DOCSLIB.ORG

MOZART the Four Horn Concertos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MOZART the Four Horn Concertos 111070 bk BrainMozart EU 26-10-2006 8:51 Pagina 5 the four. The orchestral writing is both richer and had adopted and expanded the revolutionary new elegance and an infectious wit. The orchestra and shy, modest of his remarkable talents, and with a darker with the use of clarinets and bassoons. The technique of hand-stopping that entailed the use of Karajan’s accompaniment may seem rather plush and boyish sense of humour: who else would have solo part in the slow movement bears a striking inserting the right hand into the bell of the display a somewhat romantic style to today’s ears but played part of a Leopold Mozart concerto at a MOZART similarity to a 1795 Romance for horn and string instrument to alter and increase the number of notes that was deemed essentially Mozartian in manner. Hoffnung Festival concerto on a garden hosepipe? quartet by Michael Haydn. The finale is a lively then available thereby making the horn a properly Originally Dennis Brain played on a French At the time of his death he had taken up conducting, gallop, full of hunting calls and the chase and its melodic instrument. Raoux-Millereau instrument, a twin of his father’s, and it is fascinating to surmise what he might have The Four Horn Concertos hazards. In the case of these Mozart concertos, Dennis but in 1951 he changed to a German Alexander achieved. K. 495 was composed in Vienna and completed Brain was the first soloist to record all four, although model in order to achieve a more robust sound. It is Quintet for Piano and Wind Instruments on 26th June 1786. This is Mozart’s second concerto he had earlier recorded Nos. 2 and 4. It is interesting this instrument that Brain used in the Mozart Malcolm Walker for Leutgeb for whom Mozart wrote his autograph to place the recording of these Mozart concertos in concertos. As a person he was humble, somewhat IS B score in four different colours of ink: it was not a relation to Brain’s other work at the time. He had NN RAI joke but an indication for the soloist in the matter of played with the Royal Philharmonic Orchestra under DE N dynamics and colouristic inflection. Unusually the Beecham on the 1st and 4th November in London, first movement exists in three different versions, the followed by two days to record concertos No. 1 to 3 one here being the standard 1802 published edition. on the 11th and 12th, another RPO concert on the This is the most demanding of these concertos with a 15th. There were then two days of sessions with grand first movement, contrasted with a gentle Karajan and the Philharmonia to record the Mozart slower and restrained one which becomes more Sinfonia concertante K. 297b on the 17th and 18th, agitated and passionate. The finale is one of followed by a performance of K. 495 under Paul Mozart’s best, a hunting rondo in wonderfully Sacher and the RPO on the evening of 18th. Then unbuttoned manner. came a concert with Karajan on the 20th November, The Quintet for oboe, clarinet, horn, bassoon another concerto with the Hallé Orchestra under and piano in E flat, K. 452, was composed in Vienna Barbirolli in Bradford on the 21st, followed by a before 21st March 1784 when it was to have been BBC live broadcast of Delius’s opera Irmelin on the given its first performance in the Burgtheater on that 22nd, and a recording of the fourth Mozart Concerto Mark Obert-Thorn date. However this event was postponed until 1st under Karajan on the 23rd. This was succeeded by a April. Mozart was decidedly happy with the finished recording of the Gounod Petite symphonie for Karl Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of 1 work, commenting to his father Leopold: “I myself Haas and the London Baroque Ensemble on the 24th, specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been 95 gs 3-1 rdin consider it to be the best work I have ever rounded off by his second recording of Britten’s nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. 955 Reco composed”. Beginning with a slow introduction, the Serenade with Peter Pears but conducted by Eugene He has found a way to combine all three in the transfer of historical recordings. opening movement then moves into a vibrant Goossens, between the 25th and 27th. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike Allegro. There is a contrasting slow movement, What was so special about Brain’s playing? He those who apply significant additions and make major changes to the acoustical qualities of old recordings. His before the work concludes with a lively Allegretto. displayed an astonishing mastery of the whole range philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard The concertos were written for the Austrian horn of the instrument. He also played with remarkable with the greatest clarity. Philharmonia Orchestra • Herbert von Karajan player Joseph Leutgeb (c.1745-1811). He hailed delicacy of execution in rapid staccato passages, There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and from Salzburg and became first horn in the Salzburg allied to innate subtlety of phrasing. Note the wit and piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and Walter Gieseking • Philharmonia Wind Ensemble court orchestra in 1770. He later visited Paris before crispness of the Rondo to K. 417, the gossamer gleam consistently achieves better results than restoration engineers working with the metal parts from the archives of the settling in Vienna where he also ran a and effortlessness of the first movement of K. 495, modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, cheesemonger’s shop. He remained on friendly the glowing warmth of the Romanza of K. 447 swiftly maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is terms with Mozart until the latter’s death in 1791 followed by the tongue in cheek nature of the ensuing absent from many other commercially released restorations. and retired from playing the following year. Leutgeb Rondo. In all four works there is a smile, buoyancy, 8.111070 5 8.111070 6 111070 bk BrainMozart EU 26-10-2006 8:51 Pagina 2 Great Horn Players: Dennis Brain (1921-1957) Great Horn Players orchestral players and soloists. Fortunately Brain the conductors under whom he played included Mozart: The Four Horn Concertos • Quintet for Piano and Wind Instruments was able to take part in a variety of ad hoc virtually all the great names of the time. Wolfgang Amadeus orchestras, for example, the London Wind Players No less significantly, Brain’s reputation and Although it is now nearly half a century since left a rare (sadly made rather too late) recording of under Harry Blech, the orchestra which played at achievements resulted in an expansion of new MOZART Dennis Brain died at the early age of 36 on 1st the Haydn Concerto No. 2 in D (made in 1950) that Myra Hess’s National Gallery concerts, the National works. These covered concerti by Arnold, York (1756-1791) September 1957, killed at the wheel of his car while at times illustrates his fine technique. Symphony Orchestra, as well as appearing as a Bowen, Fricker, Hindemith, Jacob and Lutyens, as on an overnight journey home from a concert at the Dennis Brain was born in London on 17th May soloist throughout Britain and making a number of well as Britten’s Serenade and the Second Canticle, Horn Concerto No. 1 in D major, K. 412 8:16 Edinburgh Festival, his reputation has never dimmed 1921. He was educated at St Paul’s School in recordings. He took part in the first performance of both for tenor and horn. Such was the admiration for 1 Allegro 4:38 during the ensuing years, so much so that he has Hammersmith where he studied piano and organ. Britten’s Serenade for tenor, horn and strings in Brain’s playing that Poulenc wrote an Elégie as a 2 Rondo 3:38 become a legend. His famous 1953 recording of the Although his father allowed his young son to play a October 1943, a work he would subsequently record posthumous tribute. four Mozart concertos continues to be the yardstick few notes on Saturday mornings as a treat, he was twice commercially. He took part in a number of The Allegro of K. 412, completed by a Rondo K. Horn Concerto No. 2 in E flat major, K. 417 13:44 by which all subsequent versions are measured. adamant that students should not take up the sessions with the National Symphony Orchestra for 514 (386b), emanates from Vienna in 1791. For 3 Allegro maestoso 6:37 Broadcast and live performances continue to be instrument in a serious manner until they had the Decca Record Company who were recording many years it was deemed as the composer’s first 4 Andante 3:32 discovered so that his name remains before today’s reached their teenage years when the teeth and the experimentally with what became later known as the venture into a horn concerto.
Load more

Recommended publications
  • Mozart Magic Philharmoniker
    THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro).
