Boston Symphony Orchestra Concert Programs, Season 98, 1978

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 98, 1978 .'•»— two 98th SEASON S0. &%^ >) ? BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director % M I A" H • ^L f:M*?»: Nf. g$ ^H I Spend some time with a Little Witch tonight, ***%. * \ i \ i * . .. 2 ' j^» **>**, &. > Strega means witch. Strega also means a bewitching golden liqueur you can sip and savor and spend some time with. Without ever tiring of its magically unique taste. A taste, legend has it, created centuries ago in Italy by the beautiful witches of Benevento. Enjoy Strega straight, on-the-rocks, or mixed 4 in a Little Witch. Truly, a haunting brew. Imported from Italy, Eighty Proof, by Schenley Imports Co., NY, NY © 1977 Ifthis wasn't a black &white ad, we could show you what Faille's InteriorDesigners can dowith color. We have assembled a talented group of men and women to work with you on your decorating and redecorating plans. One room or many, traditional or modern, they will share their creative ideas with you. There is no added charge for this designer service. For information, please call Mrs. Scully at PAINE 426-1500, extension 156. FURNITURE sPSek BOSTON SYMPHONY ORCHESTRA CENTENNIAL FUND OPPORTUNITIES FOR COMMEMORATIVE GIFTS ENDOWED ORCHESTRA CHAIRS (BOSTON SYMPHONY CONCERTS BOSTON POPS CONCERTS) SCHOLARSHIPS TO THE BERKSHIRE MUSIC CENTER SYMPHONY HALL ROOMS (TO NAME THE CONDUCTOR'S ROOM TO NAME THE SOLOIST & GUEST CONDUCTOR'S ROOM TO NAME THE MUSICIANS' LOUNGE) TANGLEWOOD (TO NAME THE MUSIC SHED TO NAME THE BERKSHIRE MUSIC CENTER TO NAME THE CHAMBER MUSIC HALL TO ESTABLISH A FUND FOR THE FORMAL GARDENS) FOR FURTHER INFORMATION, PLEASE CONTACT MR. JOSEPH HOBBS, DIRECTOR OF DEVELOPMENT, SYMPHONY HALL, BOSTON, MASS. 021 1 5 TEL: (61 7) 266-1492. .'••'. Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Eighth Season 1978-1979 The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Sidney Stoneman, Vice-President Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Vice-President Abram T. Collier, Treasurer Vernon R. Alden Archie C Epps III Thomas D. Perry, Jr. Allen G. Barry E. Morton Jennings, Jr. Irving W. Rabb Leo L. Beranek Edward M. Kennedy Paul C Reardon Mrs. John M. Bradley George H. Kidder David Rockefeller, Jr. Richard P. Chapman Roderick M. MacDougall Mrs. George Lee Sargent George H.A. Clowes, Jr. Edward G. Murray John Hoyt Stookey Albert L. Nickerson Trustees Emeriti Harold D. Hodgkinson John T. Noonan Mrs. James H. Perkins Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager Gideon Toeplitz Daniel R. Gustin Assistant Manager Assistant Manager Peter Gelb Joseph M. Hobbs Walter D.Hill Director of Promotion Director of Development Director of Business Affairs Elizabeth A. Young Candice L. Miller Richard C White Assistant Director Assistant Director Assistant to the of Promotion of Development Manager Elizabeth Dunton Dorothy M. Sullivan Anita R. Kurland Director of Sales Controller Administrator of Youth Activities Charles Rawson James F. Kiley Katherine Whitty Manager of Box Office Operations Manager, Coordinator of Tanglewood Boston Council Niklaus Wyss Donald W. MacKenzie Richard Ortner Advisor for the Operations Manager, Assistant Administrator, Music Director Symphony Hall Berkshire Music Center Michael Steinberg Director of Publications Programs copyright © 1978 Boston Symphony Orchestra, Inc. 3 The Board of Overseers of the Boston Symphony Orchestra Inc. Dr. Leo L. Beranek Chairman Mrs. Norman L. Cahners Weston P. Figgins Mrs. Arthur I. Strang Vice Chairman Vice Chairman Secretary Charles F. Adams Mrs. James G. Garivaltis Richard P. Morse John Q. Adams Mrs. Robert Gibb Dr. Barbara W. Newell Mrs. Frank G. Allen Jordan L. Golding Stephen Paine Hazen Ayer Mrs. John L. Grandin David Pokross David W. Bernstein Mrs. Howard E. Hansen William Poorvu David Bird Mrs. Richard D.Hill Harry Remis Gerhard Bleicken Mrs. Amory Houghton, Jr. Mrs. Peter van S. Rice Mrs. Mary Louise Cabot Richard S. Humphrey, Jr. Mrs. Samuel L. Rosenberry Levin H. Campbell, III Mrs. Jim Lee Hunt Mrs. Jerome Rosenfeld Johns H. Congdon Mrs. Louise I. Kane Mrs. George Rowland Arthur P. Contas Leonard Kaplan Mrs. William Ryan Robert Cushman Mrs. F. Corning Kenly Francis P. Sears, Jr. Michael J. Daly Robert Kraft William A. Selke Mrs. C. Russell Eddy Benjamin Lacy Gene Shalit Mrs. John Fitzpa