DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 72, 1952-1953

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 72, 1952-1953 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SEVENTY-SECOND SEASON, 1952-1953 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by fOHN N. BURK COPYRIGHT, 1952, BY BOSTON SYMPHONY ORCHESTRA, ItlC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Charles D. Jackson Theodore P. Ferris Michael T. Kelleher Alvan T. Fuller Lewis Perry N. Penrose Hallowell Edward A. Taft Francis W. Hatch Raymond S. Wilkins Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [ 145] 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. We will be glad to meet with you and your attorney, in strict con- fidence, to discuss a Living Trust as it fits in with your situation. For an appointment, at your convenience, please write or call the Personal Trust Department of the National Shawmut Bank, Boston, Massachusetts. No obligation, of course. Send for the Shawmut Bank's informative new booklet, "The Living Trust". It tells the whole story. Yours without charge. The National Shawmut Bank of Boston Member Federal Deposit Insurance Corporation [146] SYMPHONIANA (Quoted from the Sunday Times, THE TROUSSEAU HOUSE OF BOSTON London, October 12, 1952.) SALUTE TO A MASTER Today Dr. Ralph Vaughan Williams is eighty. Few English musicians have earned the respect and affection which he inspires and which will be celebrated today and throughout the coming musi- cal season. Time alone will show the permanent value of his work, which ranges from the mystic, Vaughan- side of his personality, seen in such works as the Magnificat and Mass, to the down-to-earth Williams of "Hugh the Drover," and other works character- istically redolent of his native soil. Today it is one of the chief glories of our national music. In the best sense Vaughan Williams is a popular composer. He sings his native land from an inner compulsion and not from an aesthetic which has been forced upon him. No composer of his stature has thrown himself so whole- heartedly into the musical life of his country. He has not only written works for the Church, concert-room and touch of heaven theatre, but is an editor of the English in this sky blue-pink Hymnal, and a pioneer of the folk- pastel plaid — of gloriously song and folk-dance movement. warm zephyr wool — accented at cuffs, front, For half a century he has been a down the and key • figure in English music, fearless, on the belt with shimmering forthright and of unimpeachable in- pastel satin. tegrity in his life as in his work. Sizes 10 to 20 39.95 Vaughan Williams has never given or encouraged press interviews. He 416 Boylston St., Boston once expressed his views on the art of 54 Central St., Wellesley which he is a master in a book of essays, "National Music," to which he [147 1 still directs those who seek his opinion nical comments, pencilled in that il- on general musical matters. But specific legible hand that has long been the musical advice he has never withheld. despair of music-copyists, before rushing In his present intense activity, com- off — to hear Mozart's "Seraglio" at posing and supervising performances of Sadler's Wells. his own music, he still finds time to AMERICAN ARTISTS make precious suggestions to his junior An exhibition, "Painters of the United colleagues. One afternoon last week he States, 1720 to 1920," is in the followed from score "A Tale of Two now Gallery. It is loaned the International Cities," the opera the Arts Council by commissioned from Arthur Benjamin Business Machines Corporation. last year, while the composer played it A chronological chart of American to a small gathering of friends. At the painters with parallel developments in end of the session "R.V.W." presented other arts and in science is shown in his host with a sheaf of detailed tech- the Huntington Avenue foyer, first floor. UNUSED TICKETS In the present completely subscribed season, many people are waiting for an opportunity to hear a Boston Symphony concert. Subscribers who at any time are unable to use their tickets will do a double service in turning them in for resale. The resale of tickets last season made a substantial reduction of the Orchestra's deficit. Leave the ticket at the Box Office, or, if more