Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974
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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). -
Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer. -
Schumann Spanisches Liederspiel Brahms Liebeslieder-Walzer Mathis · Fassbaender Schreier · Berry Werba · Schilhawsky
ORFEO D’OR Schumann Spanisches Liederspiel Brahms Liebeslieder-Walzer Mathis · Fassbaender Schreier · Berry Werba · Schilhawsky Live Recording 25. August 1974 Bewahrung des Unwiederholbaren Preserving the Unrepeatable 1920 wurden die Salzburger Festspiele ge- The Salzburg Festival was founded in 1920. gründet. Seither treffen einander alljähr- Ever since then artists and music lovers from lich an einem der Schnittpunkte europäi- around the world have been meeting an- scher Kultur Künstler und Publikum aus aller nual ly at this crossroads of European cul- Welt. Viel geliebt und oft gescholten waren ture. Much loved and often chided, the die Salzburger Festspiele in den letzten hun- Salzburg Festival was exposed to many and dert Jahren den unterschiedlichsten Verän- varied changes during the last 100 years. Yet derungen ausgesetzt – und doch: Was die the original idea as envisioned by its foun- Väter des Festspielgedankens als Vision ent- ders – a place where art could flourish under wickelt hatten – einen Ort, an dem Kunst extraordinarily favourable conditions, whe- unter außer ordentlichen Bedingungen ‚Ereig- re it could become a truly great event – has nis’ wird –, das hat sich auf wunderbare Wei- been confirmed time and again in wonder- se immer wieder neu bestätigt. ful ways. In beinahe jedem Festspielsommer hat es in Almost every summer there have been Salzburg Aufführungen gegeben, die von performances in Salzburg that the partici- den Mitwirkenden, aber auch vom Publikum pants as well as the public have felt to be als ‚unwiederholbar’ empfunden wurden. unrepeatable. Apart from people’s memo- Solche Eindrücke zu bewahren, vermag – ries, these impressions can be preserved außer der lebendigen Erinnerung – einzig only by means of acoustic documentation. -
Boston Symphony Orchestra Concert Programs, Season 94, 1974-1975
THE FRIENDS OF THE COLLEGE Presents BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA, Music Director COLIN DAVIS, Principal Guest Conductor Ninty-fourth Season Monday evening, November 18, 1974 Tuesday evening, November 19, 1974 SEIJI OZAWA, Conductor William Neal Reynolds Coliseum 8 P.M. PROGRAM Le tombeau de Couperin Maurice Ravel Prelude Forlane Menuet Rigaudon Ostensibly this music represents neoclassic expression in its purest distillate. And it was, indeed, conceived as a pianistic idealization of the clavecin aesthetic exemplified by Francois Couperin le Crand. But that was in the fateful summer of 1914, and even Ravel's sleepy St. Jean-de-Luz was traumatized by the news of Archduke Francis Ferdinand's assassination at Sarajevo. France mobilized overnight, and by August was at war. By then the sketches for Le tombeau de Couperin were in a desk drawer. When he returned to them three wretched years later the composer was a very different man, broken in health and shattered emotionally by the loss of his mother, who had died barely a week after his medical discharge. Thus it was that the six movements became as many 'tomb- stones' (each one inscribed separately) for friends and regimental comrads who had been killed on the Western Front. As a work for solo piano—Ravel's last, incidentally—Le tombeau was not a notable success. Strictly speaking it could not have been because it marked a stylistic retrogression after the harmonic leaps forward in the Valse nobles et sentimentales and Gas-pard de la nuit. But fortu- nately that was not the end of the matter. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Boston Symphony Orchestra
