Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990 * BOSTON SYMPHONY ORCHESTRA SEIJI OZ/WA MUSIC DIRECTOR * v r 1 *B*r s ' W^. * ^ ¥/ H * * i 'J" ** A w^£ (?1 109TH SEASON 1989-90 0^ H BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA^ Music jf U Director ?m T CHARLES TANQUERAY & C° L LONDON. ENGLAND. 6UCE Of ENGLAND • 100% GR AIN NEUTRALS' After the show, enjoy the limelight. Tanqueray. A singular experience. Imported English Gin, 47.3% Alc/Vol (94.6°), 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, N.Y. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Cleary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood Michael G. McDonough, Director of Finance and Business Affairs Evans Mirageas, Artistic Administrator Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Public Relations and Marketing Josiah Stevenson, Director of Development Robert Bell, Data Processing Manager Michelle R. Leonard, Media and Production Madelyne Codola Cuddeback, Director Manager, Boston Symphony Orchestra of Corporate Development Marc Mandel, Publications Coordinator Patricia F. Halligan, Personnel Administrator John C. Marksbury, Director of Sarah J. Harrington, Budget Manager Foundation and Government Support Margaret A. Hillyard, Director of Volunteers Julie-Anne Miner, Supervisor of Russell M. Hodsdon, Manager of Box Office Fund Accounting Craig R. Kaplan, Controller Richard Ortner, Administrator of Nancy A. Kay, Director of Sales & Tanglewood Music Center Marketing Manager Scott Schillin, Assistant Manager, John M. Keenum, Director of Pops and Youth Activities Tanglewood Music Center Development Joyce M. Serwitz, Assistant Director Patricia Krol, Coordinator of Youth Activities of Development Steven Ledbetter, Musicologist & Cheryl L. Silvia, Function Manager Program Annotator Susan E. Tomlin, Director ofAnnual Giving Programs copyright ©1990 Boston Symphony Orchestra, Inc. Cover by Jaycole Advertising, Inc./Cover photo by Steve J. Sherman Board of Overseers of the Boston Symphony Orchestra, Inc. John F. Cogan, Jr., Chairman R. Willis Leith, Jr., Vice-Chairman Mrs. Ray A. Goldberg, Vice-Chairman Mrs. R. Douglas Hall III, Secretary Mrs. David Bakalar Haskell R. Gordon E. James Morton Bruce A. Beal Steven Grossman David G. Mugar Mrs. Leo L. Beranek Joe M. Henson David Nelson Lynda Schubert Bodman Susan M. Hilles Robert P. O'Block Donald C. Bowersock, Jr. Glen H. Hiner Walter H. Palmer William M. Bulger Mrs. Marilyn Brachman Hoffman Andrall E. Pearson Mrs. Levin H. Campbell Ronald A. Homer John A. Perkins Earle M. Chiles Julian T. Houston Daphne Brooks Prout Mrs. C. Thomas Clagett, Jr. Lola Jaffe Millard H. Pryor, Jr. James F. Cleary Anna Faith Jones Robert E. Remis William H. Congleton H. Eugene Jones John Ex Rodgers William F. Connell Susan B. Kaplan Mrs. William H. Ryan Walter J. Connolly, Jr. Mrs. S. Charles Kasdon Keizo Saji Albert C. Cornelio Richard L. Kaye Roger A. Saunders Mrs. Eugene B. Doggett Robert D. King Mrs. Raymond H. Schneider Phyllis Dohanian Mrs. Gordon F. Kingsley Mark L. Selkowitz Hugh Downs Mrs. Carl Koch Mrs. Donald B. Sinclair Goetz B. Eaton Robert K. Kraft W. Davies Sohier, Jr. Harriett M. Eckstein George Krupp Ralph Z. Sorenson Edward Eskandarian Mrs. Hart D. Leavitt Ira Stepanian Katherine Fanning Stephen R. Levy Mrs. Arthur I. Strang John A. Fibiger Frederick H. Lovejoy, Jr. Mark Tishler, Jr. Peter M. Flanigan Mrs. Charles P. Lyman Luise Vosgerchian Henry L. Foster C. Charles Marran Roger D. Wellington Dean Freed Nathan R. Miller Robert A. Wells Peter H.B. Frelinghuysen Hanae Mori Mrs. Thomas H.P. Whitney Mrs. James Garivaltis Mrs. Thomas S. Morse Mrs. John J. Wilson Jordan L. Golding Richard P. Morse Brunetta R. Wolfman Mark R. Goldweitz Overseers Emeriti Mrs. Weston W. Adams Mrs. Louis I. Kane Mrs. Peter van S. Rice Mrs. Frank G. Allen Leonard Kaplan Mrs. Jerome Rosenfeld Mrs. Richard Bennink Benjamin H. Lacy Mrs. William C. Rousseau Mary Louise Cabot Mrs. James F. Lawrence Francis P. Sears, Jr. Johns Congdon Mrs. Stephen V.C. Morris Mrs. Richard H. Thompson Mrs. Thomas J. Galligan Stephen Paine, Sr. Mrs. Donald B. Wilson Mrs. Richard D. Hill David R. Pokross Symphony Hall Operations Robert L. Gleason, Facilities Manager James E. Whitaker, House Manager Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward H.R. Costa, Lighting Officers of the Boston Symphony