convenient, telephone the location — Common- wealth 6-1492. [148] filene's Fashion news in coats ... never more apparent, or more important, in this season s exciting change of direction to the slimmer silhouette. The noticeably straighter line . the deep, deep richness of fabric . the wonderfully vibrant, alive colors make these coats new in every way. You'll feel well ahead of the field . you'll feel tall and slim and straight . you'll know that you're wearing a coat that will be a prophecy for seasons to come. [149,1 Nothing is permanent except change — Heraclitus The Spring Lane Chapel of the Old South Meeting House, birthplace of YMCA,December28,i85i. The Huntington Avenue Branch building, largest of the ii branches in the Boston YMCA. "Teaching 'The Good Way "for IOO Years A century ago the Boston Company about the advantages Young.Men's Christian Associa- of Old Colony's services as Ex- tion was founded to provide ecutor and Trustee. A copy of moral leadership, recreation and Wills and Trusts will be sent to educational opportunities for you upon request. youth. Today thousands of young men look to the "Y" for these needs. Boston has changed greatly since the YMCA first opened. Great changes, too, have taken place in the problems of an indi- WORTHY OF YOUR TRUST vidual who wants to make proper provision for his family. To Old Colony meet them, an up-to-date will is essential. If you have no will, or Trust Company if it has not been recently re- ONE FEDERAL STREET, BOSTON viewed, you should see your T. Jefferson Coolidge lawyer at once. Chairman, Trust Committee To help you deal with chang- ing conditions and tax laws, you Robert Cutler, President and your lawyer are invited to Arthur L. Coburn, Jr. consult with Old Colony Trust ChairmanyTrustlnvestmentCommittee Allied withTnE First National Bank of Boston [ J 5o] SEVENTY-SECOND SEASON, NINETEEN HUNDRED FIFTY-TWO AND FIFTY-THREE Fourth Program FRIDAY AFTERNOON, October 24, at 2:15 o'clock SATURDAY EVENING, October 25, at 8:30 o'clock RICHARD BURGIN Conducting Hindemith Concerto for Organ and Chamber Orchestra, 'Op. 46, No. 2 I. Nicht zu schnell II. Sehr langsam und ganz ruhig III. (First performance at these concerts) Soloist: E. POWER BIGGS Vaughan Williams Fantasia on a Theme by Thomas Tallis, for Double String Orchestra Mahler "Songs of a Wayfarer" I. Wenn mein Schatz Hochzeit macht II. Ging heut morgen iiber's Feld III. Ich hab' ein gliihend Messer IV. Die zwei blauen Augen von meinem Schatz Contralto solo: EUNICE ALBERTS INTERMISSION Shostakovitch Symphony No. 5, Op. 47 I. Moderato II. Allegretto III. Largo IV. Allegro non troppo The Friday and Saturday concerts are broadcast each week from Station WGBH (FM). This program will end about 4:10 o'clock on Friday Afternoon. 10:25 on Saturday Evening. BALDWIN PIANO RCA VICTOR RECORDS [151] , PORTRAIT BY BRADFORD BACHRACH atwb (omvattm FOURTH FLOOR BOSTON ONLY R. H. STEARNS CO. BOSTON CHESTNUT HILL [ x 52] CONCERTO for Organ, Brasses and Woodwinds (Kammermusik No. 7) By Paul Hindemith Born in Hanau, Germany, November 16, 1895 This concerto was composed in 1929. It was performed on November 14, 1949 at a concert in Symphony Hall in which the new organ, then just installed, was introduced. E. Power Biggs was the soloist and Charles Munch conducted members of the Boston Symphony Orchestra. The following chamber orchestra is required: flute and piccolo, oboe, clarinet and bass clarinet, 2 bassoons and contra-bassoon, horn, trumpet, trombone, cellos, and double basses. As in his other concertos with chamber orchestra accompaniment, l Hindemith here tends to give the parts to single instruments. He concentrates on the wind choir, using only the lower strings for bass purposes, the basses sometimes reenforcing the cellos. The second movement is in the form of a canon in which the successive entrances of the voices are given to the organ or single wind instruments. It is only thirty-nine bars long. The third movement, which has no tempo indication but gives 184 for an eighth note, is a strong development V wS^Mkp^^^ brings ^^^k^ jr^ you ^ r falls 1 W lovely 1 1 W news • • B twenty newbury street 4 w M A Of M |l elegance ^ I vv^.J^^ distinction ^^A m • l [ 5$] of a fugal subject, the winds giving the exposition, the organ entering for the development.
