DOCSLIB.ORG

WORLD PREMIERES All Performances from 1891 to 1904 Were Given at the Auditorium Theatre and Thereafter at Orchestra Hall, Unless Otherwise Noted

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WORLD PREMIERES All Performances from 1891 to 1904 Were Given at the Auditorium Theatre and Thereafter at Orchestra Hall, Unless Otherwise Noted WORLD PREMIERES All performances from 1891 to 1904 were given at the Auditorium Theatre and thereafter at Orchestra Hall, unless otherwise noted. Soloists, when known, also are indicated. 1891-99 │ 1900-09 │ 1910-19 │ 1920-29 │ 1930-39 │ 1940-49 │ 1950-59 1960-69 │ 1970-79 │ 1980-89 │ 1990-99 │ 2000-09 │ 2010-19 Date Composer Composition Conductor 1891-99 Columbus Ode, Ode for the Opening of the Chicago World’s Fair (World’s Columbian 21-Oct-1892 George Chadwick Theodore Thomas Exposition, Manufacturers and Liberal Arts Building) Columbus March and Hymn (World’s Columbian 21-Oct-1892 John Knowles Paine Exposition, Manufacturers and Liberal Arts Theodore Thomas Building) Festival Jubilate, Op. 17 (World’s Columbian 1-May-1893 Amy Beach Theodore Thomas Exposition, Women’s Building) Triumphal March (World’s Columbian Exposition, Woizech Iwanowich 7-Jun-1893 Alexander Glazunov Music Hall) Hlavac Overture, Witichis (World’s Columbian 29-Jul-1893 Margaret Lang Theodore Thomas Exposition, Festival Hall) Cello Concerto in G Minor, Op. 33 (Bruno 30-Nov-1894 Arthur Foote Theodore Thomas Steindel) Concerto No. 2 for Piano in D Minor (W. C. E. 25-Jan-1895 W. C. E. Seeboeck Theodore Thomas Seeboeck) 17-Apr-1896 Frederic Grant Gleason Symphonic Poem, Edris Theodore Thomas 22-Oct-1897 Hugo Kaun Festival March and Hymn to Liberty Theodore Thomas 3-Feb-1899 Hugo Kaun Overture, Der Maler von Antwerpen Theodore Thomas 29-Dec-1899 Henry Schoenefeld Impromptus for String Orchestra Henry Schoenefeld 1900-09 5-Jan-1900 Adolf Weidig Capriccio, Op. 13 Theodore Thomas 15-Feb-1901 Clarence Lucas Overture, Macbeth Theodore Thomas 27-Feb-1903 John Knowles Paine Prelude, Birds of Aristophanes Theodore Thomas 26-Feb-1904 Frederick Stock Symphonic Variations Theodore Thomas 17-Feb-1905 Hugo Kaun Symphonic Prologue, Mary Magadalene Theodore Thomas Eines Menschenlebens Morgen, Mittag, und 7-Apr-1905 Frederick Stock Frederick Stock Abend Concerto for Organ in A Minor (Wilhelm 16-Feb-1906 Wilhelm Middelschulte Frederick Stock Middelschulte) 2-Mar-1906 Adolf Weidig Symphonic Fantasy, Semiramis Frederick Stock 1-Nov-1907 Frederick Stock Improvisation Frederick Stock 1-Nov-1907 Frederick Stock Symphonic Waltz Frederick Stock 20-Dec-1907 Arthur Foote Four Character Pieces, Op. 48 Frederick Stock Page 1 of 12 13-Mar-1908 Adolf Weidig Three Episodes, Op. 38 Frederick Stock Symphonic Sketch, Summer Evening (first 25-Aug-1908 Frederick Stock Frederick Stock version) (Ravinia Park) Rhapsody, The Culprit Fay (Grand Rapids May 28-May-1909 Henry Hadley Frederick Stock Festival) Festival Overture (North Shore Music Festival, 3-Jun-1909 Arne Oldberg Frederick Stock Northwestern University Gymnasium, Evanston) Symphonic Fantasy for Organ and Orchestra 12-Nov-1909 Arthur Dunham Frederick Stock (Arthur Dunham) 31-Dec-1909 Frederick Stock Symphony in C Minor Frederick Stock 1910-19 14-Oct-1910 Frederick Stock Festival March Frederick Stock 13-Dec-1912 David Smith Symphony in F Minor, Op. 28 Frederick Stock 10-Jan-1913 Arne Oldberg Theme and Variations for Orchestra, Op. 19 Frederick Stock 11-Apr-1913 Thorwald Otterstrom Elegy, Chorale, and Fugue Frederick Stock 23-Apr-1913 Arthur Shepherd The City in the Sea Frederick Stock 18-Nov-1913 George Colburn Symphonic Poem, Spring’s Conquest Glenn Dillard Gunn 18-Nov-1913 Eric DeLamarter Overture