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Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
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. -
Boston Symphony Orchestra Concert Programs, Season 25,1905-1906, Trip
ACADEMY OF MUSIC, PHILADELPHIA. BostonSympRony Qrctiestia WILHELM GERICKE, Conductor. Twenty-first Season in Philadelphia* PROGRAMME OF THE FIRST CONCERT MONDAY EVENING, NOVEMBER 6, AT 8. J 5 PRECISELY. Hale. With Historical and Descriptive Notes by Philip Published by C. A. ELLIS, Manager. l A PIANO FOR THE MUSICALLY INTELLIGENT classes, artists' pianos If Pianos divide into two and popular pianos. The proportion of the first class to the second class is precisely the proportion of cultivated music lovers to the rest of society. A piano, as much as a music library, is the index of the musical taste of its owner. are among the musically intelligent, the ^f If you PIANO is worth your study. You will appreciate the " theory and practice of its makers : Let us have an artist's piano ; therefore let us employ the sci- ence, secure the skill, use the materials, and de- vote the time necessary to this end. Then let us count the cost and regulate the -price." Tf In this case hearings not seeing, is believing. Let us send you a list of our branch houses and sales agents (located in all important cities), at whose warerooms our pianos may be heard. Boston, Mass., 492 Boylston Street New York, 139 Fifth Avenue Chicago, Wabash Avenue and Jackson Boulevard Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKE, Conductor First Viouns Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F Back, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. Kuntz, D. Hoffmann, J Fiedler, E. Mullaly, J. Moldauer, A. Strube, G. -
Boston Symphony Orchestra Concert Programs, Season 18, 1898
INFANTRY HALL, PROVIDENCE. Boston Symphony Orchestra. Mr. WILHELM GERICKE, Conductor. Seventeenth Season in Providence. PROGRAMME OF THE FOURTH CONCERT WEDNESDAY EVENING, JANUARY 11, AT 8 SHARP. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. (1) Steinway & Sons, flanufacturers \ 1 A fV^T m \ ^Z Grand and of PIANOSK 1 /\ I ^ \^J^ Upright Beg to announce that they have been officially appointed by patents and diplomas, which are displayed for public inspection at their warerooms, manufacturers to His Majesty, NICOLAS II., THE CZAR OF RUSSIA. His Majesty, WILLIAM II., EMPEROR OF GERMANY and THE ROYAL COURT OF PRUSSIA. His Majesty, FRANZ JOSEPH, EMPEROR OF AUSTRIA and KINO OF HUNGARY. Her Majesty, VICTORIA, QUEEN OF GREAT BRITAIN. Their Royal Highnesses, THE PRINCE AND PRINCESS OF WALES, and THE DUKE OF EDINBURGH. His Majesty, OSCAR II., KING OF SWEDEN AND NORWAY. His Majesty, UMBERTO I., THE KING OF ITALY. Her Majesty, THE QUEEN OF SPAIN. His flajesty, Emperor William II. of Germany, on June 13, 1893, also bestowed on our Mr. William Steinway the order of The Red Eagle, III. Class, an honor never before granted to a manufacturer. The Royal Academy of St. Caecilia at Rome, Italy, founded by the celebrated composer Pales- trina in 1584, has elected Mr. "William Steinway an honorary member of that institution. The following is the translation of his diploma : — The Royal Academy of St. Concilia have, on account of his eminent merit in the domain of music, and in conformity to their Statutes, Article 12, solemnly decreed to receive William Steinway into the number of their honorary members. -
Don Juan from Norton.Pdf
http://www.englishworld2011.info/ DON JUAN / 669 [MANFRED expires.] ABBOT He's gone—his soul hath ta'en its earthless flight- Whither? I dread to think—but he is gone. 1816-17 1817 Don juan Byron began his masterpiece (pronounced in the English fashion, Don Joo-nn) in July 1818, published it in installments beginning with cantos 1 and 2 in 1819, and continued working on it almost until his death. Initially he improvised the poem from episode to episode. "I have no plan," he said, "I had no plan; but I had or have materials." The work was composed with remarkable speed (the 888 lines of canto 13, for example, were dashed off within a week), and it aims at the effect of improvisation rather than of artful compression; it asks to be read rapidly, at a con- versational pace. The poem breaks off with the sixteenth canto, but even in its unfinished state Don Juan is the longest satirical poem, and indeed one of the longest poems of any kind, in English. Its hero, the Spanish libertine, had in the original legend been superhuman in his sexual energy and wickedness. Throughout Byron's version the unspoken but persistent joke is that this archetypal lady-killer of European legend is in fact more acted upon than active. Unfailingly amiable and well intentioned, he is guilty largely of youth, charm, and a courteous and compliant spirit. The women do all the rest. The chief models for the poem were the Italian seriocomic versions of medieval chivalric romances; the genre had been introduced by Pulci in the fifteenth century and was adopted by Ariosto in his Orlando Furioso (1532). -
