DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 40,1920

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 40,1920 ACADEMY OF MUSIC . HAVERHILL Sunday Evening, November 14, 1920, at 7.45 ^uiijW/W /«m ^ m ^, BOSTON SYMPHONY ORCHESTRA INCORPORATED FORTIETH SEASON J920-I92J PRSGRHttttE mmas STEINWAY & SONS STEINERT JEWETT WOODBURY STEINWAY PIANOLA WEBER PIANOLA STECK PIANOLA WHEELOCK PIANOLA STROUD PIANOLA Most Complete Stock of Records in New England Lowell Address 30 Merrimac Street ACADEMY OF MUSIC . ff: HAVERHILL FORTIETH SEASON, 1920-1921 INCORPORATED PIERRE MONTEUX, Conductor SUNDAY EVENING, NOVEMBER 14, at 7.45 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1920, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED -J 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 LISZT, greatest of all pianists, preferred -* the Steinway. Wagner, Berlioz, Rubinstein and a host of master-musicians esteemed it more highly than any other instrument. It is these traditions that have inspired Steinway achievement and raised this piano to its artistic pre-eminence which is today recognized throughout the world. 107-109 East 14th Street New York City Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Fortieth Season, 1920-1921 PIERRE MONTEUX, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Sauvlet, H. Concert-master. Mahn, F. Hamilton, V. Barozzi, S. Theodorowicz, J. Gundersen, R. Berger, H. Fiedler, B. Riedlinger, H. Pinfield, C. Hoffmann, E. Leveen, P. Gorodetzky, L. Thillois,F. Kurth, R. Murray, J. Stonestreet, L. Goldstein, S. Bryant, M. Knudsen, C. Siegl, F. Deane, C. Tapley, R. Seiniger, S. Messina, S. Reed, L. Del Sordo, R. Violas. Denayer, F. Van[Wynbergen, C. Grover, H. Mullaly, J. Kluge, M. Artieres, L. Shirley, P. Fiedler, A. Gerhardt, S. Zahn, F. Violoncellos Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendoen, J. Schroeder, A. Barth, C. Fabrizio, E. Stockbridge, C. Marjollet, L. Basses. Kunze, M. Seydel, T. Ludwig, O. KeUey, A„ Gerhardt, G. Frankel, I. Demetrides, L. Girard, B. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Vannini, A. Mueller, E. Amerena, P. Stanislaus, H. Forlani, N. Bettoney, F. Piccolo English Horns. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Mimart, P. Piller, B. Speyer, L. Horns. Horns. Trumpets. Trombones. Wendler, G. Van Den Berg, C. Mager, G. Hampe, C. Lorbeer, H. Hess, M. Mann, J. Adam, E. Hain, F. Kloepfel, L. Mausebach, A. Gebhardt, W. Perret, G. Kenfield, L. Tuba. Harps. Tympani. Percussion. Lemcke, C. Holy, A. Neumann, S. Rettberg, A. Burkhardt, H. Van Den Berg, W. Kandler, F. Ludwig, C. Organ Librarian. Snow„ A. Rogers, L. J. : > Every lover of Piano Music should Hear the AMPICO SiehfSKlucuto SUaruy This wonderful instrument brings the playing of the world's greatest pianists right into your own home. Mr. Phillip Hale, in reviewing the public com- parison of the Ampico's reproduction with the actual playing of Richard Buhlig at the Copley-Plaza wrote "// is not easy to believe that there was a mechanical reproduction. The impres- sion is made on the hearer that thepian- ist is playing then and there. cc Hearing the Ampico which never sug- gested the purely mechanical^ one wishes that this instrument had been known in the days of Liszt, Chopin, Hensely Rubinstein and Tausig!' It will give us great pleasure to show the Ampico in the Chickering to any one interested in this mar- velous invention. Itisthelastwordinthedevelopment of the art of producing music by scientific means. fi 0*2sf- entm» Established 1823©^ C/ Warerooms 169 Tremont Street ACADEMY OF MUSIC . HAVERHILL Fortieth Season, 1920-1921 PIERRE MONTEUX, Conductor SUNDAY EVENING, NOVEMBER 14 AT 7.45 PROGRAMME Beethoven Symphony No. 8, F major, Op. 95 I. Allegro vivace e con brio. II. Allegretto scherzando. III. Tempo di menuetto. IV. Allegro vivace. Rimsky-Korsakoff .... Caprice on Spanish Themes, Op. 34 I. Alborada. II. Variations. III. Alborada. IV. Scene and Gypsy Song. V. Fandango of the Asturias. (Played without pause) Liszt Concerto for Pianoforte in E-flat, No. r Wagner Overture to "Rienzi" SOLOIST GUY MAIER CHICKERING PIANO USED There will be an intermission of ten minutes after the symphony 5 Aia*. M^^^^^w^mXii The Spanish Main The New World's romance lies on the Spanish Main. Cortez, Drake, Morgan — these are names to conjure with. The glamour of their times still haunts the Caribbean. Only three days from New York and you are sailing in the HAVANA wake of the old time caravels and three-deckers. hospitable and gay SANTIAGO of Spanish War Fame KINGSTON Delightful Cruises the old pirate haven The Raymond-Whitcomb West Indies Cruises PANAMA take you to