Boston Symphony Orchestra Concert Programs, Season 58,1938-1939, Subscription Series
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Chronology 1916-1937 (Vienna Years)
Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere -
February 28, 1947 No
»f» See Editorial, Read Qualifications, "Another Election" Then Vote! -MADISON COLLEGE- Vol. XXIII Madison ColIege^HarrisonburR, Virginia, Friday, February 28, 1947 No. 25 Sophomores Celebrate Class" Orchestra Concert Students To Elect Minor Day In Exercises Wednesday Fine Stage Setting Highlight Assembly Officers During Week Sophomore Class Presents Set in one of the elaborate stagings Alice- Mercer Jones and Jo Garber have been selected by the nom- Monologuist In Assembly for which Mr. Clifford T. Marshall is inating convention to run for vice-president of SGA in elections to be The sophomore class will present noted, the orchestra concert was pre- held next week. Other candidates for Student Government are: sented in Wednesday assembly. The Miss Dorothy Crawford as guest secretarey-treasurer, Cora Jean White and Margaret Hoggard; recorder orchestra chimes heralded the program artist in assembly Wednesday, in and "The Star Spangled Banner" play- of points, Nan Creel and Rose Marie Mitchell; and for editor of the conjunction with Sophomore class day. ed by the wrxhestra opened the con- handbook, B«ty Miller Cox and Ruth Thompson. ' Miss Crawford has scored a succession cert. YWCA nominees are Betty Wilkins and Mary Edwards for vice-presi- of triumphs all over America, in Can- The first number on the' program Registrar Sets dent; Mary Frances Shuler and Eliza- ada and England, and is universally was Wagner's "An Album Leaf," so beth Peak for secretary; and June acknowledged as one of our greatest called because it was written as if it Hardy and Gladys Farmer for treas- monologuists. , were part of an album. -
Carmel Music Society
Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna -
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected]
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy. -
Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet -
Robert Graves the White Goddess
ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters. -
Boston Symphony Orchestra Concert Programs, Season 49,1929-1930
E. F. ALBEE THEATRE . PROVIDENCE Tuesday Evening, November 19, at 8.15 PRSGRKttttE We Are Exclusive Rhode Island Distributers For These World-Famous PIANOS ^s "' ,y VgP*»— ^O Established 1823 <£^> C Any make of Piano taken in exchange. Convenient Gradual Payments if desired and in addition a guaranteed insurance policy of protection is given without charge. Ask to have it explained to you. {Piano Salons — Fourth Flcor) Wat #trtl4 $m&m}> E. F. ALBEE THEATRE PROVIDENCE FORTY-NINTH SEASON 1929-1930 INC. Dr. SERGE KOUSSEVITZKY, Conductor TUESDAY EVENING, NOVEMBER 19, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1929, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT ...... President BENTLEY W. WARREN . Vice-President ERNEST B. DANE ....... Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager l You can enjoy your XYI now and pay x for it at your leisure The buying of a Steinway is 50 years and more of the won- really a simple matter. You have derful Steinway tone. There is only to select the model best a price and a model for every adapted to your home, make a need. Make your visit to the 10/' initial payment, and the nearest Steinway dealer—today. instrument is delivered imme- A new Steinway Upright ^ II i^ ^f diately — to delight and enter- piano can be bought for " ** • •-" tain jroi from that moment • GRANDS »1475 £,,££& ha lance in On Boch liberal terms as these, IO% down two yean An\ Steinway piano may be purchased tin- Steinway is accessible even with a cash desposil of 10%, ami the bal« nee will be extended over ; period of two to the most modes, income. -
Forgotten Splendour
FORGOTTEN SPLENDOUR A Chronology of the North Shore Music Festival 1909 to 1939 by Andrew Cottonaro Beginning in 1909 and lasting until 1939, the North Shore Music Festival of Northwestern University was a significant musical and social event in the Chicago area. For a few days each Spring, the campus hosted a diverse body of performers in a series of grand concerts. Naturally, some of that era’s most eminent singers could be heard there. Their presence certainly helped to sell tickets and their artistry helped to sustain the festival as a popular and critical success. Now, sixty years later, the festival hardly even counts as a faded memory. To date, two books (in part), offer a general outline of the festival’s history, but both lack any detailed analysis of who appeared and what was actually sung. This is the first attempt to present a chronology of the vocal offerings (quite distinct from the orchestral offerings) at the festival. Northwestern University, the official sponsor of the festival, is located in Evanston, Illinois (USA). The town is a suburb of Chicago, directly north of the city and on the banks of Lake Michigan. Because of this geographic position, Evanston and the other cities of the area are called the North Shore, hence the origin of the festival’s name. Northwestern University was incorporated in 1850 and gradually won recognition for its academic excellence. The establishment of musical studies, however, was a tangled web of many failed efforts. In a final and desperate attempt to salvage musical education, the university’s board of trustees in 1891 appointed Peter Christian Lutkin (1858-1931) to direct musical studies, a post that he held until his death. -