    [Show full text]
  • Aubrey Brain (1893-1955)
    Aubrey Brain (1893-1955) Aubrey Harold Brain was the son of A.E. Brain, Senior, brother of Alfred Brain, Junior, and father of Dennis Brain – all distinguished horn players. Another brother, Arthur, also played horn, but abandoned music to become a police officer. Aubrey’s first instrument was the violin, but he soon switched to horn. He first studied with his father, then with Adela Sutcliffe and Eugene Mieir, and finally with Friedrich Adolph Borsdorf at the Royal College of Music in 1911. He played in the North London Orchestral Society during his College years and was appointed principal horn of the New Symphony Orchestra in 1911. He went on the London Symphony Orchestra's tour of the US under Arthur Nikish in 1912; his father was unable to go on the tour because of his contract with Covent Garden. After returning from the tour, Aubrey joined his father and brother in a memorial concert for the Titanic. Aubrey became principal horn of Sir Thomas Beecham's opera company orchestra in 1913. It was during a tour with this company that he met Marion Beeley, a contralto for whom Sir Edward Elgar wrote "Hail, Immortal Ind!" in his opera The Crown of India. They were married in 1914. Aubrey’s early career was shadowed by the success of his older brother, Alfred, who dominated the scene until he left for the United States in 1922, and of his teacher, Borsdorf, until Borsdorf was forced to resign because of anti-German feeling at the outbreak of World War I in 1914.
    [Show full text]
  • (ABH) and Gesellschaft Für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany
    Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. The narrative contrasts the strategies followed by two brass instrument manufacturers, one a new entrant the other an incumbent. It shows how the new entrant despite a slow start, small scale and a commitment to traditional artisanal skills, was able to develop the technology of the German horn and establish itself as one of the world’s leading brands of horn, while the incumbent firm despite being the first to innovate steadily lost ground until like many of the other leading horn makers of the 1930s, it eventually exited the industry. Keywords: Disruptive innovation, Creative Industries, Musical Instruments Introduction For much of the 19th and a substantial part of the 20th century, British orchestras had a distinctive sound. This differentiated them from their counterparts in many parts of Europe and the United States. This sound was the product of the instruments they played, most notably in the horn section of the orchestra. In Britain horn players typically utilized instruments modelled on the Raoux horn from France.
    [Show full text]
  • Mozart's Very First Horn Concerto
    48 HISTORIC BRASS SOCIETY JOURNAL MOZART'SVERY FIRST HORN CONCERTO Herman Jeurissen (Translated by Martha Bixler, Ellen Callmann and Richard Sacksteder) olfgang Amadeus Mozart's four horn concertos belong to the standard repertory of every horn player today. There are, in addition, some fragments indicating that Mozart had in mind at least two more concertos. All of these worksw stem from Mozart's years in Vienna from 1781 to the end of his life. Mozart sketched out the Rondo KV 371 on March 21,178 1, five days after he had left Munich at the command of his patron, Archbishop Hieronymus Colloredo, to join the court musicians of Salzburg in Vienna to give musical luster to the festivities in honor of the newly crowned emperor, Joseph 11. He must havecomposed thedraft of an opening allegro, KV 370b, for a horn concerto in E-flat major at about the same time. In all probability, the Rondo KV 371 formed its finale. The themes of this experimental concerto, KV370b+371, are completely characteristic of Mozart: the march-like open- ing of the first movement occurs frequently in the piano concertos and the rondo theme set in 214 time anticipates the second finale of Figaro (Ex. 1). No trace has been found of plans he probably had for a second movement. Example 1 The Allegro KV 370b In 1856, Mozart's son Carl Thomas (1784-1858), in connection with his father's 100th birthday, cut up a large part of this first movement and distributed the pieces as "Mozart relics." Today, 127 measures of this movement survive, in which, as in the Rondo, the horn part is fully worked out while the accompaniment is only partially indicated.
