter Pan'' (1950) and ''The Lark,'' a play starring Julie Harris (1955). For Hollywood, he wrote the score to ''On the Waterfront'' (1954). Musical successes on the stage followed: ''On the Town'' (1944), ''Wonderful Town'' (1953), ''[Candide]'' (1956) and ''West Side Story'' (1957). Several of the stage works continue to thrive: in 1985 Mr. Bernstein conducted a quasi-operatic version of ''West Side Story'' (the cast included Kiri Te Kanawa and Jose Carreras) that pleased him immensely and introduced the work to a new generation of listeners. Then there were the ballets ''Fancy Free'' (1944) and ''Facsimile'' (1946); the song cycles ''I Hate Music'' and ''La Bonne Cuisine''; the ''[Jeremiah]'' and ''Age of Anxiety'' symphonies; the one- act opera ''Trouble in Tahiti''; Serenade for violin and string orchestra with percussion; the Symphony No. 3 (''Kaddish''), and the ''Chichester Psalms.'' He continued composing, if only in spurts. Late works included ''Jubilee Games,'' ''Arias and Barcarolles,'' ''Halil'' and a sequel to his opera ''Trouble in Tahiti'' entitled ''A Quiet Place.'' After its premiere in Houston in 1983, ''A Quiet Place'' was produced at the Vienna State Opera, La Scala and the Kennedy Center in Washington. Full Text LEAD: Leonard Bernstein, one of the most prodigally talented and successful musicians in American history, died yesterday evening at his apartment at the Dakota on the Upper West Side of Manhattan.
    [Show full text]
  • San Diego Symphony Orchestra a Jacobs Masterworks Classical Concert
    SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CLASSICAL CONCERT January 8 and 10, 2016 CLAUDE DEBUSSY L’isle joyeuse (Orch. Bernardino Molinari) MAURICE RAVEL Piano Concerto for the Left Hand in D Major Marc-André Hamelin, piano INTERMISSION GEORGE GERSHWIN Rhapsody in Blue (Orch. Frede Grofé) Marc-André Hamelin, piano SERGEI RACHMANINOFF Cinq Études-tableaux (Orch. Ottorino Respighi) The Sea and the Seagulls The Fair Funeral March Little Red Riding Hood and the Wolf March L’isle joyeuse CLAUDE DEBUSSY (Orch. Bernardino Molinari) Born August 22, 1862, Saint-Germain-en-Laye Died March 25, 1918, Paris After years of struggle, Debussy finally achieved success with his opera Pelléas and Mélisande in 1902 and began work on La mer. Then came a complete change. In June 1904, Debussy abandoned his wife of five years and ran off with Emma Bardac, a singer and the estranged wife of a wealthy banker. In the first rush of excitement, Debussy took Emma to the Isle of Jersey off the Normandy coast, and it was there, during the summer of 1904, that he composed his L’isle joyeuse. Debussy frequently drew his inspiration from contemporary sources, but for this brief piano piece he turned to the past, specifically to an early eighteenth-century painting, L’embarquement pour Cythère by the French painter Jean-Antoine Watteau (1684-1721). Watteau’s painting depicts the moment of departure of a group of revelers for the island of Aphrodite, goddess of erotic love, and Debussy sets out to duplicate the sensual expectancy of such a scene. It is hard not to believe that the details of Debussy’s own life – he too was escaping to an island with a new lover – were the direct inspiration for this spirited music.