Symmetry and Narrative in Christopher Rouse's Trombone Concerto with White Space Waiting
SYMMETRY AND NARRATIVE IN CHRISTOPHER ROUSE’S TROMBONE CONCERTO WITH WHITE SPACE WAITING (AN ORIGINAL COMPOSITION FOR CHAMBER ORCHESTRA) by R. Burkhardt Reiter BM, Eastman School of Music, 1995 MM, Duquesne University, 1999 Submitted to the Graduate Faculty of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by R. Burkhardt Reiter It was defended on April 15, 2005 and approved by Eric Moe, Ph.D. Mathew Rosenblum, Ph.D. Don Franklin, Ph.D. Dennis Looney, Ph.D. Eric Moe, Ph.D. Dissertation Director ii Copyright © 2005 by R. Burkhardt Reiter iii SYMMETRY AND NARRATIVE IN CHRISTOPHER ROUSE’S TROMBONE CONCERTO WITH WHITE SPACE WAITING (AN ORIGINAL COMPOSITION FOR CHAMBER ORCHESTRA) R. Burkhardt Reiter, PhD University of Pittsburgh, 2005 The analytic component of my dissertation, “Symmetry and Narrative in Christopher Rouse’s Trombone Concerto,” illuminates the ways in which the concerto creates a musical metaphor of tragedy. To help frame my discussion of the Trombone Concerto’s narrative elements (which include Rouse’s self-referential quotation to his own Symphony No.1 and a quotation of Leonard Bernstein’s “Kaddish” Symphony No.3) I draw on Northrop Frye’s classification of tragedy as a narrative archetype. In order to illuminate the narrative functions of the two quotations and other motivic elements, I examine (with voice-leading and structural analysis) how the work’s prevailing formal and harmonic symmetry provides the narrative context for its musical expectations. The tragedy of the concerto is realized when the harmonic expectation created by the Bernstein quotation is disrupted by the return of the composition’s opening harmony and motivic gesture. -
The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more. -
ALAN GILBERT Conducts CHRISTOPHER ROUSE II ROYAL STOCKHOLM PHILHARMONIC ORCHESTRA SHARON BEZALY Flute
ALAN GILBERT conducts CHRISTOPHER ROUSE II ROYAL STOCKHOLM PHILHARMONIC ORCHESTRA SHARON BEZALY flute Christopher Rouse BIS-CD-1586 BIS-CD-1586_f-b.indd 1 09-08-21 11.27.57 BIS-CD-1586 Rouse:booklet 21/8/09 10:36 Page 2 ROUSE, Christopher (b. 1949) Flute Concerto (1993) 27'56 1 I. Amhrán 4'02 2 II. Alla Marcia 4'15 3 III. Elegia 9'37 4 IV. Scherzo 4'53 5 V. Amhrán 5'07 Symphony No. 2 (1994) 26'13 6 I. Allegro 7'01 7 II. Adagio 12'04 8 III. Allegro 7'06 9 Rapture (2000) 11'22 TT: 66'37 Sharon Bezaly flute Royal Stockholm Philharmonic Orchestra Alan Gilbert conductor All works published by Boosey & Hawkes 2 BIS-CD-1586 Rouse:booklet 21/8/09 10:36 Page 3 Christopher Rouse Christopher Rouse is one of America’s most prominent composers, with a body of work remarkable for its emotional intensity. It has won him a Pulitzer Prize (for the Trombone Concerto) and a Grammy Award (for Concert de Gaudí) as well as the election to the prestigious American Academy of Arts and Letters in 2002. Born in Baltimore in 1949, Rouse developed an early interest in both clas - sical and popular music. He graduated from Oberlin Conservatory and Cornell Uni ver sity, numbering among his teachers George Crumb and Karel Husa. Rouse has maintained a steady interest in popular music: at the Eastman School of Music, where he was Professor of Composition until 2002, he taught a course in the his tory of rock for many years. -
Detroit Symphony Orchestra
» * UNIVERSITY' MUSICAL-SOCIETY OS m S3 Extra Glatutfrt §?rua S3 Sixth Season Sixth Concert $ No. CCCCXXIV Complete Series S3 © S5 S3 55 Detroit Symphony Orchestra OSSIP GABKILOWITSCH, Conductor VICTOR KOLAR, Assistant Conductor m S3 Soloist ILYA SCHKOLNIK, Violinist as S3 H 8jtU Auditorium, Attn Arbor, UltrijUjau as MONDAY, MARCH 16, 1925, AT EIGHT O'CLOCK S3 £5 as PROGRAM 53 OVERTURE, "Carnival", Op. 92 Dvorak as SYMPHONY in D minor, Franck S3 I Lento; Allegro non troppo II Allegretto 38 III Allegro non troppo SS as INTERMISSION S3 SYMPHONIE ESPAGNOLE for Violin and Orchestra, Op. 21. .Lalo » as Allegro non troppo 53 Andante Finale, Rondo as Mr. Schkolnik S3 ROUMANIAN RHAPSODY in A major Op. 11, No. 1 Enesco as S3 The Mason and Hamlin is the official piano of the Detroit Symphony Society. The University Musical Society welcomes as guests for this concert, members of as the Matinee Musical, and delegates to the Ninth Annual Convention of the Michigan S3 Federation of Music Clubs, which is being held in Ann Arbor this week. as 53 ARS-LONGA-VITA'BREVIS £ iwcimoPJBXSBirJSt Program Overture, "Carnival", Op. 92 Dvorak Antonin Dvorak was born at Miihlhausen (Bohemia), September 8, 1841; died at Prague, May 1, 1904- This overture is the second of Dvorak's "Triple Overture"—Nature, Life and Love —now known as three separate overtures, Nature, Carnival and Othello, with opus numbers 91, 92, and 93. They were performed in Prague in their original form in April, 1892, on the occasion of the composer's departure for this country, and were heard for the first time in New York in October of the same year under the direction of Dvorak.