Boston Symphony Orchestra
■ ••••••• 0•L • Boston Symphony Orchestra Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Thursday, January 29, 1976 at 8:30 p.m. Friday, January 30, 1976 at 2:00 p.m. Saturday, January 31, 1976 at 8:30 p.m. Symphony Hall, Boston Ninety-fifth Season Baldwin Piano Deutsche Grammophon & Philips Records Program Program Notes Seiji Ozawa conducting Gioacchino Antonio Rossini (1792-1868) Overture to the Opera 'Semiramide' Rossini: Overture to the Opera 'Semiramide' This opera in two acts on a libretto of Gaetano Rossi Griffes: 'The Pleasure Dome of Kubla Khan' (based on Voltaire's tragedy of the same name) was first (After the Poem of S. T. Coleridge) performed at the Fenice Theatre, Venice in February 1823. It was mounted at La Scala, Milan in 1824. The first per- formance in Boston was at the Federal Street Theatre, Intermission March 3, 1851. It was last performed by the Boston Sym- phony in Boston in 1953 by the late Guido Cantelli, and Bruckner: Symphony No. 4 in E flat 'Romantic' most recently at the Berkshire Festival in 1975 conducted by Arthur Fiedler. Ruhig Bewegt (Tranquillo, con moto) Rossini, piqued by unfavorable comments by no less an Andante authority than Beethoven himself regarding opera seria sat Scherzo: Bewegt (Con moto) Trio (Gernachlich) down and wrote a long tragedy in music in the grand style Finale: Massig Bewegt (Moderato, con moto) ('melodramma (sic) tragico') in seven days less than the forty his contract allowed. 'Semiramide' was premiered at La The Friday program will end about 3:25 p.m. -
Boston Symphony Orchestra Concert Programs, Season 87, 1967-1968
1 J MIT t / ^ii "fv :' • "" ..."?;;:.»;:''':•::•> :.:::«:>:: : :- • :/'V *:.:.* : : : ,:.:::,.< ::.:.:.: .;;.;;::*.:?•* :-: ;v $mm a , '.,:•'•- % BOSTON ''•-% m SYMPHONY v. vi ORCHESTRA TUESDAY A SERIES EIGHTY-SEVENTH SEASON 1967-1968 -^^VTW-s^ 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 & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer PHILIP K. -
TE 499 849 Wendrich, Kenneth A.; Palisca, Claude V. An
DOCUMENT RESUME ED 043 652 24 TE 499 849 AUTHOR Wendrich, Kenneth A.; Palisca, Claude V. TITLE An Approach to Musical Understanding for Secondary School Students. Report of the Yale Music Curriculum Project. INSTITUTION Yale Univ., New Haven, Conn. SPONS AGENCY Office of Education (DHEW), Washington, D.C. Bureau of Research. BUREAU NO BR-5-0209 PUB DATE 70 CONTRACT OEC-6-10-137 NOTE 259p. EDRS PRICE EDRS Price MF-$1.00 HC Not Available from EDRS. DESCRIPTORS *Analytical Criticism, Audiovisual Aids, Content Analysis, *Curriculum Evaluation, History, *Humanities, Listening Habits, Listening Skills, *Music, Music Activities, Music Appreciation, *Music Education, Music Reading, Secondary Education IDENTIFIERS *Yale Music Curriculum Project ABSTRACT This report summarizes the work of the Yale Music Curriculum Project, the purpose of which was to develop an academically respectable music literature course to stimulate the listening capacity of the secondary school student through his recognition and analysis of musical genre form. Included ate (1)a rationale summarizing the need for such a curriculum,(2) author summaries of the 9 units of the curriculum, each unit analyzing one or 2 major musical works which represent major styles and composers of the music of western civilization from the 18th century to the present and which illustrate a particular genre form--music for the dance, music for the keyboard, chamber music, the symphony, the concerto, the opera, the oratorio, program music, and American music, (3) an evaluation of the development and application of the curriculum in the classroom, indicating those participating in the project, student and teacher evaluations of the program, and evaluation instruments, and (4)a chronological list of lectures and demonstrations on this project's approach and materials. -
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. -
