DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 80, 1960-1961, Trip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 80, 1960-1961, Trip ^ ''^ U7 '^V!- \ /JL X ON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON THE BROOKLYN li^/^. ACADEMY OF MUSIC X y\ V ;--<^*>-~ r --^-t^TT:^ H ^^ EIGHTIETH SEASON 1960-1961 1960-1961 THE WOMEN'S COMMITTEE FOR The Boston Symphony Orchestra Concerts IN BROOKLYN Mrs. Albert C. Magee, Chairman Mrs. Andrew L. Gomory Mrs. Edwin P. Maynard, Jr. *Mrs. H. Haughton Bell Vice-Chairman Vice-Chairman Vice-Chairman Mrs. John F. Thompson, Jr. Mrs. Abbott Lippman Mrs. William T. Daily Treasurer Secretary Membership Chairman Mrs. Irving G. Idler Mrs. Robert F. Warren Box Chairman Subscription Chairman Mrs. Alexander Aldrich Mrs. Lewis W. Francis Mrs. Alfred L. Megill Mrs. Elias J. Audi Mrs. Laurance E. Frost Miss Emma Jessie Ogg Mrs. C. Rankin Barnes Mrs. Edwin L. Garvin Mrs. Harold L. Ostergren Mrs. Bernard S. Barr Mrs. Silas M. R. Giddings Mrs. William M. Parke Mrs. John R. Bartels Mrs. R. Whitney Gosnell Mrs. William B. Parker Mrs. Milton S. Berman Mrs. D. Frank Guarini Mrs. Raymond King Pendleton Mrs. George M. Billings Mrs. Warren L. Hafely Mrs. Franklyn H. Peper Mrs. John R. H. Blum Mrs. Arthur C. Hallan Mrs. Edward T. Reilly Mrs. Robert E. Blum Mrs. J. Victor Herd Mrs. Allan G. Richtmyer Mrs. Lawrence J. Bolvig Mrs. William B. Hewson Mrs. Abraham M. Sands Mrs. Hills Irving Mrs. Walter Bruchhausen James M. Mrs. J. Sands Mrs. Otis Swan Carroll Mrs. David S. Hunter Mrs. Martin Segal Mrs. Francis T. Christy Mrs. Raymond V. Ingersoll Mrs. Eliot Sharp Mrs. Benjamin J. Conroy Mrs. Henry A. Ingraham Mrs. Donald G. C. Sinclair Mrs. Donald M. Crawford Mrs. Darwin R. James, III Mrs. Ainsworth L. Smith Mrs. Russell V. Cruikshank Mrs. John W. James, III Mrs. Sidney L. Solomon Mrs. Frederick L. Daniels Mrs. Walter M. Jeffords, Jr. Mrs. Harry H. Spencer Miss Ruth G. Davis Mrs. Miles M. Kastendieck Mrs. Monroe D. Stein Mrs. Berton J. Delmhorst Mrs. James Vincent Keogh Mrs. Elmer A. Talcott *Mrs. Carroll J. Dickson Mrs. William F. Kerby Mrs. Jeanne Toomey Terranova Mrs. Anthony Di Giovanna Mrs. John Bailey King Mrs. Hollis K. Thayer Mrs. James B. Donovan Mrs. Everett J. Livesey Mrs. Gilbert H. Thirkield Mrs. Joseph J. Dreyer Mrs. J. Frederick Lohman, Jr. Mrs. Theodore N. Trynin Mrs. Remick C. Eckardt Mrs. John J. Madden Mrs. Franklin B. Tuttle Mrs. Alfred H. Everson Mrs. Eugene R. Marzullo *Mrs. Adrian Van Sinderen Mrs. James F. Fairman Mrs. Carleton D. Mason Mrs. Thomas K. Ware Mrs. John W. Faison Mrs. Richard S. Maynard Dr. Virginia T. Weeks Mrs. Frederic Feichtinger Miss Helen M. McWilliams Mrs. Arnold Weiss Mrs. Merrill N. Foote Miss Elizabeth T. Wright * Former Chairmen SEASON BOX SUBSCRIBERS Box 2 Brooklyn Friends School Box 6 Packer Collegiate Institute Box 3 The Berkeley Institute Box 7 The Guild of the Box 4 Mrs. Darwin R. James, III Long Island College Hospital Box 5 Miss Emma Jessie Ogg, Box 8 Kiwanis Club of Brooklyn, New York, Inc. Mrs. William B. Parker Box lo Misses Margaret and Irene Wester EIGHTIETH SEASON, 1960-1961 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Sidney R. Rabb C. D. Jackson Charles H. Stockton E. Morton Jennings, Jr. John L. Thorndike Henry A. Laughlin Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan As"stant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [S] The Boston Symphony conies to NewYork every Sunday after- noon at 3:05 overWQXR...where good music comes to you every day, early morning to late at night. Treat yourself to wonderful listening. WQXR, 1560 AM, 96.3 FM, radio station of The New York Times. t4l EIGHTIETH SEASON NINETEEN HUNDRED SIXTY -SIXTY-ONE First Program FRIDAY EVENING, December 2, at 8:30 o'clock Bach Suite No. 4, in D major Overture Bourr^es I and II Gavotte Minuet Rejouissance Mozart Piano Concerto No. 20, in D minor, K. 466 I. Allegro II. Romance III. Rondo: Allegro assai INTERMISSION Piston . Three New England Sketches I. Seaside II. Summer Evening III. Mountains Ravel Concerto for the Left Hand (In one movement) SOLOIST MONIQUE HAAS Mme. Haas uses the Steinway Piano BALDWIN PIANO RCA VICTOR RECORDS [5] yHuMcA/ HIS DEDICATION AND INTERPRETIVE POWERS ARE MOVINGLY REVEALED IN FINEST LIVING STEREO ON RCAVictor records exclusively other recent albums by Charles Munch and the Boston Symphony in Living Stereo and regular LP.