DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 38,1918

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 38,1918 The regulations of the Academy of Music will not permit the distribution of these programme books at the concert. They may be had at the Hegeman Drug Co., Fulton street and Lafayette Avenue. ACADEMY OF MUSIC . BROOKLYN Friday Evening, March 21, at 8.15 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INCORPORATED FREDERICK P. CABOT President GALEN L. STONE Vice-President FREDERICK E. LOWELL Treasurer FREDERICK P. CABOT ERNEST B. DANE M. A.. DE WOLFE HOWE JOHN ELLERTON LODGE FREDERICK E. LOWELL ARTHUR LYMAN HENRY B. SAWYER GALEN L. STONE BENTLEY W. WARREN ACADEMY OF MUSIC BROOKLYN INCORPORATED Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY EVENING, MARCH 21 AT 8.15 COPYRIGHT, 1919, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager "The world needs music more when it's in trouble than at any other time. And soldiers, and the mothers and wives and sweethearts and children of soldiers get more of the breath of life from music than the man on the street has any nouon of."—JOHN McCORMACK MUSIC is an essential of every well-regulated home. It is a factor of vital importance in the education of the children, an unending source of inspiration and recreation for the growing gener- ation, a refining, cultivating influence touching every member of the family. It is the common speech that is understood by all. that appeals to everybody, that enlists the sympathies of man, woman and child, of high and low, of young and old. in every walk of life. The PIANO is the universal musical instrument of the home, the instrument that should be in every household. And the greatest among pianos is the STE1NWAY, prized and cherished throughout the wide world by all lovers of good music. Or. in the words of a well-known American writer: 'Wherever human hearts are tad or glad, and re Slingj and strings vibrate, and keys respond to the . there is known, respected, revered loved name and fame of STEINWAY." Catalogue tma pHCU OH application SiJil on < onvcnicnl payment* ()!>! pinni)}, tiihen in e\ih<im'e Inspection in\ STEINWAY & SONS, STEINWAY HALL l(i7 109 EAST Mil, STREET, NEW YORK CITY ; u ay I tpn$t StattofM >it Mi I V rmtnttd by the Fnrcmoit Dealers I'-.rerun-here Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor Violins. Fradkin, F. Roth, O. Rissland, K. Bak, A. Concert-master. Hoffmann, J. Theodorowicz, J. Mahn, F. Noack, S. Ribarsch, A. Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Gerardi, A. Griinberg, M. Di Natale, J. Thillois, F. Spoor, S. Goldstein, S. Gunderson, R. Fiedler, B. Ringwall, R. Henkle, R. Diamond, S. Deane, C. Kurth, R. Bryant, M. Balas, J. Fiedler, G. Langley, A. Violas. Barrier, C. Werner, H. v.Veen, H. Mager, G. Van Wynbergen, C. Wittmann, F. Berlin, V. Schwerley, P. Fiedler, A. Tartas, M. Violoncellos. Malkin, J. Miquelle, G. Barth, C. Belinski, M. Fabrizio, E. Schroeder, A. Nagel, R. Nast, L. Mingels, E. Stockbridge, C, Basses. Villani, A. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Forlani, N. Mueller, E. DeMailly, C. Stanislaus, H. Vannini, A. Piller, B. Piccolo. English Horns. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Stievenard, E. Fuhrmann, M. Speyer, L. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. Adam, E. Lorbeer, H. Miersch, E. Mann, J. Sordillo, F. Hain, F. Hess, M. Nappi, G. Mausebach, A Gebhardt, W. Hubner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Ludwig, C. Burkhardt, H. Cella.T. Gardner, C. Zahn, F. Organ. Librarian. Snow, A. Rogers, L. J. — — —— — The Artist AND THE Saltan fhe wonderful, rich tone of the Baldwin Piano is the very conception of beauty. Levitzk*- 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. I sing 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. I)c Pachmann. A tone that blends so well with my voice. Scrnhriih. The Baldwin Piano Company • All ( l!l« AGO i LOUIS - «.l,..hA>- till Ol.ve Nrrrt SAN FRAN 66S I Iftfc A. -nut tftfornfa NuMt MOSuttM Strrrt APOU3 LXXM. Ml IF-. DA! IA.S is r. f • « ITT (l A I'M I IJm .Strrrt ACADEMY OF MUSIC .... BROOKLYN Thirty-first Season in Brooklyn Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor FIFTH CONCERT FRIDAY EVENING, MARCH 21 AT 8.15 PROGRAMME Saint-Saens , . Symphony in C minor, No. 3, Op. 78 I. Adagio; Allegro moderato; Poco adagio. II. Allegro