Boston Symphony Orchestra Concert Programs, Season 22,1902-1903, Trip
ACADEMY OF MUSIC, PHILADELPHIA. Boston Symplpy OicHestia Mr. WILHELM GERICKE, Conductor. Eighteenth Season in Philadelphia. PROGRAMME OF THE FOURTH CONCERT SECOND SERIES, WEDNESDAY EVENING, FEBRUARY 18, AT 8.15 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C. A, ELLIS, Manager. K») ME S S R S . CHICKERING & SONS PIANOFORTE MAKERS Invite CriticaJ Inspection of Their Latest Production The Quarter Grand (TV The Smallest Grand Embodying Modern Principles Ever Made RETAIL WAREROOMS 791 TREMONT STREET, BOSTON 1' presented m Philadelphia by JOHN WANAMAKER. (D BOStOn , ACADEMY OF MUSIC, Symphony I PH,LADEI-PHIA •**J ? "r J <j* Twenty-second Season, 1902-J903. Orchestra Eighteenth Season in Philadelphia. Mr. WILHELM GERICKE, Conductor. FOURTH CONCERT, SECOND SERIES, WEDNESDAY EVENING, FEBRUARY 18, AT 8.15 PRECISELY. PROGRAMME, u n Taneieff ....... Overture, L'Orestie n Mozart Recitative and Aria, " Nie soil mit Rosen," from f Titus (Clarinet obbligato, Mr. V. Lebailly.) u tt R. Strauss . Tone-poem, Death and Transfiguration u Mendelssohn . Arioso, But the Lord is mindful of his own," " from " St. Paul u Beethoven . Symphony No. 3, in E-flat major, Eroica," Op. 55 I. Allegro con brio. II. Marcia funebre : Adagio assai. III. Scherzo : Allegro vivace. Trio. IV. Finale : Allegro molto. SOLOIST: Madame SCHUMANN-HEINK. There will be an intermission of ten minutes before the symphony. (3) Our NewSmall Grand — We especially invite the critical attention of artists and lovers of the beautiful in pianos to our NEW SMALL GRAND, which represents the latest and highest development in that field of piano manufacture A request by mail will bring you price and terms. -
Cronologia Ii
C R O N O L O G I A II (dal 1901 in poi) (ultimo aggiornamento: 24 giugno 2021) Avvertenze • Questa cronologia, per ragioni di spazio, non comprende diverse informazioni che si possono trovare, in particolare, nei seguenti capitoli del sito: “Catalogo opere musicali”; “Direzione concerti”; “I luoghi dell’avventura artistica / L’esperienza lauretana” (per l’attività dal 1904 al 1926, come direttore della Cappella Musicale della Basilica di Loreto); “Incarichi” (tra cui molti “Collaudi d’organo”); “Onorificenze e premi”. • Le citazioni senza il nome dell’autore, sono di Tebaldini. • Abbreviazioni usate: s.d. (senza data) / d.m. (dati mancanti). • La cronologia è suscettibile di perfezionamenti e integrazioni che verranno apportati a seguito di ulteriori ricerche. 1901 30 gennaio. A Milano partecipa ai funerali di Verdi. 24 febbraio. Parte per Milano con quattro studenti della classe di composizione (Bruno Barilli, Gustavo Campanini, Gilmo Candiolo, Ildebrando Pizzetti) per partecipare al corteo delle rappresentanze intorno al feretro glorioso di Giuseppe Verdi che viene portato, insieme a quello della moglie Giuseppina Strepponi, dal Cimitero Monumentale alla Casa di Riposo per Musicisti fatta costruire da Verdi stesso. 27 febbraio. Con i quattro allievi è presente alla cerimonia di traslazione della salme. Arturo Toscanini dirige l’orchestra che esegue Va’ pensiero. Tutti i presenti lo intonano in coro in un’atmosfera di comprensibile, alta commozione. La sera porta gli allievi alla Scala per assistere alla rappresentazione dell’Elisir d’amore di Donizetti sotto la direzione di Toscanini che gli aveva fatto ottenere i biglietti-omaggio. 28 febbraio. Torna alla Scala con gli studenti per il Tristano e Isotta di Wagner, sempre diretto da Toscanini. -
Symphony Orchestrh
li>V\\V,[ VVx< BOSTON SYMPHONY ORCHESTRH ^^v f^^ •^-^ PRoGRsnnE 1(20 )| The DURABIUTY 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 Application Old Pianos Taken in Exchange MASON & HAMLIN COMPANY Established 1854 <i Opp. Institute of Technolog^y 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON (S-MASSACHUSETTS AVENUES Ticket Office, 1492 l„ ,„ TelephonesT»io«t,^«^o i Back Bay j Administration Offices, 3200 J TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor Programme nf % Twentieth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, APRIL 1 AT 2.30 O'CLOCK SATURDAY EVENING, APRIL 2 AT 8.00 O'CLOCK COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1493 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 Boylston Street, Boston, Mass. 1494 Boston Symphony Orchestra PERSONNEL Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. HofiFmann, J. Krafift, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K.