trick Mrs. James F. Lawrence Samuel L. Slosberg Paul Fromm Mrs. Warren B. Manhard II Mrs. Edward S. Stimpson Carlton P. Fuller Colman M. Mockler, Jr. D. Thomas Trigg Mrs-. Thomas J. Galligan, Jr. Mrs. Elting E. Morison Mrs. Donald B. Wilson Mrs. Thomas Gardiner Mrs. Stephen V. C. Morris Roger Woodworth The best of the bunch. UnionWarren Savings Bank m liifoSS Great Performances 1978/79 OPEN REHEARSALS AT SYMPHONY HALL You can attend the final run throughs, in an informal atmosphere, of some of the great performances scheduled this season. For the 21st consecutive year, you're invited to enjoy an inside look at the Boston Symphony as it prepares its - concerts. You can also hear an jj fj informal discussion led by the BSO's Michael Steinberg, 45 minutes before the rehearsal begins MAR 7, 1979 CLAUDIO MAHLER 7:30 PM ABBADO Barbara Hendricks, piano General admission soprano Jessye Norman, subscriptions at the reduced price of $24 are MAR 14, 1979 SEIJI MARTINO, BEETHOVEN now available. To order 7:30 PM OZAWA Dwight Peltzer, piano tickets by mail: send a check made payable APR 25, 1979 COLIN BEETHOVEN to the Boston Symphony 7:30 PM DAVIS Ybsuko Hayashi, soprano and mail to: Box Office, Symphony Hall, Boston Patricia Payne, mezzo-soprano Mass, 02115. Ticket Neil Roshenshein, tenor sales subsidize the Robert Lloyd, baritone musicians pensions fund. BSO BSO FRIENDS The Friends are supporters of the BSO, active in all of its endeavors. Friends receive the monthly BSO news publication and priority ticket information. For information about the Friends of the BSO, please call the Friends' Office at Symphony Hall at 266-1348. BSO BUS Nine Friends' areas will offer bus service again to the Friday afternoon concerts on a regular basis. Perhaps you have considered signing up for your area's bus and have never quite gotten around to it. We hope that, having fought your way out of the city on Friday afternoons a few times, you will take the necessary steps to ensure your seat on the BSO Special. For information contact the Friends' Office at 266-1348. Chairmen of the various buses are as follows: Andover Mrs. HartC. Leavitt Concord Mrs. Douglas Sears Cape Cod Mrs. Daniel Bushnell Dedham/Dover Mrs. John Thayer Newton/Wellesley Mrs. Lewis L. Pilcher and Mrs. Worthing L. West New Hampshire Mrs. George Foote North Shore Mrs. Richard S. Russell and Mrs. Lyon Weyburn South Shore Mrs. Withrop Coffin Swampscott/Marblehead Mrs. Frank D'Elseaux Weston Mrs. James T. Mountz They are ready to accomodate you to the capacity of their bus. BELMONT AREA SPECIAL: MUSIC APPRECIATION COURSE The Belmont area has been offered a series of pre-Symphony lectures by Miss Grace McCreary, a well known authority on music. A graduate of Sarah Lawrence College, Miss McCreary also holds degrees from Radcliffe and the New England Conservatory. She also taught for many years at the Tenacre School and has been active in numerous musical activities in the Boston area. Miss McCreary is generously giving her services to benefit the Boston Symphony, and will give the lectures, which will be supplemented by the use of both piano and recordings, in her home. Mrs. L. Hathaway Amsbury is chairman of the series. Tickets for each lecture are available for $4, and space will be limited to 25. The remaining lectures will be held from 10 until 11:30 a.m. on 11 October, 1 November, and 29 November. This Coach® Belt is made of real glove tanned cowhide and conies in men's and women's sizes. d Seiji Ozawa Seiji Ozawa became Music Director of the Boston Symphony Orchestra in the fall of 1973. He is the thirteenth conductor of the Orchestra since its founding in 1881. He was born in Shenyang, China in 1935, and studied both Western and Oriental music as a child. He attended Toho School of Music in Tokyo and graduated with first prizes in composition and conducting. Shortly after his graduation, he won first prize at the International Competition of Conducting at Besancon, France, and was invited by Charles Munch, then Music Director of the Boston Symphony and a judge at the competition, to spend a summer studying at Tanglewood. In 1964 and for the next five seasons, Mr. Ozawa was Music Director of the Ravinia Festival. At the beginning of the 1965-66 season he became Music Director of the Toronto Symphony, a position he relinquished four seasons later to study and guest conduct. In 1970 