moderato; Presto; Maestoso; Allegro. Franck .... Symphonic Piece from the Symphonic Poem, "La Redemption" Bach . Concerto No. 2 in F major, for Violin, Flute, Oboe, and Trumpet (Messrs. Fradkin, Laurent, Longy, Heim) I. Allegro moderato. II. Andante. III. Allegro. (Harpsichord accompaniment by Charles W. Adams) Rimsky-KorsakofT "Sadko," a Tone Picture, Op. 5 Weber Overture to "Der Freischutz" MASON & HAMLIN PIANO USED There will be an intermission of ten minutes after the symphony 5 — Btmphoki in C minor, No. i'». Op. 78. OHARIJBfl OaMILLI Saint Sakns :». iv:r, -till m at Paris. October ; living the] This symphony was composed for the London Philharmonic So- ciety, and ftnrt performed at a concert of thai society in London, vv »'», May 19, i when the composer conducted, it was performed at Aix-la-Chapelle in September of thai year under the direction of the composer; at a concert of the Paris Conservatory, January EL L887; in New Fork at a concert of the Philharmonic Society (Theo- dore Thomas conductor), February 19, L887. a Bketch of the symphony was prepared for the first performance in London, probably with the assistance, or at least the sanction, of the composer. The following analysis is translated from the French version of this sketch used at the Paris Conservatory con- cert in L887 : "This symphony is divided into pails, alter the manner of Saint- QS'g fourth concerto for piano and Orchestra and sonata for piano and violin. Nevertheless, it includes practically the traditional four movements: the first, checked in development, serves as an Introduction to the Adagio, ami the Scherzo is connected, after the same manner, with the Finale. The composer has thus BOUghl to Shun in a certain measure the interminable repetitions which are more ami more disappearing from instrumental music. "The composer thinks that the time has come for the symphony t<. i.em-iit by the progress of modern Instrumentation, ami he there- fore establishes his orchestra as follows: three llntes, two oboes, one English horn, two clarinets, one bass clarinet, two bassoons, one dOUble-baSSOOn, four horns, three trumpets, three trombones, one tuba, three kettledrums, organ, pianoforte i now for two hands and CHANDLER PIANO COMPANY Telephone. 159 Main 222 LIVINGSTON STREET Uyn'i OldcM 1'i.ino 1 louse, and for over 30 years the home of the IVERS AND POND to he tod several other well-known I ry one absolutely guaranteed as PLAYER-PIANOS from $450.00 to $800.00 Iml VI :ianism with which every shade of musical expression can be perfe< tly exprr- Old Piano* Taken in I Ww Pianos for Rent Tuning and K'-pairing carefully attendrd to. METROPOLITAN OPERA HOUSE 1 r TUESDAY EVENING, APRIL 8, 1919 VACATION ASSOCIATION'S GALA CONCERT GERALDINE FARRAR RACHMANINOFF AND THE PHILADELPHIA ORCHESTRA LEOPOLD STOKOWSKI, CONDUCTOR TICKETS NOW ON SALE AT OFFICE OF THE VACATION ASSO- CIATION, 38 VEST 39TH STREET, THE BOX OFFICE METRO- POLITAN OPERA HOUSE AND AT TYSON'S, McBRIDE'S AND RULLMAN'S now for four', one triangle, a pair of cymbals, base drum, and the usual string! •Ai er an introduction Adagio of a few plaintive measures the string quartet exposes the initial theme, which is sombre and agi- tated (Allegro moderate). The drat transformation of this theme is to a second motive, which is distinguished by greater tran- quillity; after a short development, in which the two themes are Mined simultaneously, the motive appears in a characteristic form, for lull orchestra, hut only Tor a short time. A second trans- formation of the initial theme includes now and then the plaintive notes of the introduction. Varied episodes bring gradually calm, and thus prepare the Adagio in D-tlat. The extremely peaceful and contemplative theme is given to the violins, violas, ami violon- cellos, which are supported by organ chords. This theme IS then taken by clarinet, horn, and trombone, accompanied by strings divided into several parts. After a variation (in arabesques) per- formed by the violins, the second transformation of the initial theme the Allegro appears again, and brings with it a vague feeling of unrest, which is enlarged by dissonant harmonies. These soon give way to the theme of the Adagio, performed this time by some of the violins, violas, and violoncellos, with organ accompaniment and with a persistent rhythm of triplets presented by the preceding episode.
