Boston Symphony Orchestra Concert Programs, Season 130, 2010
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H O N Y Post Office Box #515 Highland Park, Illinois 60035 FAX #847-831-5577 E-Mail: [email protected] Website: Lawrence H
P O L Y P H O N Y Post Office Box #515 Highland Park, Illinois 60035 FAX #847-831-5577 E-Mail: [email protected] Website: http://www.polyphonyrecordings.com Lawrence H. Jones, Proprietor Auction Catalog #148 [Closing: Noon, Central Daylight Time; Tuesday, July 18th, 2017] Dear Fellow Record Collectors - WELCOME TO THE ONLINE VERSION OF POLYPHONY’S AUCTION CATALOG #148! All items are offered at auction; the minimum acceptable bid for each is shown at the end of its listing. The deadline for receipt of bids is Noon, Central Dayight Time; Tuesday, July 18th, 2017. SPECIAL INSTRUCTIONS FOR ONLINE: The internet version is essentially the same as the print version which is sent worldwide except that no bidsheet is provided, since all you really need to do is send me an e-mail with careful notation of your bids and the lot numbers of the items in which you are interested. A brief description of the item helps in case of mis-readings of lot numbers. If you are a new bidder and I do not have your physical address, obviously I will need it. And if you wish to authorize me to charge your winnings to a Visa, Mastercard or American Express card which I do not already have on file, I do not suggest that you send this information via e-mail since it is not very secure. You are welcome to quote an account number for me via the phone/FAX number or via the physical address shown above – or you may wait for me to send you a copy of your invoice and quote the account number by return mail. -
Boston Symphony Orchestra Concert Programs, Summer, 1967-1968
' %j "V-TT-ni^iiii! 1 11 ?' *r* t i \%. i *:ies ;ai « t § i #% ^ '"•.'"' •'..' "'•- ; '- ". " At $9.40*a fifth, it ought to be called Sir Jonathan Walker B Lincoln Center, then to Joe's place for jazz. John Meyer woolens for autumn dates in town. Among the reasons : clear, strong, up-beat colorings and virtuoso tailoring—traditionally i w John Meyer. At discerning stores everywhere. ^ ven it this is all you know about woofers and tweete you can still get a great stereo. iiiiiip^ i§ii 5 ---V-V ''--•"•'*' aaSBssHS .v 111 i I You have almost all the stereo-judging equip- It also has a 23 all-silicon transistor amp ment you need right on your head. (Your ears.) with a full 66 watts of music power for i Armed with your ears, you'll probably end up channel. with a good stereo. Unfortunately, it won't be a Unfortunately, you can't read how go great stereo. Because there are certain things stereo sounds. So bring your head to your r your ears can't tell you. (Like what kind of equip- est Sony dealer. And let your ears do their s ment you'll need, etc.) Of t But now you can get a great stereo, no mat- yea ter how little you know. With the Sony HP-550 ing Compact Stereo System. of r It has a Garrard turntable. A 13-transistor amr FM /AM tuner. Dual airtight speakers with 10" woofers and 4" tweeters. (A woofer transmits bass and a tweeter transmits treble.) Funny Some people still think a Diners Club Card is just for beautiful meals* You can swing into Puerto Rico on a Diners than any other credit card. -
Of the Bulletin
i .!y>A;pio-a^ -^rf^ h:3x> *"/;''>?' /r^^- ^\c'» »-^ u M •:^^.': r^-t.H '"^S ' >^>1^ >^-f?^ ^^r:v_^.'.,:'^ ^-x 7/ >i^ 'rfl^O-.^^ ^h ,^ " W ^^' ^ff^' :v,?^M|^ ^«^:l?^ %^n :0/i> v,^ ^f"^"^'?