historic lands—Cuba and Jamaica, and the great Canal the Isthmus of Panama and the mountains of SAN JOSE Costa Rica. All in twenty-four days, during a season when in our ''temperate" zone every- true Central America — — thing is depressingly cheerless and disagreeable. MiM jL&jftwgae&j Luxurious Service Raymond-Whitcomb Cruises are unrivalled. We seek to procure and preserve our clients' comfort. The ships chosen are palatial, built specially for Tropical service. Many fascinating shore excursions are included in the rates. The Cruises sail February 12, March 5 and 26. We Other Tours shall be glad to forward you our Cruise Booklet. California & Hawaii Florida & Nassau Raymond & Whitcomb Co. Arabian Nights Africa 17 Temple Place, Boston Japan-China Telephone: Beach 6964 South America Round the World 1 t^m Symphony in F Major, No. 8, Op. 93 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) This symphony was composed at Linz in the summer of 1812. The autograph manuscript in the Koyal Library at Berlin bears this in- scription in Beethoven's handwriting : "Sinfonia—Lintz, im Monath October 1812." GloggFs Linzer Musikzeitung made this announce- ment October 5 : "We have had at last the long-wished-for pleasure to have for some days in our capital the Orpheus and the greatest musical poet of onr time, Mr. L. van Beethoven; and, if Apollo is gracious to us, we shall also have the opportunity of wondering at his art." The same periodical announced November 10 : "The great tone-poet and tone-artist, Louis van Beethoven, has left our city without fulfilling our passionate wish of hearing him publicly in a concert." Beethoven was in poor physical condition in 1812. As Stauden- heim, his physician, advised him to try Bohemian baths, he went to Toplitz by way of Prague; to Carlsbad, where a note of the postil- ion's horn found its way among the sketches for the Eighth Sym- phony; to Frazensbrunn and again to Toplitz; and lastly to his brother Johann's * home at Linz, where he remained until into November. This same Johann said that the Eighth Symphony was completed from sketches made during walks to and from the Postlingberge, but Thayer considered him to be an untrustworthy witness. The two symphonies were probably played for the first time at the Archduke Budolph's in Vienna, April 20, 1813. Beethoven in the same month endeavored to produce them at a concert, but without success. The Seventh was not played until December 8, 1813, at a concert organized by Malzel, the mechanician. It is often said that the second movement, the celebrated Alle- gretto scherzando, is based on the theme of "a three-voice circular * Nikolaus Johann, Beethoven's second younger brother, was born at Bonn in 1776. He died at Vienna in 1848. He was an apothecary at Linz and Vienna, the Gutsbestizer of the familiar anecdote and Ludwig's pet aversion. When You Plan Your Christmas Gifts remember that nothing will give your friends quite as much pleasure as a portrait of yourself or your family l&tmxB 3fabian fBarijrarlj ^Photographs of 'Distinction) 647 BOYLSTON STREET BOSTON — —— — — —— —— AND THE The wonderful, rich tone of the Baldwin Piano is the very conception of beauty. Le\>itzki. It has that refined quality, that warm and luscious tone which resembles the human voice in its individual appeal. A Ida. The Baldwin Piano has no peer in faithfully voicing an artist's spirit. Brown. I have an inspiring companion in my Baldwin Piano. La Forge. The beautiful tone of the Baldwin Piano merits its popularity. A mato. Using a Baldwin, we rest assured that we have an instrument which will meet every requirement. Fanning. The Baldwin Piano is a most wonderful help and support. Nielsen. I consider the Baldwin the Stradivarius of the few really great pianos of the world. De Pachmann. A tone that blends so well with my voice. Sembrich. CINCINNATI CHICAGO ST. LOUIS 142 W. Fourth Street 323 S. Wabash Ave. 1111 Olive Street NEW YORK DENVER SAN FRANCISCO 665 Fifth Avenue 1636 California Street 310 Sutter Street INDIANAPOLIS LOUISVILLE DALLAS 18 N. Penn'a Street 521 S. Fourth Avenue 1911 Elm Street canon, or round, 'Ta, ta, ta, lieber Malzel/ sung in honor of the inventor of the metronome" and many automata "at a farewell din- ner given to Beethoven in July, 1812, before his leaving Vienna for his summer trip into the country." This story was first told by Schindler, who did not- say that the dinner was given to Beethoven alone, and did say that the dinner was in the spring of 1812. Beethoven was about to visit his brother Johann in Linz; Malzel was going to England to produce there his automaton trumpeter, but was obliged to defer this journey.