Association of Volunteers Nina Doggett, President Thelma Goldberg, Executive Vice-President Pat Jensen, Secretary Goetz B. Eaton, Treasurer Florence T. Whitney, Nominating Chairman Vice-Presidents Mary Bates, Hall Services Denise Mujica, Membership Charles Jack, Adult Education Susan Robinson, Fundraising Projects Marilyn Larkin, Tanglewood Carol Scheifele-Holmes, Public Relations Kathy Massimiano, Tanglewood Preston Wilson, Development Services Molly Millman, Regions Pat Woolley, Youth Activities Chairmen of Regions Krista Kamborian Baldini Kathleen G. Keith Patti Newton Joan Erhard Helen Lahage Pamela S. Nugent Bettina Harrison Janet Landry Beverly J. Pieper Betty Hosage Elaine Miller Patricia L. Tambone For their continued support of the Boston Symphony Orchestra, special thanks to the Massachusetts Council on the and the National arts and Endowment humanities for the Arts also serving science museums and environmental institutions Serving Greater Boston Residential Properties Sales and Rentals '4»t> Condominiums References furnished on request Armenta Adams Aaron Copland Santiago Rodriguez American Ballet John Corigliano Abbott Ruskin Theater Phyllis Curtin Kathryn Selby Michael Barrett Rian de Waal George Shearing Leonard Bernstein Michael Feinstein Bright Sheng William Bolcom Lukas Foss Leonard Shure Jorge Bolet Philip Glass Abbey Simon Boston Pops Orchestra Karl Haas Stephen Sondheim Boston Symphony David Korevaar Herbert Stessin Chamber Players Fernando Laires Tanglewood Music Center Boston Symphony Garah Landes Virgil Thomson Orchestra Marian McPartland Nelita True Boston University John Nauman Craig Urquhart School of Music Seiji Ozawa Earl Wild Joanne Brackeen Luciano Pavarotti John Williams Bradshaw and Buono Alexander Peskanov Yehudi Wyner Dave Brubeck Andre Previn and 200 others Baldwin TODAY'S STANDARD OF MUSICAL EXCELLENCE, 1 la carte cocktails and conversation. Please note that during the Cohen Wing renovation, the Suppers take place entirely in the (Jabot- BSO Cahners Room on the first-balcony level of Symphony Hall. These events are offered on an A Tribute to Virginia Wellington Cabot individual basis, even to those who are not attending that evening's BSO concert. Speak- The Friday-afternoon concert on January 12 ers for upcoming Supper Talks include BSO has been funded by the Virginia Wellington Managing Director Kenneth Haas (January Cabot Endowment Fund. Mrs. Cabot attended 18), former BSO principal trumpet Roger Voi- the Boston Symphony Orchestra's Friday- sin (January 23), BSO violinist Bonnie Bewick afternoon concerts as a young girl with her (February 15), and BSO Assistant Conductor mother, Louise Lawton Wellington, who was a Carl St. Clair (February 22). Upcoming Sup- talented pianist. In 1934 she took over her per Concerts will feature music of Brahms mother-in-law's Friday-afternoon subscription; (January 25 and February 1) and music of she has been a faithful and dedicated Friend of Haydn and Shostakovich (February 6 and 10). the orchestra ever since. Mrs. Cabot, the wife The suppers are priced at $21 per person for of Thomas Dudley Cabot, has five children, an individual event, $58 for any three, or $112 twenty-two grandchildren, and many great- for any six. Single reservations are available grandchildren. only as space permits and are accepted until A Gala Operatic Evening with two business days prior to the event. For fur- ther information and reservations, please call Mirella Freni, Peter Dvorsky, the Volunteer Office at (617) 266-1492, ext. Seiji Ozawa, and the BSO, 177. Sunday, February 1 The Boston Opera Association is pleased to Symphony Spotlight present a gala evening of music by Puccini and This is one in a series of biographical sketches Tchaikovsky with world-renowned soprano that focus on some of the generous individuals Mirella Freni, tenor Peter
Recommended publications