Load more

Recommended publications
  • University Symphony Orchestra "Encounters"
    FierbergerCollegeYEARS of Fine Arts University Symphony Orchestra "Encounters" Timothy Russell, conductor Mischa Semanitzky and Gunther Schuller, guest conductors Kimberly Marshall, organ David Ballou, trumpet Seamus Blake, tenor saxophone Allan Chase, alto saxophone With the ASU Concert Jazz Band School of Music Herberger College of Fine Arts Arizona State University Friday, September 17, 2004 7:30 p.m. Gammage Auditorium ARIZONA STATE M UNIVERSITY Program Overture to Nabucco Giuseppe Verdi (1813 — 1901) Timothy Russell, conductor Symphony No. 3 (Symphony — Poem) Aram ifyich Khachaturian (1903 — 1978) Allegro moderato, maestoso Allegro Andante sostenuto Maestoso — Tempo I (played without pause) Kimberly Marshall, organ Mischa Semanitzky, conductor Intermission Remarks by Dean J. Robert Wills Remarks by Gunther Schuller Encounters (2003) Gunther Schuller (b.1925) I. Tempo moderato II. Quasi Presto III. Adagio IV. Misterioso (played without pause) Gunther Schuller, conductor *Out of respect for the performers and those audience members around you, please turn all beepers, cell phones and watches to their silent mode. Thank you. Program Notes Symphony No. 3 – Aram Il'yich Khachaturian In November 1953, Aram Khachaturian acted on the encouraging signs of a cultural thaw following the death of Stalin six months earlier and wrote an article for the magazine Sovetskaya Muzika pleading for greater creative freedom. The way forward, he wrote, would have to be without the bureaucratic interference that had marred the creative efforts of previous years. How often in the past, he continues, 'have we listened to "monumental" works...that amounted to nothing but empty prattle by the composer, bolstered up by a contemporary theme announced in descriptive titles.' He was surely thinking of those countless odes to Stalin, Lenin and the Revolution, many of them subdivided into vividly worded sections; and in that respect Khachaturian had been no less guilty than most of his contemporaries.
    [Show full text]
  • National Festival Chamber Orchestra Saturday, June 6
    NATIONAL FESTIVAL CHAMBER ORCHESTRA SATURDAY, JUNE 6, 2015 . 8PM ELSIE & MARVIN DEKELBOUM CONCERT HALL PROGRAM Baljinder Sekhon Sun Dmitri Shostakovich/ Chamber Symphony, Op. 83a Rudolf Barshai Allegro Andantino Allegretto – Allegretto - intermission - Frank Martin Concerto for Seven Wind Instruments, Timpani, Percussion and String Orchestra Allegro Adagietto: Misterioso ed elegante Allegro vivace Wolfgang Amadeus Mozart Symphony No. 35 in D Major, K. 385 (“Haffner”) Allegro con spirito Andante Minuetto – Trio Finale: Presto 9 Sun array of instruments; that is, each The idea of using orchestral strings BALJINDER SEKHON player has a keyboard instrument (a to perform string quartets is hardly a marimba, a xylophone, a vibraphone), novelty. Gustav Mahler created string Born August 1, 1980, Fairfax, Virginia ‘skin’ (containing a drumhead), orchestra versions of Beethoven’s F Now living in Tampa, Florida wood and metal. In addition, the Minor Quartet (Op. 95) and Schubert’s three performers share a single large D Minor. Dimitri Mitropoulos gave This work for percussion trio was cymbal that is central to the staging. us a similar treatment of Beethoven’s composed in 2010–2011 under a At times the three percussion parts C-sharp Minor, Op. 131. Wilhelm commission from the Volta Trio, which are treated as one large instrument Furtwängler and Arturo Toscanini introduced it in a concert at Georgetown with three performers working toward performed and recorded individual University in Washington DC on a single musical character. Thus the movements from other Beethoven November 4, 2011. The score calls for orchestration and interaction alternate quartets. Toscanini also gave us a string- marimba, xylophone, vibraphone, large with each performer executing his/ orchestra version of Mendelssohn’s cymbal and “indeterminate skins, metals her own layers of sound to create a string octet — and Mendelssohn and woods.” Duration, 12 minutes.