Load more

Recommended publications
  • The Art of Music :A Comprehensive Ilbrar
    1wmm H?mi BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT or Hetirg W, Sage 1891 A36:66^a, ' ?>/m7^7 9306 Cornell University Library ML 100.M39 V.9 The art of music :a comprehensive ilbrar 3 1924 022 385 342 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022385342 THE ART OF MUSIC The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians Editor-in-Chief DANIEL GREGORY MASON Columbia UniveTsity Associate Editors EDWARD B. HILL LELAND HALL Harvard University Past Professor, Univ. of Wisconsin Managing Editor CESAR SAERCHINGER Modem Music Society of New Yoric In Fourteen Volumes Profusely Illustrated NEW YORK THE NATIONAL SOCIETY OF MUSIC Lillian Nordica as Briinnhilde After a pholo from life THE ART OF MUSIC: VOLUME NINE The Opera Department Editor: CESAR SAERCHINGER Secretary Modern Music Society of New York Author, 'The Opera Since Wagner,' etc. Introduction by ALFRED HERTZ Conductor San Francisco Symphony Orchestra Formerly Conductor Metropolitan Opera House, New York NEW YORK THE NASTIONAL SOCIETY OF MUSIC i\.3(ft(fliji Copyright, 1918. by THE NATIONAL SOCIETY OF MUSIC, Inc. [All Bights Reserved] THE OPERA INTRODUCTION The opera is a problem—a problem to the composer • and to the audience. The composer's problem has been in the course of solution for over three centuries and the problem of the audience is fresh with every per- formance.
    [Show full text]
  • Phd April 2019 Pp
    The University of Adelaide Elder Conservatorium of Music Faculty of Arts Revisiting George Enescu’s 1921 Bucharest Recital Series: a performance-based investigation with recordings and exegesis. by Elizabeth Layton submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) Adelaide, April 2019 Table of Contents Abstract 5 Declaration 6 Acknowledgements 7 List of Musical Examples 8 List of Tables 11 Introduction 12 PART A: Sound recordings 22 A.1 CD 1 Tracks 1-4 Pierre de Bréville, Sonata no. 1 in C # minor 39:17 Tracks 5-8 Gabriel Fauré, Sonata no. 1 in A major, Op. 13 26:14 A.2 CD 2 Tracks 1-4 André Gédalge, Sonata no. 1 in G major, Op. 12 23:39 Tracks 5-7 Claude Debussy, Sonata in G minor (performance 1) 13:44 Tracks 8-10 Claude Debussy, Sonata in G minor (performance 2) 13:36 A.3 CD 3 Tracks 1-3 Ferruccio Busoni, Sonata no. 2 in E minor, Op. 36a 34:25 Tracks 4-7 Zygmunt Stojowski, Sonata no. 2 in E minor, Op. 37 29:30 A.4 CD 4 Tracks 1-4 Louis Vierne, Sonata in G minor, Op. 23 32:44 Tracks 5-7 Stan Golestan, Sonata in E flat major 26:56 Tracks 8-10 George Enescu, Sonata in F minor, Op. 6 22:34 PART B: Exegesis Chapter 1 George Enescu: Musician, and his path to the 1921 Bucharest Recital Series 27 1.1 Understanding the context and motivation behind the series 35 2 Chapter 2 The 1921 Bucharest Recital Series 38 2.1 Recital 1: Haydn, d’Indy, Bertelin 38 2.2 Recital 2: Mozart, Busoni, Vierne 39 2.3 Recital 3: Sjögren, Schubert, Lauweryns 41 2.4 Recital 4: Weingartner, Stojowski, Beethoven 42 2.5 Recital 5: Bargiel, Haydn, Golestan 42 2.6 Recital 6: Le Boucher, Mozart, Saint-Saëns 43 2.7 Recital 7: Gédalge, Dvorák, Debussy, Schumann 44 2.8 Recital 8: Huré, Bach, Lekeu 45 2.9 Recital 9: Beethoven, Fauré, Franck 46 2.10 Recital 10: Gallon, de Bréville, Beethoven 48 2.11 Recital 11: Magnard, Le Flem, Brahms 49 2.12 Recital 12: Franck, Enescu, Beethoven 49 Chapter 3 Performance notes on nine sonatas selected from the 1921 Bucharest Recital Series 3.1 Pierre de Bréville, Sonata no.