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Ralph Vaughan Williams – Symphony No. 5 in D Major Born October 12, 1872, Gloucestershire, England. Died August 26, 1958, London, England. Symphony No. 5 in D Major Vaughan Williams made his first sketches for this symphony in 1936, began composition in earnest in 1938, completed the work early in 1943, and made minor revisions in 1951. The first performance was given on June 24, 1943, at a Promenade Concert in Royal Albert Hall, with the composer conducting the London Philharmonic. The score calls for two flutes and piccolo, two oboes and english horn, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings. Performance time is approximately forty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Vaughan Williams’s Fifth Symphony were given at Orchestra Hall on March 22 and 23, 1945, with Désiré Defauw conducting. Our most recent subscription concert performances were given on April 16, 17, and 18, 1987, with Leonard Slatkin conducting. Very early in the twentieth century, Ralph Vaughan Williams began to attract attention as a composer of tuneful songs. But, he eventually declared himself a symphonist, and over the next few years—the time of La mer, Pierrot lunaire, and The Rite of Spring—that tendency alone branded him as old-fashioned. His first significant large-scale work, the Fantasia on a Theme of Thomas Tallis, composed in 1910, is indebted to the music of his sixteenth-century predecessor and to the great English tradition. His entire upbringing was steeped in tradition—he was related both to the pottery Wedgwoods and Charles Darwin.
    [Show full text]
  • Download Booklet
    557590bk Alwyn US 16/5/05 12:31 pm Page 5 James Judd DDD Also available: British Piano Concertos Music Director of the New Zealand Symphony Orchestra, the British-born conductor James Judd is also the newly 8.557590 appointed Principal Guest Conductor of the Orchestre National de Lille in France. Within a period of seven years as Music Director in New Zealand, he has embarked on an unprecedented number of recordings with the orchestra for the Naxos label, including works by Copland, Bernstein, Vaughan Williams, Gershwin and many others. He has William brought the orchestra to a new level of visibility and international acclaim through appearances at the 2000 Summer Sydney Olympic Arts Festival, the 2003 Auckland International Arts Festival, the Osaka Festival of International Orchestras as well as a specially televised Millennium Concert with Kiri Te Kanawa as soloist. He will lead the ALWYN orchestra on its first ever tour of the major concert halls of Europe culminating in a début appearance at the BBC Proms in the summer of 2005. A graduate of London’s Trinity College of Music, James Judd came to international attention as the Assistant Conductor of the Cleveland Orchestra, a post he accepted at the invitation of Lorin Maazel. Piano Concertos Nos. 1 and 2 Four years later he returned to Europe after being appointed Associate Music Director of the European Community Youth Orchestra by Claudio Abbado, an ensemble with which he continues to serve as an honorary Artistic Director. Peter Donohoe, Piano Since that time he has directed the
    [Show full text]
  • Download Booklet
    572014 bk Brian 29/4/10 12:04 Page 12 Also available Havergal BRIAN Symphonies Nos. 11 and 15 RTE´ National Symphony Orchestra Tony Rowe • Adrian Leaper 8.570308 8.572014 12 572014 bk Brian 29/4/10 12:04 Page 2 Havergal Brian (1876-1972) Also available For Valour • Doctor Merryheart • Symphonies Nos. 11 and 15 Havergal Brian was never a conventional composer, but of that year’s Promenade season. The work was next the three later works on this disc, very different from played in 1911, at Crystal Palace, under Samuel one another, rank among his most unconventional Coleridge-Taylor, and Thomas Beecham conducted it in approaches to symphonic form. Their common feature, Birmingham in 1912. The score was printed by however, is the way they concentrate on developing Breitkopf & Härtel in 1914, and was actually on the short motivic cells to create a large-scale form even presses at the outbreak of World War I (perhaps when the music appears to be shaped by other dictates, unsurprisingly, copies are scarce). As published, For such as an extra-musical programme (as in Doctor Valour is dedicated to Brian’s friend Dr Graham Little – Merryheart), or free-flowing associations of mood the extant manuscript bears no dedication, yet according (Symphony No. 11). to The Staffordshire Sentinel’s 1905 report, the original The overture For Valour, by contrast, is more dedicatee was A.F. Coghill (a clergyman and benefactor obviously patterned after an orthodox idea of musical of the North Staffordshire Triennial Festival, who later form, albeit one that he treats in his own individual way.