— Saint. Saens: Symphony No. 3; Beethoven : Symphony No. 3 ("Eroica"). Monophonic only— Ravel: Daphnis and Chloe. ®RCA\ICTOR [6] SUITE NO. 4 IN D MAJOR By JoHANN Sebastian Bach Born in Eisenach, March 21, 1685; died in Leipzig, July 28, 1750 This Suite is scored for 3 oboes, bassoon, 3 trumpets, timpani, and strings. There is in each of the suites a figured bass for the presiding harpsichordist. tjach's four orchestral suites are usually attributed to the period ^-^ (1717-23) in which he was Kapellmeister to the young Prince Leopold of Anhalt-Cothen. Albert Schweitzer conjectures that they may belong to the subsequent Leipzig years, for Bach included them in the performances of the Telemann Musical Society, which he con- ducted from the years 1729 to 1736. But the larger part of his instru- mental music belongs to the years at Cothen where the Prince not only patronized but practised this department of the art — it is said that he could acquit himself more than acceptably upon the violin, the viola da gamba, and the clavier. It was for the pleasure of his Prince that Bach composed most of his chamber music, half of the Well-tempered Clavichord, the inventions. Composing the six concertos for the Margraf of Brandenburg at this time, he very likely made copies of his manuscripts and performed them at Cothen. The suites, partitas and "overtures," so titled, by Bach were no more than variants upon the suite form. When Bach labeled each of his orchestral suites as an "ouverture," there is no doubt that the French ouverture of Lully was in his mind. This composer, whom Bach closely regarded, had developed the operatic overture into a larger form with a slow introduction followed by a lively allegro of fugal character and a reprise. To this "overture" were sometimes added, even at operatic performances, a stately dance or two, such as were a customary and integral part of the operas of the period. These overtures, with several dance movements, were often performed at concerts, retaining the title of the more extended and impressive "opening" movement. Georg Muffat introduced the custom into Germany, and Bach followed him. Bach held to the formal outline of the French ouverture, but extended and elaborated it to his own purposes. In the dance melodies of these suites, Albert Schweitzer has said "a fragment of a vanished world of grace and eloquence has been preserved for us. They are the ideal musical picture of the rococo period. Their charm resides in the perfection of their blending of strength and grace." [copyrighted] [71 PIANO CONCERTO NO. 20, in D minor, K. 466 By Wolfgang Amadeus Mozart Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791 Written in 1785, this Concerto was first performed in Vienna by its composer on February 11 of that year. The first performance in Boston, according to available records, was at a Theodore Thomas concert, October 8, 1870. There was another performance by the Harvard Musical Association on the following January 5. Anna Mehlig was the soloist on both occasions. The last performance at the Friday and Saturday concerts of the Orchestra before this season was 45 years ago! The Concerto was played on Febru- ary 20, 1886, when Mrs. H. A. A. Beach was soloist, and on April 23, 1915, when Ossip Gabrilowitsch was soloist.