Boston Symphony Orchestra Concert Programs, Season 79, 1959-1960
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Broschuere-Walter-Braunfels-Ger3.Pdf
WALTER BRAUNFELS WALTER WALTER BRAUNFELS WALTER BRAUNFELS (1882–1954) Eine Ausstellung der Walter–Braunfels–Gesellschaft in Zusammenarbeit mit der Deutschen Oper Berlin aus Anlass der szenischen Uraufführung der Oper „Jeanne d‘Arc – Szenen aus dem Leben der Heiligen Johanna“ Inhaltsverzeichnis Vorwort 5 Walter Braunfels, gefeierter Opernkomponist der 20iger Jahre 6 Das symphonische und vokalsymphonische Werk und seine Interpreten 24 Letzte große Erfolge als Opernkomponist – die produktiven Jahre der erzwungenen Isolation – weltweite Wiederentdeckung des Komponisten Walter Braunfels 42 Zeittafel 64 Literaturverzeichnis 68 Bildnachweis 70 Danksagung 71 Impressum 72 Vorwort Walter Braunfels entstammte einer alten jüdischen Familie aus Frankfurt a. M. Er zog nach München und wurde unter dem Eindruck von Felix Mottl Musiker. Bruno Walter machte die Uraufführung der Oper „Die Vögel“ zu einer der erfolgreichsten im ganzen 20. Jahrhundert am Münchner Natio- naltheater. Es folgten die Uraufführungen des „Te Deum“ und der „Großen Messe“ in Köln sowie der Oper „Don Gil von den grünen Hosen“ unter Hans Knappertsbusch in München: Walter Braunfels war plötzlich – neben Strauss und Schreker – einer der meistaufgeführten deutschen Kompo- nisten der zwanziger Jahre. Adolf Hitler forderte meinen Großvater 1923 in München auf, die Hymne für die nationalsozialistische Bewegung zu komponieren, was dieser jedoch empört ablehnte. Wenige Jahre danach übernahmen die Nationalsozialisten die Macht in Deutschland, und Walter Braunfels wurde 1933 aus dem Amt als Gründungsdirektor -
Historie Der Rheinischen Musikschule Teil 1 Mit Einem Beitrag Von Professor Heinrich Lindlahr
Historie der Rheinischen Musikschule Teil 1 Mit einem Beitrag von Professor Heinrich Lindlahr Zur Geschichte des Musikschulwesens in Köln 1815 - 1925 Zu Beginn des musikfreundlichen 19. Jahrhunderts blieb es in Köln bei hochfliegenden Plänen und deren erfolgreicher Verhinderung. 1815, Köln zählte etwa fünfundzwanzigtausend Seelen, die soeben, wie die Bewohner der Rheinprovinz insgesamt, beim Wiener Kongreß an das Königreich Preußen gefallen waren, 1815 also hatte von Köln aus ein ungenannter Musikenthusiast für die Rheinmetropole eine Ausbildungsstätte nach dem Vorbild des Conservatoire de Paris gefordert. Sein Vorschlag erschien in der von Friedrich Rochlitz herausgegebenen führenden Allgemeinen musikalischen Zeitung zu Leipzig. Doch Aufrufe solcher Art verloren sich hierorts, obschon Ansätze zu einem brauchbaren Musikschulgebilde in Köln bereits bestanden hatten: einmal in Gestalt eines Konservatorienplanes, wie ihn der neue Maire der vormaligen Reichstadt, Herr von VVittgenstein, aus eingezogenen kirchlichen Stiftungen in Vorschlag gebracht hatte, vorwiegend aus Restklassen von Sing- und Kapellschulen an St. Gereon, an St. Aposteln, bei den Ursulinen und anderswo mehr, zum anderen in Gestalt von Heimkursen und Familienkonzerten, wie sie der seit dem Einzug der Franzosen, 1794, stellenlos gewordene Salzmüdder und Domkapellmeister Dr. jur. Bernhard Joseph Mäurer führte. Unklar blieb indessen, ob sich der Zusammenschluss zu einem Gesamtprojekt nach den Vorstellungen Dr. Mäurers oder des Herrn von Wittgenstein oder auch jenes Anonymus deshalb zerschlug, weil die Durchführung von Domkonzerten an Sonn- und Feiertagen kirchenfremden und besatzungsfreundlichen Lehrkräften hätte zufallen sollen, oder mehr noch deshalb, weil es nach wie vor ein nicht überschaubares Hindernisrennen rivalisierender Musikparteien gab, deren manche nach Privatabsichten berechnet werden müssten, wie es die Leipziger Allgemeine musikalische Zeitung von 1815 lakonisch zu kommentieren wusste. -
Ocm39986874-1955-SB-0810.Pdf