    [Show full text]
  • The Magic Flute in San Francisco
    HOME COMMENTARY FEATURED OPERAS Glimmerglass: Butterfly Leads the Pack NEWS Every so often an opera fan is treated to a minor REPERTOIRE miracle, a revelatory performance of a familiar REVIEWS favorite that immediately sweeps all other ABOUT versions before it. CONTACT LINKS Operalia, the World Opera Competition, Showcases 2014 Winners SEARCH SITE On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young Enter Keywords opera singers of today. Thousands of applicants Search send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London. Subscribe to Opera Today Elektra at Prom 59 Receive articles and The second day of the Richard Strauss weekend news via RSS feeds or at the BBC Proms saw Richard Strauss's Elektra email subscription. performed at the Royal Albert Hall on 31 August Feature Articles 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Email Address Goerke in the title role. Subscribe Powerful Mahler Symphony no 2 Harding, BBC Proms London Triumphant! An exceptionally stimulating 15 Jun 2012 Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's The Magic Flute in San Francisco Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the A feast for the eyes, a feast for the ears, a Flute from benchmark by which all other performances are assessed.
    [Show full text]
  • Department of Music Programs 1998 - 1999 Department of Music Olivet Nazarene University
    Olivet Nazarene University Digital Commons @ Olivet School of Music: Performance Programs Music 1999 Department of Music Programs 1998 - 1999 Department of Music Olivet Nazarene University Follow this and additional works at: https://digitalcommons.olivet.edu/musi_prog Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Department of Music, "Department of Music Programs 1998 - 1999" (1999). School of Music: Performance Programs. 32. https://digitalcommons.olivet.edu/musi_prog/32 This Book is brought to you for free and open access by the Music at Digital Commons @ Olivet. It has been accepted for inclusion in School of Music: Performance Programs by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. Department of Music Music Programs 199 8 -9 9 Olivet Nazarene University Kankakee, Illinois 60901 (815) 939-5110 Olivet Nazarene University Department of Music presents Faculty Recital Mr. Norman Ruiz, classical guitarist 7:30 p.m..Tuesday, September 8, Kresge Auditorium Three Pavatias Luis Milan Fantasia Elegiaca Op. 59 Fernando Sor Three Pieces Isaac Albeniz Mallorca Rumores de la Caleta Leyenda Recuerdos De La Alhambra Francisco Tarrega Danza Espaflola Enrique Granados Prelude in e minor Heitor Villa-Lobos Variations on Sakura Yoquijiro Yocoh Classical guitarist Norman Ruiz is no stranger to Chicago audiences*a frequent performer in the Chicago Symphony’s k\\ chamber m usio$pes, performing in Schoenberg’s Serenade in 1992, \ # . and Berios’ .Se^uJNroj^in 1997. Ruiz also appeared as a soloist with the Chicago SymptWw performing the “Canario” movement of Rodrigo’s Fantasy% m Gentleman in 1991 as part o f their W 'S , Promenade Concert Seri^dn.addilion, he has performed with many f ijpt-.
