DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Summer, 1976

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Summer, 1976 I M' n, v ~# ^ »>'* •«*^ ^T* > ^'^.._, KlLBu**%m*lJcML^teff-'il Btf^^flB IS^.'^I For 104 years we've been serious about people who make music. In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings music history and literature Walter Eisenberg, violin Charles Kavaloski, French horn Karol Berger ' Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz Bernard Kadinoff, viola David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin ' Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman 'Leslie Martin, string bass ' Charles Yancich, French horn Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello * Thomas Ganger Malloy Miller Leslie Parnas, cello ' Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence " Alfred Schneider, violin music education * Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola Lenore Engdahl Mary Ann Norton 'Max Winder, violin Bela Boszormenyi-Nagy musical organizations 'Lawrence Wolfe, string bass Philip Oliver, staff accompanist Edith Stearns Adelaide Bishop, opera woodwinds Fredrik Wanger Warren Wilson, opera Edward Avedisian, clarinet Joseph Huszti, chorus ' Pasquale Cardillo, clarinet organ 'Joseph Silverstein, orchestra 'Doriot Anthony Dwyer, flute George Faxon ' Jerome Rosen, repertoire Roderick Ferland, saxophone Jack Fisher orchestra 'Ralph Gomberg, oboe Max Miller 'Roger Voisin, wind ensemble 'John Holmes, oboe harpsichord boston symphony orchestra ' Phillip Kaplan, flute Joseph Payne woodwind quintet in residence 'James Pappoutsakis, flute 'Doriot Anthony Dwyer, flute * Richard Plaster, bassoon voice ' Ralph Gomberg, oboe 'Matthew Ruggiero, bassoon Eunice Alberts, contralto * Harold Wright, clarinet * Fehx Viscuglia, clarinet Germaine Arosa, diction * Sherman Walt, bassoon * Sherman Walt, bassoon Mary Davenport, contralto 'Charles Kavaloski, French horn 'Harold Wright, clarinet Terry Decima, vocal coaching empire brass quintet brass Ellalou Dimmock, soprano in residence 'Ronald Barron, trombone Maeda Freeman, mezzo Charles A. Lewis, Jr., trumpet Peter Chapman, trumpet Robert Gartside, tenor ' Rolf Smedvig, trumpet John Coffey, tromboneltuba Mac Morgan, baritone 'David Ohanian, French horn * Armando Ghitalla, trumpet Chloe Owen, soprano * Norman Bolter, trombone Paul Gay, trombone Allen Rogers, vocal coaching Samuel Pilafian, tuba ' Gordon Hallberg, Barbara Stevenson, soprano tromboneltuba Wilma Thompson, mezzo * Member of the Boston Symphony Orchestra Boston University School of Music Wilbur D. Fullbright, Director • Robert Lee Tipps, Assistant to Director offering degrees at the bachelor, master, and doctoral levels. School for the Arts: Music, Theatre, Visual Arts • Norman Dello Joio, Dean 855 Commonwealth Avenue, Boston, Massachusetts 02215 Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Fifth Season 1975-76 The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President Philip K. Allen Sidney Stoneman John L. Thorndike Vice-President Vice-President Treasurer Vernon R. Alden Mrs. Harris Fahnestock Albert L. Nickerson Allen G. Barry Harold D. Hodgkinson John T. Noonan Mrs. John M. Bradley David O. Ives Mrs. James H. Perkins Richard P. Chapman E. Morton Jennings, Jr. Irving W. Rabb Abram T. Collier Edward M. Kennedy Paul C. Reardon Nelson J. Darling, Jr. Edward G. Murray Mrs. George Lee Sargent Archie C. Epps III John Hoyt Stookey Trustee Emeritus Henry A. Laughlin Administration of the Boston Symphony Orchestra Thomas D. Perry, Jr. Thomas W. Morris Executive Director Manager Gideon Toeplitz Daniel R. Gustin Dinah Daniels Assistant Manager Assistant Manager Director of Promotion Paul Bronstein Forrester C. Smith Richard C. White Business Manager Development Director Assistant to the Manager Donald W. Mackenzie James F. Kiley