DOCSLIB.ORG

SEVENTH REHEARSAL and CONCERT

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SEVENTH REHEARSAL and CONCERT Boston Symphony Orchestra. SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, J492 Back Bay.) TWENTY-FIFTH SEASON, J 905-1906. WILHELM GERICKE, CONDUCTOR programme OF THE SEVENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, DECEMBER J, AT 2.30 O^CLOCK. SATURDAY EVENING, DECEMBER 2, AT 8.00 O^CLOCK. Published by C. A. ELLIS, Manager. 461 HAROLD BAUER Now playing in America in all prominent cities, in recital and with important musical organizations, writes as follows of the PIANO Messrs. Mason & Hamlin, Boston. Gentlemen : In a former letter to you I expressed my delight and satisfaction with your magnifi- cent pianofortes, and I have once more to thank you and to admire your untiring efforts tQ attain an artistic ideal. Your latest model, equipped with the centripetal tension bars, has developed and intensified the qualities of its precursors and has surpassed my highest expectations. As you know, I have used these instruments under many different conditions, in recital, with orchestra, in small and in large halls, and their adaptability to all require- ments has equally astonished and delighted me. The tone is, as always, one of never- failing beauty, the action is wonderful in its delicacy and responsiveness, and I consider that, as an instrument for bringing into prominence the individual qualities of tone and touch of the player, the Mason & Hamlin piano stands absolutely pre-eminent. The vertical grand (style O) is the only instrument of its kind, as far as I am aware, capable of giving complete satisfaction to any one accustomed to play upon a grand, and I have no hesitation in saying that it is without exception the finest upright piano I have ever met with. Permit me to add, in conclusion, that it has been a source of personal gratification to me to hear the favorable comments that have been passed in every instance upon your instruments, and to find that my opinion as expressed last year has been echoed and confirmed by musicians and the musical public throughout the country. I remain, gentlemen. Yours very truly, (Signed) HAROLD BAUER. asmi^iaraliitOIjt. 492 Boylston Street BOSTON {Opposite Institute of Technology) 462 Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKE, Conductor. First Violins. Hess, Willy, Concerimeister. Adamowski, T. ^<5>f?r^i PIANO that has been manufactured continuously for over Eigfify-two years, wJiicli has been honored and distin- guished by States and Sovereigns, by learned societies and World's Expositions, by the greatest contemporaneous mu- sicians who have bestowed upon it the highest testimonials, awards, and decorations, embracing every known method of publicly recog- nizing distinguished merit. The public honors alone include 129 First Medals and Awards. A vast experience is thus exemplified in the Chickering Piano of to-day. CHICKERING & SONS Established 1823 791 TREMONT STREET BOSTON, MASS. 4U1 TWENTY-FIFTH SEASON, 1905-1906. ¥ Seventh Rehearsal and Concert. VINCENT D'INDY, of Paris, Conductor, Specially engaged for these concerts. FRIDAY AFTERNOON, DECEMBER I, at 2.30 o^dock. SATURDAY EVENING, DECEMBER 2, at 8.00 o'clock. PROGRAMME. D'Indy Symphony in B-flat major, No. 2, Op. 57 I. Extremement lent ; Tres vif. 11. Modercment lent. III. Modere; Tres anime. IV. Introduction, Fugue, et Finale. Faur^ "Pelleas and Melisande," Suite from Stage Music to Maeterlinck's Tragedy, Op. 80 I. Prelude : Quasi adagio. '' " II. The Spinning Woman : Andantino quasi allegretto. III. Molto adagio. D'Indy Symphonic Variations, "Istar," Op. 42 Franck " Psyche and Eros," Excerpt from " Psyche," a Symphonic Poem, First time Dukas Scherzo, ;'The Sorcerer's Apprentice" (after a Ballad by Goethe) There wiU be an intermission of ten minutes after the symphony. The doors of the hall will be cloned, during the perforinanre of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the numbers. City of Boston. Revised Regulation of Aug-ust 5. 1808.— Chapter 3, relating to the covering of the head In placee of public amusement. licensee shall not, Every in his place of amusement, allow any person to wear upon the head a covering obstructs the which view of the exhibition or performance in such place of anv person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obMructsuch view, may be worn. Attest: J. M. G.ALVIN, City Cleric. 