    [Show full text]
  • Dame Joan Hammond (1912-1966) 2
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JOAN HILDA HOOD HAMMOND (1912-1996) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JULY 2018 Dame Joan Hilda Hood Hammond, DBE, CMG (24 May 1912 – 26 November 1996) was a New Zealand born Australian operatic soprano, singing coach and champion golfer. She toured widely, and became noted particularly for her Puccini roles, and appeared in the major opera houses of the world – the Royal Opera House Covent Garden, La Scala, the Vienna State Opera and the Bolshoi. Her fame in Britain came not just from her stage appearances but from her recordings. A prolific artist, Hammond's repertoire encompassed Verdi, Handel, Tchaikovsky, Massenet, Beethoven, as well as folk song, art song, and lieder. She returned to Australia for concert tours in 1946, 1949 and 1953, and starred in the second Elizabethan Theatre Trust opera season in 1957. She undertook world concert tours between 1946 and 1961. She became patron and a life member of the Victorian Opera Company (since 1976, the Victorian State Opera – VSO), and was the VSO's artistic director from 1971 until 1976 and remained on the board until 1985. Working with the then General Manager, Peter Burch, she invited the young conductor Richard Divall to become the company's Musical Director in 1972. She joined the Victorian Council of the Arts, was a member of the Australia Council for the Arts opera advisory panel, and was an Honorary Life Member of Opera Australia. She was important to the success of both the VSO and Opera Australia. Hammond embarked on a second career as a voice teacher after her performance career ended.
    [Show full text]
  • The Brief History of Suntory Hall (1986 - 2010)
    The brief history of Suntory Hall (1986 - 2010) Performances Others 1986 Oct Suntory Hall opened (Oct.12) Total 79 performances including below were held as Suntory Hall Opening Series between Oct. 1986 and March 1987. ・ Berliner Philharmoniker conducted by Seiji Ozawa ・ Isaac Stern and his friends ・ Philharmonia Orchestra conducted by Giuseppe Sinopoli "Madame Butterfly" ・ Wiener Philharmoniker conducted by Claudio Abbado ・ International Program for Music Composition ・ All Mozart Piano Concertos by Mitsuko Uchida 1987 May NHK Symphony Orchestra Series started as one of Suntory Hall subscription concerts. Suntory Hall Organ Lecture Concert Series started. Sep Suntory Hall Members Club started. Oct Members Club "MUSE" magazine was first published. 1988 Jan New Year Concert started. May Berliner Philharmoniker conducted by Herbert von Karajan Herbert von Karajan commented that "Suntory Hall is like the Music Jewel Box." Oct Hiroshi Wakasugi / Tokyo Metropolitan Symphony Orchestra started Gustav Mahler Series (until May 1991). 1989 Jan Opera Concert Series started. The first concert was "La Traviata". Jun Japan Shinsei Symphony Orchestra (current Tokyo Philharmonic Orchestra) Subscription Concert started. Jul Suntory Hall New Artist Series started. (75 concerts were held until Dec. 2002) Sep Japan Philharmonic Orchestra Subscription Concert started. Nov Tokyo Metropolitan Symphony Orchestra Subscription Concert started. 1990 May Suntory Hall "Children's Day Concert" started. (until 2008) Jul London Symphony Orchestra conducted by Leonard Bernstein. (Bernstein's last concert in Japan) Oct Yomiuri Nippon Symphony Orchestra Subscription Concert started. "Suntory Award"was presented to the 12th International Chopin Piano Competition. 1991 Mar "Salzburg Mozart Music Festival" was held for three weeks co-hosted by Suntory Hall and TBS.