^ \ 1978*1979 BULLETIN OF WELLESLEY COLLEGE Volume 68, Number 1 The College reserves the right to make changes at its dis- cretion affecting policies, fees, curricula, or other matters announced in this Bulletin. Bulletin published nine times a year by Wellesley College, Green Hall, Wellesley, Massachusetts 02181. September, one; October, one; December, two; January, one; March, one; April, one; May, one; August, one. Contents Academic Calendar 1978-79 First Semester 4 Correspondence/Visitors Correspondence Visitors President We welcome visitors to the College. The General interests of the College administrative offices in Green Hall are open Monday through Friday, 8:30 a.m. to 4:30 Dean of the College p.m., and by appointment on Saturday morn- Academic policies and programs ings during term time. Special arrangements for greeting prospective students can also be Dean of Academic Programs made during vacation periods. Rooms for MIT cross-registration alumnae and for parents of students or pro- Exchange programs spective students are available on the cam- pus in the Wellesley College Club and may be Class Deans reserved by writing to the club manager. Individual students A prospective student who wishes to arrange Study abroad; students from abroad an interview with a member of the profes- sional staff of the Board of Admission should Director of Admission make an appointment well in advance. Admission of students Student guides provide tours for visitors with- Director of Financial Aid out previous appointment. -
Composing Each Time Robert Morris
Composing Each Time Robert Morris Introduction Each time I finish a piece, there is little time to rest or reflect; something else demands my attention, and I attend to it. Of course, finishing a piece is not really abrupt; after the first draft, there is revision, computer engraving, and editing. During these tasks, new ideas and conceptions begin to enter consciousness so the experience of writing a particular piece fades even before all the work is done. Later, when I return to a work—to coach a performance or lecture on it—I try to reconstruct the process of composition and return to the way it felt to write it, but much of the passion and clarity that brought the work into being is lost. With some thought of addressing this problem I decided immediately after completing my piano piece Each Time to write about it while the experience of its composition was still fresh in my memory. In this way, I hope to express as vividly as possible what I try to put into a piece and how and why—something which might be useful to future performers or listeners. In some respects, Each Time is not very different from my other piano pieces; however, I wanted to express in music some new insights I had into the phenomenology of time derived from Buddhist philosophy. Rather than spelling this out now, I’ll just say that I composed the piece so it might suggest to an attentive listener that impermanence is at the root of experience and that time is both flowing and discontinuous at once. -
Boston Symphony Orchestra Concert Programs, Season 127, 2007
Levine Music Director James | Haitink Conductor Emeritus Bernard | Seiji Music Director Laureate Ozawa | O S T t SYAAP ON 2007-2008 SEASON WEEK 6 Table of Contents Week 6 15 BSO NEWS 23 ON DISPLAY IN SYMPHONY HALL 25 BSO MUSIC DIRECTOR JAMES LEVINE 28 THE BOSTON SYMPHONY ORCHESTRA 31 IN DEFENSE OF MAHLER'S MUSIC — A I925 LETTER FROM AARON COPLAND TO THE EDITOR OF THE "NEW YORK TIMES" 37 THIS WEEK'S PROGRAMS 41 FROM THE MUSIC DIRECTOR Notes on the Program 45 Alban Berg 59 Gustav Mahler 73 To Read and Hear More. Guest Artist 77 Christian Tetzlaff 83 SPONSORS AND DONORS 96 FUTURE PROGRAMS 98 SYMPHONY HALL EXIT PLAN 99 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY JOSEPH AUNER OF TUFTS UNIVERSITY program copyright ©2007 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Peter Vanderwarker ravo Boston Symphon A Sophisticated South Shore Residential Destination (888) 515-5183 •WaterscapeHingham.com Luxury Waterfront Townhomes in Hingham URBAN RDSELAND +-#' The path to recovery. McLean Hospital U.S. Newsji World Report ^^ ... ««&"-« < - " ••- ._ - -~\\ \ The Pavilion at McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service Belmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate Partners, of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HeahhCare. ft REASON #78 bump-bump bump-bump bump-bump A regular heartbeat is something most people take for granted. But if you're one of the millions afflicted with a cardiac arrhythmia, the prospect of a steadily beating heart is music to your ears. -