Load more

Recommended publications
  • John Cage's Entanglement with the Ideas Of
    JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums.
    [Show full text]
  • Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Collective Difference: The Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N. Stallings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS AND PAN-AMERICAN IDEOLOGY IN MUSIC, 1925-1945 By STEPHANIE N. STALLINGS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 Copyright © 2009 Stephanie N. Stallings All Rights Reserved The members of the Committee approve the Dissertation of Stephanie N. Stallings defended on April 20, 2009. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Evan Jones Outside Committee Member ______________________________ Charles Brewer Committee Member ______________________________ Douglass Seaton Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to express my warmest thanks to my dissertation advisor, Denise Von Glahn. Without her excellent guidance, steadfast moral support, thoughtfulness, and creativity, this dissertation never would have come to fruition. I am also grateful to the rest of my dissertation committee, Charles Brewer, Evan Jones, and Douglass Seaton, for their wisdom. Similarly, each member of the Musicology faculty at Florida State University has provided me with a different model for scholarly excellence in “capital M Musicology.” The FSU Society for Musicology has been a wonderful support system throughout my tenure at Florida State.
    [Show full text]
  • The Cage Dialogues: a Memoir William Anastasi
    Anastasi William Dialogues Cage The Foundation Slought Memoir / Conceptual Art / Contemporary Music US/CAN $25.00 The Cage Dialogues: A Memoir William Anastasi Cover: William Anastasi, Portrait of John Cage, pencil on paper, 1986 The Cage Dialogues: A Memoir William Anastasi Edited by Aaron Levy Philadelphia: Slought Books Contemporary Artist Series, No. 6 © 2011 William Anastasi, John Cage, Slought Foundation All rights reserved, including the right to reproduce this book, or parts thereof, in any form, without written permission from either the author or Slought Books, a division of Slought Foundation. No part may be stored in a retrieval system, or transmitted, in any form or by any means electronic, mechanical, photocopying, recording, or otherwise, without prior written permission, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. This publication was made possible in part through the generous financial support of the Evermore Foundation and the Society of Friends of the Slought Foundation. Printed in Canada on acid-free paper by Coach House Books, Ltd. Set in 11pt Arial Narrow. For more information, http://slought.org/books/ “The idiots! They were making fun of you...” John Cage Library of Congress Cataloging-in-Publication Data Anastasi, William, 1933- The Cage dialogues : a memoir / by William Anastasi ; edited by Aaron Levy. p. cm. -- (Contemporary artist series ; no. 6) ISBN 978-1-936994-01-4 (pbk. : alk. paper) 1. Cage, John. 2. Composers--United States--Biography. 3. Artists--United States-- Biography. I. Levy, Aaron, 1977- II. Title. ML410.C24A84 2011 780.92--dc22 [B] 2011016945 Caged Chance 1 William Anastasi You Are 79 John Cage and William Anastasi Selected Works, 1950-2007 101 John Cage and William Anastasi John Cage, R/1/2 [80] (pencil on paper), 1985 Caged Chance William Anastasi Now I go alone, my disciples, You, too, go now alone..