    [Show full text]
  • Dimitri Shostakovich: a Catalogue of the Orchestral Music
    DIMITRI SHOSTAKOVICH: A CATALOGUE OF THE ORCHESTRAL MUSIC 1919: Scherzo in F sharp minor for orchestra, op.1: 5 minutes 1921-22: Theme with Variations in B major for orchestra, op.3: 15 minutes 1922: “Two Fables of Krilov” for mezzo-soprano, female chorus and chamber Orchestra, op.4: 7 minutes 1923-24: Scherzo in E flat for orchestra, op.7: 4 minutes 1924-25: Symphony No.1 in F minor, op.10: 32 minutes Prelude and Scherzo for string orchestra, op.11: 10 minutes 1927: Symphony No.2 “October” for chorus and orchestra, op.14: 21 minutes 1927-28: Suite from the Opera “The Nose” for orchestra, op. 15A 1928: “Tahiti-Trot” for orchestra, op. 16: 4 minutes 1928-29/76: Suite from “New Babylon” for orchestra, op. 18B: 40 minutes 1928-32: Six Romances on Words by Japanese poets for tenor and orchestra, op.21: 13 minutes 1929: Suite from “The Bedbug” for orchestra, op.19B Symphony No.3 in E flat major “The First of May” for chorus and orchestra, op.20: 32 minutes 1929-30: Ballet “The Age of Gold”, op.22: 134 minutes (and Ballet Suite, op. 22A: 23 minutes) 1930-31: Suite from “Alone” for orchestra, op. 26 B Ballet “The Bolt”, op.27: 145 minutes (and Ballet Suite, op.27A: 29 minutes) 1930-32: Suite from the Opera “Lady Macbeth of the Mtsensk District” for orchestra, op. 29A: 6 minutes 1931: Suite from “Golden Mountains” for orchestra, op.30A: 24 minutes Overture “The Green Company”, op. 30C (lost) 1931-32: Suite from “Hamlet” for small orchestra, op.
    [Show full text]
  • 7 Pm, Thursday, 3 June 2010 Jackson Hall, Mondavi Center
    7 pm, Thursday, 3 June 2010 Jackson Hall, Mondavi center UC Davis symphony orChestra Christian BalDini, mUsiC DireCtor anD Conductor Family ConCert 7 pm, thUrsDay, 3 JUne 2010 JaCkson hall, monDavi Center PROGRAM Oblivion Astor Piazzolla (1921–92) Kikimora Anatoly Liadov (1855–1914) Lament Ching-Yi Wang Winner, 2010 Composition Readings Sinfonia Concertante in E-flat Major Wolfgang Amadeus Mozart Presto (1756–91) Shawyon Malek-Salehi, violin Andy Tan, viola Winners, 2010 Concerto Competition Symphony No. 10 in E Minor Dmitri Shostakovich Finale: Andante – Allegro (1906–75) D. Kern Holoman, conductor Distinguished Professor of Music and Conductor Emeritus This concert is being professionally recorded for the university archive. Please keep distractions to a minimum. Cell phones, and other similar electronic devices should be turned off completely. UC DAVIS SYMPHONY orCHESTRA Christian BalDini, mUsiC DireCtor anD Conductor amanDa WU, manaGer lisa eleazarian, liBrarian Names appear in seating order. violin i viola Flute horn Cynthia Bates, Andy Tan, Susan Monticello, Rachel Howerton, concertmaster * principal * principal * principal * Yosef Farnsworth, Meredith Powell, Abby Green, Stephen Hudson concertmaster * principal * assistant principal * Adam Morales, Shawyon Malek-Salehi, Caitlin Murray Michelle Hwang principal assistant concertmaster * Melissa Lyans Chris Brown Bobby Olsen, Lucile Cain Ali Spurgeon co-principal Sharon Tsao * Pablo Frias oboe Maya Abramson* Andrew Benson Jaclyn Howerton, trumpet Raphael Moore * principal * Andrew
    [Show full text]
  • MTPII Shostakovich
    Copeland !1 Darcy Copeland Nate Bakkum Music, Time, and Place II April 18, 2016 SHOSTAKOVICH’S FIFTH SYMPHONY “I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat… It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing’” (Shostakovich, 14). Dmitry Shostakovich is undoubtedly one of Russia’s greatest composers in history, and his Fifth Symphony is one of his greatest masterpieces. Despite (or perhaps as a result of) spend- ing much of his life in fear of Stalin’s constant threat, Shostakovich was able to create a work that was powerful both musically and politically—a work that brought him to the forefront of the compositional world of his generation. The Fifth Symphony gave the world a new perspective through which we could understand the not only Shostakovich, but the oppressive, politically powered musical and cultural experiences in the Soviet Union under Stalin’s rule. Shostakovich’s true intent is quite clear in the symphony—however, Stalin’s regime utilized his “heroic ending” as a display of the grandiosity of the Soviet Union. Under Stalin’s rule, art and music in Soviet Russia was heavily policed, and artistic free- dom was immensely restricted. The purpose of art was to serve the government as propaganda— anything else was considered too Western, a betrayal punishable by persecution and even execu- tion.
