Boston Symphony Orchestra Concert Programs, Summer, 1987
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Boston Symphony Orchestra Concert Programs, Season 83
BOSTON m SYMPHONY ORCHESTRA \4 FOUNDED IN 1881 BY i'4 HENRY LEE HIGGINSON TUESDAY EVENING SERIES Hlw WW „ V ^ "*4> V*;^ \ ?;: :' -. C\Mf 1\1 ///(* ' l fJ/S///" "SM EIGHTY-THIRD SEASOiN 1963-1964 TAKE NOTE The precursor of the oboe goes back to antiquity — it was found in Sumeria (2800 bc) and was the Jewish halil, the Greek aulos, and the Roman tibia • After the renaissance, instruments of this type were found in complete families ranging from the soprano to the bass. The higher or smaller instruments were named by the French "haulx-bois" or "hault- bois" which was transcribed by the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra, it usually gives the pitch to the other instruments • Is it time for you to take note of your insurance needs? • We welcome the opportunity to analyze your present program and offer our professional service to provide you with intelligent, complete protection. We respectfully invite your inquiry i . , ... CHARLES H. WATKINS CO. & /oHMON, RUSSELL 8c CO. Richard P. Nyquist — Charles G. Carleton / 147 milk street boston 9, Massachusetts/ Insurance of Every Description 542-1250 EIGHTY -THIRD SEASON, 19 (i 3-1964 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. -
Boston Symphony Orchestra Concert Programs, Summer, 1976
^ ~4h *' 4* ^ dM&k? *£; m"i& 6?^ r J* For 104 years we've been serious about people who make music. In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger 'Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz 'Bernard Kadinoff, viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' ' Robert Karol, viola Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin 'Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman 'Leslie Martin, string bass 'Charles Yancich, French horn Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello 'Charles Smith Gardner Read "Henry Portnoi, string bass Allen Schindler " Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence ' Alfred Schneider, violin music education 'Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola Lenore Engdahl Mary Ann Norton ' Max Winder, -
Boston Symphony Orchestra Concert Programs, Season 88, 1968-1969
•""*! m f ^W' SYMPH FOUNDED HENRY LEE THURSDAY A 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 8b 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. -
A Comparative Examination of Six American Master Trumpet Teachers and The
A COMPARATIVE EXAMINATION OF SIX AMERICAN MASTER TRUMPET TEACHERS AND THE REGIONAL SCHOOLS OF PLAYING THAT THEY REPRESENT Laura L. Bloss, B.M.E, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Keith Johnson, Major Professor David Schwarz, Related Field Professor John Holt, Committee Member and Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Bloss, Laura L. A Comparative Examination of Six American Master Trumpet Teachers and the Regional Schools of Playing that They Represent. Doctor of Musical Arts (Performance), August 2014, 150 pp., 2 tables, 31 figures, bibliography, 79 titles. Jet travel and the widespread availability of recordings are factors that have led to an increasingly homogenous sound concept in American trumpet playing; this is a stark contrast to the unique regional sounds that existed in the United States in the middle of the twentieth century. Despite the growing dissipation of these regional sound concepts from the mid- century, it is important to understand the styles and pedagogy associated with these schools. In this paper, six player/teachers are associated with specific regional playing styles: Vincent Cichowicz in Chicago, Louis Davidson in Cleveland, Armando Ghitalla in Boston, John Haynie in the Southwest, James Stamp on the West Coast, and William Vacchiano in New York City. Each of these players made a notable impact on the trumpet world through their performances, recordings, and unprecedented legacy of students. -
Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962
H/V. feg f ^: ' ' ' v... \ A, I £ ORCHESTRA < FOUNDED IN 1881 BY v :> HENRY LEE HIGGINSON -kA 1 MONDAY EVENING / SERIES v*»*5^ V z^ 3 v tr '<&> X :A^ v. > \ y EIGHTY-FIRST SEASON 1961-1962 STRADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton — Robert G. Jennings 147 MILK STREET BOSTON 9, MASSACHUSETTS LIBERTY 2-1250 Associated With OBRION, RUSSELL & CO. EIGHTY -FIRST SEASON, 1961-1962 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Theodore P. Ferris John T. Noonan Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. -
Roger Voisin Memorial Trumpet Competition 2018
Roger Voisin Memorial Trumpet Competition January 13 and 14, 2018 Keith C. and Elaine Johnson Wold Performing Arts Center Roger Voisin Among the most influential trumpet performers and teachers of the twentieth century, Roger Voisin joined the Boston Symphony Orchestra as assistant principal trumpet in 1935 at age seventeen, and became principal trumpet in 1950. He performed in the Boston Symphony for 38 years, until 1973. During this period, he was also principal trumpet with the Boston Pops Orchestra. Voisin moved to the United States as a child when his father, René Voisin (1893–1952), was brought to the Boston Symphony as fourth trumpet by Sergei Koussevitzky in 1928. He was initially a student of his father, but he later studied with the Boston Symphony’s second trumpet Marcel LaFosse (1894–1969) and principal trumpet Georges Mager (1885–1950). He also studied solfege with Boston Symphony contrabassist Gaston Dufresne. He is credited with premiere performances of many major works for trumpet including Paul Hindemith’s Sonata for Trumpet and Piano (with Hindemith at the piano), and Alan Hovhannes’ Prayer of St. Gregory. He is also credited with the US premiere of Alexander Arutiunian’s Trumpet Concerto, performing with the Boston Pops Orchestra in 1966. Leroy Anderson’s A Trumpeter’s Lullaby was written for Roger Voisin in 1949, and first recorded with Arthur Fiedler conducting Voisin and the Boston Pops Orchestra in 1950. Leroy Anderson states that “(A Trumpeter’s Lullaby) had its beginning backstage at Symphony Hall in Boston. In addition to composing and conducting, I was arranger for the Boston Pops Orchestra for a number of years --- and after one of the concerts I was sitting talking with the conductor Arthur Fiedler and the first trumpet of the Boston Pops, Roger Voisin. -