ABRAHAM cf ..."' c ="' HOODS UP TO THE AMERICAN WAY WITH WOOL Blanket plaid ... toggle terrific, either way you coat it this fall ... A&S says do it with pure wool fabric made in America! PURE WOOL® "The Wool mark is your assurance of a quality tested product made of pure wool" -----------------------------------OCTOBER, 1971 I BROOKLYN ACADEMY OF MUSIC I 3 Thursday Evening, October 28, 1971 , 8:30 p.m. Subscription Performance The Brooklyn Institute of Arts and Sciences presents the Boston Symphony Orchestra \X:'illiam Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Michael Tilson Thomas, Conducting Polonaise and Krakoviak from 'A Life for the Tsar' MIKHAIL GLINKA Symphony in C IGOR STRAVINSKY Mode.rato alia breve Larghetto concertante Allegretto Largo - tempo giu sto, alia breve IN TERMISSION Concerto for flute, oboe, piano and percussion EDISON DENISOV Overture: allegro moderato Cadenza: Iento rubato - allegro Coda: allegro giusto DORIOT ANTHONY DWYER, flute RALPH GOMBERG, oboe GILBERT KALISH, piano EVERETT FIRTH, percussion Symphony No. 2 in B minor, Op. 5 ALEXANDER BORODIN Allegro Scherzo: prestissimo - allegretto Andante Finale: allegro The Boston Symphony Orchestra records exclusively for Deutsche Grammophon. BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA RECORDS 4 I BROOKLYN ACADEMY OF MUSIC I OCTOBER, 1971 The Brooklyn Academy of Mus 1 c The t. Felix Street Corporation Administrative Staff Board of Directors : Harvey Lichtenstein, Director Seth S. Faison, Chairman Lewis L. Lloyd, General Manager Donald M. Blinken, President John V. Lindsay, Honorary Chairman Charles Hammock, Asst. General Manager M arti·n P. Carter Jane Yackel, Comptroller Barbaralce Diamonstein Thomas Kerrigan, Assistant to the Director Mrs. -
Boston Symphony Orchestra Concert Programs, Season 83,1963-1964, Trip
BOSTON • r . SYMPHONY ORCHESTRA FOUNDED IN 1881 BY /'I HENRY LEE HIGGINSON TUESDAY EVENING 4 ' % mm !l SERIES 5*a ?^°£D* '^<\ -#": <3< .4) \S? EIGHTY-THIRD SEASON 1963-1964 TAKE NOTE The precursor of the oboe goes back to antiquity — it was found in Sumeria (2800 bc) and was the Jewish halil, the Greek aulos, and the Roman tibia • After the renaissance, instruments of this type were found in complete families ranging from the soprano to the bass. The higher or smaller instruments were named by the French "haulx-bois" or "hault- bois" which was transcribed by the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra, it usually gives the pitch to the other instruments • Is it time for you to take note of your insurance needs? • We welcome the opportunity to analyze your present program and offer our professional service to provide you with intelligent, complete protection. invite i . We respectfully* your inquiry , , .,, / Associated with CHARLES H. WATKINS CO. & /qbrioN, RUSSELL 8c CO. Richard P. Nyquist — Charles G. Carleton / 147 milk street boston 9, Massachusetts/ Insurance of Every Description 542-1250 EIGHTY-THIRD SEASON, 1963-1964 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs. -
Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974
BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THURSDAY A6 FRIDAY-SATURDAY 22 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K. ALLEN SIDNEY STONEMAN JOHN L. THORNDIKE Vice-President Vice-President Treasurer VERNON R. ALDEN MRS HARRIS FAHNESTOCK JOHN T. NOONAN ALLEN G. BARRY HAROLD D. HODGKINSON MRS JAMES H. PERKINS MRS JOHN M. BRADLEY E. MORTON JENNINGS JR IRVING W. RABB RICHARD P. CHAPMAN EDWARD M. KENNEDY PAUL C. REARDON ABRAM T. COLLIER EDWARD G. MURRAY MRS GEORGE LEE SARGENT ARCHIE C EPPS III JOHN HOYT STOOKEY TRUSTEES EMERITUS HENRY B. CABOT HENRY A. LAUGHLIN PALFREY PERKINS FRANCIS W. HATCH EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager PAUL BRONSTEIN JOHN H. CURTIS MARY H. SMITH Business Manager Public Relations Director Assistant to the Manager FORRESTER C. SMITH DANIEL R. GUSTIN RICHARD C. WHITE Development Director Administrator of Assistant to Educational Affairs the Manager DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood HARRY NEVILLE Program Editor Copyright © 1974 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS ^H jgfism SPRING LINES" Outline your approach to spring. In greater detail with our hand- somely tailored, single breasted, navy wool worsted coat. Subtly smart with yoked de- tail at front and back. Elegantly fluid with back panel. A refined spring line worth wearing. $150. Coats. Boston Chestnut Hill Northshore Shopping Center South Shore PlazaBurlington Mall Wellesley BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC. -
W.A. Mozart, Karl Böhm, Hermann Prey, Edith Mathis, Gundula
W.A. Mozart Le Nozze Di Figaro mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Le Nozze Di Figaro Country: Germany Style: Classical MP3 version RAR size: 1975 mb FLAC version RAR size: 1454 mb WMA version RAR size: 1603 mb Rating: 4.5 Votes: 456 Other Formats: RA TTA MP4 FLAC AIFF MP3 VQF Tracklist Le Nozze Di Figaro - Opernquerschnitt In Italienischer Sprache 1-1 Ouvertüre 4:15 Act One 1-2 Duetto: Figaro-Susanna 3:25 1-3 Duettioon 4:08 1-4 Cavatine Des Figaro 4:28 1-5 Aria La Vendetta, Oh La Vendetta Bartolo 3:55 1-6 Duettino 4:01 1-7 Aria Des Cherubino 6:20 1-8 Terzetto 5:21 1-9 Coro Giovanni Liete, Fiori Spargete 4:37 1-10 Aria de Figaro 3:43 Act TWo 1-11 Cavatina, Porgi Amor 8:47 1-12 Canzona Des Cherubino 4:05 1-13 Aria, Venite... 3:14 2-1 Recitativo, Quante Buffonerie 3:28 2-2 Terzetto, Susanna, Or Via, Sortite 4:09 2-3 Duettino, Aprite, Presto, Aprite 2:32 2-4 Finale 7:55 2-5 Signori, Di Fuiori Son Gia Suonatri 9:12 2-6 Voi Signor 3:51 Act Three 2-7 Recitativo , Chee Imbarazzo 2:26 2-8 Duetto 3:30 2-9 Recitativo Ed Aria 6:47 2-10 Sesteto 6:25 2-11 Recitativo Ed Aria 7:36 2-12 Duettino Su L'Aria 3:55 3-1 Coro, Ricevete 3:35 3-2 Finale 6:07 Act Four 3-3 Cavatina L'Ho Perduta 3:57 3-4 Aria Il Capro E La Capretta 5:29 3-5 Aria In Quegli Anni In Cui Val Poco 4:04 3-6 Recitativo Ed Aria Tutto E Desposto 5:01 3-7 Recitativo Ed Aria Giunse Alfin il Momento 5:32 3-8 Finale 11:35 3-9 Gente, Gente, Gente 5:07 Credits Composed By – Wolfgang Amadeus Mozart Conductor – Karl Böhm Orchestra – Orchester Der Deutschen Oper Berlin -
Boston Symphony Orchestra Concert Programs, Season 108, 1988-1989
9fi Natl ess *£ IH f iMMHHl BOSTON SYMPHONY CHAMBER PLAYERS Sunday, February 5, 1989, at 3:00 p.m. at Jordan Hall BOSTON SYMPHONY CHAMBER PLAYERS Malcolm Lowe, violin Harold Wright, clarinet i j Burton Fine, viola Sherman Walt, bassoon Jules Eskin, cello Charles Kavalovski, horn M Edwin Barker, double bass Charles Schlueter, trumpet SH gK£*!S Doriot Anthony Dwyer, flute Ronald Barron, trombone m Wm Alfred Genovese, oboe Everett Firth, percussion with guest artists GILBERT KALISH, piano LAWRENCE ISAACSON, trombone clarinet PRESS, percussion PETER HADCOCK, ARTHUR ^flilHH lH mi* '^.v.' RICHARD PLASTER, bassoon FRANK EPSTEIN, percussion Ml . TIMOTHY MORRISON, trumpet ROSEN, celesta JEROME JH H Hi BSS LEON KIRCHNER, conductor Hi PISTON Quintet for Wind Instruments aflMnCc HH H #Bt«3P'j Hi HI Animato Con tenerezza Scherzando Allegro comodo Ms. DWYER, Mr. GENOVESE, Mr. HADCOCK, Mr. WALT, and Mr. KAVALOVSKI KIRCHNER Concerto for Violin, Cello, Ten Winds, and Percussion (in two movements) Messrs. LOWE and