    [Show full text]
  • Yevgeny Dolmatovsky
    WRITING ABOUT SHOSTAKOVICH Yevgeny Dolmatovsky Rabbi Hillel taught: Do not judge your fellow until you have stood in his place. Pirkei Avot 2:5. Render unto Caesar the things which are Caesar’s … Matthew 22:21 by Sam Silverman evgeny Dolmatovsky wrote many of the texts which were set to music by Shostakovich. Most of these were either patriotic songs, or songs reflecting and eulogising the Communist Party propaganda positions. Because of these Ylatter poems he has been described and known as a second or third rate poet, and as a loyal party hack. The truth, however, is more complex, and one must look deeper into his history to understand him. Transliteration of names from the Cyrillic Russian alphabet can lead to variations. In this paper I have used “Dolmatovsky” and “Dolmatovskii” interchangeably for the Russian “Долматовский”. In one case, that of the doctoral thesis, in Ger- man, of Yevgeny’s father, the transliteration into German becomes “Dolmatowsky.” Early Years Yevgeny Aronovich Dolmatovsky was born in Moscow on May 5, 1915 (Obituary, The Independent (London), Novem- ber 17, 1994, hereinafter “Obituary”), the son of a famous Moscow lawyer who was later executed as an “enemy of the people” (Vaksberg, p. 262). Dolmatovsky died in Moscow on September 10, 1994 (Obituary, loc. cit.). His poems were very popular, and the royalties from the poems and from films had provided him with millions of roubles (Obituary, loc. cit.). His parents were Aron Moiseevich and Adel Dolmatovsky (International Who’s Who, see, e.g., volumes for 1989–1992). His father was born in Rostov-on-Don on 13 November 1880, the son of a merchant, Moisei [Moses] and his wife, Theo- dosia.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 72
    ^ BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY s^^ HENRY LEE HI SEVENTY-SECOND SEASON 195 2-T953 Sanders Theatre, Cambridge \^^arvard University^ Boston Symphony Orchestra (Seventy-second Season, 1952-1953) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhap^ Ernst Panenka Alfred Krips Georges Fourel Theodore Brewster George Zazofsky Eugen Lehner Rolland Tapley Albert Bernard Contra-Bassoon Norbert Lauga George Humphrey Richard Plaster Harry Dubbs Jerome lipson Vladimir ResnikofF Louis Ar litres Horns Harry Dickson Robert Karol James Stagliano Einar Hansen Reuben Green Harry Shapiro Joseph Leibovici Bernard Kadinoff Harold Meek Gottfried Wilfinger Vincent Mauricci Paul Keaney Emil Kornsand Walter Macdonald Roger Schermanski Violoncellos Osbourne McConathy Carlos Pinfield Samuel Mayes Paul Fedorovsky Alfred Zighera Trumpets Minot Beale Jacobus Langendoen Roger Voisin Herman Silberman Mischa Nieland Marcel Lafosse Stanley Benson Hippolyte Droeghmans Armando Ghitalla Leo Panasevich Karl Zeise Gerard Goguen Sheldon Rotenberg Josef Zimbler Clarence Knudson Bernard Parronchi Trombones Pierre Mayer Leon Marjollet {acob Raichman Manuel Zung William Moyer Kauko Kahila Samuel Diamond Flutes [osef Orosz Victor Manusevitch Doriot Anthony James Nagy James Pappoutsakis Tuba Leon Gorodetzky Phillip Kaplan Vinal Smith Raphael Del Sordo Piccolo Melvin Bryant Harps Lloyd Stonestreet George Madsen Saverio Messina Oboes Bernard Zighera
    [Show full text]
  • Evgeni Mravinsky Discography
    FRANK FORMAN AND KENZO AMOH Evgeni Mravinsky Discography Evgeni Alexandrovich Mravinsky (1903 I 6 I 4 St. Petersburg -1988I1I19 Leningrad) General Notes 1. All records are stereo unless noted as Grammophon's original Tchaikovsky monaural. Symphonies. See the List of Record Labels 2. LPs are 30 centimeters (12 inches) in diam­ below. eter unless stated otherwise. 