An Examination of the Pedagogical Philosophies of Mark Gould Daniel
The Gould Standard: An Examination of the Pedagogical Philosophies of Mark Gould Daniel Ross Venneberg A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2020 Reading Committee: David Gordon, Chair Timothy Salzman J. Christopher Roberts Program Authorized to Offer Degree: School of Music Ó Copyright 2020 Daniel Ross Venneberg ii University of Washington Abstract The Gould Standard: An Examination of the Pedagogical Philosophies of Mark Gould Daniel Ross Venneberg Chair of the Supervisory Committee: David Gordon, Chair of the Brass Department and Artist in Residence: Trumpet School of Music The purpose of this dissertation is to elaborate upon the teaching methods and pedagogical philosophies of renowned trumpeter, Mark Gould. Gould was co-principal trumpet of the Metropolitan Opera Orchestra from 1974-2003, and over the course of his nearly forty- year teaching career, he has served as a faculty member at The Juilliard School (1982-2019), Manhattan School of Music (2004-2016), and Mannes School of Music (2016-present). The qualitative data for this project was collected through interviews with Gould, as well as thirteen of his former students, all of whom hold prominent positions in the music field. The pursuit of research inspiring this dissertation was undertaken in order to expand upon both Gould’s pedagogical philosophies and his former students’ beliefs regarding his teaching methods, as well as to explore the comparisons between these respective viewpoints. iii The themes illuminated within the interviews presented extrapolate upon Gould’s methods as a teacher within the realms of firsthand accounts of his students who benefited directly from the lessons they absorbed. -
Northwestern Bienen School of Music
northwesternfanfare university Henry and Leigh Bienen School of Music FALL 2013 first chair A MESSAGE FROM THE DEAN Throughout its history, the Bienen School of Music has built on the foundation of the old while embracing the new. The school has been a pioneer in a wide range of areas, from curriculum innovation to music technology to library acquisitions. “New” is even part of the name of one of the school’s most recent initiatives, the Institute for New Music, which puts Northwestern at the forefront of new-music performance and scholarship. Since its groundbreaking in May 2012, the school’s most highly anticipated new development has been the building that is rising on the lakefront adjacent to Regenstein Hall. Scheduled to open in fall 2015, this state-of-the-art facility promises exciting new vistas for students, faculty, and audiences. New compositions are the lifeblood of music, and this issue highlights an exciting new work with significant ties to the school. The Saxophone Concerto by renowned com- poser John Adams—inaugural winner of Northwestern’s Michael Ludwig Nemmers Prize in Music Composition— was written for Bienen School saxophone professor and Institute for New Music codirector Timothy McAllister, who premiered it to great acclaim at Australia’s famed Sydney Opera House last month. This fall we are proud to welcome two new faculty members, Robert Sullivan as professor of trumpet and Ryan Dohoney as assistant professor of musicology. And every fall we are excited by the arrival of a new class of students, destined to bring further distinction to the Bienen School. -
Armando Ghitalla, One of the Most Distinguished American Trumpet Performers and Pedagogues of His Generation, Passed Away December 14, 2001, After an Extended Illness
Armando Biography Ghitalla Biography Armando Ghitalla, one of the most distinguished American trumpet performers and pedagogues of his generation, passed away December 14, 2001, after an extended illness. Following his musical training at the Juilliard School, Ghitalla performed in the New York City Opera and Ballet and the Houston Symphony before settling in Boston, where he spent twenty-eight years in the Boston Symphony, fifteen as principal. Ghitalla was one of the earliest American classical soloists to garner substantial recognition for his recordings. Throughout his career, he remained active as a recitalist and soloist, performing widely in the United States, Italy, and Japan. His recordings can be found on the Cambridge, Deutsche Grammophon, and Premier labels. His distinguished career as a pedagogue included membership in the faculties of Boston University, the Hartt School of Music at the University of Hartford, the New England Conservatory, the Tanglewood Insitute, and the University of Michigan. At the University of Michigan, Ghitalla received the Alumni Teaching Award and the Haugh Teaching Award. From the International Trumpet Guild, received an honorary award, and from Illinois Wesleyan University an honorary doctorate. Ghitalla was serving on the faculty of the Shepherd School of Music (Rice University, Houston) at the time of his death. Ghitalla's impact as a performer and pedagogue is well reflected in the fact that his students populate university faculties, orchestras, and other performing ensembles throughout the United States and the world. From: International Trumpet Guild Lifetime Achievement members .