SENATE No. 810 Cl)t Commontoealt!) of Massachusetts FINAL REPORT Of THE SPECIAL COMMISSION ON EDUCATIONAL TELEVISION An Unpaid Special Commission established by Chapter 96, Resolves of 1952 June, 1955 BOSTON WRIGHT & POTTER PRINTING CO., LEGISLATIVE PRINTERS 32 DERNE STREET 1955 C&e Commontoealtf) of 80a00ac&u0ctt0 MEMBERS OF THE COMMISSION. By the President of the Senate. Sen. Ralph C. Mahab, Orange. Sen. George J. Evans, Wakefield. Sen. William D. Fleming, Worcester. the Speaker of the House. Rep. Thomas F. Fabbell, Worcester. Rep. Philip A. Quinn, Spencer. Rep. Belden G. Bly, Jr., Saugus. Rep. leene K. Thbesheb, Newton. Rep. Philip F. Whitmoee, Sunderland. Rep. John P. McMoreow, Boston. the Governor. Ralph Lowell, Westwood. Prof. William H. Radfobd, Cambridge. Rt. Rev. Msgr. Cornelius T. H. Sherlock. Dean Robert S. Hopkins, Jr., Amherst. Board of Education. Dr. Alexander Brin, Boston. Dr. Leo C. Donahue, Somerville. Dr. Owen B. Kiernan, Milton. Sidney B, Shear, Sharon, Secretary. CJje Commontoealtt) of 9@asoac!)usetts PREVIOUS REPORTS OF THE COMMISSION. Preliminary Report, Senate, No. 513 of 1952. Second Report, Senate, No. 740 of 1953. Third Report, Senate, No. 820 of 1954. Cbe Commontoealtf) of Massachusetts FINAL REPORT OF THE SPECIAL COMMISSION ON EDUCATIONAL TELEVISION. June, 1955. To the Honorable Senate and House of Representatives. With the operation of WGBH-TV on Channel 2 in Boston, educational television has become a reality in Massachusetts. This station is pioneering non-commercial educational tele- vision in New England entirely financed by private grants and subscriptions. Although state or municipal funds are not in any way in- volved in the operation of Channel 2 or other television stations, some credit must be given to the Commonwealth itself for encouragement of educational television in Massa- chusetts. -
'{6$+• O°&Ó° Þè* V
557615bk Bach US 3/5/06 6:10 pm Page 5 Marianne Beate Kielland Cologne Chamber Orchestra Conductor: Helmut Müller-Brühl The Norwegian mezzo-soprano Marianne Beate Kielland studied at the Norwegian State Academy of Music in Oslo, graduating in the spring of 2000. She has quickly The Cologne Chamber Orchestra was founded in 1923 by Hermann Abendroth and gave established herself as one of Scandinavia’s foremost singers and regularly appears its first concerts in the Rhine Chamber Music Festival under the direction of Hermann with orchestras and in festivals throughout Europe, working with conductors of Abendroth and Otto Klemperer in the concert-hall of Brühl Castle. Three years later the international distinction. For the season 2001/02 she was a member of the ensemble ensemble was taken over by Erich Kraack, a pupil of Abendroth, and moved to at the Staatsoper in Hanover. Marianne Beate Kielland is especially sought after as a Leverkusen. In 1964 he handed over the direction of the Cologne Chamber Orchestra to J. S. BACH concert singer, with a wide repertoire ranging from the baroque to Berlioz, Bruckner, Helmut Müller-Brühl, who, through the study of philosophy and Catholic theology, as and Mahler. Her career has brought not only performances in Europe, but further well as art and musicology, had acquired a comprehensive theoretical foundation for the engagements as far afield as Japan. Her recordings include Bach’s St Mark and St interpretation of Baroque and Classical music, complemented through the early study of Matthew Passions, Mass in B minor, and the complete solo cantatas for alto, as well conducting and of the violin under his mentor Wolfgang Schneiderhahn. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects -
Pdf 139.3 Kb
Dresdner Philharmonie The Dresden Philharmonic can look back on 150 years of history as the orchestra of Saxony’s capital Dresden. When the so-called “Gewerbehaussaal” opened on 29 November 1870, the citizens of the city were given the opportunity to organise major orchestra concerts. Philharmonic concerts were held regularly starting in 1885; the orchestra adopted its present name in 1923. In its first decades, composers such as Brahms, Tchaikovsky, Dvořák and Strauss conducted the Dresdner Philharmonie with their own works. The first desks were presided over by outstanding concertmasters such as Stefan Frenkel, Simon Goldberg and the cellists Stefan Auber and Enrico Mainardi. From 1934, Carl Schuricht and Paul van Kempen led the orchestra; van Kempen in particular guided the Dresden Philharmonic to top achievements. All of Bruckner’s symphonies were first performed in their original versions, which earned the orchestra the reputation of a “Bruckner orchestra” and brought renowned guest conductors such as Hermann Abendroth, Eduard van Beinum, Fritz Busch, Eugen Jochum, Joseph Keilbert, Erich Kleiber, Hans Knappertsbusch and Franz Konwitschny to the rostrum. After 1945 and into the 1990s, Heinz Bongartz, Horst Förster, Kurt Masur (from 1994 also honorary conductor), Günther Herbig, Herbert Kegel, Jörg-Peter Weigle and Michel Plasson were the principal conductors. In recent years, conductors such as Marek Janowski, Rafael Frühbeck de Burgos and Michael Sanderling have shaped the orchestra. As of season 2019/2020, Marek Janowski has returned to the Dresden Philharmonic as principal conductor and artistic director. Its home is the highly modern concert hall inaugurated in April 2017 in the Kulturpalast building in the heart of the historic old town. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