466 L. P. Hollander & Co. FINE FURS Finely matched Sets, Muffs, and Neck Pieces in Russian and Hudson Bay Sables, Ermine, Chinchilla, Black Lynx, Mink, and Squirrel. Motor Coats, latest model, $75 up. Ladies' Fur-lined Coats, ^75 up. Men's Fur-lined Overcoats, $75 up. Ladies' Broadtail Jackets, latest Paris models and selected skins, made to special orders, $350 up. 202 to 216 Boylston Street Boston DESK FINDINGvS SILVERof »Sterlin^ ARE 4 SPECIALTY WITH US. We are showing Inkstands, Blotting Pads, Pen Trays, Mucilage Bottles, Letter Scales, Stamp Boxes, Paper Knives, etc. The variety is enormous, the patterns highly effective, and the prices strikingly reasonable. Smith Patterson Company, Wholesale and Retail Jewellers, 52 Sximmer Street, Boston. Symphony in B-flat major, No. 2, Op. 57 . Vincent d'Indy (Born at Paris, March 27, 1852; now living in Paris.) In 1876 a work by d'Indy, "Symphonic Chevaleresque : Jean Hun- yade," was performed at a concert of the Soci6t6 Nationale, Paris; but this work is not now included in the composer's own Hst of his compositions. The work entitled "Wallenstein," composed during the years 187.^-81, though classed by some as a symphony, is entitled by d'Indy "Trilogy, after the dramas of Schiller," According to his own catalogue d'Indy's Symphony No. i is the symphony in three parts on a French mountain air, for pianoforte and orchestra, composed in 1886, produced at Paris, March 20, 1887 (Mme. Bordes-P^ne, pianist), and performed in Boston, April 5, 1902, with Mr. Bauer, pianist. The Symphony in B flat major, composed in 1 903-1 904, was pro- duced at a Lamoureux concert, Paris, February 28, 1904. The score is dedicated to Paul Dukas. The symphony is scored for three flutes (one interchangeable with piccolo), two oboes, one English horn, two clarinets, one bass clarinet, three bassoons, four horns, one small trum- pet in E-flat, two trumpets in C, three trombones, one contra-bass trombone, chromatic kettledrums, big drum, cymbals, triangle, two harps, strings. The first performance of the symphony in America was at Phil- adelphia by the Philadelphia Orchestra, December 31, 1904, It was played here at a Symphony Concert, January 7, 1905. Mr. Calvocoressi in a study of this symphony (Le Guide Musical, May 8-15, 22-29, 1904) first mentions the symphonies written by the French of the modern school, Chausson, Lalo, Saint-Saens, Guy- Ropartz, Alberic Magnard, P. Dukas, Savard, Wittowsky, Vreuls, de Wailly, Tournemire, Marcel Labey, and especially the symphony by C^sar PVanck and d'Indy's first. He then says: "Examining the series NEW CYCLES OF 50NGS Garden of Kama The Ballard Safety Riding Habit ^ ^Vith its use dragging accidents cannot occur. It fits perfectly on saddles of all makes and sizes. ^ The cloths and linens employed are identically the same sold by the best London tailors. Q Ne>v habit cloths in gray stripes just received. V. BALLARD & SONS 256 Boylston Street. Boston, Mass. K/^crc^ 468 — of works by Vincent d'Indy and the different stations of his sure de- velopment, one will see that each of his dramatic works has been fol- lowed by an important work of absolute music. After 'The Song^ of the Beir came the Symphony on a Mountain Air; after 'Fervaal,' the second string quartet; after 'The Stranger,' the vSymphony in B-flat major."* This symphony is without a programme of any sort. D'Indy wrote in an article published in the first number of Mnsica (Paris) : "Sym- phonic music, unlike dramatic music, is developing toward complexity: the dramatic element is more and more introduced into absolute music, in such a way that form is here, as a rule, absolutely submissive to the incidents of a veritable action." Mr. Calvocoressi supplies a note to this remark: "To search for an action that is not purely musical in absolute music would be madness. There is, indeed, an action in this symphony, but it is wholly in the music: the putting into play of two principal themes, which present themselves at the beginning side by side, follow each other, war against each other, or, on the con- trary, are each developed separately, associate with themselves new ideas which complete or serve as commentary, and at the end of the work are blended in an immense triumphal chant." It would be idle, then, to attempt to characterize these themes as though they were dramatic motives. One can say, however, that two decided elements of musical expression are strongly opposed to each other. The first movement is made up of two distinct parts: a slow intro- duction, in which the themes appear at first in the state of simple cells; and a lively movement. I. "Extr^mement lent. Tres vif." B-flat major, 4-2. Violon- cellos and double-basses, doubled by harps, announce an initial and sombre theme of almost sluggish rhythm. The flute replies with phrase whose chief characteristic is an ascending leap of a seventh, a progression dear to the composer. This phrase is the second princi- pal theme of the symphony. The phrase may be resolved in this * " The Song of the Bell," romafltic symphony for solo voices, double chorus, and orchestra, was composed during the years 1879-83; the opera "Fervaal," during 1889-95; the second string quartet, in 1807: "The .Stranger," an o|)era, was produced at Brussels, January 7, 1903.