    [Show full text]
  • Syapnony Orcncstrh ")>
    BOSTON SYAPnONY ORCnCSTRH ")> PRoGRSnAE 124:^ The DURABILITY of PIANOS and the permanence of their tone quality surpass anything that has ever before been obtained, or is possible under any other conditions. This is due to the Mason & Hamlin system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construc- tion—The Mason & Hamlin Tension Resonator Catalogue Mailed on Jtpplication Old Pianos Taken in Exchange MASON & HAMLIN COMPANY Established i854 Opp. Institute of Technologfy 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON 6-MASSACHUSETTS AVENUES , - Ticket Office, 1492 , „ Telephones^ i [^Back Bay j Administration Offices. 3200 ( TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor Programme af tijp Twenty-fourth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, APRIL 29 AT 2.30 O'CLOCK SATURDAY EVENING, APRIL 30 AT 8.00 O'CLOCK C/ COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1797 Mme. TERESA CARRENO On her tour this season will use exclusively ^^ Piano. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY G. L SCHIRMER & CO., 338 Boyiston Street, Boston, Mass. 1798 Boston S3rmphony Orchestra PERSONNEL \^ pw iw iw iw iw iw im w» w» #m wi »w r« #m,w»^»m^iv« n^.^^ ikam ^A^nnnz^l H Perfection m Piano Making THE Quarter Grand Style V, in figured Makogany, price $650 It is tut FIVE FEET LONG and in Tonal Proportions a Masterpiece or piano Duilamg. It IS Cnickering & Sons most recent triumph, tke exponent of EIGHTY-SEVEN YEARS experience m artistic piano builamg', ana tne lieir to all tne qualities that tne name oi its makers implies.
    " class="panel-rg color-a">[Show full text]
  • César Franck'ın "Prelüd, Koral Ve Füg" Eserinin Incelenmesi
    Hacettepe Üniversitesi Güzel Sanatlar Enstitüsü Piyano Anasanat Dalı CÉSAR FRANCK’IN “PRELÜD, KORAL VE FÜG” ESERİNİN İNCELENMESİ Begümhan Gençgönül Yüksek Lisans Sanat Çalışması Raporu Ankara, 2015 CÉSAR FRANCK’IN “PRELÜD, KORAL VE FÜG” ESERİNİN İNCELENMESİ Begümhan Gencgönül Hacettepe Üniversitesi Güzel Sanatlar Enstitüsü Piyano Anasanat Dalı Yüksek Lisans Sanat Çalışması Raporu Ankara, 2015 iii TEŞEKKÜR Bu çalışmamı hazırlarken engin deneyim ve bilgisiyle bana yol gösteren Sn.Prof. Güherdal ÇAKIRSOY’a, Konservatuvar’a girdiğim günden itibaren her an yanımda olup beni destekleyen hocam ve danışmanım Sn.Yrd.Doç. İrem BOZKURT’a, son olarak da bu süreçte hiçbir yardımdan kaçınmayan sevgili ailem ve arkadaşlarıma teşekkürlerimi sunmayı borç bilirim. iv ÖZET GENÇGÖNÜL, Begümhan. César Franck’ın Prelüd, Koral ve Füg eserinin incelenmesi, Yüksek Lisans Sanat Çalışması Raporu, Ankara, 2015. 19. yüzyılın ikinci yarısında Fransız Müziği’nin önde gelen isimlerinden ve usta orgcularından biri olan César Franck, piyanoda benimsediği org anlayışı ile döneminin en ilgi çekici bestecilerindendir. Piyano enstrümanıyla org etkisi yarattığı eserleri ile Debussy ve Ravel gibi diğer öncü bestecileri etkiler. Eserlerinde, enstrümantal fikirleri polifonik anlayış ile birleştirerek yoğun bir atmosfer oluşturur. “Prelüd, Koral ve Füg”, zengin armonik yapısı, piyanonun her türlü imkanının sonuna kadar kullanılması, Franck’ın duyumsal ve dindar kişiliğinden gelen mistik öğeleri sağlam bir form anlayışıyla dengelemesi nedeniyle piyano literatürünün anlaşılması en zor ve değerli eserlerinden biridir. Bu çalışmada, bestecinin hayatı, eserleri ve içinde bulunduğu kültürel ortamla ilgili bilgi verilmiş, esere adını veren üç form ve tekrarlı biçim ayrıntılı olarak açıklanmıştır. Son bölümde de eserin form analizi yapılmıştır. Anahtar Sözcükler Franck, Prelüd, Koral, Füg, Tekrarlı Biçim. v ABSTRACT GENÇGÖNÜL, Begümhan. The Examination of the piece 'Prelude, Chorale and Fugue' by César Franck Master's Thesis, Ankara, 2015.