Operations Manager, Symphony Hall Operations Manager, Tanglewood John Kronenberger Program Editor Programs copyright © 1976 Boston Symphony Orchestra Inc. Contents: page page Tanglewood 6 Programs 13-27 Seiji Ozawa 9 Berkshire Music Center 29 Map 10 In and Around The Berkshires 33 Information 11 Friends 35,37 The Board of Overseers of the Boston Symphony Orchestra Inc. David O. Ives, Chairman Hazen H. Ayer, Vice Chairman Mrs. Arthur I. Strang, Secretary Charles F. Adams Paul Fromm Richard P. Morse Mrs. Frank G. Allen Carlton P. Fuller David G. Mugar Dr. Leo L. Beranek Mrs. Thomas J. Galligan, Jr. Dr. Barbara W. Newell David W. Bernstein Mrs. Thomas Gardiner Stephen Paine David Bird Mrs. John L. Grandin Mrs. Priscilla Potter Gerhard Bleicken Bruce Harriman Harry Remis Frederick Brandi Mrs. Richard D. Hill Mrs. Peter van S. Rice Curtis Buttenheim Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry Mrs. Henry B. Cabot Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld Mrs. Mary Louise Cabot Mrs. Jim Lee Hunt Mrs. A. Lloyd Russell Mrs. Norman L. Cahners Leonard Kaplan William A. Selke Levin H. Campbell, III Leon Kirchner Samuel L. Slosberg Dr. George H.A. Clowes, Jr. Mrs. James F. Lawrence Richard A. Smith Arthur P. Contas Roderick MacDougall Mrs. Edward S. Stimpson The Hon. Silvio O. Conte John S. McLennan Mrs. Edward A. Taft Robert Cushman Colman M. Mockler, Jr. Mrs. Richard H. Thompson Michael J. Daly Mrs. Charles L. Moore Stokley P. Towles Mrs. C. Russell Eddy Mrs. Elting E. Morison D. Thomas Trigg Weston P. Figgins Frank E. Morris Julius Vogel Boston University Tanglewood Institute Norman Dello Joio, Executive Director Gary L Zeller, Administrator Robert Lee Tipps, Music Coordinator Eleventh Season Summer Instrumental and Vocal Programs for the out- standing high school musician. Private study with master artists including members of the faculty of the Boston University School of Music and the Boston Symphony Orchestra. Chamber music, orchestral and vocal perform- ances at Tanglewood. For information: Boston University Tanglewood Institute, 855 Commonwealth Avenue, Boston, Massachusetts 02215. A program offered by the Boston University School for the Arts in association with the Berkshire Music Center. Todays Great Piano- For many years Baldwin pianos have been the accompanist to the Boston Symphony Orchestra, The Berkshire Festival, The Berkshire Music Center, and these 1976 Tanglewood artists: Leonard Bernstein Arthur Fiedler Gilbert Kalish Seiji Ozawa Andre Previn Gunther Schuller Earl Wild BaldWTn Tanglewood In August, 1934, a group of music- loving summer residents of the Berk- shires organized a series of three INTERNATIONAL SOCIETY outdoor concerts at Interlaken, to be FOR CONTEMPORARY MUSIC given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so World Music Days successful that the promoters incor- porated the Berkshire Symphonic 1976 Festival and repeated the experiment during the next summer. October 24-October 30 The Festival committee then invited Serge Koussevitsky and the Boston New England Conservatory of Music Symphony Orchestra to take part in the Boston, Massachusetts following year's concerts. The Orches- tra's Trustees accepted and on August A festival of 13 concerts of contemporary 13, 1936, the Boston Symphony gave music representing composers its first concert in the Berkshires (at from 27 countries Holmwood, a former Vanderbilt estate, later the Foxhollow School). The series, again consisting of three concerts, was Performing groups include: given under a large tent, and a total of Boston Symphony Orchestra, nearly 15,000 people attended. New England Conservatory Symphony Orchestra, In the winter of 1936, Mrs. Gorham University of Iowa Orchestra, Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tap- Conductors: pan family estate, with its buildings and Seiji