    [Show full text]
  • Savannah Lawrence Senior Recital Program
    The D’Angelo Department of Music at Mercyhurst University presents Senior Recital Savannah Lawrence, viola Dr. Elizabeth Etter, piano LIVESTREAM from Walker Recital Hall Saturday, April 24, 2021, 4:00 pm Senior Recital Program Savannah Lawrence, viola Dr. Elizabeth Etter, piano Viola Concerto William Walton I. Andante Comodo (1902-1983) II. Vivo, con moto preciso III. Allegro Moderato Intermission 8 Pieces from Romeo and Juliet Sergey Prokofiev I. Introduction (1891-1953) II. The Street Awakens III. Julia the Young Girl IV. Arrival of the Guests V. Dance of the Knights William Turner Walton is an English composer from Lancashire. He was born into a musical family, and showed early talent as a singer. Walton attended Christ Church Cathedral College. However, he never graduated, as he put aside his electives and focused on his more music based subjects. After meeting a writer and art critic by the name of Sacheverell Sitwell, he became a tenant in the Sitwell’s attic in London. Through his connections at the Sitwell’s attic, he met influential composers such as Stravinksy. He also was given opportunities to collaborate with some of the Sitwells. It was a collaboration with Edith Sitwell that produced his first success with Façade which is an ensemble made up of 6 players with spoken word accompaniment through a megaphone. It was only successful because of its controversy with the press. They condemned it and called it “relentless cacophony.” Walton had better rapport with the Viola Concerto. This concerto was written for the viola virtuoso Lionel Tertis after Sir Thomas Beecham proposed to Walton to do so.
    [Show full text]
  • London Metropolitan Archives Royal Choral
    LONDON METROPOLITAN ARCHIVES Page 1 ROYAL CHORAL SOCIETY LMA/4058 Reference Description Dates ADMINISTRATION GOVERNING COMMITTEE LMA/4058/A/01/001 Committee of Management at the Royal Albert 1872-1895 Hall 1 file LMA/4058/A/01/002 Earl of Shaftesbury minutes (with gaps) 1930-1946 1 file LMA/4058/A/01/003 Earl of Shaftesbury Correspondence 1943-1947 1 file LMA/4058/A/01/004 Lord Dartmouth's correspondence 1976-1990 Not available for general access 1 file LMA/4058/A/01/005 Minutes 1943-1967 1943-1967 1 volume LMA/4058/A/01/006 Minutes 1968-1978 1 file LMA/4058/A/01/007 Minutes 1979-1988 Not available for general access LMA/4058/A/01/008 Minutes and related correspondence 1989-1989 Not available for general access 1 file LMA/4058/A/01/009 Governing Committee Correspondence 1989-1989 Not available for general access 1 file LMA/4058/A/01/010 Various Committee minutes and related 1950-1992 correspondence 2 files EXECUTIVE COMMITTEE LMA/4058/A/02/001 Minutes 1974-1989 Not available for general access 1 file LMA/4058/A/02/002 Correspondence and other papers 1978-1990 Not available for general access 1 file MUSIC COMMITTEE LONDON METROPOLITAN ARCHIVES Page 2 ROYAL CHORAL SOCIETY LMA/4058 Reference Description Dates LMA/4058/A/03/001 Minutes 1969-1989 1 file LMA/4058/A/03/002 General correspondence and other papers 1973-1989 1 file RCS PROMOTIONS LIMITED LMA/4058/A/04/001 Company Register and minutes 1979-1980 1 volume LMA/4058/A/04/002 Memorandum and Articles of Association, and 1979-1981 Certificate of Incorporation 1979; Change of Name 1981 1 file LMA/4058/A/04/003 Royal Choral Society Limited 1987-1989 1 volume LMA/4058/A/04/004 Directors Reports and Accounts; Draft Deed of 1980-1988 Covenant 1 file ADVISORY COMMITTEE LMA/4058/A/05/001 Minutes and miscellaneous letters 1990 1 file SUPERINTENDENTS LMA/4058/A/06/001 Minutes and miscellaneous letters 1970-1992 1 file RCS DIRECTORS LMA/4058/A/07/001 Minutes and relevant papers.