* The orchestral accompaniment requires 1 flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. Mme. Haas will play the cadenzas of Beethoven in the present performance. li yTozART countcd upon the Lenten season in Vienna, when the ^^^ theatres were closed, as a favorable time to give concerts and obtain a long and profitable list o£ subscribers, and thought nothing of preparing a new score, usually a concerto, for each weekly concert. At the first (February 1 1) of the series which were given in the season of 1785 on the Mehlgrube, he brought forward this concerto in D minor. Mozart's father, who was in Vienna and of course heard the concert, wrote afterwards about it to his daughter Marianne at Salzburg. He had visited the copyist with Wolfgang on the eve of the concert and found him still at work upon the parts. Mozart therefore could not even try over the final rondo, for he had barely time to read the copyist's script for final correction. "A great number of persons of rank were assembled," wrote Leopold of the affair itself. "The concert was incomparable, the orchestra most excellent. In addition to the symphonies, a female singer from the Italian theatre sang two arias, and then came the magnificent new clavier concerto by Wolfgang." This Concerto is the eighteenth in order of the twenty-five original * This Concerto has been played on several occasions in the shorter series of this Orchestra or on tour.
Load more

Recommended publications
  • Lynn Harrell 59 Olivier Latry
    Table of Contents | Week 19 7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 completing the circle: wagner’s brave new world in the concert hall by thomas may 25 this week’s program Notes on the Program 26 The Program in Brief… 27 Wolfgang Amadè Mozart 35 Augusta Read Thomas 43 Camille Saint-Saëns 51 To Read and Hear More… Guest Artists 55 Christoph Eschenbach 57 Lynn Harrell 59 Olivier Latry 62 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information program copyright ©2013 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO cellist Alexandre Lecarme by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer William F. Achtmeyer • George D. Behrakis • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W.
    [Show full text]
  • NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum
    Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • PAUL PARAY the Israel Philharmonic Orchestra
    PAUL PARAY The Israel Philharmonic Orchestra Schumann - Symphonies 2 & 3 "Rhenish" PAUL PARAY Robert Schumann (1810-1856) The Israel Philharmonic Orchestra Symphony no.2 in C major, op.61 1. І. Sostenuto assai - Allegro ma non troppo 10:45 2. ІІ. Scherzo. Allegro vivace 6:32 Schumann 3. ІІІ. Adagio espressivo 8:26 Symphonies 2 & 3 "Rhenish" 4. ІV. Allegro molto vivace 7:54 Symphony no.3 in E flat major, op.97 "Rhenish" Recorded at the Mann Auditorium, Tel-Aviv 5. І. Lebhaft 10:34 18.11.1976 (Symphony 2) 6. ІІ. Scherzo: Sehr mäßig 5:55 29.11.1971 (Symphony 3) 7. ІІІ. Nicht Schnell 4:56 8. ІV. Feierlich - (quasi attacca:) 5:48 9. V. Lebhaft 5:57 2 From: The history of the Israel Philharmonic Orchestra Researched and Remembered by Uri Toeplitz Paul Paray joined the orchestra at the right time and immediately enjoyed tremendous success with both the Orchestra and the audience. At his first concert, he conducted Berlioz’ “Symphonie Fantastique” and “Pictures at an Exhibition” by Mussorgsky- Ravel. For the second series, he brought in the French pianist Eliane Richepin who played Ravel’s Concerto and impressed with her performances of Schumann’s 4th Symphony and the “Sorcerer’s Apprentice”, by Paul Dukas. Paray was not Jewish. In 1940, when Jewish players were forced to leave the “Concerts Colonne” in Paris, he too left. He uprooted and joined the Free French Forces (Forces Françaises Libres) only returning to Paris after its liberation in 1944. Paray’s wife came from a Jewish family in the Alsace region.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Recording Master List.Xls
    UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre
    [Show full text]
  • Orchestra" Hall (Paradise Theatre) H&BS No
    ■Orchestra" Hall (Paradise Theatre) H&BS No. - MICH-271 3Tli.;'Woodward Avenue . Detroit WaynS.'-County; ' •Michigan .■/■•'"•■ O'^i PHOTOGRAPHS WRITTEN HISTORICAL AMD DESCRIPTIVE DATA Historic American Buildings Survey Office of Archeology and Historic Preservation Department of the Interior Washington, D. C. 2O2U0 5, MICH ,*7-~ \y ^m HISTORIC AMERICAN BUILDINGS SURVEY HABS No. MICH-271 ORCHESTRA EALL (Now Orchestra Hall - Paradise Theatre) Location: 3711 Woodward Avenue, at the northwest corner of Parsons Street, Detroit, Wayne County, Michigan. USGS Detroit Quadrangle, Universal Transverse Mercator Coordinates: If. 330360.1*690 3^0 Present Owner: The Save Orchestra Hall Committee, Inc., 3711 Wood- ward Avenue, Detroit, Michigan. Present Use: Performing arts and concert hall, now called Orchestra Hall - Paradise Theatre. Restoration is in progress. Statement of Orchestra Hall resembles the typical theatre of its Significance: day, with a restrained and elegant adaptation of Renaissance style that preceded the exhuberant eclecticism of the next decade. It was designed with emphasis on concert requirements, but was fully equipped also for use as a motion-picture theatre. Its appearance and superb acoustics re- 1% flect the ability of C. Howard Crane, a Detroit architect who became one of the most notable national and international architects of the "Movie Palace." Crane's Orchestra Hall, Detroit's first true concert hall, was considered to be one of the finest in the country. Built originally to obtain the services of Ossip Gabrilowitsch as permanent conductor of the Detroit Symphony Orchestra, during his tenure the hall was the scene of performances by many renowned artists. Later, as the Paradise Theatre, it offered outstanding concert jazz.
    [Show full text]
  • FRENCH CONCERTOS from the 19Th Century to the Present
    FRENCH CONCERTOS From the 19th Century to the Present A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis Composers L-Z ÉDOUARD LALO - see separate page SERGE LANCEN (1922-2005) Born in Paris. After some initial training, he studied the piano with Marguerite Long and Lazare Lévy as well as composition with Noël Gallon and Tony Aubin at the Paris Conservatory. In 1950 he was awarded the "Prix de Rome." He composed various genres of music including chamber music, works for piano, ballet music, a chamber opera and symphonic compositions. He excelled in music for band. Among his unrecorded concertante works are his Piano Concerto (1947-51), Piano Concertino (1949), Harmonica Concerto (1954), Violin Concerto (1966), Concerto Rhapsodie for Piano and Orchestra (1974), Concerto for Violin, Double Bass and Orchestra (1985) and Harp Concerto (1988). Concerto for Double Bass and String Orchestra (1962) Yoan Goilav (double bass)/Clemens Dahinden/Winterthur String Ensemble ( + Cooqui, Montag: Extrême, Bloch: Prayer, Mortari: Duettini Concertati, Schubert: Arpeggione Sonata and Sperger: Sonata à Due) TUXEDO MUSIC TUXCD 1205 (2001) (original LP release: CLASSIC PIC (70-121) (1976) Concerto Champêtre for Harp and Wind Orchestra (1968) Joke Brethouwer (harp)/Jan Cober/Brabant Conservatory Wind Orchestra ( + Trombone Concerto and Parade Concerto) MBCD 31.1016.72 (1990) Hélène Silvie (harp)/Désiré Dondeyne/Orchestra ( + Damase: Harp Concerto, Grandjany: Aria in Classic Style and Dondeyne Quintet for Harp ad String Quartet) QUANTUM QM 7030 (2004) Concerto da Camera for Flute and Orchestra (1962) Pedro Eustache (flute)/Daniel Chabrun/Orchestre de Chambre de l'ORTF ( + Printanieres, Leclair: Violin Concerto, and Boismortier: Flute Sonata) FRENCH BROADCASTING SYSTEM IN NORTH AMERICA, Programs 619-20 (2 non-commercial LPs) (c.