Load more

Recommended publications
  • Volume 65, Number 08 (August 1947) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1947 Volume 65, Number 08 (August 1947) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 65, Number 08 (August 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/181 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. XUQfr JNftr o 10 I s vation Army Band, has retired, after an AARON COPLAND’S Third Symphony unbroken record of sixty-four years’ serv- and Ernest Bloch’s Second Quartet have ice as Bandmaster in the Salvation Army. won the Award of the Music Critics Cir- cle of New York as the outstanding music American orchestral and chamber THE SALZBURG FESTI- BEGINNERS heard for the first time in New York VAL, which opened on PIANO during the past season. YOUNG July 31, witnessed an im- FOB portant break with tra- JOHN ALDEN CARPEN- dition when on August TER, widely known con- 6 the world premiere of KEYBOARD TOWN temporary American Gottfried von Einem’s composer, has been opera, “Danton’s Tod,” By Louise Robyn awarded the 1947 Gold was produced.
    [Show full text]
  • A Brief History of Re-Performance
    A Brief History of Re-performance by Nicholas Patrick Seaver B.A. Literature Yale University, 2007 SUBMITTED TO THE PROGRAM IN COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2010 © 2010 Nicholas Patrick Seaver. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: ____________________________________________________________ Program in Comparative Media Studies 11 May 2010 Certified by: __________________________________________________________________ William Uricchio Professor of Comparative Media Studies Director, Comparative Media Studies Thesis Supervisor Accepted by: _________________________________________________________________ William Uricchio Professor of Comparative Media Studies Director, Comparative Media Studies A Brief History of Re-performance by Nicholas Patrick Seaver Submitted to the Program in Comparative Media Studies on May 11, 2010, in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract Discussions of music reproduction technology have generally focused on what Jonathan Sterne calls “tympanic” reproduction: the recording and playback of sounds through microphones and speakers. While tympanic reproduction has been very successful, its success has limited the ways in which music reproduction is popularly imagined and discussed. This thesis explores the history of “re-performance,” an alternative mode of reproduction epitomized by the early twentieth-century player piano. It begins with a discussion of nineteenth-century piano recorders and the historical role of material representation in the production of music.
    [Show full text]
  • REHEARSAL and CONCERT
    Boston Symphony Orchestra. SYMPHONY Hall, boston, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-FIFTH SEASON, I905-J906. WILHELM GERICKE, CONDUCTOR. programme OF THE SIXTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, NOVEMBER 24, AT 2.30 O'CLOCK. SATURDAY EVENING, NOVEMBER 25, AT 8.00 O'CLOCK. Published by C. A. ELLIS, Maiuger. 381 HAROLD BAUER Who gives his first Boston Recital of this season in Jordan Hall on Monday Afternoon, November 27, writes as follows of the iiasini&3|araltn PIANO Messrs. Mason & Hamlin, Boston. Gentlemen : In a former letter to you I expressed my delight and satisfaction with your magnifi- cent pianofortes, and I have once more to thank you and to admire your untiring efforts to attain an artistic ideal. Your latest model, equipped with the centri(>etal tendon bars, has developed and intensified the qualities of its precursors and has surpassed my highest expectations. As you know, I have used these instruments under many different conditions, in recital, with orchestra, in small and in large halls, and their adaptability to all require- ments has equally astonished and delighted me. The tone is, as always, one of never- failing beauty, the action is wonderful in its delicacy and responsiveness, and I consider that, as an instrument for bringing into prominence the individual qualities of tone and touch of the player, the Mason & Hamlin piano stands absolutely pre-eminent. The vertical grand (style O) is the only instrument of its kind, as far as I am aware, capable of giving complete satisfaction lo any one accustomed to play upon a grand, and I have no hesitation in saying that it is without exception the finest upright piano I have ever met with.