9. This discography is a revision ofKenzo 3. The orchestra is the Leningrad Amoh, Frank Forman, and Hiroshi Philharmonic Symphony Orchestra unless Hashizume, Mravinsky Discography stated otherwise. (Osaka: The Japanese Mravinsky Society, 4. Recording data are mostly based on infor­ 1993 March 20). Agreat deal of peripheral mation from Alexandr Nevsorov (Moscow). material, such as photographs, a biography Discrepancies are noted. of the conductor, and several lists of con­ 5. ·~ before a recording date means that the certs, was omitted. exact date is unknown. The date given is 10. Grateful acknowledgements are owed to the earliest date that recording engineers several people: 1. Hiroshi Hashizume, sec­ were known to have checked the recording. retary of the Japanese Mravinsky Society; Alexandr Nevzorov (the discographers' cor­ 2. Alexandr Nevzorov, a Russian correspon­ respondent in Moscow) estimates that the dent, for his research in various archives; actual recording was made either on that 3. William D. Curtis, for the first known day or any time during the preceding compilation ofMravinsky's recordings; 4. month. Some anomalies, like the Donald R. Hodgman, a collector in New Ovsyaniko-Kulikovksy Symphony, remain. York City, for the loan of several dozen LPs; 6. Soviet LPs are numbered consecutively on 5. Paul Miller, a Los Angeles collector, for each side of the disc, instead of one number making a great many patient A-B compar­ for the entire disc.
    [Show full text]
  • Of New Collected Works
    DSCH PUBLISHERS CATALOGUE of New Collected Works FOR HIRE For information on purchasing our publications and hiring material, please apply to DSCH Publishers, 8, bld. 5, Olsufievsky pereulok, Moscow, 119021, Russia. Phone: 7 (499) 255-3265, 7 (499) 766-4199 E-mail: [email protected] www.shostakovich.ru © DSCH Publishers, Moscow, 2019 CONTENTS CATALOGUE OF PUBLICATIONS . 5 New Collected Works of Dmitri Shostakovich .................6 Series I. Symphonies ...............................6 Series II. Orchestral Compositions .....................8 Series III. Instrumental Concertos .....................10 Series IV. Compositions for the Stage ..................11 Series V. Suites from Operas and Ballets ...............12 Series VI. Compositions for Choir and Orchestra (with or without soloists) ....................13 Series VII. Choral Compositions .......................14 Series VIII. Compositions for Solo Voice(s) and Orchestra ...15 Series IX. Chamber Compositions for Voice and Songs ....15 Series X. Chamber Instrumental Ensembles ............17 Series XI. Instrumental Sonatas . 18 Series ХII. Piano Compositions ........................18 Series ХIII. Incidental Music ...........................19 Series XIV. Film Music ...............................20 Series XV. Orchestrations of Works by Other Composers ...22 Publications ............................................24 Dmitri Shostakovich’s Archive Series .....................27 Books ..............................................27 FOR HIRE ..............................................30
    [Show full text]
  • Dmitri Shostakovich
    Dmitri Shostakovich Dmiti Shostakovich photo © Booseyprints __An Introduction to the music of Dmitri Shostakovich__ _by Gerard McBurney_ Dmitri Shostakovich is regarded by musicians and audiences alike as one of the most important and powerful composers of the 20th century. His music reflects his own personal journey through some of the most turbulent and tragic times of modern history. Even in his own lifetime many of his works established themselves internationally as part of the standard repertoire, and since his death his fame has increased year by year. Nowadays most of his 15 symphonies, the entire cycle of 15 string quartets, his _24 Preludes and Fugues_ for piano and his opera _Lady Macbeth of Mtsensk_, have come to occupy a central place in the experience of music lovers. And yet Shostakovich, a hugely prolific composer, wrote vast amounts of other music that is still hardly known. And much of it reflects sides to his character - humorous, sarcastic, absurd, funny, theatrical, deliciously tuneful - quite different from the dark and tragic mood most people associate with his name. In particular, when he was young, Shostakovich produced a stream of music for the theatre and cinema: operas, operettas, ballets, music-hall shows, incidental music for all kinds of plays from Shakespeare to propoganda, live music for silent cinema, recorded scores for early sound-movies, even an enchanting children's cartoon-opera. Much of this is music in a lighter or more popular vein, sparkling like champagne and a treat for musicians and audiences. It richly deserves to be heard and fascinatingly deepens our sense of the achievement of this remarkable artist.