he accepted the position of Artistic Director of the Berkshire Music Festival, and in December of the same year he began his inaugural season as Conductor and Music Director of the San Francisco Symphony Orchestra, titles that he held concurrently with his position as Music Director of the Boston Symphony. In the spring of 1976 he resigned his San Francisco position although he remained Honorary Conductor for the 1976-77 season. Mr. Ozawa pursues an active international career and is a regular and favorite guest conductor with the Berlin Philharmonic, the Orchestre de Paris, and at the Salzburg Festival each year. He has conducted at Covent Garden, and returns to Japan annually to conduct the New Japan Philharmonic and other orchestras. The newest items on his large and growing discography with the Boston Symphony are Bartok's Miraculous Mandarin Suite, and Music for Strings, Percussion, and Celeste, Tchaikovsky's Symphony No.
Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 94, 1974-1975
    Saturday Evening March 15, 1975 at 8:00 Carneqie Hall J 974 1975 SEASON \*J NEW YORK The Carnegie Hall Corporation presents the Boston Symphony Orchestra NINETY-FOURTH SEASON 1974-7 5 SEIJI OZAWA, Music Director and Conductor COLIN DAVIS, Principal Guest Conductor OLIVIER MESSIAEN Turangalila-Syntphonie for Piano, Ondes Martenot and Orchestra I. Introduction Modere, un peu vif II. Chant d ' amour 1 Modere, lourd III. Turangalila 1 Presque lent, reveur IV. Chant d'amour 2 Bien modere V. Joie du sang des etoiles Un peu vif, joyeux et passione INTERMISSION VI. Jardin du sommeil d' Amour Tres modere, tres tendre VII. Turangalila 2 Piano solo un peu vif; orchestre modere VIII. Developpement de 1 ' amour Bien modere IX. Turangalila 3 Modere X. Final Modere, avec une grande joie YVONNE LORIOD Piano JEANNE LORIOD Ondes Martenot The Boston Symphony Orchestra records exclusively for Deutsche Grammophon Baldwin Piano Deutsche Grammophon and RCA Records Turangalila-Symphonie for Piano, Ondes Martenot and Orchestra/Olivier Messiaen The Turangalila-Symphonie was commissioned from me by Serge Koussevitzky for the Boston Symphony Orchestra. I wrote and orches- trated it between 17th July, 1946, and 29th November, 1948. The world first performance was given on 2nd December, 1949, in Boston (U.S.A.) Symphony Hall by the Boston Symphony Orchestra, under the direction of Leonard Bernstein. The piano solo part was played by Yvonne Loriod, who has played it in nearly every performance of the work, whoever the conductor or wherever it was given. Turangalila (pronounced with an accent and prolongation of sound on the last two syllables) is a Sanscrit word.
    [Show full text]
  • The Turangalîla-Symphonie
    with the Nashville Symphony CLASSICAL SERIES FRIDAY & SATURDAY, MAY 17 & 18, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor JEAN-YVES THIBAUDET, piano CYNTHIA MILLAR, ondes Martenot Introduction to Messiaen’s Turangalîla-Symphonie with musical demonstrations – INTERMISSION – OLIVIER MESSIAEN Turangalîla-Symphonie for Piano, Ondes Martenot and Orchestra Introduction: Modéré, un peu vif Chant d'amour 1: Modéré, lourd Turangalîla 1: Presque lent, rêveur Chant d'amour 2: Bien modéré Joie du sang des étoiles: Un peu vif, joyeux et passioné Jardin du sommeil d'amour: Très modéré, très tendre Turangalîla 2: Piano solo un peu vif: orchestre modéré Développement de l'amour: Bien modéré Turangalîla 3: Modéré Final: Modéré, avec une grande joie Jean-Yves Thibaudet, piano Cynthia Millar, ondes Martenot This concert will last 2 hours and 20 minutes, including a 20-minute intermission. INCONCERT 39 TONIGHT’S CONCERT AT A GLANCE OLIVIER MESSIAEN Turangalîla-Symphonie • French composer Messiaen occupies a singular role as a trailblazer for the avant-garde who was at the same time profoundly respectful of Western musical tradition. He created a wholly original body of work, of which Turangalîla-Symphonie and The Quartet for the End of Time are his best-known compositions. The latter work was written while he was held in a German prisoner-of-war camp during World War II. • Messiaen’s influence has been profound, extending not only to his students Pierre Boulez and Karlheinz Stockhausen, who would go on to revolutionize modern music, but also to popular artists including Rufus Wainwright and Radiohead, whose music owes a particular debt to the composer.