    [Show full text]
  • Musiciennes:Women Musicians in France During the Interwar Years
    Musiciennes: Women Musicians in France during the Interwar Years, 1919-1939 Laura Ann Hamer Submitted for the Degree of Doctor of Philosophy Cardiff University, 2009 UMI Number: U584377 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584377 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The musical life of interwar France (1919-39) has fascinated many writers; however, the part played by women musicians has been much neglected. This thesis seeks to rectify this situation by presenting a study of the activities and reception of the musiciennes of interwar France. The thesis is divided into three parts: part one provides a contextual framework within which to situate the pursuits of women musicians by considering both their contemporary social position and the gender- specific conditions which affect the lives, careers, and reception of musiciennes. Part two focuses on conductors and composers. Jane Evrard and her Orchestre feminin de Paris are discussed within the context of the contemporaneous development of the all­ woman orchestra and rise of the first professional female conductors.
    [Show full text]
  • Classical by Composer
    Classical by Composer Adolphe Adam, Giselle (The Complete Ballet), Bolshoi Theater Orchestra, Algis Zuraitis,ˆ MHS 824750F Isaac Albeniz, Iberia (complete), Maurice Ravel, Rapsodie Espagnole, Jean Morel, Paris Conservatoire Orchestra, RCA Living Stereo LSC-6094 (audiophile reissue) 2 records Tomaso Albinoni, Adagio for Strings and Organ, Concerto a Cinque in C Major, Concerto a Cinque in C Major Op. 5, No. 12, Concerto a Cinque in E Minor Op. 5, No. 9, The Sinfonia Instrumental Ensemble, Jean Witold, Nonesuch H-71005 Alfonso X, El Sabio, Las Cantigas de Santa Maria, History of Spanish Music, Volume I MHS OR 302 Charles Valentin Alkan, Piano Pieces Bernard Ringeissen Piano Harmonia Mundi B 927 Gregorio Allegri, Miserere, and other Great Choral Works CD ASV CD OS 6036 DDD, ADD 1989 Gregorio Allegri, Miserere, and other Choral Masterpieces CD Naxos 8.550827 DDD 1993 Gregorio Allegri, Miserere, Giovanni Pierluigi, Stabat Mater, Hodie Beata Virgo, Senex puerum portabat, Magnificat, Litaniae de Beata Virgine Maria, Choir of King’s College, Cambridge, Sir David Willcocks, CD London 421 147-2 ADD 1964 William Alwyn, Symphony 1, London Philharmonic Orchestra, William Alwyn, HNH 4040 Music of Leroy Anderson, Vol. 2 Frederick Fennell, Eastman-Rochester “POPS” Orchestra, 19 cm/sec quarter-track tape Mercury Living Presence ST-90043 The Music of Leroy Anderson, Frederick Fennell, Eastman-Rochester Pops Orchestra, Mercury Living Presence SR-90009 (audiophile) The Music of Leroy Anderson, Sandpaper Ballet, Forgotten Dreams, Serendata, The Penny Whistle Song, Sleigh Ride, Bugler’s Holiday, Frederick Fennell, Eastman-Rochester POPS Orchestra, 19 cm/sec half-track tape Mercury Living Presence (Seeing Ear) MVS5-30 1956 George Antheil, Symphony No.
    [Show full text]
  • Joseph Merrick, the Elephant Man (Opera in 4 Acts
    557608-09bk Petit US 29/09/2004 02:42pm Page 12 2 CDs Also Available Laurent PETITGIRARD Joseph Merrick, The Elephant Man (Opera in 4 Acts 8.557224 8.557157 Libretto by Eric Nonn) Stutzmann • Rivenq • Breault Devellereau • Koch Nelson-Shafer • Courjal Monte-Carlo Philharmonic 8.555778 8.557043 Orchestra French Opera Chorus Laurent Petitgirard 8.557608-09 12 557608-09bk Petit US 29/09/2004 02:42pm Page 2 Laurent PETITGIRARD (b. 1950) Laurent Petitgirard Born in 1950, Laurent Petitgirard studied as a pianist, composer and conductor. A former composition student of Alain Kremski, he combines his career as a Joseph Merrick, conductor with writing for the concert hall and stage, and with a highly acclaimed career in film music. From 1989 to 1996 he was the music director of The Elephant Man the Orchestre Symphonique Français. Other orchestras that he has conducted include the Monte Carlo Philharmonic, Zurich Tonhalle, Suisse Romande Opera in Four Acts Orchestra, BBC Concert Orchestra, Orchestra del Teatro La Fenice, Orchestre National de France, Paris Opéra Orchestra, Spanish National Orchestra, the Libretto by Eric Nonn Bamberg Philharmonic, Berlin Symphony Orchestra, Utah Symphony, Seoul Philharmonic and KBS Orchestra. He has conducted many operas, including Die Elephant Man . Nathalie Stutzmann, Contralto Zauberflöte, Jeanne d’Arc, Der Freischütz, Werther, Die Fledermaus, and Die lustige Witwe. Laurent Petitgirard has made over thirty compact disc recordings Doctor Treves . Nicolas Rivenq, Baritone with the OSF and other orchestras, including recordings of his own Cello Tom Norman, showman . Robert Breault, Tenor Concerto and Violin Concerto and his first opera Joseph Merrick, The Elephant Mary, nurse .