    [Show full text]
  • Proquest Dissertations
    M u Ottawa L'Unh-wsiie eanadienne Canada's university FACULTE DES ETUDES SUPERIEURES IfisSJ FACULTY OF GRADUATE AND ET POSTOCTORALES U Ottawa POSDOCTORAL STUDIES L'Universite canadienne Canada's university Jada Watson AUTEUR DE LA THESE /AUTHOR OF THESIS M.A. (Musicology) GRADE/DEGREE Department of Music lATJULfEJ^LTbliP^ Aspects of the "Jewish" Folk Idiom in Dmitri Shostakovich's String Quartet No. 4, OP.83 (1949) TITREDE LA THESE/TITLE OF THESIS Phillip Murray Dineen _________________^ Douglas Clayton _______________ __^ EXAMINATEURS (EXAMINATRICES) DE LA THESE / THESIS EXAMINERS Lori Burns Roxane Prevost Gary W, Slater Le Doyen de la Faculte des etudes superieures et postdoctorales / Dean of the Faculty of Graduate and Postdoctoral Studies ASPECTS OF THE "JEWISH" FOLK IDIOM IN DMITRI SHOSTAKOVICH'S STRING QUARTET NO. 4, OP. 83 (1949) BY JADA WATSON Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Master's of Arts degree in Musicology Department of Music Faculty of Arts University of Ottawa © Jada Watson, Ottawa, Canada, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-48520-0 Our file Notre reference ISBN: 978-0-494-48520-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant
    [Show full text]
  • JOANN FALLETTA, Conductor ELIZABETH CABALLERO, Soprano
    LoKo Arts Festival Concert 2017 Festival Helen M. Hosmer Hall Performed April 29, 2017 Gloria (1959) Francis Poulenc (1899-1963) I. Gloria II. Laudamus te III. Domine Deus IV. Domine fili unigenite V. Domine Deus, Agnus Dei VI. Qui sedes ad dexteram Patris JOANN FALLETTA, Conductor ELIZABETH CABALLERO, Soprano CRANE SYMPHONY ORCHESTRA Ching-Chun Lai, Director CRANE CHORUS Jeffrey Francom, Director Texts & Translations Gloria Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te; Gratias agimus, agimus tibi, Propter magnam gloriam tuam. Domine Deus, Rex coelestis! Deus, Pater omnipotens! Domine, Fili unigenite, Jesu Christe! Domine Deus! Agnus Dei! Filius Patris! Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altissimus, Jesu Christe! Cum Sancto Spirtitu in gloria Dei patris. Amen. Program Notes by Dr. Gary Busch The ebullient optimism of Francis Poulenc’s Gloria inhabits a world as distant as can be imagined from Sergei Rachmaninoff’s fatalistic vision expressed in The Bells. Yet, despite their contrasting spiritual viewpoints, the two works on tonight’s program share the common feature of having been inspired by a symbol of profound significance deeply harbored within the heart of each composer. For Rachmaninoff, the impetus was the comforting recollection of particular ever- present sounds that reassure humanity amid the bleakness of impending mortality – for Poulenc, it was the joyous rekindling of Catholicism, the religion of his childhood. Further uniting both works is the superlative esteem in which their composers held them.
    [Show full text]