    [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]
  • Olivier Messiaen Fête Des Belles Eaux
    OLIVIER MESSIAEN FÊTE DES BELLES EAUX Ensemble d’Ondes de Montréal Maurice Martenot ACD2 2621 Classique ATM A OLIVIER MESSIAEN 1908-1992 FÊTE DES BELLES EAUX [ 35:22 ] pour sextuor d’ondes Martenot 1 Premières fusées [ 2:50 ] 2 L'eau [ 3:01 ] 3 Les fusées [ 1:16 ] 4 L'eau [ 10:01 ] 5 Les fusées [ 1:40 ] 6 L'eau [ 9:27 ] 7 Superposition de l'eau et des fusées [ 1:48 ] 8 Feu d'artifice final [ 5:19 ] FEUILLETS INÉDITS [ 11:19 ] quatre pièces pour ondes Martenot et piano Louise Bessette PIANO • Estelle Lemire ONDES MARTENOT 9 Presque lent et berceur [ 1:59 ] 10 Lent [ 2:31 ] 11 Bien modéré [ 3:55 ] 12 Lent [ 2:54 ] MAURICE RAVEL 1875-1937 QUATUOR À CORDES EN FA MAJEUR 13 1er mouvemen t : Allegro moderato [ 8:30 ] transcriptio n : Ensemble d’Ondes de Montréal ENSEMBLE D’ONDES DE MONTRÉAL Marie Bernard • Suzanne Binet-Audet Geneviève Grenier • Estelle Lemire ONDISTES INVITÉS Louise Larose • Jean Laurendea u LES ONDES MARTENOT e jour où, pendant la guerre de 1914-1918, les passant par Harmonium, Beau Dommage et Arthur H, Lpostes de radio à lampes triodes arrivèrent sur les l’a souvent intégrée à ses trames instrumentales. lieux des combats, avec les sons très purs qu’ils émet - Cet instrument électronique exige la présence taient, Maurice Martenot, fort peu présent à l’esprit continue d’un interprète, à qui il offr e : un clavier de la guerre, rêva plutôt d’en faire un instrument de monodique avec vibrato contrôlé, de façon aussi per - musique pouvant exprimer la sensibilité humaine.
    [Show full text]
  • Bloch EU 21/10/10 09:12 Page 16
    572489 bk Bloch EU 21/10/10 09:12 Page 16 d’orchestres symphoniques, il est invité à jouer dans le monde entier en récital, en musique de chambre et en soliste Thomas avec orchestres, à donner des masterclasses, à participer à des programmes de radio, à des spectacles avec des comédiens et crée une dizaine d’œuvres par an. Sollicité par la Cour Impériale du Japon, il y donna un récital à la résidence privée et continue à y être invité. Il a redécouvert et participe à la renaissance d’un instrument du 15ème siècle : le Violon-Baryton. www.jacquesdupriez.com BLOCH David Coulter David Coulter travaille à travers le monde en tant que multi-instrumentiste, artiste et directeur artistique Missa Cantate d’événements musicaux et théâtraux de grande envergure. Il est également compositeur pour la danse, le théâtre, le cinéma, la télévision et la radio. En tant que spécialiste d’instruments inhabituels (ukulele, scie musicale, mandoline Cold Song • Sancta Maria • Christ Hall Blues électrique, guimbardes, stroh violon…), il a été directeur musical et multi-instrumentiste dans l’opéra « The Black Rider » avec Tom Waits et Robert Wilson ainsi qu’avec Damon Albarn (Gorillaz) dans l’opéra « Monkey : Journey to the West ». Parmi beaucoup d’autres artistes, il a tourné plusieurs années avec « The Pogues » et avec Marianne Jörg Waschinski, Male Soprano • Thomas Bloch, Rare Instruments Faithfull. Il a aussi joué le didjeridoo pour Sa Majesté la Reine Elisabeth II d’Angleterre à l’occasion de nombreuses cérémonies officielles et en concert avec le Kronos Quartet. www.myspace.com/davidcoulter Jacques Dupriez, Viola • David Coulter, Musical Saw Paderewski Philharmonic Orchestra Paderewski Philharmonic Orchestra • Fernand Quattrocchi Le Paderewski Philharmonic Orchestra (aussi connu sous le nom d’Orchestre philharmonique et symphonique de Poméranie) a été fondé en 1946, mais puise ses origines en 1930, dans l’orchestre symphonique de la ville de Bydgoszcz (Pologne), où il est établi.