    [Show full text]
  • John Cage Collection, Ca. 1988-1992
    John Cage Collection, ca. 1988-1992 Percussive Arts Society 110 West Washington Street, Suite A Indianapolis, Indiana 46204 Summary Title: John Cage Collection Dates: ca. 1988-1992 Extent: 2 manuscript folders Language: The materials in the collection are in English. Repository: Percussive Arts Society, 110 West Washington Street, Suite A, Indianapolis, Indiana 46204 Administrative Information Accession(s): 2011.14 Donor(s) and date(s) of acquisition: Barry Michael Williams (2011) Processed by: Alysha Zemanek, July 2020 Access and Restrictions: This collection is open to the public without restriction. Rights statements: The reproduction and publication of copyrighted materials is regulated by the copyright laws of the United States (U.S. Code, Title 17). Preferred Citation: John Cage Collection, ca. 1988-1992. Percussive Arts Society Archive, Indianapolis, Indiana. Notes/other: Biographical Sketch: Influential 20th century American composer John Milton Cage, Jr. was born in Los Angeles, California on September 5, 1912. His early exposure to music came in the form of piano lessons from his aunt. Cage graduated from Los Angeles High School in 1928 as class valedictorian. He then attended Pomona College for two years before leaving to travel Europe. In 1931, Cage returned to the U.S. and began to study with pianist Richard Buhlig. Eventually, Buhlig suggested Cage send his early compositions to Henry Cowell. Cowell directed Cage to study with Arnold Schoenberg’s first American student, Adolf Weiss, before attempting to study composition with Schoenberg himself. So in 1933, Cage moved to New York City in order to study with Weiss. He also attended Cowell’s classes at the New School for Social Research.
    [Show full text]
  • Season 2013-2014
    27 Season 2013-2014 Thursday, October 17, at 8:00 The Philadelphia Orchestra Friday, October 18, at 2:00 Saturday, October 19, at Rafael Frühbeck de Burgos Conductor 8:00 Lise de la Salle Piano Beethoven Overture to King Stephen, Op. 117 Beethoven Symphony No. 8 in F major, Op. 93 I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di menuetto IV. Allegro vivace Intermission Liszt Piano Concerto No. 2 in A major Adagio sostenuto assai—Allegro agitato assai—Un poco più mosso—Allegro moderato—Allegro deciso— Marziale, un poco meno allegro—Allegro animato Respighi The Pines of Rome I. The Pine Trees of the Villa Borghese— II. Pine Trees near a Catacomb— III. The Pine Trees of the Janiculum— IV. The Pine Trees of the Appian Way This program runs approximately 1 hour, 50 minutes. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 228 Story Title The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. Arts in Beijing.
    [Show full text]
  • Musical Life in Europe 1600-1900 1 Circulation, Institutions, Representation
    Musical Life in Europe 1600-1900 1 Circulation, Institutions, Representation Contents Page Editorial 3 Workshop Activities 1. Italian Opera in Central Europe, 1614-ca. 1780 4 2. The Opera Orchestra in 18th- and 19th-Century Europe: Social, Institutional, and Artistic Problems 5 3. The Concert and its Publics in Europe Formes d’organisation collectives du concert 8 4. Centre and Periphery: Musical Exchanges in Europe, 1600-1900 10 5. Musical Education in Europe (1700-1914): Compositional, Institutional, and Political Challenges 12 6. Mid-term Conference: Le Musicien et ses Voyages – pratiques, réseaux et représentations 15 News – Informations The Project The Baltic Area as a Musical Landscape 17 Les Noces de Pélée et de Thésis: un colloque CEFI-CNRS (Turin Chambéry, 3-7 novembre 1999) 19 ERASMUS/TEMPUS, Network in Music and Musicology 20 Calendar of Events 2000 – Calendrier 2000 21 Reviews – Comptes Rendus 22 Steering Committee 25 Team Leaders 26 Travel Grants (call for applications) 27 2 Editorial 3 he year 2000 marks the beginning programme, that is to say a shift of Tof the third and penultimate year of cultures. A recent review of the work the ESF programme Musical Life in presented on this occasion has led us to Europe, 1600–1900: Circulation, propose a second workshop in the near Institutions, Representation. The first future in order to investigate further the two years of the programme, 1998 and modalities of these travels and what they 1999, were devoted to an intensive represent, as well as to fill in a number evaluation of the present state of of lacunae that have been identified.