    [Show full text]
  • Musical Anniversaries 2021
    MUSICAL ANNIVERSARIES 2021 Alfred BRENDEL 5th January 90th Birthday Renato BRUSON 13th January 85th Birthday Henri TOMASI 13th January 50 years since Death Katia RICCIARELLI 18th January 75th Birthday Plácido DOMINGO 21st January 80th Birthday Cecile OUSSET 23rd January 85th Birthday Gustavo DUDAMEL 26th January 40th Birthday Margaret PRICE 28th January 10 years since Death Milton BABBITT 29th January 10 years since Death Matthias PINTSCHER 29th January 50th Birthday Mario LANZA 31st January 100 years since Birth Iannis XENAKIS 4th February 20 years since Death John PRITCHARD 5th February 100 years since Birth Wilhelm STENHAMMAR 7th February 150 years since Birth Boris TCHAIKOVSKY 7th February 25 years since Death Ambroise THOMAS 12th February 125 years since Death Colin MATTHEWS 13th February 75th Birthday Michael PRAETORIUS * 15th February 400 years since Death Eliahu INBAL 16th February 85th Birthday Dimitri MITROPOULOS 18th February 125 years since Birth Hamilton HARTY 19th February 80 years since death György KURTÁG 19th February 95th Birthday Gil SHAHAM 19th February 50th Birthday Toru TAKEMITSU 20th February 25 years since Death Morton GOULD 21st February 25 years since Death Mieczysław WEINBERG 26th February 25 years since Death Thomas ADÈS 1st March 50th Birthday Robert SIMPSON 2nd March 100 years since Birth Thurston DART ** 6th March 50 years since Death Astor PIAZZOLLA 11th March 100 years since Birth Michael FINNISSY 17th March 75th Birthday Arthur GRUMIAUX 21st March 100 years since Birth Bertrand CHAMAYOU 23rd March 40th
    [Show full text]
  • Interpretation of Mozart Concertos with an Historical View
    Kurs: CA 1004 30 hp 2018 Master in Music 120 ECTS Institutionen för Klassisk musik Handledare: Katarina Ström-Harg Examinator: Ronny Lindeborg Mónica Berenguer Caro Interpretation of Mozart concertos with an historical view 1 Preface The basis of this research originally came from my passion for my instrument. I started to think about the importance of Mozart's concertos about 4 years ago, when I began taking orchestra auditions and competitions. A horn player will perform Mozart concertos through his entire musical career, so I think it is necessary to know more about them. I hope to contribute to knowledge for new and future students and I hope that they will be able to access to the content of my thesis whenever they need it. In fact, I may have not achieved my current level of success without a strong support group. First, my parents, who have supported me with love and understanding. Secondly there are my teachers, Katarina Ström-Harg and Annamia Larsson, each of whom has provided patient advices and guidance throughout the research process. Thank you all for your unwavering support. 2 Abstract This thesis is an historical, technical and stylistic investigation of Mozart horn concertos. It includes a description of Mozart’s life; the moment in his life where the concertos were developed. It contains information about Ignaz Leitgeb, the horn player who has a close friendship with Mozart. Also, the explanation of his technical characteristics of the natural horn and the way of Mozart deal with the resources and limitations of this instrument, as well as the way of the interpretation of these pieces had been facilitated by the arrival of the chromatic horn.
    [Show full text]
  • The Inspiration Behind Compositions for Clarinetist Frederick Thurston
    THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing.
    [Show full text]
  • The Impact of Dennis Brain on the Development of the French Horn
    Theses of DLA Doctoral Dissertation Gyula Molnár The Impact of Dennis Brain on the Development of the French Horn Liszt Academy of Music Doctoral School No.28 Art and Culture History Budapest 2010 I. Background of the Research No professional literature on the life and work of Dennis Brain is available in the Hungarian language. This topic is therefore entirely novel for the Hungarian music history. However, a considerable volume of professional literature is available abroad, especially in the United Kingdom and Japan. An outstanding collection of literature in this field is Stephen J. Pettitt’ book entitled Dennis Brain: A biography, which deals with the history and work of the Brain family with a focus on Dennis Brain’s life. That detailed work includes a tremendous amount of data but it does not attempt to provide an analysis and assessment, and no music history context and conclusions are offered. Further professional literature deals with the analysis of Dennis Brain’s recordings, though all but a few of them involve a particular piece of music and the entire oeuvre. Finally, I have only found literature about Dennis Brain’s efforts in the field of instrument development attempts and the impacts of such development in limited quantity. My objective is to provide an analysis of the ideas of the Brain family, and Dennis Brain in particular, regarding the French horn, presenting the music history context, the innovations and their impact on inherited traditions, and the development of the French horn as instrument in detail. 2 II. Sources The prime source of information for my doctoral dissertation is Stephen J.