for a Fantastic Comedy, The Faun Glenn Dillard Gunn 18-Nov-1913 Leo Sowerby Violin Concerto in G Minor (Herman Felber, Jr.) Glenn Dillard Gunn 23-Jan-1914 Eric DeLamarter Symphony in D Major Frederick Stock Symphonic Variations for Organ and Orchestra, 6-Feb-1914 Arne Oldberg Frederick Stock Op. 35 (Wilhelm Middelschulte) 27-Mar-1914 Frederick Stock Overture, Life’s Spring-Tide Frederick Stock 27-Apr-1914 Arthur Dunham Overture, To Spring Glenn Dillard Gunn 27-Apr-1914 Felix Borowski Concerto for Piano in D Minor (Prudence Neff) Glenn Dillard Gunn 18-Dec-1914 Adolf Weidig Symphonic Suite Frederick Stock Sea Music, Ballad for Baritone and Orchestra 11-Mar-1915 Adolf Brune Glenn Dillard Gunn (Burton Thatcher) Andante and Burlesque from Symphony in C 11-Mar-1915 Henry Lang Glenn Dillard Gunn Minor Possession, Song for Baritone and Orchestra 11-Mar-1915 Henry Clough-Leighter Glenn Dillard Gunn (Burton Thatcher) 11-Mar-1915 Leo Sowerby Symphonic Sketch, The Sorrow of Mydath Glenn Dillard Gunn 11-Mar-1915 Rossetter Cole Symphonic Prelude Glenn Dillard Gunn 19-Mar-1915 John Alden Carpenter Adventures in a Perambulator Frederick Stock 16-Apr-1915 Arne Oldberg Rhapsody, June Frederick Stock 15-Oct-1915 Frederick Stock Festival Prologue Frederick Stock Allegro de Concert for Organ and Orchestra (Dr. 18-Oct-1915 Felix Borowski Felix Borowski J. Lewis Browne) (Medinah Temple) Concertino for Pianoforte and Orchestra (Percy 10-Mar-1916 John Alden Carpenter Frederick Stock Grainger) 14-Apr-1916 Adolf Gerhard Brune Overture to a Drama Frederick Stock 15-Dec-1916 Thorwald Otterström American Negro Suite Frederick Stock 25-Jan-1917 Felix Borowski Peintures Frederick Stock 9-Mar-1917 Felix Borowski Elegie Symphonique Frederick Stock 6-Apr-1917 Eric DeLamarter Fable of the Hapless Folk-Tune Frederick Stock 13-Apr-1917 Arne Oldberg At Night, Op. 38 Frederick Stock 15-Feb-1918 Leo Sowerby A Set of Four, Suite of Ironics Frederick Stock 15-Mar-1918 Frederick Stock Overture to a Romantic Comedy Frederick Stock Russians for Baritone and Orchestra (Reinald 15-Nov-1918 Daniel Mason Eric DeLamarter Werrenrath) 7-Feb-1919 Stanley Avery The Taming of the Shrew Overture, Op. 49 Eric DeLamarter 14-Feb-1919 Felix Borowski Suite from the Ballet-Pantomime Boudour Felix Borowski 28-Feb-1919 Frederick Stock March and Hymn to Democracy Frederick Stock 14-Mar-1919 Rossetter Cole Pioneer Overture (1818-1918) Rossetter Cole Page 2 of 12 Enchanted Isles, Symphonic Poem for Harp and 24-Nov-1919 Carlos Salzedo Orchestra (Carlos Salzedo) (Pabst Theatre, Frederick Stock Milwaukee, Wisconsin) 1920-29 19-Mar-1920 Adolf Gerhard Brune A Fairy Tale Frederick Stock 2-Apr-1920 Eric DeLamarter Concerto for Organ in E Major (Eric DeLamarter) Frederick Stock 25-May-1920 Felix Borowski Le Printemps Passioinne Felix Borowski 29-Oct-1920 Sir Arnold Bax The Garden of Fand Frederick Stock Prelude and Fugue for Piano and Orchestra 4-Mar-1921 Daniel Mason Frederick Stock (John Powell) A Psalmodic Rhapsody for Tenor, Chorus, and Orchestra (Orville Harrold, Festival Chorus) 26-May-1921 Frederick Stock Frederick Stock (North Shore Music Festival, Northwestern University Gymnasium, Evanston) Canzona (North Shore Music Festival, 27-May-1921 Arne Oldberg Arne Oldberg Northwestern University Gymnasium, Evanston) Concerto pathétique for Two Pianos (arr. Lee 25-Nov-1921 Franz Liszt Frederick Stock Pattison) (Guy Maier, Lee Pattison) Piano Concerto No. 3 in C Major, Op. 26 (Sergei 16-Dec-1921 Sergei Prokofiev Frederick Stock Prokofiev) 23-Dec-1921 John Alden Carpenter Krazy Kat Frederick Stock Concerto for Organ No. 2 in A Major (Eric 24-Feb-1922 Eric DeLamarter Frederick Stock DeLamarter) 7-Apr-1922 Leo Sowerby Symphony No. 1 Frederick Stock Jade Butterflies (North Shore Music Festival, 30-May-1922 Camille Zeckwer Frederick Stock Northwestern University Gymnasium, Evanston) The Bride’s Tragedy (North Shore Music 30-May-1922 Percy Grainger Festival, Northwestern University Gymnasium, Frederick Stock Evanston) From the Mountain Kingdom of the Great 29-Dec-1922 Louis Saar Frederick Stock Northwest 17-May-1923 Gustav Holst Fugal Concerto (Ann Arbor, Michigan) Frederick Stock ’Twas the Night Before Christmas (North Shore 26-May-1923 Peter Christian Lutkin Music Festival, Northwestern University Peter Christian Lutkin Gymnasium, Evanston) Fantasie-Overture, Youth (North Shore Music 30-May-1923 Felix Borowski Festival, Northwestern University Gymnasium, Frederick Stock Evanston) 12-Oct-1923 Frederick Stock Elegy Frederick Stock Symphony No. 2 in E Minor, Op. 29 (Scherzo 21-Mar-1924 Adolf Gerhard Brune Frederick Stock and Adagio non troppo) 28-Mar-1924 Edward Collins Mardi Gras Frederick Stock Memories of My Childhood (North Shore Music 30-May-1924 Charles Loeffler Festival, Northwestern University Gymnasium, Frederick Stock Evanston) Concerto for Pianoforte in E-flat Major (Edward 27-Mar-1925 Edward Collins Frederick Stock Collins) 26-May-1925 Percy Grainger English Dance Percy Grainger The Legend of Saint Francis (North Shore Music 30-May-1925 Hermann Wetzler Festival, Northwestern University Gymnasium, Frederick Stock Evanston) 13-Nov-1925 Felix Borowski Semiramis Frederick Stock 15-Jan-1926 Max Wald Retrospectives Frederick Stock 21-May-1926 Howard Hanson Lament of Beowolf (Ann Arbor, Michigan) Howard Hanson Page 3 of 12 A Tragic Overture (North Shore Music Festival, 1-Jun-1926 Edward Collins Frederick Stock Northwestern University Gymnasium, Evanston) Poem for Piano and Orchestra, Op. 43 (Walter 4-Feb-1927 Emerson Whithorne Frederick Stock Gieseking) 18-Mar-1927 Arne Oldberg Symphony No. 3 in F Minor, Op. 41 Frederick Stock Symphony No. 2 in E Minor, Op. 29 (Allegro 1-Apr-1927 Adolf Gerhard Brune Frederick Stock assai) 20-Apr-1927 Hugo Grimm Erotic Poem Frederick Stock 18-May-1927 Howard Hanson Heroic Elegy (Ann Arbor, Michigan) Howard Hanson 23-Mar-1928 A. Albert Noelte Suite for String Orchestra and Kettledrums Frederick Stock Concerto for Violoncello, Op. 80 (Alfred 30-Mar-1928 Henry Schoenefeld Frederick Stock Wallenstein) The Lord Is My Shepherd (Children's Chorus of 26-May-1928 Peter Christian Lutkin 1,500 Voices) (North Shore Music Festival, [Frederick Stock] Northwestern University Gymnasium, Evanston)
Load more

Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • January 1946) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1946 Volume 64, Number 01 (January 1946) 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 64, Number 01 (January 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/199 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]. 7 A . " f ft.S. &. ft. P. deed not Ucende Some Recent Additions Select Your Choruses conceit cuid.iccitzt fotidt&{ to the Catalog of Oliver Ditson Co. NOW PIANO SOLOS—SHEET MUSIC The wide variety of selections listed below, and the complete AND PUBLISHERS in the THE AMERICAN SOCIETY OF COMPOSERS, AUTHORS BMI catalogue of choruses, are especially noted as compo- MYRA ADLER Grade Pr. MAUDE LAFFERTY sitions frequently used by so many nationally famous edu- payment of the performing fee. Christmas Candles .3-4 $0.40 The Ball in the Fountain 4 .40 correspondence below reaffirms its traditional stand regarding ?-3 Happy Summer Day .40 VERNON LANE cators in their Festival Events, Clinics and regular programs. BERENICE BENSON BENTLEY Mexican Poppies 3 .35 The Witching Hour .2-3 .30 CEDRIC W.