    [Show full text]
  • American Composers Orchestra
    AMERICAN COMPOSERS ORCHESTRA JOHN CAGE THE SEASONS (1947) The following notes were written by H. Wiley Hitchcock for the Tully Hall program booklet. THE SEASONS was composed between January and April 1947 on commission from the Ballet Society (to the director of which, Lincoln Kirstein, it is inscribed). It was first heard with the ballet by Merce Cunningham, and scenery and costumes by Isamu Noguchi, played by the Ballet Society Orchestra under Leon Barzin, on 13 May 1947 at the Ziegfeld Theatre in New York. The eighteen minute score was conceived for an orchestra of 43 members and is continuous, though planned in four seasonal divisions, each preceded by its own “prelude” (with the opening Prelude to Winter reappearing to close the work). Several elements of Cage's experience in the 1930s and '40s lie behind the composition. One is, of course, his involvement with dance, which began in 1937 with work as dance accompanist at the Cornish School in Seattle (and which continues to the present). Another is his interest, growing in the 1940s, in Indian aesthetic theories: he has written that “THE SEASONS is an attempt to express the traditional Indian view of the seasons as quiescence (winter), creation (spring), preservation (summer), and destruction (fall)” — which is the order in which they are represented in the piece. Yet another is his study with Henry Cowell and Arnold Schoenberg in the 1930s, the one nurturing an interest in rhythmic possibilities, the other in integration of details of a composition with its whole: out of this background Cage developed a principle of “rhythmic structure,” according to which a sequence of proportions is determined that fixes time-lengths for both the small units of a piece (phrases, for example) and the large (sections, for example).
    [Show full text]
  • Department of Music John Cage's Quartet For
    DEPARTMENT OF MUSIC JOHN CAGE’S QUARTET FOR PERCUSSION: ORIGINALITY THROUGH COLLECTIVE INFLUENCE RECITAL RESEARCH PAPER by Michael Feathers Presented in partial fulfillment of the requirements for the Master of Music June 17, 2014 Fig. 1. Title page from the original manuscript of John Cage’s Quartet for Percussion. Used with permission by the John Cage Trust. Introduction John Cage was one of the most influential composers of the twentieth century. His status as a musical pioneer began when he listened to and absorbed the styles of other modern composers during the 1920s and 1930s such as Henry Cowell and Arnold Schoenberg. During this period many young composers gravitated toward the styles of either Arnold Schoenberg or Russian composer Igor Stravinsky. Because of Cage’s iconoclastic nature, he was instinctively drawn to the Schoenberg aesthetic and sought an opportunity to meet with Schoenberg. He was given the chance to study formal compositional techniques and he attempted to tackle Schoenberg’s own twelve-tone system. It was around this time that, after a few efforts writing in the atonal style, Cage ultimately admitted that he had no ear for harmony and began composing for percussion, thus beginning his journey toward originality that forever broadened the definition of musical sound. 1 The scope of this research will examine John Cage’s first percussion composition, Quartet for Percussion (1935), on an historical and analytical basis in order to define his early style and influences. Although Cage tirelessly sought the opportunity to study with Schoenberg in the early 1930s, other composers and artists who had a more direct impact on Cage’s signature sound will also be discussed.
    [Show full text]
  • HOW JOHANNA BEYER SPENT HER DAYS Amy C. Beal Essay Draft 2007
    HOW JOHANNA BEYER SPENT HER DAYS Amy C. Beal Essay Draft 2007; rev. 2011 © 2011 To cite this document, please use the following format: Amy C. Beal, “How Johanna Beyer Spent Her Days,” web-published essay draft (2007; rev. 2011): 1-46; http://music.ucsc.edu/faculty/amy-beal Some of the material presented here was originally published in: Amy C. Beal, “Her Whimsy and Originality Really Amount To Genius: New Biographical Research on Johanna Beyer,” American Music Review Vol. 38, No. 1 (fall 2008): 1, 4-5, 12-13. Amy C. Beal © 2011 2 HOW JOHANNA BEYER SPENT HER DAYS Amy C. Beal “May the future be kind to all composers . .” (Letter from Johanna Beyer to Henry Cowell, 22 March 1941) In the fifteen years since John Kennedy’s and Larry Polansky’s pioneering research on the German-American composer Johanna Magdalena Beyer (1888-1944) appeared in The Musical Quarterly, only a handful of people, most of them composers themselves, have carried on the work that their biographical sketch, compositional catalog, and source guide implied needed to be continued.1 Since then, with the assistance of some twenty volunteer editors and copyists, the Frog Peak/Johanna Beyer Project has independently published twenty-two (to date) inexpensive yet elegant editions of her compositions—solo, chamber, percussion, and choral music—all complete with scrupulous editorial notes and facsimile reproductions of the handwritten Thanks to George Boziwick, Rob Collins, Ralf Dietrich, Melissa de Graaf, Michael Hicks, Cordula Jasper, Rebecca McCallum, Christopher Shultis, and Richard Teitelbaum. I am especially grateful to Larry Polansky, who began transcribing Beyer’s letters to Cowell in 2003, and who encouraged me to research Beyer’s biography and to write this article.