    [Show full text]
  • The Seven Last Words of Christ
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 The seven last words of Christ : a comparison of three French romantic musical settings by Gounod, Franck, and Dubois Vaughn Roste Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Roste, Vaughn, "The es ven last words of Christ : a comparison of three French romantic musical settings by Gounod, Franck, and Dubois" (2013). LSU Doctoral Dissertations. 3987. https://digitalcommons.lsu.edu/gradschool_dissertations/3987 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SEVEN LAST WORDS OF CHRIST: A COMPARISON OF THREE FRENCH ROMANTIC MUSICAL SETTINGS BY GOUNOD, FRANCK, AND DUBOIS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Vaughn Roste B.A., Augustana University College, 1997 B.B.A, Canadian Lutheran Bible Institute, 1997 M.Mus., University of Alberta, 2003 May 2013 ii DEDICATION Writing a dissertation is a project not completed by one person but by several. I need to thank my family—Mom, Dad, Erica, Ben, Finn, and Anders—for their love and undying support through this convoluted and seemingly never-ending process.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955
    SYMPHONY HALL, BOSTON Telephone, Commonwealth 6-1492 SEVENTY-FOURTH SEASON, 1954-1955 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1955, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Talcott M. Banks, Jr. C. D. Jackson John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Charles H. Stockton Francis W. Hatch Edward A. Taft Harold D. Hodgkinson Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Thomas D. Perry, Jr., Manager ) Assistant G. W. Rector J. J. Brosnahan, Assistant Treasurer N. S. Shirk ( Managers Rosario Mazzeo, Personnel Manager [7«i] THE LIVING TRUST How It Benefits You, Your Family, Your Estate Unsettled conditions . new inventions . political changes . interest rates and taxes, today make the complicated field of in- vestments more and more a province for specialists. Because of this, more and more men and women, with capital to invest and estates to manage, are turning to the Living Trust. WHAT IT IS The Living Trust is a Trust which you establish to go into effect during your lifetime, as part of your overall estate plan, and for the purpose of receiving professional management for a specified portion of your property. It can be arranged for the benefit of yourself, members of your family, or other individuals or charities —and can be large or small.
    [Show full text]
  • REHEARSAL and CONCERT
    Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-FIFTH SEASON, J905-J906. WILHELM GERICKE, CONDUCTOR IProGtamme OF THE TENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, DECEMBER 29, AT 2.30 O'CLOCK. SATURDAY EVENING, DECEMBER 30, AT 8.00 O'CLOCK. PubUahcd by C A. ELLIS, ManA^er. ^ 689 m. Uincent dindy The eminent French Composer who has just been in America as guest of the Boston Sym- phony Orchestra, and who ap- peared as Pianist in his own Chamber Music with the Kneisel Quartet and the Longy Club, \ ^tf^<«" ^V!^ played exclusively the MmmMiumlm PIANO regarding which he writes as follows : New York, December 7, 1905. Mason & Hamlin Co. : I do not wish to leave America without telling you how happy I have been to know and to play your magnificent instruments. ' Your Pianos are quite remarkable for their expressive sonority, which Tias especially appealed to me, and which commends them to all those who see in music an art addressing itself to the heart rather than a pretext for virtuosity. One can sing on your Pianos^ and it is this which, to my mind, consti- tutes their chief charm. I want to tell you this in assuring you of my high esteem. (Signed) VINCENT d'INDY. •492 Boylston Street BOSTON (Oppositt Institute of Techonlogy) C90 Boston Symphony Orchestra, PERSONNEL. Twenty -fifth Season, 1905-1906. WILHELM GERICKE, Conductor. First Violins. Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W.