Ozawa, GuntherSchuller, James Dixon, Richard Pittman 210 acres of lawns and meadows, as a gift to Koussevitsky and the Orchestra. Chamber music concerts featuring The offer was gratefully accepted, and Boston MusicaViva, Collage. Societe de on August 12, 1937, the Festival's Musique Contemporainedu Quebec, largest crowd thus far assembled under The Puree 1 1 String Quartet, and others. a tent for the first Tanglewood concert, a program of music by Wagner. For information: As Koussevitsky began The Ride of the ISCM Valkyries, a storm erupted, overpowering New England Conservatory the music and causing the concert to be 290 Huntington Avenue interrupted three times before the first Boston, Massachusetts 02115 half could be completed. The second half Tel. 617-262-0122 of the program had to be changed, because of water damage to some of the instruments, and when the concert ended, Miss Gertrude Robinson Smith, one of the Festival's founders, came to the stage and told the audience that the storm had demonstrated the need for a permanent structure. A hundred thousand dollars, she said, would be needed for this purpose,
Load more

Recommended publications
  • The Marriage of Figaro
    UNIVERSITY MUSICAL SOCIETY Charles A. Sink, President Lester McCoy, Conductor Gail W. Rector, Executive Director First Concert 1957-1958 Complete Series 3216 Twelfth Annual Extra Concert Series THE NBC OPERA COMPANY m THE MARRIAGE OF FIGARO MOZART SUNDAY EVENING, OCTOBER 6, 1957, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN THE CAST Count Almaviva WALTER CASSEL Countess Almaviva MARGUERITE WILLAUER Susanna, the Countess' maid JUDITH RASKIN Figaro, the Count's valet . MAC MORGAN Cherubino, the Count's page REGINA SARFATY Marcellina, an aged dame . RUTH KOBART Basilio, a music master LUIGI VELUCCI Don Curzio, a judge FRED CUSHMAN Bartolo, a doctor . EMILE RENAN Antonio, a gardener-Susanna's uncle EUGENE GREEN Barbarina, his daughter . BERTE GOAPERE Crier . RICHARD KRAUSE Country men and women, court attendants, hunters, and servants. (Cast subject to change) Conductor and Stage Director: PETER HERMAN ADLER Baldwin piano courtesy 0/ Maddy Music Company, Ann Arbor. A R S LON G A V I T A BREVIS THE MARRIAGE OF FIGARO By WOLFGANG AMADEUS MOZART Libretto by DAPONTE Based on a comedy by BEAUMARCHAIS English version: EDWARD EAGER Producer: SAMUEL CHOTZINOFF Music and Artistic Director: PETER HERMAN ADLER General Manager: CHANDLER COWLES Costumes: ALVIN COLT The action takes place in the castle and grounds of the Count and Countess Almaviva, near Seville. ACT I Count Almaviva, grown faithless to his Rosina after some years of marriage, has cast a roving eye upon her maid, Susanna, the bride-to-be of his valet, Figaro; while the Count's page, young Cherubino, has fallen in love, if you please, with the Countess herself.
    [Show full text]
  • 75Thary 1935 - 2010
    ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State.
    [Show full text]
  • View PDF Online
    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
    [Show full text]
  • Festival 30 June 7–21 2015
    CHESAPEAKE CHAMBER MUSIC FESTIVAL 30 JUNE 7–21 2015 EASTON CENTREVILLE ST. MICHAELS ROYAL OAK OXFORD VISIT US AT ONE OF OUR 10 OFFICE LOCATIONS: 115 BAY STREET, EASTON 410.763.9096 27999 OXFORD ROAD, OXFORD 410.822.1415 220 N. MORRIS STREET, OXFORD 410.226.0111 24 N. WASHINGTON STREET, EASTON 410.770.9255 31 GOLDSBOROUGH STREET, EASTON 410.822.6665 211 N. TALBOT STREET, ST. MICHAELS 410.745.0415 205 S. TALBOT STREET, ST. MICHAELS 410.745.0417 116 N. TALBOT STREET, ST. MICHAELS 410.745.0720 Imagine… WITH McHALE YOU CAN. TILGHMAN ON THE CHESAPEAKE 410.886.2300 SINGLE SOURCE McHALE LANDSCAPE DESIGN mchalelandscape.com DESIGN LANDSCAPE MASONRY CARPENTRY MAINTENANCE CONSTRUCTION 305 CRUSADER ROAD, CAMBRIDGE 410.228.0800 + BUILD MAIN OFFICE: 301.599.8300 ■ EASTON: 410.770.9449 