ABSTRACT This Dissertation Explores Selections from the Flute Repertoire
ABSTRACT Title of Dissertation: THE MUSIC OF FLUTIST/COMPOSERS: PERFORMANCES OF SELECTED WORKS FOR FLUTE COMPOSED BETWEEN 1852 AND 2005 Sarah Eckman McIver, Doctor of Musical Arts, 2010 Directed by: Dr. William L. Montgomery School of Music This dissertation explores selections from the flute repertoire composed by flutists from 1852 through 2005. The selected works represent the wide variety of flute music written by composers who played the flute in some capacity; most of the flutist/composers were also major performers, some were accomplished teachers, and some were widely-known composers who play the flute well enough to understand its capabilities but would not qualify as a performer/composer. After researching a large selection of works written by flutist/composers and using my subjective judgment when appropriate, twenty-three works were chosen for the dissertation on the basis of their popularity, familiarity with the composer, importance in the development of flute literature, relevance to the history of the flute, and the composer’s overall importance to music. Over twenty years of personal experience with the flute literature and my familiarity with certain composers served as a starting point for the research. Previous areas of research in this field encompass either broad surveys of the entire flute literature, or various dissertations and biographies written about individual flutist/composers. A variety of other sources consulted include composer websites, commercial recordings, e- mail discussion groups, and recital programs. The selected works performed and discussed are the following: Robert Aitken, Icicle; Joachim Andersen, Deuxième Morceau de Concert, Op. 61; Georges Barrère, Nocturne; Theobald Boehm, Fantaisie sur des Airs Ecossais, Op. -
TANGLEWOOD ^Js M
TANGLEWOOD ^jS m ram? ' I'' Festival of Contemporary Music August 4, 5, 6, 7, 8, 10, 11, 1968 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation What tomorrow Sa Be Li sounds like Ai M D Ei B: M Red Seal Albums Available Today Pi ELLIOTT CARTER: PIANO CONCERTO ^ML V< Lateiner, pianist * - ~t ^v, M Jaeob World Premiere Recorded Live M at Symphony Hall, Bostoe X MICHAEL C0L6RASS: AS QUIET AS CI GINASTERA ^ BOSTON SYMPHONY ERICH LEINSDORF * M Concerto for Piano and Orchest ra Steffi! *^^l !***" Br Variaciones Concertantes (1961) (Me^mdem^J&K^irai .55*4 EH Joao Carlos Martins. Pianist Bit* Ei Boston Symphony, ZTAcjlititcvicU o/'Oic/>e*tia& Erich Pa Leinsdori, Conductor St X; ''?£x£ k M Pa gir ' H ** IF ^^P^ V3 SEIJI OZAWA H at) STRAVINSKY wa Victor 5«sp JBT jaVicruit ; M AGON TURANGAlilA SYMPHONY SCHULLER k TAKEMITSU jKiWiB ^NOVEMBER 5TEP5^ 7 STUDIES on THEMES of PAUL KLEE Bk (First recording] . jn BOSTON SYMPHONY ORCHESTRA/ERICH LEINSDORF Wk. TORONTO Jm IV SYMPHONY^ ' ; Bfc* - * ^BIM ^JTeg X flititj g^M^HiH WKMi&aXi&i&X W Wt wnm :> ;.w%jii%. fl^B^^ ar ill THE VIRTUOSO SOUND of the ggS music pl CHICAGO SYMPHONY ORCHESTRA fornette JEAN MARTINON conductor fa coleman forms and sounds (recorded VARESE: ARCANA ' u live) as performed by the A. MARTIN: concerto for seven wind Philadelphia woodwind V quintet with interludes byornett* 198 INSTRUMENTS, TIMPANI, PERCUSSION m \ coleman SdilltS and ANO STRING ORCHESTRA Vsoldiers/space flight c \ ^mber { \ symphony of , I • 1 l _\. Philadelphia i-l. -
Boston Symphony Orchestra Concert Programs, Season 130, 2010