    [Show full text]
  • Coleman Chamber Concerts Ensembles & Musicians (1904-2020)
    COLEMAN CHAMBER CONCERTS ENSEMBLES & MUSICIANS (1904-2020) (Dates in bold face type are Competition Winners Concert performances, including the prize awarded.) ENSEMBLE/MUSICIANS PERFORMANCE DATE ABAS STRING QUARTET............................................................................................................................................................. Feb 1937, Apr 1937 Nathan Abas, violin; Hubert Sorenson, violin; Abraham Weiss, viola; Flori Gough, cello ACADEMY OF ANCIENT MUSIC ................................................................................................................................................................ Feb 2008 Richard Egarr, director, harpsichord; Pavlo Beznosiuk, Pierre Joubert, Persephone Gibbs, violin I; Rodolfo Richter, Joanna Lawrence, Iwona Muszynska, violin II; Trevor Jones, viola; Joseph Crouch, cello; Tim Amherst, double bass; William Carter, theorbo; Rachel Brown, flute ACADEMY OF ST MARTIN IN THE FIELDS CHAMBER ENSEMBLE Kenneth Sillito, Malcolm Latchem, violin; Robert Smissen, viola; Stephen Orton, cello; Paul Marrion, double bass; Andrew Marriner, clarinet; Graham Sheen, bassoon; Timothy Brown, French horn ................................................................................. Mar 1994 Kenneth Sillito, Harvey de Souza, Mark Butler, Paul Ezergailis, violin; Robert Smissen, Duncan Ferguson, viola; Stephen Orton, John Heley, cellos ............................................................................................................................................................
    [Show full text]
  • Of Works by John Cage 263 CT-Prelims.Qxd 6/8/06 2:53 PM Page Ix
    dickinson.mech.4 7/3/06 9:39 AM Page 1 Apart from the long interview with Cage ohn Cage was one of America’s most himself there are discussions with Bonnie renowned composers and—from the 1940s Bird, Earle Brown, Merce Cunningham,Minna Juntil his death in 1992—was also among the Lederman,Otto Luening,Jackson Mac Low, most influential thinkers in the field of twenti- edited by peter dickinson Peadar Mercier,Pauline Oliveros, John Rock- eth-century arts and media.From a West Coast well,Kurt Schwertsik, Karlheinz Stockhausen, American background, as a kind of homespun Virgil Thomson,David Tudor,La Monte avant-garde pioneer, Cage gradually achieved Young, and Paul Zukovsky. Most of the inter- “John Cage had, as he says of himself in this kaleidoscopic volume, international acclaim. views were given to Peter Dickinson but there ‘very little experience as a pessimist.’ Here the breeze of his opti- The increasing numbers of performances, are others involving Rebecca Boyle,Anthony mism—challenging, questioning, refreshing—can be felt as nowhere recordings, and studies of Cage’s music Cheevers, Michael Oliver, and Roger Smalley. else.With contributions also from Merce Cunningham, David Tudor, demonstrate beyond question its relevance and other close associates, this is an indispensable portrait of an artist today. But he was also a much-admired writer The British composer, pianist,and writer Peter whose spirit continues to fascinate,chide,and tease.” and artist and a uniquely attractive personality, Dickinson has long been dedicated to explor- —Paul Griffiths , author of The Sea on Fire: Jean Barraqué and able to present his ideas engagingly wherever ing American music.
    [Show full text]
  • The Cowell-Ives Relationship: a New Look at Cowell's Prison Years
    !"#$%&'#(()*+#,$-#(./0&1,"023$4$5#'$6&&7$./$%&'#((8,$9:0,&1$;#.:, 4</"&:=,>3$6#/.$?@$A0((#:$.1B$-&C$%&((01, D&<:E#3$4F#:0E.1$A<,0EG$H&(@$IJG$5&@$K$=L01/#:G$IMMN>G$22@$KOJ)KPI 9<C(0,"#B$CQ3$University of Illinois Press D/.C(#$R-63$http://www.jstor.org/stable/4153070 . 4EE#,,#B3$SSTMSTIMSS$SU3MP Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=illinois. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org LETAE.
    [Show full text]