WWW.BENSONANDMANGOLD.COM ANNAPOLIS: 410.990.0894 ■ MCLEAN: 703.760.8600 2 = This is the work of The TABLE OF CONTENTS President’s Welcome .................................................................................................................................7 Chamber Music Artistic Director Profiles .............................................................................................9 Artist Profiles .....................................................................................................................................11–21 Artist Showcase I | Trinity Cathedral: June 7..................................................................................23 Artist Showcase II | Academy Art Museum: June 9 ......................................................................25
    [Show full text]
  • A Mystical Journey Into the Jungle... and Beyond
    A mystical journey into the jungle... and beyond NOVEMBER 9, 12, 15, 17, 2019 BENEDUM CENTER 2019-20 SEASON SINCE 1893 WHEN OUR CUSTOMERS FACED THE UNEXPECTED WE WERE THERE For over 125 years Henderson Brothers has gone to heroic lengths to provide our customers with peace of mind. Because you can’t expect what tomorrow may bring. That’s why you have us. Commercial Insurance | Personal Insurance | Employee Benefits hendersonbrothers.com LETTER FROM OUR BOARD LEADERSHIP LETTER FROM OUR GENERAL DIRECTOR DEAR FRIENDS, DEAR FRIENDS, Welcome to Pittsburgh Opera’s production of Florencia I am delighted to welcome you to Florencia en en el Amazonas. We are happy to be able to join you in el Amazonas, the first Spanish-language opera in this mystical, magical journey down the Amazon. Pittsburgh Opera’s 81-year history. Like a proud parent, I can’t restrain myself from Our production of this contemporary opera by boasting about this fantastic cast. After a stunning role Mexican composer Daniel Catán illustrates the rich debut as Princess Turandot with us in 2017, our very diversity of the operatic tradition and Pittsburgh own Alexandra Loutsion returns to the Benedum today Opera’s commitment to it. For the first time, Pittsburgh in the title role of diva Florencia Grimaldi. Those of you © Daniel V. Klein Photography © Daniel V. audiences will enjoy an opera in Spanish with a libretto who were here last month for Don Giovanni will no based upon literature in the Latin American genre of doubt recognize Craig Verm (who sang the role of Don Giovanni) as deck-hand/ Magical Realism.
    [Show full text]
  • New Chamber & Solo Music
    NWCR649 New Chamber & Solo Music David Del Tredici, Robert Helps, Jan Radzynski, Tison Street 7. III - Allegro Minacciando (…Diabolique) ......... (1:25) 8. IV - Largo ............................................................ (4:37) David Del Tredici, piano Jan Radzynski 9. String Quartet (1978) ........................................... (12:00) The Aviv String Quartet: Hagai Shaham, violin; John McGross, violin; Yariv Aloni, viola; Zvi Plesser, cello 10. Canto (1981) ....................................................... (10:18) Arnon Erez, piano Five Duets (1982) 11. I – Risoluto .......................................................... (1:25) 12. II – Allegro .......................................................... (1:05) 13. III – Allegretto burlesco ...................................... (1:19) 14. IV – Remembering Sepharad .............................. (2:51) 15. V – Agitato .......................................................... (2:25) Maya Beiser, Zvi Plesser, cellos Tison Street Robert Helps 16. Trio (1963) .......................................................... (9:38) 1. Hommage à Fauré (1972) ................................... (3:56) Members of Spectrum Ensemble Berlin: Per Sporrong, violin; Brett Dean, viola; Frank Dodge, cello 2. Hommage à Rachmaninov (1972) ....................... (2:17) Robert Helps 3. Hommage à Ravel (1972) ................................... (4:30) Robert Helps, piano 17. Nocturne (1960) .................................................. (7:42) Members of Spectrum Ensemble Berlin Mi-Kyung