    [Show full text]
  • CRI 267 WERNER JOSTEN: JUNGLE Leopold Stokowski, Conducting The
    CRI 267 WERNER JOSTEN: JUNGLE Leopold Stokowski, conducting the American Symphony Orchestra CANZONA SERIA Members of the American Symphony Orchestra, supervised by Leopold Stokowski GAIL KUBIK: SYMPHONY CONCERTANTE (Pulitzer Prize, 1952) Arthur Hanneuse, trumpet; Marie Thérèse Chailley, viola; Frank Glazer, piano French Radio Orchestra, conducted by the composer WERNER JOSTEN (1885-1963) was born in Elberfeld, Germany. Despite an education in finance planned by his father, Josten's interest in music prevailed. He received early training in harmony and counterpoint in Munich from Dr. Rudolph Siegel, a master pupil of Humperdinck, and studied with the famed founder of eurhythmics, Emile Jacques Dalcroze, in Switzerland. He first conducted in Paris and before coming to America in 1920 he had been appointed assistant conductor of the Munich Opera House. Immediately upon arriving in the United States, Josten began concert appearances as composer-accompanist for some of the best known singers of the day. From their first programming, his songs began to attract favorable attention from publishers as well as Olin Downes and Deems Taylor. In 1923, Josten joined the faculty of Smith College, where he became Professor of Composition and where he was to remain for 26 years; it was there that he came fully into his own as a composer and executant musician. In the latter capacity, he founded the Baroque Festivals at Northampton producing and directing the first American stage performances of half-forgotten masterpieces including Monteverdi's L'lncoronazione di Poppea, II Combattimento di Tancredi e Clorinda, and Orfeo, as well as Handel’s Julius Caesar, Xerxes, Apollo e Dafne, and Rodelinda.
    [Show full text]
  • Technical Difficulties and Solutions in Double Bass
    TECHNICAL DIFFICULTIES AND SOLUTIONS IN DOUBLE BASS CONCERTOS A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC BY IAN ELMORE PROF. JU-FANG LIU - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA MAY, 2020 1 Historically, double-basses and their wielders are notorious for a lack of soloistic quality. Because of this notoriety, composers have tended to stray away from writing for the double-bass concerto medium. This compositional task has been left to those who truly understand the instrument. The three concertos that I have selected to study are those that I have played (or am currently playing), including a concerto that was on my MM recital. The three concertos also introduce different technical difficulties that were understood by the composers, as they themselves were bassists. Serge Koussevitzky’s concerto is robust and lyrical. Its melodic content is far simpler than the other two. The remaining concertos, one composed by Giovanni Bottesini (no. 2) and the other by Édouard Nanny (named for Domenico Dragonetti, the dedicatee), are written in Italian and French styles, respectively. All three of the works are late Romantic works. The first movement of each work will be examined, as first movements alone are usually requested for professional symphony audition purposes. I will also give a brief historical background for each work. I have selected these concertos because they each present unique technical challenges. The challenges that rise in these works concern bowings, fingerings, harmonics, and bow strokes. Every bassist has a different approach to the music in each concerto, meaning different musical choices will be made, including decisions about tempo and dynamics.
    [Show full text]
  • The London Symphony Orchestra GEORG SOLTI, Conductor
    1964 Eighty-sixth Season 1965 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor First Program Nineteenth Annual Extra Series Complete Series 3436 The London Symphony Orchestra GEORG SOLTI, Conductor Diamond Jubilee World Tour 1964 under the gracious patronage of Her Majesty Queen Elizabeth II FRIDAY E VEN I N G, OCTOBER 2, 1964, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICH IGAN P ROGR AM Sinfonia da requiem, Op. 20 B RITTEN Lacrymosa (Andante ben misurato) Dies irae (Allegro con fuoco) Requiem aeternam (Andante piacevole) Symphony No. 104 in D major (London Symphony) HAYDN Adagio: Allegro Andante Menuetto allegro Allegro spirito so I NTERMISSION Concerto for Orchestra Introdu zione (Andante non troppo- Allegro vivace) Giuoco delle coppie (Allegretto scherzando) Elegia (Andante, non troppo) Intermezzo interrotto (Allegretto) Finale (Presto) London, MerC1try, Philips, RCA Victor and Angel Records The Steinway is the official piano oj the University Musical Society A R S L ON G A V I T A BRE VI S PROGRAM NOTES Sinfonia da requiem, Op. 20 BENJAMIN BRITTEN Britten completed his Sinfollia da requiem at Amityville, L.I., in the spring of 1940. The first performance was conducted by Sir John Barbirolli with the New York Phil­ harmonic-Symphony on March 29, 1941. The work has a curious history: commissioned by the Japanese Government in connection with the celebration of the 2,600th anniversary of the foundation of the Mikado's dynasty in 660 B.C., it was rejected by the Japanese Embassy, some months after the completed score had been handed over, with a complaint that the Christian ideology that formed the basis of the work was a calculated insult to the Mikado.
    [Show full text]