    [Show full text]
  • 557602 Bk Petitgirard EU 5/9/07 12:44 PM Page 12
    557602 bk Petitgirard EU 5/9/07 12:44 PM Page 12 Laurent PETITGIRARD Concertos for String Instruments Gerard Caussé, Viola Gary Hoffmann, Cello Augustin Dumay, Violin Polish Radio Choir, Kraków Orchestre National Bordeaux Aquitaine Monte Carlo Philharmonic Orchestra Classical Polish Philharmonia Dialogue for Viola and Orchestra © Editions Durand 8.557602 12 Laurent Petitgirard 557602 bk Petitgirard EU 5/9/07 12:44 PM Page 2 Laurent Petitgirard (b. 1950) Dialogue for Viola and Orchestra • Concerto for Cello and Orchestra • Le Légendaire Also available: Philharmonic and the Suisse Romande. He served as Music Director of the Orchestre Symphonique Français from 1989 to 1996 and was appointed Music Director of the Orchestre Colonne in 2004. Laurent Petitgirard’s first opera, Joseph Merrick dit Elephant Man, had its première under his direction in Prague, followed by a staging at Nice under the stage director Daniel Mesguich. The opera has been released on CD (Naxos 8.557608-09) and on DVD (Marco Polo 2.220001). In May 2006 it was given a new production by the Minneapolis Opera. After Le Fou d’Elsa, for contralto and orchestra, his more recent works include Le plus ardent à vivre... (septet with harp), Poème for large string orchestra, and Dialogue for viola and orchestra. Les Douze Gardiens du Temple, commissioned by Radio France, had its première in 2006 at the Festival Présences. His second opera, Guru, a state commission, will be premièred at the Opéra de Nice in November 2009. Laurent Petitgirard was awarded the Grand Prix Lycéen des Compositeurs in 2000 and the SACD Prix Musique in 2001.
    [Show full text]
  • A Discography
    Alan Hovhaness: A Discography AUG 2018 8 March 1911 - 21 June 2000: In Memoriam compiled by Eric Kunze 1 TABLE OF CONTENTS 1. Alphabetic Listing 3 2. Appendix A: Labels and Numbers 226 3. Appendix B: Chronology of Releases 233 4. Appendix C: Want List 235 5. Appendix D: By Opus Number 240 2 ALAN HOVHANESS: A DISCOGRAPHY (OCT 1996; revised AUG 2018) (Library of Congress Card No. 97-140285) Compiled by Eric Kunze, 8505 16th Ave NE, Seattle, WA 98115, USA, e-mail [email protected], phone 206-280-6374 with much-appreciated assistance from Mr. Alan and Mrs. Hinako Hovhaness ne Fujihara, Robert Jordan, Stephen Trowell, Marco Shirodkar, Martin Berkofsky, Glenn Freeman, Marvin Rosen, Nicola Giosmin, Stephen Ellis, Maris Kristapsons, Joel Salsman, Jim Robinson of Gramma's Attic, Larry Bright, David Canfield of Ars Antiqua, Leslie Gerber of Parnassus Records and Byron Hanson. Corrections and additions can be sent to Eric Kunze. He also seeks to fill in any question marks and add the * items, summarized in Appendix C, to his collection. New performances on commercial labels are denoted ►, on small labels and private issues ►. Gray entries are reissues. Of 434 listed opuses, about 208 have not been recorded, including all of his operas, 32 symphonies and numerous large choral works. By far the most recorded of Alan Hovhaness's works is his Prayer of St. Gregory, op. 62b, an excerpt from his opera Etchmiadzin, with 68 total releases (1 78, 15 LP, 53 CD). It has been recorded for trumpet and strings, trumpet and brass, trumpet and organ, double bass and organ, and trombone and piano.
    [Show full text]