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 129, 2009-2010
    BOSTON SYM PHONY ORCHESTRA ,v IB 2009-2010 SEASON WEEK 24 James Levine Music Director | Bernard Haitink : Conductor Emeritus Seiji Ozawa i Music Director Laureate W&Imm&f/; MmmsmBBBm Silk twill scarves. Boston 320 Boylston Street (617) 482-8707 Hermes.com HERMES PARIS & VERMES, L/FEAS A*^ Table of Contents | Week 24 15 BSO NEWS 23 ON DISPLAY IN SYMPHONY HALL 25 BSO MUSIC DIRECTOR JAMES LEVINE 28 THE BOSTON SYMPHONY ORCHESTRA 31 THIS WEEK'S PROGRAM Notes on the Program 33 Richard Strauss 41 Mozart Violin Concerto No. 5 51 Mozart Symphony No. 35, "Haffner' 57 To Read and Hear More... Guest Artists 61 Bernard Haitink 63 Leonidas Kavakos 66 SPONSORS AND DONORS 80 FUTURE PROGRAMS 82 SYMPHONY HALL EXIT PLAN 83 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY ELIZABETH SEITZ OF THE BOSTON CONSERVATORY, program copyright ©2010 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org WHAT DO YOU PACK FOR A TRIP TO THE AFTERLIFE? fccfeucO I c < K C <$ << ict <><5Q & n?fe 1 I Iff til 1 DIG DEEPER AT •* - THE SECRETS OF TOMB 10A '». EGYPT 2000 BC MUSEUM OF FINE ARTS, BOSTON NOW THROUGH JUNE 27, 2010 ^V'&p BOSTON WWW.MFA.ORG «S£ ** o \V The exhibition is supported by Major funding is provided by Additional support >>!• . .INSTITUTE of for the exhibition is The Calderwood Charitable Foundation. ••••Iv MuseunriandLibr Bankof America provided by •*.•••; SERVIC *&• Above: Front side panel of outer coffin of Djehutynakht (detail), Egyptian, Middle Kingdom, late Dynasty n-early Dynasty 12, 2010-1961 BC.
    [Show full text]
  • John La Montaine Collection
    JOHN LA MONTAINE COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Prepared by Gail E. Lowther Summer 2016 John La Montaine (at far right) presents John F. Kennedy with score to From Sea to Shining Sea, op. 30, which had been commissioned for Kennedy’s inauguration ceremony, with Jackie Kennedy and Howard Mitchell (National Symphony Orchestra conductor) (1961). Photograph from John La Montaine Collection, Box 16, Folder 9, Sleeve 1. John La Montaine and Howard Hanson during rehearsal with the Eastman Philharmonia in preparation for the performance of La Montaine’s Concerto for Piano and Orchestra, op. 9, at Carnegie Hall (November 1962). Photograph from ESPA 27-32 (8 x 10). 2 TABLE OF CONTENTS Description of Collection . 5 Description of Series . 6 INVENTORY Series 1: Manuscripts and sketches Sub-series A: Student works and sketches . 12 Sub-series B: Mature works . 13 Sub-series C: Works with no opus number . 43 Sub-series D: Sketches . 54 Series 2: Personal papers Sub-series A: Original writings . 58 Sub-series B: Notes on composition projects . 59 Sub-series C: Pedagogical material . 65 Sub-series D: Ephemera . 65 Series 3: Correspondence Sub-series A: Correspondence to/from John La Montaine . 69 Sub-series B: Correspondence to/from Paul Sifler . 88 Sub-series C: Other correspondents . 89 Series 4: Publicity and press materials Sub-series A: Biographical information . 91 Sub-series B: Resume and works lists . 91 Sub-series C: Programs, articles, and reviews . 92 Sub-series D: Additional publicity materials . 104 3 Series 5: Library Sub-series A: Published literature .
    [Show full text]
  • Information to Users
    INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23" black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. Order Number 8717594 The future of the symphony orchestra based upon its historical development Winteregg, Steven Lee, D.M .A. The Ohio State University, 1987 UMI 300 N. Zeeb Rd. Ann Arbor, M I 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V .