    [Show full text]
  • (1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements
    Wolfgang Amadeus Mozart's (1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements Item Type text; Electronic Thesis Authors Koner, Karen Michelle Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 21:25:51 Link to Item http://hdl.handle.net/10150/193304 1 Wolfgang Amadeus Mozart’s (1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements By Karen Koner __________________________________ Copyright © Karen Koner 2008 A Thesis Submitted to the Faculty of the School of Music In Partial Fulfillment of the Requirements for the Degree of Master of Music In the Graduate College The University of Arizona 2008 2 STATEMENT BY THE AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. Signed: Karen Koner Approval By Thesis Director This thesis has been approved on the date shown below: J. Timothy Kolosick 4/30/2008 Dr.
    [Show full text]
  • Case Study of Mozart's Clarinet Concerto K622, a Research System of the Origin of a Musical Work Has Been Developed in This Paper
    Interdisciplinary Description of Complex Systems 10(2), 204-212, 2012 RESEARCH SYSTEM OF THE ORIGIN OF A MUSICAL WORK: CASE STUDY OF MOZART’S CLARINET CONCERTO K622 Mihael Paar* Woodwind Department, Conservatory of Music Ferdo Livadić Samobor, Croatia Regular article Received: 23. March 2012. Accepted: 30. May 2012. ABSTRACT Revealing the origin of a musical work represents a process of data gathering. Therefore, it requires a well-developed system of their aquistion, verification and synthetisation. Based on and derived from the case study of Mozart's Clarinet Concerto K622, a research system of the origin of a musical work has been developed in this paper. By employing its structural elements it is possible to make a solid framework within which the comprehensive review of the origin of the work can be given. The system bears general features and it is applicable for any of the musical works. It proved to be efficient platform for the case study of Mozart’s Concerto. KEY WORDS research system, origin of a musical work, case study, Mozart, basset clarinet CLASSIFICATION JEL: Z00 PACS: 51.40.+p *Corresponding author, : [email protected]; +385 1 3363 855; *Conservatory of Music ‘Ferdo Livadić’, Trg matice hrvatske 3, HR – 10430 Samobor, Croatia Research system of the origin of a musical work: Case study of Mozart’s Clarinet Concerto INTRODUCTION Research in the field of origin of a musical composition represents the necessity for scholars and performers alike. Various reasons form the urge to explore the background of the respective piece: new insights into the composer himself, his style and the period of time he belonged to, better understanding of the music for performers and listeners, its reception at the time and today, valuable insights for music publishers and instrument builders.
    [Show full text]
  • CUL Keller Archive Catalogue
    HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles.
    [Show full text]
  • 60 CENTS the Boston Symphony Orchestra
    H ENSCHBL 1881 -1884 60 CENTS GERICKE 1884-1889 1898 -1906 NIKISCH 1889-1893 Seventy -five Years of The Boston Symphony Orchestra by JOHN M. CONLY 1919 FEBRUARY PA UR 1893 -1898 ax a CC' c C - u á www.americanradiohistory.com how to select the best suited to your needs Standard Plastic -Base Audiotape meets strength and immunity to temperature all the requirements of the professional and humidity. Like all "Mylar" Audio - RELATIVE STRENGTH OF TAPE or home recordist to excellent advantage, tape, it will not dry out or embrittle BASE MATERIALS (at 75'F) providing unsurpassed recording quality with age. at minimum cost. It has consistently set In 50% Humidity the highest performance standards in Super -Thin Audiotape, on 1/2 -mil radio stations, sound studios and record "Mylar." doubles the footage obtainable 90% Humidity manufacturing companies throughout the on a standard reel. Its use, however, is world. The standard 11/2-mil cellulose limited to special applications where Yield Strength Breaking Strength acetate base has ample strength for greatly increased playing time justifies trouble -free operation under all normal a sacrifice of mechanical strength and some increase in print-through. operating conditions. AUDIOTAPE, STANDARD PLASTIC BASE LR Audiotape offers ad- Regardless of the base material, there two important 4.2 Ib. vantages which, for many is only one Audiotape quality -the fin- applications. 4.1 lb. more than outweigh the slight addi- est obtainable. All tapes are precision LR AUDIOTAPE, 1-MIL "MYLAR" tional cost per foot. First, it gives 50<,-;, coated with the same carefully formu- more uninterrupted playing time on a lated oxide and meet the same exacting professional standards of performance.
    [Show full text]