Boston Symphony Orchestra Concert Programs, Season 72
BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY SEVENTY-SECOND SEASON I 95 2 " I 953 Tuesday Evening Series BAYARD TUCKERMAN, J«. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON. Ja. HERBERT SEARS TUCKERMAN OBRION, RUSSELL & CO Insurance of Every Description "A Good Reputation Does Not Just Happen — It Must Be Earned.*' 108 Water Street Los Angeles, California Boston, Mass. 3275 Wilshire Blvd. Telephone Lafayette 3-S700 Dunkirk 8-3S16 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SEVENTY^SECOND SEASON, 1952-1953 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burr The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [«] 4* 4» * * * * * 4 UNTROUBLED 4* * + * * * * * PASSAGE * * The Living Trust 4* * * * It is an odd contradiction that financial success sometimes brings * less, rather than more, personal freedom to enjoy it. Instead of un- 4* 4* troubled passage, there is often the difficult job of steering invest- 4* * ments through more and more complex channels. * 4» For this reason, a steadily increasing number of substantial men * and women are turning to the Living Trust. * 4* 4* The man or woman who has acquired capital which he or she wishes to invest for income, yet lacks either the necessary time or * 4* knowledge . -
2006 Ralph Lowell Award—Call for Nominations
2016 Ralph Lowell Award—Call for Nominations The Corporation for Public Broadcasting (CPB) recognizes outstanding contributions to public television by presenting the Ralph Lowell medal, public television’s most prestigious award. CPB invites you to nominate individuals for the 2016 Ralph Lowell Award. The Ralph Lowell Award is named after the Boston philanthropist, banker and pioneer public broadcaster and was created by the Lowell family in 1970 to commemorate Lowell’s 80th birthday. Presented by CPB on behalf of the Lowell family, the Ralph Lowell Award honors an individual who has made an outstanding contribution to public television. NOMINATION PROCESS: Anyone inside or outside public television may submit nominations. No forms are required to nominate an individual for the Lowell Award. Please provide a letter of nomination, with specific references to the nominee’s achievements in or contributions to public television, and include a biographical sketch of the nominee. Nominations may be sent electronically to [email protected] and must be received by 5 pm EDT on April 25, 2016. SELECTION PROCESS: CPB will convene a selection committee comprising a member of the CPB Board of Directors and at least two public television system representatives. The selection committee will use the following criteria in making its decision: The medal is given to an individual for outstanding achievements in or contributions to public television. Contributions or achievements may have occurred over many years or during a short period. Contributions or achievements may include any facet of public television, including leadership, production, innovation, education or professional development. The nominee need not be a professional in public television but should be active in fostering the medium. -
Leadership in the Digital Century