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1976
    "£r -# ^ f ^ *Lik«*«* - • A ?8t aw**- - _.; ^ 1 If ittCll II 4 * I ^'3 \0 *&>--£ >-- ,*£- 1 - Jfe- . $ ^A '-*. ) £ _-' -f . ^ For 104 years we've been serious about people who make music. In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger * Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz "Bernard Kadinoff, viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola ' Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman Martin, string bass 'Charles Yancich, French horn 'Leslie Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello 'Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence ' Alfred Schneider, violin music education 'Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura
    [Show full text]
  • December 1946) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1946 Volume 64, Number 12 (December 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 12 (December 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/65 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]. /frtvw in thy dark- sheets shm-ethTtis O lit-tle town of B«tti-U-hem! H hopes and fears of all the /ears bove thy deep and dream-less alvepTh arc met in thee to -ni PHILLIPS BROOKS Jlvihor* . merly of the New Friends of Music; Louis DR. SERGE KOUSSEVITZKY’S programs Fourestier, of the Paris Opera; and An- for the current season of the Boston tonio Votto, formerly assistant to Tos- Symphony Orchestra include five new canini at La Scala in Milan. which were com- symphonies, three of COMPANY, missioned by the Koussevitzky Music THE AMERICAN OPERA operatic venture, Foundation. One of these is by Oliver Philadelphia’s newest October 24 Messiaen, contemporary French com- had an auspicious opening on RUCTION Mozart’s comic opera, poser; another is Walter Piston’s Third when it presented the Harem,” under PIANO Symphony; the third is Aaron Copland’s “The Abduction from MODERN direction of Vernon Hammond, mu- NOTE Third Symphony.
    [Show full text]
  • Our American Cousin Libretto by John Shoptaw
    ERIC SAWYER: OUR AMERICAN COUSIN LIBRETTO BY JOHN SHOPTAW A ERIC SAWYER b. 1962 DISC 1 DISC 2 OUR AMERICAN COUSIN ACT I PAGE ACT II (cont’d) PAGE [1] PRELUDE 6:36 20 [1] SCENE 4 In the Library 3:42 37 LIBRETTO BY JOHN SHOPTAW [2] SCENE 1 A Sneeze 1:58 20 [2] Two Letters 2:38 38 [3] Arts of Theater 4:16 20 [3] SCENE 5 Musical Chairs 6:29 39 [4] SCENE 2 Harry Hawk’s Substitute 1:52 21 ACT III BOSTON MODERN ORCHESTRA ProjeCT [5] Walking a Corduroy Road 4:26 21 [4] SCENE 1 In the Dairy 2:31 41 [6] SCENE 3 Mathews and Booth 1:59 22 GIL ROSE, CONDUCTOR [5] Ancient Business 5:35 41 [7] What Happens Here? 2:48 23 [6] Mary and Abraham 2:40 43 [8] SCENE 4 Chorus of Women 1:57 24 JANNA BATY mezzo-soprano [7] Sic Semper Booth 2:52 43 [9] Chorus of Amputees 1:27 24 ALAN SCHNEIDER tenor [8] SCENE 2 Assassination 7:34 44 [10] Chorus of Freedmen 1:14 24 [9] SCENE 3 The Presidential Box 9:18 47 AAroN ENGEBRETH baritone [11] Chorus of Nurses 1:23 25 [10] SCENE 4 Hawk’s Second Chance 2:47 50 DREW POLING baritone [12] Chorus of Businessmen 0:45 25 [11] Burning Letter 5:32 50 [13] SCENE 5 Drinking Song 4:02 25 DONALD WILKINSON baritone [12] SCENE 5 Blood Stains 5:10 52 [14] SCENE 6 Laura Keene 3:59 27 ANGELA HINES GooCH soprano [13] Apparition 3:44 53 [15] Emancipate your Sorrows 3:28 27 Tom O’Toole bass-baritone [14] Final Chorus 4:47 54 ACT II HILLARIE O’Toole soprano TOTAL 65:20 [16] SCENE 1 Father and Daughter 3:58 28 JANICE EDWARDS mezzo-soprano [17] I Feel a Draft 2:06 30 DANIEL KAMALIC baritone [18] Asa’s Letter 4:20 30 [19] SCENE 2 A Moneyed Man 5:21 32 THE AMHERST COLLEGE CONCERT CHOIR [20] SCENE 3 Introductions 1:44 33 Mallorie Chernin, music director [21] Possum Herding 3:02 34 [22] Lincoln 4:17 35 TOTAL 67:00 COMMENTS By Eric Sawyer MUSICAL REALITIES IVISION D In an opera containing colliding realities, I sought music that could give distinct identi- S H ties to the comic play and historical drama while at the same time connecting them.
    [Show full text]