    [Show full text]
  • Journal 128.Qxd 04/10/00 09:32 Page 1
    Journal 128 Cover.qxd 04/10/00 09:37 Page 1 The Delius Society JOURNAL Autumn 2000 Number 128 Journal 128.qxd 04/10/00 09:32 Page 1 The Delius Society Journal Autumn 2000, Number 128 The Delius Society (Registered Charity No. 298662) Full Membership and Institutions £20 per year UK students £10 per year USA and Canada US$38 per year Africa, Australasia and Far East £23 per year President Felix Aprahamian Vice Presidents Roland Gibson MSc, PhD (Founder Member) Lionel Carley BA, PhD Meredith Davies CBE Sir Andrew Davis CBE Vernon Handley MA, FRCM, D Univ (Surrey) Richard Hickox FRCO (CHM) Lyndon Jenkins Tasmin Little FGSM, ARCM (Hons), Hon D.Litt, DipGSM Sir Charles Mackerras CBE Rodney Meadows Robert Threlfall Chairman Roger J. Buckley Treasurer and Membership Secretary Stewart Winstanley Windmill Ridge, 82 Highgate Road, Walsall, WS1 3JA Tel: 01922 633115 Email: [email protected] Secretary Squadron Leader Anthony Lindsey 1 The Pound, Aldwick Village, West Sussex PO21 3SR Tel: 01243 824964 Journal 128.qxd 04/10/00 09:32 Page 2 Editor Jane Armour-Chélu ************************************************************* **************************** ******************************* Website: http://www.delius.org.uk Email: [email protected] ISSN-0306-0373 Journal 128.qxd 04/10/00 09:32 Page 3 CONTENTS Chairman’s Message........................................................................................... 5 Editorial................................................................................................................ 7 ORIGINAL
    [Show full text]
  • Ignacy Jan Paderewski's Sonata in E-Flat Minor
    IGNACY JAN PADEREWSKI’S PIANO SONATA IN E-FLAT MINOR, OPUS 21: INSIGHTS INTO HIS COMPOSITIONAL TECHNIQUE AND PERFORMANCE STYLE Anne Marie Nelson, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2003 APPROVED: Adam Wodnicki, Major Professor and Examination Chair Deanna Bush, Minor Professor Pamela Mia Paul, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Nelson, Anne Marie, Ignacy Jan Paderewski’s Sonata in E-Flat Minor, Op. 21: Insights into his compositional technique and performance style. Doctor of Musical Arts (Performance), May 2003, 192 pp., 9 tables, 80 examples, references, 132 titles. The recordings of the legendary pianist Ignacy Jan Paderewski are a valuable documentation of his piano performance style. Knowledge of late-Romantic performance practices gleaned from Paderewski’s recordings suggest ways of approaching the performance of his Sonata in E-Flat Minor, Op. 21. This Sonata, composed in 1903 near the end of his compositional career, is a work of the highest caliber, deserving a permanent place in the concert pianist’s repertoire. The purpose of this paper is to provide performance suggestions based on Paderewski’s performance style which will produce a performance closer to the spirit of the times in which it was written. This study provides an overview of the project in Chapter 1, and a background of Paderewski’s life as pianist, composer, and statesman in Chapter 2. A time-line chart of his complete works is included for reference.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 25,1905-1906, Trip
    CARNEGIE HALL, NEW YORK. Boston Sympftonu Orcftestia WILHELM GERICKE, Conductor. Twentieth Season in New York. PROGRAMMES OF THE FIFTH and LAST CONCERT THURSDAY EVENING, MARCH 15, AT 8.J5 PRECISELY, * AND THE FIFTH and LAST MATINEE SATURDAY AFTERNOON, MARCH 17, AT 230 PRECISELY. "With Historical and Descriptive Notes by Philip Hale. Published by C A* ELLIS, Manager, l THE PIANO During the musical season of 1 905-1 906 is being played in prin- cipal cities from Boston to San Francisco, in Recital, before Musi- cal Clubs, leading musical organizations, with the great orchestras, and by the greatest pianists, among whom may be named the following : Boston Symphony Orchestra, Wilhelm Gericke, Conductor. HAROLD BAUER Pittsburgh Orchestra, Emil Paur, Conductor. Indianapolis Orchestra, Hans Schneider, Com- ductor. Kneisel Quartet. Chicago Orchestra, Frederick Stock, Conductor. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. RUDOLPH GANZ New York Philharmonic Orchestra, Felix Weim- gartner, Conductor. Philadelphia Orchestra, Fritz Scheel, Conductor. Kneisel Quartet. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. ) New ANTOINETTE SZUMOWSKA Haven Orchestra, Horatio W. Parker, Con- \ ductor. / Chicago Orchestra, Frederick Stock, Conductor. \ Adamowski Trio. EMIL PAUR . Pittsburgh Orchestra. ( Boston Symphony Orchestra, Wilhelm Gericke, HEINRICH GEBHARD . { Conductor. ' Kneisel Quartet. ( Kneisel Quartet. VINCENT D'INDY . ( Longy Club. C Boston Orchestral Club, Georges Longy, ALFRED De Coa- VOTO . \ ductor. Longy Club. 139 Fifth Avenue New York City Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905=1906. WILHELM GERICKE, Conductor. First Violins Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. D. Hoffmann, Fiedler, Kuntz, J. E Mullaly, J. C.
    [Show full text]
  • Piano Rolls and Contemporary Player Pianos: the Catalogues, Technologies, Archiving and Accessibility
    Piano Rolls and Contemporary Player Pianos: The Catalogues, Technologies, Archiving and Accessibility Peter Phillips A Thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Historical Performance Unit Sydney Conservatorium of Music University of Sydney 2016 i Peter Phillips – Piano Rolls and Contemporary Player Pianos Declaration I declare that the research presented in this thesis is my own original work and that it contains no material previously published or written by another person. This thesis contains no material that has been submitted to any other institution for the award of a higher degree. All illustrations, graphs, drawings and photographs are by the author, unless otherwise cited. Signed: _______________________ Date: 2___________nd July 2017 Peter Phillips © Peter Phillips 2017 Permanent email address: [email protected] ii Peter Phillips – Piano Rolls and Contemporary Player Pianos Acknowledgements A pivotal person in this research project was Professor Neal Peres Da Costa, who encouraged me to undertake a doctorate, and as my main supervisor, provided considerable and insightful guidance while ensuring I presented this thesis in my own way. Professor Anna Reid, my other supervisor, also gave me significant help and support, sometimes just when I absolutely needed it. The guidance from both my supervisors has been invaluable, and I sincerely thank them. One of the greatest pleasures during the course of this research project has been the number of generous people who have provided indispensable help. From a musical point of view, my colleague Glenn Amer spent countless hours helping me record piano rolls, sharing his incredible knowledge and musical skills that often threw new light on a particular work or pianist.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 45,1925-1926, Trip
    INFANTRY HALL . PROVIDENCE Tuesday Evening, January 19, at 8.15 / PRSGRZWVE T3"l m ll ...It cries when IfeeI like cry- ing, it singsjoyfully nvhen Ifeel like singing. It responds—like a human being—to every mood. * I love the Baldwin Piano. ' YUx.^^ yrT-*^*T*~. Vladimir de Pachmann loves the Baldwin piano. Through the medium of Baldwin tone, this most lyric of contemporary pianists discovers complete revealment of his musical dreams. For a generation de Pachmann has played the Baldwin; on the concert stage and in his home. That love- liness and purity of tone which appeals to de Pach- mann and to every exacting musician is found in all Baldwins, alike in the Concert Grand, in the smaller Grands, in the Uprights. The history of the Baldwin is the history of an ideal. A. M. Hume Music Co. 194-196 Boylston Street Boston INFANTRY HALL PROVIDENCE FORTY-FIFTH SEASON, 1925-1926 INC. SERGE KOUSSEVITZKY, Conductor TUESDAY EVENING, JANUARY 19, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1926, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN FREDERICK E. LOWELL E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager After more than half a century on Fourteenth Street, Steinway Hall is now located at 109 West 57th Street.