    [Show full text]
  • Compact Disc B348 2017 5-25.Pdf (753.4Kb)
    (0 rvtpvct etl's (, \S 3 ~~mi' SCHOOL OF MUSIC JO I 7 ~ UNIVERSITY of WASHINGTON ~-).'i HOME Acelebration of 30 years ofservice to the UW School of Music by Professors Robin McCabe, Timothy Salzman and Jonathan Bernard UNIVERSITY OF WASHINGTON SYMPHONIC BAND Dr. Steven Morrison, conductor UNIVERSITY OF WASHINGTON WIND ENSEMBLE Timothy Salzman, conductor UNIVERSI1Y OF WASHINGTON ALUMNI WIND ENSEMBLE 7:30 PM May 25/2017 Meany Theater UW MUSIC 2016-17 SEASON ~ DI ~:Jfl1/b 33 UNIVERSITY OF WASHINGTON SYMPHONIC BAND Dr. Steven Morrison, conductor Scherzo for Band (1865/1977) ...............................................................................................Gioacchino Rossini (1792·1868) arr. William A. Schaefer (b. 1918) -z....Magnetidireflies (2001 )......................................................................................................... Augusta Read Thomas (b. 1964) Anita Kumar, conductor r"6wJ IVI «. S r k IjNW. r 2:> Homecoming (2008)..............................................................................................................................Alex Shapiro (b. 1962) Anita Kumar, conductor 1- Second Prelude (1926/196 7)................................................................................................... George Gershwin (1898·1937) arr. John Krance (1934-1989) V- eMt\ CfI\ f:( ~ I VV1o-r r" 1S an 5 The Purple Pageant March (1933) .....................................................................................................Karl L. King (1891-1971) arr. John P. Paynter (1928-1996)
    [Show full text]
  • NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum
    Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • Léon Goossens and the Oboe Quintets Of
    Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) By © 2017 Matthew Butterfield DMA, University of Kansas, 2017 M.M., University of Wisconsin-Madison, 2011 B.S., The Pennsylvania State University, 2009 Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Dr. Margaret Marco Dr. Colin Roust Dr. Sarah Frisof Dr. Eric Stomberg Dr. Michelle Hayes Date Defended: 2 May 2017 The dissertation committee for Matthew Butterfield certifies that this is the approved version of the following dissertation: Léon Goossens and the Oboe Quintets of Arnold Bax (1922) and Arthur Bliss (1927) Chair: Dr. Margaret Marco Date Approved: 10 May 2017 ii Abstract Léon Goossens’s virtuosity, musicality, and developments in playing the oboe expressively earned him a reputation as one of history’s finest oboists. His artistry and tone inspired British composers in the early twentieth century to consider the oboe a viable solo instrument once again. Goossens became a very popular and influential figure among composers, and many works are dedicated to him. His interest in having new music written for oboe and strings led to several prominent pieces, the earliest among them being the oboe quintets of Arnold Bax (1922) and Arthur Bliss (1927). Bax’s music is strongly influenced by German romanticism and the music of Edward Elgar. This led critics to describe his music as old-fashioned and out of touch, as it was not intellectual enough for critics, nor was it aesthetically pleasing to the masses.