    [Show full text]
  • 1873–1875: Carmen • 211
    l CHAPTER NINE ; 1873 1875 – : Carmen hile Bizet was writing wind pieces and orchestrating all 1200 pages Wof Carmen, Geneviève was with him in Bougival during the summer of 1874; at least that seems to have been the arrangement they came to, however pre- carious. There is strong evidence to suggest that Geneviève was more than usually friendly with one of her husband’s friends, Élie-Miriam Delaborde, a virtuoso pia- nist whose talent he inherited from his father, the equally remarkable Alkan, and who spent the summer nearby in Bougival. Bizet was aware of her warm feelings for Delaborde, which she did not hide.1 The manner in which members of the Halévy family destroyed or concealed crucial evidence suggests that something was amiss. The appearance, however, is of a threesome who got on well enough. Delaborde, like Bizet, enjoyed swimming. He was a vigorous athlete, an advocate of the pedal-piano, an experienced traveller, and the possessor of innumerable apes and parrots as pets—congenial and interesting company, in other words. The most significant pointer to Geneviève’s interest in Delaborde is the marriage contract they both signed in August 1876, scarcely a year after Bizet’s death.2 The marriage did not take place; both parties eventually married other spouses. But this is a mat- ter in which gossip passed down through the years seems for once to have been right. Geneviève nevertheless told Gounod later that there was not a moment of her six years with Bizet she would not want to live again.3 We have at the same time to contend with the parallel gossip that linked Bizet to Galli-Marié.
    [Show full text]
  • Yhtenäistetty César Franck : Teosten Yhtenäistettyjen Nimekkeiden Ohjeluettelo / Heikki Poroila
    Suomen musiikkikirjastoyhdistyksen julkaisusarja 161 Yhtenäistetty César Franck Teosten yhtenäistettyjen nimekkeiden ohjeluettelo Heikki Poroila Suomen musiikkikirjastoyhdistys Helsinki 2013 Julkaisija Suomen musiikkikirjastoyhdistys Toimitustyö ja ulkoasu Heikki Poroila Toinen laitos, verkkoversio 1.0 © Heikki Poroila 2013 01.4 POROILA , HEIKKI Yhtenäistetty César Franck : Teosten yhtenäistettyjen nimekkeiden ohjeluettelo / Heikki Poroila. – Toinen laitos, verkkoversio 1.0. – Helsinki : Suomen musiikkikirjastoyhdistys, 2013. – 20 s. – (Suomen musiikkikirjastoyhdistyksen julkaisusarja, ISSN 0784-0322 ; 161). – ISBN 978-952-5363-60-9 (PDF) ISBN 978-952-5363-60-9 Lukijalle César Auguste Jean Guillaume Hubert FRANCK (10.12.1822 – 9.11.1890) kuuluu ajallisesti rans- kalaisen romantiikan piiriin, mutta hänen musiikissaan on paljon myös saksalaista vaikutusta (Franck syntyi Belgiassa, mutta eli pääosan elämästään Pariisissa). Franck ei ole koskaan noussut Suomessa erityisen suosituksi säveltäjäksi, mutta hänen nimensä on pysynyt esillä erityisesti lau- lun Panis angelicus ansiosta. Ohjeluettelon tekemiseen on houkutellut paitsi teosluettelo*, myös Franckin sotkuinen opusnumerokäytäntö, jota jotkut julkaisijat edelleen pitävät hengissä. Mohrin luettelon lisäksi päälähteenä on ollut Groven tietosanakirjan teosluettelo, josta löytyvät myös jul- kaisemattomat teokset, joita Mohr ei käsittele lainkaan. Franck käytti itse kahta eri opusnumerosarjaa, mutta luopui numeroista kokonaan vuoden 1863 jälkeen. Koska numerot ovat myös osittain päällekkäisiä,
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 75, 1955-1956
    BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON SEASON Carnegie Hall, New York Boston Symphony Orchestra (Seventy-fifth Season, 1955-1956) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Contra-Bassoon Roll and Tapley George Humphrey Richard Plaster Norbert Lauga Jerome Lipson Robert Karol Vladimir ResnikofiE Horns Harry Dickson Reuben Green James Stagliano Gottfried Wilfinger Bernard Kadinoff Charles Yancich Einar Hansen Vincent Mauricci Harry Shapiro Joseph Leibovici John Fiasca Harold Meek Emil Kornsand Violoncellos Paul Keaney Roger Shermont Osbourne McConathy Samuel Mayes Minot Beale Alfred Zighera Herman Silberman Trumpets Jacobus Langendoen Roger Voisin Stanley Benson Mischa Nieland Leo Panasevich Marcel Lafosse Karl Zeise Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Clarence Knudson Leon Marjollet Trombones Pierre Mayer Martin Hoherman William Gibson Manuel Zung Louis Berger William Moyer Samuel Diamond Richard Kapuscinski Kauko Kahila Josef Orosz Victor Manusevitch Robert Ripley James Nagy Flutes Tuba Melvin Bryant Doriot Anthony Dwyer K. Vinal Smith Lloyd Stonestreet James Pappoutsakis Saverio Messina Phillip Kaplan Harps William Waterhouse Bernard Zighera Piccolo William Marshall Olivia Luetcke Leonard Moss George Madsen Jesse Ceci Oboes Timpani
    [Show full text]
  • Récital D'orgue
    RÉCITAL D'ORGUE VINCENT GENVRIN orgue MERCREDI 27FÉVRIER 20H CÉSAR FRANCK Grande Pièce symphonique op. 17 Andantino serioso – Allegro non troppo e maestoso / Andante – Allegro – Andante / Allegro non troppo e maestoso (26 minutes environ) MODESTE MOUSSORGSKI Tableaux d’une exposition (transcription de Vincent Genvrin) 1. Promenade I 2. Gnomus 3. Promenade II 4. Il vecchio castello 5. Promenade III 6. Tuileries 7. Bydlo 8. Promenade IV 9. Ballet des poussins dans leurs coques 10. Samuel Goldenberg et Schmuyle 11. Limoges – Le marché 12. Catacombae – Sepulchrum romanum 13. Cum mortuis in lingua mortua 14. La cabane sur des pattes de poule – Baba Yaga 15. La grande porte de Kiev (40 minutes environ) VINCENT GENVRIN orgue Ce concert sera diffusé ultérieurement à 20h sur France Musique. CÉSAR FRANCK 1822 -1890 en 1874-1882 (avec Édouard Deperthes). Inauguré dès 1859, l’orgue n’aurait été véritablement terminé, selon Théodore Dubois qui venait d’être Grande Pièce symphonique op. 17 nommé maître de chapelle à Sainte-Clotilde, qu’en cette année charnière N°2 des Six Pièces. Composée en octobre 1863. Dédiée à Charles-Valentin Alkan. Première audition par de 1863. l’auteur à Sainte-Clotilde à Paris le 17 novembre 1864. Publiée par Mayens-Couvreur en 1868, reprise par Durand en février 1880. « Douze Pièces » : aux Six Pièces publiées par Mayens-Couvreur et reprises par Durand viennent s’ajouter les Trois Pièces créées par Franck lors des concerts d’inauguration du Cavaillé-Coll de la Salle des fêtes du Palais du De même que le chanoine Jehan Titelouze, né à Saint-Omer, en Flandres Trocadéro (1878) et les testamentaires Trois Chorals (1890).
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season
    ACADEMY OF MUSIC, PHILADELPHIA Thirty-second Season in Philadelphia Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor itji> WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 1 AT 8.15 COPYRIGHT, 1917, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER The ideal of the Steinway Piano is a beautiful voice. The work of the Steinway family is to create a sensitive but permanent vehicle for its expression. "The Steinway realization means the eleva- tion and furtherance of the great art of music. Their field is the world and mankind is the beneficiary. Rarely have men had such in- spiration and more rarely have they risen to the heights or possessed such unobscured and prophetic vision of the intellectual needs.'* STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor )T7 Violins. Witek, A. Roth, 0. Rissland, K. Theodorowicz, J. Concert-master. Hoffmann, J. Schmidt, E. Bak, A. Noack, S. >» Mahn, F. Ribarsch, A. Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Baraniecki, A. Griinberg, M. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A. Gerardi, A. Pinfield, C. Gewirtz, J. Kurth, R. Gunderson, E Rosen, S. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittraann, F. Schwerley, P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Steinke, B Malkin, J. Nagel, R. Nast, L. Folgmann, E.
    [Show full text]