ESKIN; Ms. DWYER; Messrs. GENOVESE, HADCOCK, WALT, PLASTER, KAVALOVSKI, SCHLUETER, MORRISON, BARRON, ISAACSON, FIRTH, PRESS, EPSTEIN, and ROSEN LEON KIRCHNER, conductor HI Hi^HB OTH INTERMISSION HHHH FAURE Quartet No. 1 in C minor for piano and strings, Opus 15 WtmHHSSm Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto I Messrs. KALISH, LOWE, FINE, and ESKIN -BHHHflntflElflfli • <&& Baldwin piano Nonesuch, DG, RCA, and New World records tSHHIS WHliHill The Boston Symphony Orchestra gratefully acknowledges the support of the National Endow- &<- ment for the Arts, and of the Massachusetts Council on the Arts and Humanities, a state agency. Walter Piston Quintet for Wind Instruments Early in his career, Walter Piston began a woodwind quintet that he left unfinished in frustration at the inherent technical problems of the medium—the recalcitrant indi- viduality of the five voices, with their different techniques and their very different sonorities, which could never quite be made to blend. -
Ronald Roseman: a Biographical Description and Study of His Teaching Methodology
LAMPIDIS, ANNA, D.M.A. Ronald Roseman: A Biographical Description and Study of his Teaching Methodology. (2008) Directed by Dr. Mary Ashley Barret. 103 pp. Ronald Roseman was an internationally acclaimed oboe soloist, chamber musician, teacher, recording artist, and composer whose career spanned over 40 years. A renowned oboist, he performed in some of America’s most influential institutions and ensembles including the New York Woodwind Quintet, the New York Philharmonic, and the New York Bach Aria Group. His contributions to 20th Century oboe pedagogy through his own unique teaching methodology enabled him to contribute to the success of both his own personal students and many others in the field of oboe and woodwind performance. His body of compositions that include oboe as well as other instruments and voice serve to encapsulate his career as a noteworthy 20th Century composer. Roseman’s musicianship and unique teaching style continues to be admired and respected worldwide by oboists and musicians. The purpose of this study is to present a biographical overview and pedagogical techniques of oboist Ronald Roseman. This study will be divided into sections about his early life, teaching career, performance career and his pedagogical influence upon his students. Exercises and techniques developed by Roseman for the enhancement of oboe pedagogy will also be included. Interviews have been conducted with his wife and three former well-known students in order to better serve the focus of this study. The author also contributed pedagogical techniques compiled during a two-year period of study with Roseman. Appendices include a discography of recorded materials, the New York Woodwind Quintet works list, Roseman’s published article on Baroque Ornamentation, a list of his compositions with premiere dates and performers, and interview questions. -
Boston Symphony Orchestra Concert Programs, Summer, 1976
"£r -# ^ f ^ *Lik«*«* - • A ?8t aw**- - _.; ^ 1 If ittCll II 4 * I ^'3 \0 *&>--£ >-- ,*£- 1 - Jfe- . $ ^A '-*. ) £ _-' -f . ^ For 104 years we've been serious about people who make music. In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger * Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz "Bernard Kadinoff, viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola ' Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman Martin, string bass 'Charles Yancich, French horn 'Leslie Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello 'Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence ' Alfred Schneider, violin music education 'Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura