DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Summer, 1981

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Summer, 1981 * / r- ' * f%P V ; ^\ X y 4T s intermission wz T _F I am concerned about next year's soaring vacation costs. T F A Berkshire "summer" whets my appetite for other Berkshire seasons. T F I like the best of two worlds. The Berkshires now, March in the sun. Did you find yourself checking "TRUE" more than once? IDLA! Share your vacation dream with "The Fox". I he Ponds <it foxhollow offers the ultimate in affordable time-shared vacations: a famous 230-acre country estate- turned resort. I ovely lake, sailing, riding, tennis, pool, posh dining; evening entertainment. Your own home with breathtaking views; exquisitely furnished, even a private ja< U//I. Arid the ( lin< her: you ( <in trade at 240 exchange resorts worldwide- and never pay escalating rates again! Out-Fox Vacation Inflation. Make an appointment for a personal tour with wine and f herse wel( orne. Phone <41 '>) 637-2706, M.iss. toll-free 800-292-6631 Ouf-of-st.ite 800-628-8840 Route 7, Lenox, Mass. 0124\\ Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundredth Season, 1980-81 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Mrs. Harris Fahnestock, Vice-President Leo L. Beranek, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden E. Morton Jennings, Jr. Irving W. Rabb Mrs. John M. Bradley Edward M. Kennedy Paul C. Reardon Mrs. Norman L. Cahners George H. Kidder David Rockefeller, Jr. George H.A. Clowes, Jr. David G. Mugar Mrs. George Lee Sargent Archie C. Epps III Albert L. Nickerson William A. Selke Mrs. John L. Grandin Thomas D. Perry, Jr. John Hoyt Stookey Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus Allen G. Barry Edward G. Murray Mrs. James H. Perkins Richard P. Chapman John T. Noonan John L. Thorndike Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager Peter Gelb Gideon Toeplitz Daniel R. Gustin Assistant Manager Orchestra Manager Assistant Manager Joseph M. Hobbs Walter D. Hill William Bernell Director of Director of Artistic Development Business Affairs Administrator Joyce M. Snyder Theodore A. Vlahos Richard Ortner Development Controller Administrator, Coordinator Arlene Germain Berkshire Music Center Katherine Whitty Financial Analyst Marc Solomon Coordinator Production of Elizabeth Dunton Boston Council Assistant Director of Sales Caroline E. Hessberg Anita R. Kurland Charles Rawson Promotion Administrator of Coordinator Manager of Box Office Youth Activities Judith Gordon James E. Whitaker James F. Kiley Assistant Promotion Hall Manager, Operations Manager, Coordinator Symphony Hall Tanglewood Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Editorial Printing Production Publications Coordinator Coordinator Programs copyright ®1981 Boston Symphony Orchestra, Inc. Cover photo by Walter H. Scott, Stockbridge Board of Overseers of the Boston Symphony Orchestra, Inc. Mrs. Norman L. Cahners, Chairman William J. Poorvu Mrs. William H. Ryan Vice -Chairman Secretary Charles F. Adams Jordan L. Golding Paul M. Montrone John Q. Adams Haskell R. Gordon Mrs. Hanae Mori Mrs. Frank G. Allen Graham Gund Mrs. Stephen V.C. Morris Hazen H. Ayer Christian G. Halby Richard P. Morse J. P. Barger Mrs. R. Douglas Hall III Stephen Paine, Sr. Mrs. Richard Bennink Frank Hatch, Jr. David R. Pokross David W. Bernstein Ms. Susan M. Hilles Mrs. Curtis Prout Mrs. Edward J. Bertozzi, Jr Mrs. Amory Houghton, Jr Peter C. Read David Bird Richard S. Jackson, Jr. Harry Remis Gerhard D. Bleicken Mrs. Bela T. Kalman Mrs. Samuel L. Rosenberry William M. Bulger Mrs. Louis I. Kane Mrs. Jerome Rosenfeld Curtis Buttenheim Leonard Kaplan Mrs. George R. Rowland Mrs. Mary Louise Cabot Mrs. S. Charles Kasdon Francis P. Sears Julian Cohen Mrs. F. Corning Kenly, Jr. Gene Shalit Mrs. Nat King Cole Mrs. Carl Koch Donald B. Sinclair Johns H. Congdon Robert K. Kraft Richard A. Smith Arthur P. Contas Harvey C. Krentzman Peter J. Sprague Mrs. Lewis S. Dabney Benjamin H. Lacy Mrs. Edward S. Stimpson Mrs. Michael H. Davis Mrs. Henry A. Laughlin Mrs. Arthur I. Strang Mrs. C. Russell Eddy Mrs. James F. Lawrence Mrs. Richard H. Thompson William S. Edgerly Mrs. Charles P. Lyman Mark Tishler, Jr. Mrs. John H. Fitzpatrick C. Charles Marran Ms. Luise Vosgerchian Peter H.B. Frelinghuysen Mrs. August R. Meyer Robert A. Wells Paul Fromm Edward H. Michaelsen Mrs. Donald Wilson Carlton P. Fuller J. William Middendorf II John J. Wilson Take the Music home with you— The complete selection of recorded classics you'll find at the Coop makes it possible to enjoy tonight's selected pieces whenever you like Choose your favorite renditions from the many different recordings available HARVARD SQUARE New England's Largest Record Center The Boston Symphony's 1981*82 season—the Orchestra's 100th- birthday year—wilt comprise a glorious season of concert programs, guest conductors and / soloists. / Under Music Director Seiji Ozawa, the / BSO will present a subscription series in / Symphony Hall m Boston; in Carnegie / Hail in New York; and at the Ocean / i State Performing Arts Center in Providence. Joining Ozawa will be BSO Principal Guest Conductor Sir Colin Davis, Claudio Abbado, Leonard Bernstein, Antal Dorati, Kurt Masur, and Klaus Tennstedt. Among the guest soloists are pianists Martha Argerich, Misha Dichter, Rudolf Serkin; soprano Jessye Norman, mezzo-soprano Frederica von Stade and violinist Itzhak Perlman. Share in the tradition of the past, the excitement of the present, and the anticipation of a second century of excellence by subscribing now to the Boston Symphony's 100th-birthday season in Boston, New York or Providence. If you would like to receive a subscription brochure with complete program and ticket information, please write the Subscription Office, Svmphor Hall, Boston, Mass. 0211$, or calf (617) 266-1492. ,4> ^'BOSTON "^^V~\i OI[ SYMPHONY IB (J) E STRA ~~pr , O lRpRCH ^R This is a CoacK Belt N« 7807 It is one of twenty belts fl W we make out of leather-trimmed wools W and linens in a wide range of colorful ™ W stripes and solids in both men's and women's sizes. These belts, as well as our Glove Leather belts, are sold in selected storesthroughout the country. If you cannot find the Coach" Belt you want in a store near you, you can also order it directly from the Coach Factory in New York. For Catalogue and Store List write or call: Consumer Service, Coach Leatherware, 516 West 34th Street, New York City 10001. Tel: (212) 594-3914. TANGLEWOOD The Berkshire Festival In August 1934, a group of music -loving summer residents of the Berkshires organized a series of three outdoor concerts at Interlaken, to be given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so successful that the promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during the next summer. The Festival Committee then invited Serge Koussevitzky and the Boston Symphony Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, and on 13 August 1936 the Boston Symphony gave its first concerts in the Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series again consisted of three concerts and was given under a large tent, drawing a total of nearly 15,000 people. In the winter of 1936, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on 5 August 1937 the festival's largest crowd so far assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert which opened the 1937 festival's second weekend, rain and thunder twice interrupted the performance of the Rienzi Overture and necessitated the omission altogether of the Siegfried "Forest Murmurs," music too delicate to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made a fundraising appeal for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money had been raised to begin active planning for a "music pavilion." Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the immediate needs of the festival and, more important, went well beyond the budget of $100,000. His second, simplified plans were still too expensive, and he finally wrote that if the trustees insisted on remaining within their budget, they would have "just a shed," which "any builder could accomplish without the aid of an architect." The trustees then turned to a Stockbridge engineer, Joseph Franz, to make further simplifications in Saarinen's plans in order to lower the cost. The building that he erected remains, with modifications, to this day; it is still called simply "the Shed." The Shed was inaugurated for the first concert of the 1938 festival. It has echoed with the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. By 1941, the Theatre-Concert Hall, the Chamber Music Hall, and several small studios — all part of the Berkshire Music Center, which had begun operations the preceding year — were finished, and the festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors.
Load more

Recommended publications
  • Via Issuelab
    ROCKEFELLER ARCHIVE CENTER RESEARCH REPORTS The Music and Performing Arts Programs of the Rockefeller Foundation by Michael Uy Harvard University © 2021 by Michael Uy Abstract The Rockefeller Foundation had originally left out much grantmaking to the arts during the first decades of its operations, instead devoting greater resources to efforts such as the alleviation of global hunger, the expansion of access to public libraries, or the eradication of hookworm. Its support of music prior to the 1950s had totaled less than $200,000 over four decades. After the Second World War, however, it began giving substantial funds to the arts and humanities. The Rockefeller Foundation funded projects in new music, like commissions made by the Louisville Orchestra, operas and ballets at New York’s City Center, and the work of the “creative associates” at the State University of New York at Buffalo. In total, between 1953 and 1976, the Rockefeller Foundation granted more than $40 million ($300 million in 2017) to the field of music alone. 2 RAC RESEARCH REPORTS The Music and Performing Arts Programs of the Rockefeller Foundation In 1976, the Rockefeller Foundation (RF) celebrated the United States Bicentennial with a 100-record collection known as the Recorded Anthology of American Music. The editorial committee of the anthology noted that any attempt to memorialize the music of the United States, including its many different racial and ethnic communities, as well as its vast geographical diversity, would be an impossible task. Thus, the aim for the anthology was to be “comprehensive,” but not “exhaustive.” I take a similar approach with this report.
    [Show full text]
  • Dissertation on Carter
    © 2012 Casey Robards All rights reserved. JOHN DANIELS CARTER: A BIOGRAPHICAL AND MUSICAL PROFILE WITH ORIGINAL PIANO TRANSCRIPTION OF REQUIEM SEDITIOSAM: IN MEMORIAM MEDGAR EVERS BY CASEY ROBARDS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Vocal Coaching and Accompanying in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Reid Alexander, Chair and Director of Research Professor Dennis Helmrich Professor Emeritus Herbert Kellman Associate Professor Stephen Taylor Abstract African-American pianist and composer John Daniels Carter (1932-1981) is widely recognized for his Cantata for voice and piano (also arranged for voice and orchestra), Carter’s only published work. However, relatively little information has been published about Carter’s life, his compositional output, or career as a pianist. His date of birth and death are often listed incorrectly; the last decade of his life remains undocumented. There is also confusion in the database of the American Society of Composers, Authors and Publishers (ASCAP) regarding the attributions of his unpublished compositions, compounded by the existence of another composer who has arranged several spirituals, and a jazz clarinetist, both named John Carter. In-depth field research, over a three-year period, was conducted to discover more information about Carter. Through newspaper articles, archival material from the Kennedy Center/Rockefeller Archives, and conversations or correspondence with those who knew Carter personally, this dissertation presents biographical information about Carter’s musical education, performance activity as a pianist, and career as a composer-in-residence with the Washington National Symphony.
    [Show full text]
  • HALL OVERTON PULSATIONS (1972) the Ensemble; Dennis Russell Davies, Conductor
    HALL OVERTON PULSATIONS (1972) The Ensemble; Dennis Russell Davies, conductor LESTER TRIMBLE IN PRAISE OF DIPLOMACY AND COMMON SENSE (1965) The Ensemble; Dennis Russell Davies, conductor; Richard Frisch, baritone PULSATIONS is the last in Overton's considerable catalogue and is probably the work that most perfectly fuses his own equal and opposite musical loves, concert music and jazz. In his words, it “explores various aspects of rhythm. Instead of avoiding the pulse, my intention was to write music based largely on a strong, steady beat.” This is not, however, the primitive pulse of the typical jazz hand, but ranges from “straight-ahead propulsion, lag-beat, silent beat, free time and 'doubling.'” The moderately knowing listener will recognize characteristic jazz figures, along with others that are subtler, more deeply imbedded in the musical texture, and also more personal to Overton. In addition to its specific jazz references, PULSATIONS sometimes achieves a strange and dreamlike atmosphere that seems to represent the unworldly aspects of the jazz scene. The work is dedicated to Thelonious Monk, the eminent jazz pianist, who is one of the many jazz people Overton worked closely with. It was commissioned by The Ensemble of New York. HALL OVERTON was born in Bangor, Michigan, February 23, 1920, and died in New York on November 24, 1972. He started composing "serious" music when he was in his teens, when his family moved to Grand Rapids. His first orchestral work was performed while he was still in high school. It was only later, during his military service with the Third Armored Division, that he learned how to play jazz piano.
    [Show full text]
  • Eugene Ormandy Commercial Sound Recordings Ms
    Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1970
    ISM /, *w*s M •*r:;*. KUCJCW n;. ,-1. * Tanglewood 1970° Seiji Ozawa, Gunther Schuller, Artistic Directors Leonard Bernstein, Advisor FESTIVAL OF CONTEMPORARY MUSIC August 16 — August 20, 1970 Sponsored by the BERKSHIRE MUSIC CENTER In Cooperation with the FROMM MUSIC FOUNDATION PERSPECTIVES NEWOF MUSIC PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music and the problems of the composer. Published for the Fromm Music Foundation by Princeton University Press. Editor: Benjamin Boretz Advisory Board: Aaron Copland, Ernst Krenek, Darius Milhaud, Walter Piston, Roger Sessions, Igor Stravinsky. Semi-annual. $6.00 a year. $15.00 three years. Foreign Postage is 25 cents additional per year. Single or back issues are $5.00. Princeton University Press Princeton, New Jersey I 5fta 'V. B , '*•. .-.-'--! HffiHHMEffl SiSsi M^lll Epppi ^EwK^^bJbe^h 1 * - ' :- HMK^HRj^EI! 9HKS&k 7?. BCJB1I MQ50 TANGLEWOOD SEIJI OZAWA, GUNTHER SCHULLER, Artistic Directors/LEONARD BERNSTEIN, Adviser THE BERKSHIRE MUSIC CENTER Joseph Silverstein, Chairman of the Faculty Harry J. Kraut, Administrator Aaron Copland, Chairman of the Faculty Emeritus Daniel R. Gustin, Assistant Administrator Leon Barzin, Head, Orchestral Activities James Whitaker, Chief Coordinator ,vvv /ss. Festival of Contemporary Music presented in cooperation with The Fromm Music Foundation Paul Fromm, President Fellowship Program Contemporary Music Activities Gunther Schuller, Head George Crumb, Charles Wuorinen, and Chou Wen-Chung, Guest Teachers Paul Zukofsky, Assistant The Berkshire Music Center is maintained for advanced study in music Sponsored by the Boston Symphony Orchestra William Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Thomas D.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
    TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D.
    [Show full text]
  • NEW YORK PHILHARMONIC 10,000Th CONCERT
    ' ■ w NEW YORK PHILHARMONIC 10,000th CONCERT NEW YORK PHILHARMONIC 10,000th CONCERT Sunday, March 7,1982, 5:00 pm Mahler Symphony No. 2 (Resurrection) Zubin Mehta, Music Director and Conductor Kathleen Battle, soprano Maureen Forrester, contralto Westminster Choir, Joseph Flummerfelt, director CONTENTS The First 9,999 Concerts.................................... 2 Bernstein, Boulez, Mehta By Herbert Kupferberg.................................................. 5 New York Philharmonic: The Tradition of Greatness Continues By Howard Shanet........................................................ 8 Gustav Mahler and the New York Philharmonic............................... 14 Contemporary Music and the New York Philharmonic............................... 15 AVERY FISHER HALL, LINCOLN CENTER THE FIRST 9,999 CONCERTS The population of New York City in NEW YORK PHILHARMONIC: 1982 is 20 times what it was in 1842; the each of them. To survey them is to Philharmonic’s listeners today are define the current richness of the 10,000 times as many as they were in that organization: THE TRADITION OF GREATNESS CONTINUES The Subscription Concerts au­ dience, though not the largest of the their diversity they reflect the varied en Battle, David Britton, Montserrat aballé, Jennifer Jones, Christa Lud- in Avery Fisher Hall. As for television, it ig, Jessye Norman, and Frederica von is estimated that six million people Stade. (Another whole category across the country saw and heard the like - the < iductors. those chosen Philharmonic in a single televised per­ formance when the celebrated come­ dian Danny Kaye conducted the Or­ chestra recently in a Pension Fund benefit concert; and in a season's quota who is Music Director, of "Live from Lincoln Center" and other telecasts by the Philharmonic 20 are presented elsewhere in this publi million watchers may enjoy the Or­ chestra's performances in their homes.