    [Show full text]
  • Prélude, Choral Et Fugue CFF 24 (FWV 21) Si Mineur / B Minor / H-Moll 1 | Prélude
    MOZART SYMPHONIES nos. 39 - 40 - 41 ‘Jupiter’ CÉSAR FRANCK Préludes,ENSEMBLE Fugues RESONANZ& Chorals RICCARDO MINASI NIKOLAI LUGANSKY FRANZ LISZT CÉSAR FRANCK (1822-1890) Préludes, Fugues et Chorals Prélude, choral et fugue CFF 24 (FWV 21) Si mineur / B minor / h-Moll 1 | Prélude. Moderato 4’48 2 | Choral. Poco più lento - Poco Allegro 6’30 3 | Fugue. Tempo I° 7’29 Prélude, aria et final CCF 26 (FWV 23) Mi majeur / E major / E-Dur 4 | Prélude. Allegro moderato e maestoso 9’16 5 | Aria. Lento 5’54 6 | Final. Allegro molto ed agitato 7’04 Prélude, fugue et variation CFF 30B (op. 18, FWV 30) Si mineur / B minor / h-Moll Extr. Six Pièces d’orgue Transcription de Harold Bauer 7 | 1. Andantino - 2. Lento 4’16 8 | 3. Allegretto ma non troppo 3’14 9 | 4. Andantino 3’47 Choral pour grand orgue no 2 CFF 106 (FWV 39) Si mineur / B minor / h-Moll Extr. Trois Chorals pour grand orgue Transcription de Nikolai Lugansky 10 | Maestoso - Largamente con fantasia - I° tempo ma un poco meno lento 14’11 Nikolai Lugansky, piano Steinway Modèle D “Henry” de Giulio Passadori préparé par Luca Zanotti César Franck entreprend la composition en 1884 de Prélude, choral et fugue, il n’a rien écrit En septembre 1887, Franck termine un deuxième triptyque pianistique, Prélude, aria et final, son ultime œuvre pour Lorsque pour le piano depuis les années 1840, si ce n’est quelques petits morceaux, dont un intitulé Les piano, qui devait constituer le pendant du Prélude, choral et fugue.
    [Show full text]
  • ARTIST HISTORY for the PEOPLES' SYMPHONY CONCERTS
    ARTIST HISTORY for the PEOPLES’ SYMPHONY CONCERTS 2019-2020 Season Garrick Ohlsson, piano Juilliard String Quartet Shai Wosner, piano and Jennifer Koh, violin Paul Huang, violin & Helen Huang, Piano Musicians from Marlboro Vadym Kholodenko, piano Anthony Marwood, violin Calidore String Quartet Dover String Quartet Chamber Music Society of Lincoln Center Juilliard String Quartet Rosamunde String Quartet Pamela Frank Quintet Augustin Hadelich, violin & Orion Weiss, piano Quatuor Danel Benjamin Grosvenor, piano Yefim Bronfman, piano Camille Thomas, cello & Julien Brocal, piano Alexander Melnikov, piano Kalichstein-Laredo-Robinson Trio Richard Stoltzman, clarinet Cancelled or Postponed due to Pandemic Augustin Hadelich, violin Denes Varjon, piano Kalichstein-Laredo-Robinson Trio Junction Trio Paul Lewis, piano Vladimir Feltsman, piano Calefax Reed Quintet Dover Quartet & Shai Wosner, piano Marc-Andre Hamelin, piano 2015-2016 Season Mark Padmore, tenor & Ethan Iverson, piano Dover String Quartet with Paul Watkins, cello Zoltan Fejervari, piano 2018-2019 Season Joseph Kalichstein, piano Dover Quartet Itamar Zorman, violin Jonathan Biss, piano Juilliard String Quartet Paul Lewis, piano Richard Goode, piano Quatuor Danel Marc-Andre Hamelin, piano Russian Renaissance Behzod Abduraimov, piano Richard Stoltzman, clarinet/David Deveau, piano/Sarah Shafer, soprano Laredo-Robinson Duo Argus String Quartet Signum String Quartet Chamber Music Society of Lincoln Center Artemis String Quartet Itamar Zorman, piano ECCO Juilliard String Quartet Ariel String
    [Show full text]
  • Read a Complete Version of Dr. Schenck's Adventure in Music