    [Show full text]
  • Bach's Unsung Champion
    Understanding Bach, 12, 126–132 © Bach Network UK 2017 Young Scholars’ Forum Bach’s Unsung Champion: Sir Henry J. Wood HANNAH FRENCH ‘What time I had for myself I gave to the study of Bach—dear John Sebastian Bach’.1 Bach at the Proms Described as ‘one of the most remarkable musicians Britain has produced’,2 Sir Henry J. Wood has been credited with creating a ‘new epoch in English musical life’ at the turn of the twentieth century.3 As the ‘maker of the Proms’,4 he is chiefly associated with the annual concert series that, from 1895, changed the social and cultural parameters of concert-going in Britain.5 Such achievements have been well-documented, but Wood’s contribution to the English Bach awakening, particularly through the Proms, has warranted a full assessment.6 More specifically, his introduction and popularisation of the Brandenburg Concertos and Orchestral Suites have received little attention in recent scholarship, with research into the English Bach awakening focusing primarily on Full references to standard Bach literature, and abbreviations used in Understanding Bach, 12 (2017) can be found at bachnetwork.co.uk/ub12/ub12-abbr.pdf. 1 Sir Henry Wood in Jessie Wood, The Last Years of Henry J. Wood (London: Victor Gollancz, 1954), 17. 2 Arthur Jacobs, ‘Wood, Sir Henry J.’, Grove Music Online (Oxford University Press) www.oxford musiconline.com/subscriber/article/grove/music/30538 (accessed on 16 December 2013). 3 Rosa Newmarch, Henry J. Wood (London: London Lane, 1904), 72. 4 Arthur Jacobs, Henry J. Wood: Maker of the Proms (London: Methuen, 1994).
    [Show full text]
  • On the Practice of Repeating Concert Items in Concerts of Modern Or Contemporary Music: Historical Precedents and Recent Contexts
    . Volume 14, Issue 2 November 2017 On the practice of repeating concert items in concerts of modern or contemporary music: Historical precedents and recent contexts Julian Anderson, Guildhall School of Music and Drama, London, UK Abstract: This article attempts to draw together a wide range of performing evidence between 1824 and 2005 concerning the repetition of new or unfamiliar music in concert performance. It makes no pretence at being exhaustive, but is a selective history of the phenomenon. Two types of repetition are highlighted: the immediate repetition of a concert item; and the repetition of a concert item on the same concert with other music placed between the two performances. Repetition in successive concerts, and repetition of an item across successive concert seasons, are also examined. The effects of all these practices on concert audiences are documented from available evidence as is, more briefly, the effect of mechanical repetition through the use of audio technology on the audience reception of new music. Certain patterns of audience reaction under all these circumstances are observed. In particular, a strong if not exclusive tendency towards enhanced audience comprehension of new music becomes consistently apparent when a work is repeated, even at the distance of some months. Composers are shown to be both preoccupied with and sensitive to the enhanced reception of their work made possible through repeated performance. Keywords: Audiences; complexity; concerts; density; dissonance; enthusiasm; hostility; perception; reception; repetition Like many composers, concern with audience reception of my music and of modern and contemporary music generally is a persistent if elusive factor of daily working practice.
    [Show full text]
  • Music for Ballet and Dance Programme 2017
    NOVEMBER 19TH 2017 MUSIC FOR BALLET AND DANCE PROGRAMME Rosamunde overture (1823) Franz Schubert(1797-1828) The first publication that linked the overture of Die Zauberharfe (The Magic Harp) with the Rosemunde incidental music was in the 1855 publication of the score and parts of that overture, indicating it as overture to the drama Rosemunde. There is no proof it was ever Schubert’s intention to associate that overture to the rest of the Rosemunde incidental music to the play and ballet. The PCO follows this traditional association! Prelude and Mazurka, Intro and Waltz Leo Delibes (1836-1891) from the ballet “Coppelia” (1870) Premiered in 1870 at the Imperial Opera, is based on ETA Hoffman’s two short stories, The Doll and The Sandman and here arranged by Ian Cobb and Henri Mouton Petite Suite (1886-89) Claude Debussy (1862-1918) 1 En bateau, 2 Cortege, 3 Minuet, 4 Ballet The suite for piano four-hands was composed between 1886 and 89 and first performed by Debussy and composer/publisher Jacques Durand in 1889, and here arranged by Henri Mouton Swan Lake - selection Op.20 (1876) Peter Tchaikovsky (1840-1893) 1 Scene, 3 Dance of the Swans, 4 Scene, 5 Hungarian Dance Composed in1875-76 and fashoined from Russian folk tales and tells the story of Odette, a princess turned into a swan by a sorcerer’s curse. These movements are taken from a suite arranged by Aubrey Winter. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Romeo and Juliet Op.64 Sergei Prokofiev(1891-1953) March of the Knights First performed in 1938 in Brno, the ballet is based on Shakespeare’s play, Romeo and Juliet.
    [Show full text]