    [Show full text]
  • ABSTRACT This Dissertation Explores Selections from the Flute Repertoire
    ABSTRACT Title of Dissertation: THE MUSIC OF FLUTIST/COMPOSERS: PERFORMANCES OF SELECTED WORKS FOR FLUTE COMPOSED BETWEEN 1852 AND 2005 Sarah Eckman McIver, Doctor of Musical Arts, 2010 Directed by: Dr. William L. Montgomery School of Music This dissertation explores selections from the flute repertoire composed by flutists from 1852 through 2005. The selected works represent the wide variety of flute music written by composers who played the flute in some capacity; most of the flutist/composers were also major performers, some were accomplished teachers, and some were widely-known composers who play the flute well enough to understand its capabilities but would not qualify as a performer/composer. After researching a large selection of works written by flutist/composers and using my subjective judgment when appropriate, twenty-three works were chosen for the dissertation on the basis of their popularity, familiarity with the composer, importance in the development of flute literature, relevance to the history of the flute, and the composer’s overall importance to music. Over twenty years of personal experience with the flute literature and my familiarity with certain composers served as a starting point for the research. Previous areas of research in this field encompass either broad surveys of the entire flute literature, or various dissertations and biographies written about individual flutist/composers. A variety of other sources consulted include composer websites, commercial recordings, e- mail discussion groups, and recital programs. The selected works performed and discussed are the following: Robert Aitken, Icicle; Joachim Andersen, Deuxième Morceau de Concert, Op. 61; Georges Barrère, Nocturne; Theobald Boehm, Fantaisie sur des Airs Ecossais, Op.
    [Show full text]
  • Nikolai Lopatnikoff Collection
    Nikolai Lopatnikoff Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2006 Contact information: http://hdl.loc.gov/loc.music/ perform.contact Finding Aid encoded by Library of Congress Music Division, 2006 Finding aid URL: http://hdl.loc.gov/loc.music/ eadmus.mu005001 Latest revision: 2011 February Collection Summary Title: Nikolai Lopatnikoff Collection Span Dates: 1916-1979 Bulk Dates: (bulk 1920-1976) Call No.: ML31.L6 Creator: Lopatnikoff, Nikolai, 1903-1976 Extent: around 1085 items; 27 boxes; 37 linear feet Language: Collection material in English Repository: Music Division, Library of Congress, Washington, D.C. Abstract: The collection includes music, manuscript and printed, of Lopatnikoff, as well as of other composers; correspondence and personal papers; photographs, clippings, and programs; writings by and about Lopatnikoff; and offical documents. A significant amount of material is related to Lopatnikoff's opera Danton. Among the correspondents are Rudolf Bing, Aaron Copland, Serge Koussevitzky, Joseph Rosenstock, Julius Rudel, Nicolas Slonimsky, and William Steinberg. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Bing, Rudolf, 1902-1997--Correspondence. Copland, Aaron, 1900-1990--Correspondence. Koussevitzky, Serge, 1874-1951--Correspondence. Lopatnikoff, Nikolai, 1903-1976--Autographs. Lopatnikoff, Nikolai, 1903-1976--Correspondence. Lopatnikoff, Nikolai, 1903-1976. Lopatnikoff, Nikolai, 1903-1976. Lopatnikoff, Nikolai, 1903-1976. Danton. Rosenstock, Joseph, 1895-1985--Correspondence. Rudel, Julius--Correspondence. Slonimsky, Nicolas, 1894-1995--Correspondence.