    [Show full text]
  • Performances As Analyses of Cyclic Macroform in Arnold Schoenberg's
    Shaping Form: Performances as Analyses of Cyclic Macroform in Arnold Schoenberg’s Sechs kleine Klavierstücke, op. 19 (1911), in the Recordings of Eduard Steuermann and Other Pianists * Christian U and Thomas Glaser NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.20.26.4/mto.20.26.4.u.php KEYWORDS: analysis and performance, Arnold Schoenberg, corpus study of musical recordings, Eduard Steuermann, history of musical performance, Sechs kleine Klavierstücke, Six Lile Piano Pieces, op. 19 ABSTRACT: Arnold Schoenberg’s Sechs kleine Klavierstücke (Six Lile Piano Pieces), op. 19 (1911), offer a fruitful case study to examine and categorize performers’ strategies in regard to their form- shaping characteristics. A thorough quantitative and qualitative analysis of 46 recordings from 41 pianists (recorded between 1925 to 2018), including six recordings from Eduard Steuermann, the leading pianist of the Second Viennese School, scrutinizes the interdependency between macro- and microformal pianistic approaches to this cycle. In thus tracing varying conceptions of a performance-shaped cyclic form and their historical contexts, the continuous unfurling of the potential of Schoenberg’s musical ideas in both “structuralist” and “rhetorical” performance styles is systematically explored, offering a fresh approach to the controversial discussion on how analysis and performance might relate to one another. DOI: 10.30535/mto.26.4.9 Received January 2020 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory 1. The Mutual Productivity of Performance and Analysis [1.1] In his 2016 book Performative Analysis, Jeffrey Swinkin, makes the striking observation that it can hardly be the point of a musical performance to project or communicate analytical understanding.
    [Show full text]
  • Now Again New Music Music by Bernard Rands Linda Reichert, Artistic Director Jan Krzywicki, Conductor with Guest Janice Felty, Mezzo-Soprano Now Again
    Network for Now Again New Music Music by Bernard Rands Linda Reichert, Artistic Director Jan Krzywicki, Conductor with guest Janice Felty, mezzo-soprano Now Again Music by Bernard Rands Network for New Music Linda Reichert, Artistic Director Jan Krzywicki, Conductor www.albanyrecords.com TROY1194 albany records u.s. 915 broadway, albany, ny 12207 with guest Janice Felty, tel: 518.436.8814 fax: 518.436.0643 albany records u.k. box 137, kendal, cumbria la8 0xd mezzo-soprano tel: 01539 824008 © 2010 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. The story is probably apocryphal, but it was said his students at Harvard had offered a prize to anyone finding a wantonly decorative note or gesture in any of Bernard Rands’ music. Small ensembles, single instrumental lines and tones convey implicitly Rands’ own inner, but arching, songfulness. In his recent songs, Rands has probed the essence of letter sounds, silence and stress in a daring voyage toward the center of a new world of dramatic, poetic expression. When he wrote “now again”—fragments from Sappho, sung here by Janice Felty, he was also A conversation between composer David Felder and filmmaker Elliot Caplan about Shamayim. refreshing his long association with the virtuosic instrumentalists of Network for New Music, the Philadelphia ensemble marking its 25th year in this recording. These songs were performed in a 2009 concert for Rands’ 75th birthday — and offer no hope for winning the prize for discovering extraneous notes or gestures. They offer, however, an intimate revelation of the composer’s grasp of color and shade, his joy in the pulsing heart, his thrill at the glimpse of what’s just ahead.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Rmc193chiprograml5.Pdf
    SATURDAY APRIL 29, 2017 | 7:30 PM | ROCKEFELLER CHAPEL A TRIPTYCH: Earth, Moon, Peace Works of Augusta Read Thomas Played by Spektral Quartet and Third Coast Percussion ROCKEFELLER CHAPEL | UNIVERSITY OF CHICAGO OF UNIVERSITY 2 PROGRAM The program is performed without intermission, although there will be brief pauses for resetting the stage. You are warmly invited to a wine and cheese reception here in the Chapel after the concert, with refreshments served from the west transept. You will also find CDs on sale. RAINBOW BRIDGE TO PARADISE SELENE Moon Chariot Rituals 2016 2015 3 Russell Rolen CELLO Spektral Quartet Third Coast Percussion and CHI CHI | A TRIPTYCH: EARTH, MOON, PEACE CHI for string quartet RESOUNDING EARTH 2017 World première 2012 I CHI vital life force I INVOCATION pulse radiance II AURA atmospheres, colors, vibrations II PRAYER star dust orbits III MERIDIANS zeniths III MANTRA ceremonial time shapes IV CHAKRAS center of spiritual power in the body IV REVERIE CARILLON crystal lattice Spektral Quartet Third Coast Percussion Clara Lyon VIOLIN David Skidmore Maeve Feinberg VIOLIN Peter Martin Doyle Armbrust VIOLA Robert Dillon Russell Rolen CELLO Sean Connors ABOUT THIS CONCERT Like most works of art, tonight’s concert came into Enter Spektral Quartet (or re-enter, for this being through the confluence of flashes of desire, conversation also had begun, allegro con spirito, some snippets of conversation, and the sudden alignment of eons before). On March 7, 2015, the cosmic lights went energies sparked by the commissioning of a new work. green and we knew we had a program: Selene, to be The flash of desire came just over three years ago.