nO-20lf«ASON WEEK Jam* »s Levine \lusic Directoi Bern; in 'A fit irt 1 1 r« rti m I Seiji O: 'wa Musi\ Director Laureate Silk twill scarf. Dip-dye silk twill scarf. Shawls in cashmere and silk. Boston 320 Boylston Street (617) 482-8707 Hermes.com >*<* m » « ' 'L if 1 HERMES HERMES, LIFE AS ATALE Table of Contents Week 8 15 BSO NEWS 19 ON DISPLAY IN SYMPHONY HALL 21 WINNERS OF THE BSO'S MUSIC CRITICISM CONTEST 22 BSO MUSIC DIRECTOR JAMES LEVINE 24 THE BOSTON SYMPHONY ORCHESTRA 27 ROBERT SCHUMANN! IMAGES FROM A LIFE BY JAN SWAFFORD 30 "ROBERT SCHUMANN" BY MARY OLIVER 33 THIS WEEK'S PROGRAM 35 FROM THE MUSIC DIRECTOR Notes on the Program 39 Robert Schumann 51 John Harbison on his Symphonies 52 Harbison's Symphony No. i 59 Richard Wagner 67 To Read and Hear More... 72 SPONSORS AND DONORS 80 FUTURE PROGRAMS 82 SYMPHONY HALL EXIT PLAN 83 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL (NOVEMBER 26 AND 27) AND ASSISTANT DIRECTOR OF PROGRAM PUBLICATIONS ROBERT KIRZINGER (NOVEMBER 30). program copyright ©2010 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Michael J. Lutch BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org 9 V ** I y — *9^- ^^ t*w ^PW^« B JS^S! WPS ! SF 'V it E— H-— THE SOUL, STIRRED. World-class music complemented by elegant pre-concert and post-performance dininj Boston Gourmet takes your night at the orchestra to new heights. -
List of Skull and Bones Members - Wikipedia
12/30/2019 List of Skull and Bones members - Wikipedia List of Skull and Bones members Skull and Bones, a secret society at Yale University, was founded in 1832. Until 1971, the organization published annual membership rosters, which were kept at Yale's library. In this list of notable Bonesmen, the number in parentheses represents the cohort year of Skull and Bones, as well as their graduation year. There are no official rosters published after 1982 and membership for later years is speculative. Some news organizations refer to them as a power elite.[1] Contents Founding members (1832–33 academic year) 19th century 1830s 1840s 1850s 1860s 1870s 1880s 1890s Skull and Bones entry from the 20th century 1948 Yale Banner. Former 1900s United States President George 1910s Herbert Walker Bush is listed 1920s fourth down. 1930s 1940s 1950s 1960s 1970s 1980s 1990s to present References Further reading Founding members (1832–33 academic year) https://en.wikipedia.org/wiki/List_of_Skull_and_Bones_members 1/21 12/30/2019 List of Skull and Bones members - Wikipedia Frederick Ellsworth Mather (1833), Democratic member of the New York State Assembly (1854–1857)[2] Phineas Timothy Miller (1833), American physician[2] William Huntington Russell (1833), Connecticut State Legislator, Major General[3]:82 Alphonso Taft (1833), U.S. Attorney General (1876–1877), Secretary of War (1876), Ambassador to Austria-Hungary (1882) and Russia (1884–1885), father of William Howard Taft[3]:82 George Ingersoll Wood (1833), American clergyman[2] 19th century 1830s Asahel Hooker Lewis (1833), newspaper editor and member William Huntington Russell, founder of the Ohio General Assembly[2] of Skull and Bones and the namesake of the society's corporate John Wallace Houston (1834), Secretary of State of Delaware body, the Russell Trust Association (1841–1844), associate judge Delaware Superior Court (1855–1893)[2] John Hubbard Tweedy (1834), delegate to the United States Congress from Wisconsin Territory (1847–1848)[2] William Henry Washington (1834), Whig U.S. -
A Guide to the Fonds and Collections of the Association of Canadian Women Composers and Ina Dennekamp
A Guide to the fonds and collections of the Association of Canadian Women Composers and Ina Dennekamp December 2014 This project has been supported by a grant from the Alberta Historical Resources Foundation through the Archives Society of Alberta. ii Table of Contents ACWC. ASSOCIATION OF CANADIAN WOMEN COMPOSERS FONDS ............................ 1 ACWC01. Records of the ACWC President ......................................................... 1 ACWC02. Records of the ACWC Chair ................................................................ 2 ACWC03. Records of the ACWC Treasurer ......................................................... 5 ACWC04. Records of the ACWC Secretary ......................................................... 7 ACWC05. Records of the ACWC Concert Committee ......................................... 7 ACWC06. Records of the ACWC Newsletter Editor ............................................ 