    [Show full text]
  • AMERICAN SYMPHONIES Composers
    AMERICAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Composers P-Z JOHN KNOWLES PAINE (1839-1906) Born in Portland, Maine. He studied organ, piano, harmony and counterpoint with Hermann Krotzschmar as well as organ with Carl August Haupt and orchestration and composition with Wilhelm Wieprecht in Berlin, Germany. He then toured in Europe for three years. After returning to the U.S. and settling in Boston, he became a member of the faculty of Harvard where he remained for over 4 decades teaching composition to a whole generation of American composers. His catalogue includes operas, incidental music, orchestral, chamber and choral works. Symphony No. 1 in C minor, Op. 23 (1875) JoAnn Falletta/ulster Orchestra ( + The Tempest and As You Like It Overture) NAXOS 8.559747 (2013) Karl Krueger/American Arts Orchestra SOCIETY FOR THE PRESERVATION OF THE AMERICAN MUSICAL HERITAGE MIA-103 (LP) (1959) Zubin Mehta/New York Philharmonic ( + As You Like It Overture) NEW WORLD RECORDS NW 374-2 (1989) Symphony No. 2 in A major, Op. 34 "In Spring" (1879) JoAnn Faletta/Ulster Orchestra ( + Oedipus Tyrannus: Prelude and Poseidon and Amphitrite) NAXOS 8.559748 (2015) Karl Krueger/Royal Philharmonic Orchestra SOCIETY FOR THE PRESERVATION OF THE AMERICAN MUSICAL HERITAGE MIA-120 (LP) (1965) Zubin Mehta/New York Philharmonic NEW WORLD RECORDS NW 350-2 (1987) THOMAS PASATIERI (b. 1945) Born in New York City. He began composing at age 10 and, as a teenager, studied with Nadia Boulanger., before entering the Juilliard School at age 16. He has taught composition at the Juilliard School, the Manhattan School of Music, and the Cincinnati College-Conservatory of Music.
    [Show full text]
  • Liner Notes from CRI LP Jacket)
    CRI 187 Lester Trimble/Louise Talma Lester Trimble 1. Symphony in Two Movements (1951) ............................................................. (14:25) 2. Five Episodes for Orchestra (1961-62) ............................................................. (11:06) Japan Philharmonic Orchestra; Akeo Wantanabe, conductor Louise Talma 3. La Corona: Holy Sonnets of John Donne (1954-55) ....................................... (19:40) The Dorian Chorale, Harold Aks, conductor Lester Trimble (b 1923) is a native of Wisconsin whose musical education was gained chiefly in the Midwest, supplemented in 1947 by summer study at the Tanglewood Berkshire Music Center. There followed a year of study in Paris in 1951 with Milhaud and Honegger. However, his chief training in composition has been with Russian-American composer Nikolai Lopatnikoff at the Carnegie Institute of Technology. Mr. Trimble’s subsequent career has encompassed teaching on the music faculty at Chatham College in Pittsburgh, music criticism for the New York Herald Tribune and The Nation magazine, and his present position as professor of music at the University of Maryland. Major awards and citations have included a Guggenheim Fellowship, a Columbia University Alice M. Ditson Grant, and the American Academy of Arts and Letters Citation. Besides the present recording under Academy of Arts and Letters auspices, Mr. Trimble has been represented on discs by his Four Fragments from the Canterbury Tales (Columbia) and his Pittsburgh Symphony–commissioned Closing Piece (CRI 159). Other major works by Mr. Trimble, besides those recorded here, include an opera, Boccaccio’s Nightingale, a Concerto for Winds and Strings, Duo for Viola and Piano, and two string quartets. The two Trimble scores recorded here display his musical language in its youthful and in its mature phases.
    [Show full text]
  • Narrative Vocal Music of the Pulitzer Prize, 2008–2018
    Graduate Theses, Dissertations, and Problem Reports 2019 Prizes, Winning, and Identity: Narrative Vocal Music of the Pulitzer Prize, 2008–2018 Julia K. Kuhlman West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Composition Commons, and the Musicology Commons Recommended Citation Kuhlman, Julia K., "Prizes, Winning, and Identity: Narrative Vocal Music of the Pulitzer Prize, 2008–2018" (2019). Graduate Theses, Dissertations, and Problem Reports. 3769. https://researchrepository.wvu.edu/etd/3769 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. PRIZES, WINNING, AND IDENTITY: NARRATIVE VOCAL MUSIC OF THE PULITZER PRIZE, 2008–2018 Julia K. Kuhlman Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Musicology Evan A. MacCarthy, Ph.D., Chair Travis D. Stimeling, Ph.D. Matthew Heap, Ph.D.
    [Show full text]