1 / Journalism The Campaign for GBH / 2015–2020 FINAL REPORT Digital Century Digital Leadership in the Leadership 1 / GBH Greetings More Than We Could Have Dreamed: Thank You LETTER FROM THE CO-CHAIRS & CAMPAIGN STEERING COMMITTEE Dear Friends, CAMPAIGN STEERING When we launched The Campaign for GBH have dreamed possible. It has been COMMITTEE five years ago, we felt a sense of urgency. a humbling honor to work on such an Media consumption and platforms were— ambitious fundraising effort and to witness Kirstan Barnett and still are—in a state of continual the depth of commitment donors have Henry Becton transformation. to GBH’s future. Marcia Blenko Richard M. Burnes, Jr. We also felt a deep sense of certainty A strong GBH not only enriches Boston and Lynn Bay Dayton that GBH, which has been a leader New England, it can guide the nation toward Ann Fudge in media innovation for more than six more civil public discourse, a more profound Ann Gund decades, could—with a solidified financial respect for truth, a greater appreciation Laura Johnson foundation—lead public media into of our shared culture and history and more Susan Kaplan the digital age. equitable access to learning. William Lowell Susan Luo Through the support of hundreds of You will find in this report an overview Oscar Malcolm generous and thoughtful donors, the of the deep impact of the five-year Diana Markowitz expertise of our talented producers and Campaign. On behalf of GBH and the Rodrigo Martinez Christopher McKown the strength and leadership of our Board, Campaign Steering Committee, we extend Liz Morningstar we have achieved more than we could our sincere thanks for your support. -
PBS Newshour Coverage Of
Prehistoric Road Trip | 13 American Masters/Terrence McNally | 18 WCRB’s Updated Mobile App | 27 wgbh.org ON AIR, ONLINE, ON THE GO MEMBER GUIDE | JUNE 2020 Summer is a critical time to keep kids engaged in learning, and we’re here to help. This past spring, students everywhere used our distance learning tools to keep growing and exploring the world around them. In partnership with PBS, our special blocks of commercial-free public media programs provided critical at-home learning for 6th through 12th graders across the country. As always, PBS LearningMedia gave teachers and students alike access to thousands of free, standards-based lesson plans and activities so they didn’t have to skip a beat. Your support made this momentum possible, and we won’t stop here. Our efforts will continue through the summer, giving kids the resources they need to keep moving forward. Whether it’s learning about the summer solstice or Freedom Summer, we’re here for kids and it’s all because of you. wgbh.org/distancelearning PBSLearningMedia.org Where to Tune in From the President TV Voices of Diversity f we’ve learned anything over the past few months, I it’s how our own worlds can be compressed into a Digital broadcast FiOS RCN Cox Charter TV YouTube Comcast few small rooms. Public media programs have always brought the world to WGBH 2 2.3 2 2 2 2 2 * us, and this month we’re pleased to continue that mission, sharing cultures WGBH 2 HD 2.1 802 502 602 1002 782 n/a from across the globe and close to home. -
Shades of Goethe--And of Hitler: a History of [The Town Of] Weimar
Michael H. Kater. Weimar: From Enlightenment to the Present. New Haven: Yale University Press, 2014. Illustrations. 480 pp. $45.00, cloth, ISBN 978-0-300-17056-6. Reviewed by Ulf Zimmermann Published on H-German (January, 2016) Commissioned by Nathan N. Orgill Michael H. Kater covers the terrain an‐ of the local Gymnasium, the only upper school in nounced in his subtitle in ten chapters, slicing the duchy and one that taught classical languages, Weimar’s history into periods unique to the city. and ends with the death of Johann Wolfgang von Thus he has, for example, a chapter specifically Goethe. Heintze’s appointment was immediately on the Weimar Bauhaus experiment, from 1919 to approved by Anna Amalia, who, as a niece of 1925, followed by a general one on the Weimar Frederick the Great and princess of Braun‐ Republic, from 1918 to 1933. In addition to a chap‐ schweig-Wolfenbüttel, had a taste for culture. She ter on the Third Reich, from 1933 to 1945, he in‐ was, for example, familiar with the work of cludes a separate one on the nearby concentra‐ Christoph Martin Wieland, then a professor of tion camp of Buchenwald, from 1937 to 1945. philosophy at Erfurt University who had just pub‐ In a brief prologue, Kater explains his motiva‐ lished The Golden Mirror (1772), a work whose tions for writing this book. As a child at his grand‐ pedagogical and political ideas on how a prospec‐ parents’ home in Germany he had heard much tive ruler should be brought up and rule seemed about a direct ancestor who was “a member of perfect for the more exclusive education of the fu‐ the circle of savants surrounding Dowager ture duke.