    [Show full text]
  • ALEXANDER TCHEREPNIN and HIS STUDENTS STEPHEN GOSLING, Pianist
    ALEXANDER TCHEREPNIN Born in St. Petersburg in 1899, Alexander Tcherepnin became a true musical citizen of the world. With the cen- ter of his career shifting from Tbilisi and the Caucasus to Paris and central Europe, from Shanghai and Tokyo to Brussels and back to Paris, and ultimately from Chicago and New York to London and Zurich, he left an indeli- ble influence, transcending barriers of nationality and generation. Tcherepnin’s gifts were hereditary. His father Nicholas Tcherepnin had composed impressionistic ballets that won the Diaghilev troupe its first Western successes. When the nineteen-year-old Alexander belatedly be- gan formal conservatory studies of musical theory, he had already written some two hundred piano pieces, many with modernistic traits inspired by his father’s star pupil Sergei Prokofiev. Young Tcherepnin brought these to Tbilisi, where the family relocated during the revolutionary turmoil of 1918, often performing them in recital (several dozen of these early efforts became best-sellers when published in Paris after he settled there in 1921). In Georgia, Alexander began composing on synthetic scales derived from the “major-minor triad” (C-Eb-E-G). Nikolai had explored the eight-step “octotonic” scale, which regularly alternates half-steps and whole-steps; Alexander went his father one better: by 1922 he was developing a vocabulary of ear-catching sounds from his own symmetrical nine-step scale (C-Db-Eb-E-F-G-Ab-A-B-C—the interval pattern is half-whole-half; half-whole-half; half-whole-half). Further experiments during final studies at the Paris Conser- vatoire yielded an approach called “Interpoint,” meant to convey complex rhythmic information with maximum clarity, and to keep the various musical registers separate in the ear.
    [Show full text]
  • WAGNER Die Walküre
    660172-74 bk Walküre US 17/7/06 10:28 Page 16 3 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 29th September 2002 and 2nd January 2003. General Director: Prof. Klaus Zehelein Die Walküre Executive Producers: Dr Reinhard Ermen (SWR Radio), Gambill • Jun • Rootering • Denoke • Behle • Vaughn Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) Staatsoper Stuttgart • Staatsorchester Stuttgart Producer: Thomas Angelkorte Editor: Irmgard Bauer Lothar Zagrosek Engineers: Brigitte Hermann and Karl-Heinz Runde This performance of Die Walküre is the second part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660172-74 16 660172-74 bk Walküre US 17/7/06 10:28 Page 2 Die Walküre Stuttgart Staatsorchester (The Valkyrie) Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history The First Day of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, of Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as Der Ring des Nibelungen conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then (The Ring of the Nibelung) General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival.
    [Show full text]
  • Nikolai Tcherepnin UNDER the CANOPY of MY LIFE Artistic, Creative, Musical Pedagogy, Public and Private
    Nikolai Tcherepnin UNDER THE CANOPY OF MY LIFE Artistic, creative, musical pedagogy, public and private Translated by John Ranck But1 you are getting old, pick Flowers, growing on the graves And with them renew your heart. Nekrasov2 And ethereally brightening-within-me Beloved shadows arose in the Argentine mist Balmont3 The Tcherepnins are from the vicinity of Izborsk, an ancient Russian town in the Pskov province. If I remember correctly, my aged aunts lived on an estate there which had been passed down to them by their fathers and grandfathers. Our lineage is not of the old aristocracy, and judging by excerpts from the book of Records of the Nobility of the Pskov province, the first mention of the family appears only in the early 19th century. I was born on May 3, 1873 in St. Petersburg. My father, a doctor, was lively and very gifted. His large practice drew from all social strata and included literary luminaries with whom he collaborated as medical consultant for the gazette, “The Voice” that was published by Kraevsky.4 Some of the leading writers and poets of the day were among its editors. It was my father’s sorrowful duty to serve as Dostoevsky’s doctor during the writer’s last illness. Social activities also played a large role in my father’s life. He was an active participant in various medical societies and frequently served as chairman. He also counted among his patients several leading musical and theatrical figures. My father was introduced to the “Mussorgsky cult” at the hospitable “Tuesdays” that were hosted by his colleague, Dr.
    [Show full text]