8 ACWC07. Records of the ACWC Archivist .......................................................... 8 ACWC08. Records of the ACWC BC Chapter ...................................................... 9 ACWC09. ACWC Board Minutes ......................................................................... 10 ACWC10. ACWC Membership Submission Files ................................................. 10 ACWC11. ACWC Newsletters ............................................................................. 14 ACWC12. ACWC Directories & Membership Lists .............................................. 14 ACWC13. ACWC Press Releases ........................................................................ -
Family Forest Descendants of Thomas Emerson
Family Forest Descendants of Thomas Emerson 1 Thomas Emerson 1584 - 1666 .... +Elizabeth Brewster - 1666 . 2 Elizabeth Emerson 1622/23 - 1672 ....... +John Fuller 1620 - 1666 .... 3 Elizabeth Fuller - 1671 .......... +Thomas Upson 1600 - 1655 ....... 4 Hannah Upson 1648 - 1705 ............. +Sergeant Samuel Hickox 1643 - 1694/95 ........... 5 Samuel Hickok, Jr. 1669 - 1713 ................. +Elizabeth Plumb .............. 6 Ebenezer Hickox 1691 - 1774 .................... +Esther Beach .............. *2nd Wife of Ebenezer Hickox: .................... +Abigail Stevens ................. 7 John Hickok 1734 - 1811 ....................... +Lydia Kellogg 1740 - 1828 ..................... 8 Jesse Hickok 1769 - 1826 ........................... +Betsey Hoyt 1772 - 1852 ........................ 9 [43] John Hoyt Hickok 1792 - 1841 .............................. +[42] Mary "Polly" Lockwood 1795 - 1868 ........................... 10 [44] William Orville Hickok 1815 - 1891 ................................. +[45] Caroline Louisa Hutter 1817 - 1906 ............................... 11 [46] William Orville Hickok, Jr. 1849 - 1881 ..................................... +[47] Louisa Harrison Anderson 1850 - 1924 .................................. 12 [48] William Orville Hickok 1874 - ........................................ +[49] Avis Cochran ..................................... 13 [50] William Orville Hickok .................................. 12 [51] Ross Anderson Hickok 1876 - ........................................ +[52] Helen Rankin Hastings 1878 - .................................... -
AMERICAN SYMPHONIES Composers
AMERICAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Composers P-Z JOHN KNOWLES PAINE (1839-1906) Born in Portland, Maine. He studied organ, piano, harmony and counterpoint with Hermann Krotzschmar as well as organ with Carl August Haupt and orchestration and composition with Wilhelm Wieprecht in Berlin, Germany. He then toured in Europe for three years. After returning to the U.S. and settling in Boston, he became a member of the faculty of Harvard where he remained for over 4 decades teaching composition to a whole generation of American composers. His catalogue includes operas, incidental music, orchestral, chamber and choral works. Symphony No. 1 in C minor, Op. 23 (1875) JoAnn Falletta/ulster Orchestra ( + The Tempest and As You Like It Overture) NAXOS 8.559747 (2013) Karl Krueger/American Arts Orchestra SOCIETY FOR THE PRESERVATION OF THE AMERICAN MUSICAL HERITAGE MIA-103 (LP) (1959) Zubin Mehta/New York Philharmonic ( + As You Like It Overture) NEW WORLD RECORDS NW 374-2 (1989) Symphony No. 2 in A major, Op. 34 "In Spring" (1879) JoAnn Faletta/Ulster Orchestra ( + Oedipus Tyrannus: Prelude and Poseidon and Amphitrite) NAXOS 8.559748 (2015) Karl Krueger/Royal Philharmonic Orchestra SOCIETY FOR THE PRESERVATION OF THE AMERICAN MUSICAL HERITAGE MIA-120 (LP) (1965) Zubin Mehta/New York Philharmonic NEW WORLD RECORDS NW 350-2 (1987) THOMAS PASATIERI (b. 1945) Born in New York City. He began composing at age 10 and, as a teenager, studied with Nadia Boulanger., before entering the Juilliard School at age 16. He has taught composition at the Juilliard School, the Manhattan School of Music, and the Cincinnati College-Conservatory of Music.