    ADVENTURE IN MUSIC A Reminiscence Manhattan School of Music 1918–1960 Janet D. Schenck Copyright, 1961 Manhattan School of Music ADVENTURE IN MUSIC | PAGE 2 FOREWORD It seems hard to believe that the institute known today as Manhattan School of Music was begun scarcely 40 years ago by Janet D. Schenck, teaching piano to a handful of pupils. We all felt that this moving life-story of such an indomitable music educator should be told and we finally persuaded Dr. Schenck to write it. Modestly entitled “Adventure in Music,” it is truly an adventure in the grand style because from its inception, when she strove for, and provided opportunities in music instruction, unavailable at the time, for talented youth, she built on solid foundations with those inborn yet intangible qualities of courage and foresight. Then through the years, with her ability to attract the kind of dedicated people, eager and willing to share this vision, she has brought into being a college of music, internationally known and today attended by students from 39 states and 27 foreign countries. A few years ago, when Janet D. Schenck was awarded her second honorary degree, that of Doctor of Music, the following citation was read: “Music will not have served its greatest function in democracy until its ministry, its usefulness and its qualifying training is available to all of the people. The unique task of reaching the people with the finest privileges of musical training has been your mission. Your skilled devotion to that task and your superb ability have resulted in the great development of the school which you now direct, and the establishment of others over America under your inspiration and advice.
    [Show full text]
  • LIVES of the PIANO Lisa Yui (DMA ’05), Director
    LIVES OF THE PIANO Lisa Yui (DMA ’05), Director CELEBRATING THE HISTORY OF MSM’S PIANO DEPARTMENT AND THE LEGACIES OF DORA ZASLAVSKY KOCH (1904–1987) AND CONSTANCE KEENE (1921–2005) THURSDAY, OCTOBER 18, 2018 | 7:30 PM GORDON K. AND HARRIET GREENFIELD HALL THURSDAY, OCTOBER 18, 2018 | 7:30 PM GORDON K. AND HARRIET GREENFIELD HALL LIVES OF THE PIANO Lisa Yui (DMA ’05), Director CELEBRATING THE HISTORY OF MSM’S PIANO DEPARTMENT AND THE LEGACIES OF DORA ZASLAVSKY KOCH AND CONSTANCE KEENE Introduction Lisa Yui Video Presentation John Blanchard, Institutional Historian and Director of Archives Program Johannes Brahms Intermezzo in E Major, Op. 116, no. 6 Donald Isler Abram Chasins Prelude for Piano in E-flat Minor, Op. 12, no. 2 Johann Strauss/ Soirée de Vienne Dora Zaslavsky Koch Alfred Grünfeld Nianyi Huang Frédéric Chopin Ballade No. 2 in F Major, Op. 38 Zhiheng Guo Frédéric Chopin Waltz in A-flat Major, Op. 69, no. 1 Zequinha de Abreu/ Tico-Tico Yon i L ev yatov Yoni Levyatov Robert Schumann Fantasiestücke, Op. 12 Des Abends (In the Evening) Aufschwung (Soaring) Warum? (Why?) Robert Schumann/ Widmung, Op. 25, no. 1 Franz Liszt Phillip Kawin Panel Discussion Marc Silverman, Chair of the Piano Department, and Phillip Kawin, Panelists Lisa Yui, Moderator Constance Keene CENTENNIAL NOTE ABOUT THE ARTISTS Manhattan School of Music’s founder, Janet Daniels Schenck (1883–1976), Zhiheng Guo attended Columbia University, earned a graduate degree from the Pianist Zhiheng Guo, a senior at Manhattan School of Music, has studied New York School of Social Work, and was associated with the Union with Marc Silverman, Chair of the Piano Department, since 2015.
    [Show full text]