    [Show full text]
  • Masarykova Univerzita Filozofická Fakulta Ústav Hudební Vědy
    Masarykova univerzita Filozofická fakulta Ústav hudební vědy Hudební věda Martenotovy vlny a jejich použití v hudbě Bakalářská práce Vedoucí práce PhDr. Petr Kalina, Ph.D. Markéta Oumarová 2017 Prohlašuji, že jsem práci vypracovala samostatně a pouze s využitím uvedených pramenů a literatury. V Brně dne 9. 5. 2017 ……………………………… Zde bych chtěla poděkovat vedoucímu práce panu PhDr. Petru Kalinovi, Ph.D. za jeho vstřícnost, ochotu a cenné rady. Obsah Úvod ........................................................................................................................................... 6 1 Martenotovy vlny .................................................................................................................. 12 2 Skladby pro Martenotovy vlny .............................................................................................. 18 2.1 Artificiální hudba pro Martenotovy vlny ........................................................................ 19 2.1.1 Edgard Varèse .......................................................................................................... 19 2.1.2 Dimitrios Levidis ..................................................................................................... 20 2.1.3 Pierre Vellones ......................................................................................................... 20 2.1.4 Bohuslav Martinů ..................................................................................................... 21 2.1.5 Claude Champagne .................................................................................................
    [Show full text]
  • Messiaen Turangalîla- Symphonie Tamara Stefanovich Thomas Bloch
    MESSIAEN TURANGALÎLA- SYMPHONIE TAMARA STEFANOVICH THOMAS BLOCH NATIONALTHEATER- ORCHESTER MANNHEIM ALEXANDER SODDY OLIVIER MESSIAEN EIN SPIEL VON das besser als er? Messiaens familiäre (1908–1992) LIEBE UND TOD Prägung ist gar nicht primär musikalisch – er wird 1908 in eine Familie von Dichtern TURANGALÎLA- Am Anfang war das Wort: Olivier hineingeboren, seine Mutter veröffent- SYMPHONIE Messiaen, Kind einer Familie von Poeten, licht Lyrik unter dem Künstlerinnennamen entfaltet die tausend Schichten dieser Cécile Sauvage, sein Bruder wird Lyriker Symphonie, die keine ist, aus einem Wort, und Essayist, sein Vater ist ein geschätzter 1. Introduction 06:26 das keiner kennt: Turangalîla. Shakespeare-Übersetzer. 2. Chant d’amour I 08:28 „Turangalîla: Das Wort entstammt dem Überhaupt interessiert sich der junge 3. Turangalîla I 05:14 Sanskrit (…). Wie alle Vokabeln der alten Überflieger Olivier dann als Student am 4. Chant d’amour II 11 :16 orientalischen Sprachen ist auch dieser Pariser Conservatoire für so viel mehr als 5. Joie du sang des étoiles 06:42 Begriff reich an Bedeutungen. Lîla heißt „nur“ Musik: das Theater der griechischen wörtlich: Spiel. Gemeint ist aber Spiel im Antike, Gregorianik, Hindusprachen und, 6. Jardin du sommeil d’amour 11 : 12 Sinne eines göttlichen Einwirkens auf das seine lebenslange Liebe, die Ornitholo- 7. Turangalîla II 03:58 kosmische Geschehen, also das Spiel der gie – eigene Originaltranskriptionen 8. Développement de l’amour 12:09 Schöpfung, der Zerstörung, der Wieder- von Hunderten Vogelgesängen durchzie- erschaffung, das Spiel von Leben und Tod. hen sein gesamtes Werk. So ist Olivier 9. Turangalîla III 04:26 Lîla bedeutet auch: Liebe. Turanga: Das ist Messiaens Musik ein poetisches Ideen- 10.
    [Show full text]
  • Thomas Bloch, Performer of Rare Instruments
    SUMMER 2010 Thomas Bloch, Performer of Rare Instruments Left: Thomas with Bernard Baschet in Bernard’s Studio; Right: Thomas and His Glassharmonica The New York Times has stated, Punk (Thomas Bangalter)/Gaspar Noe “Thomas Bloch is unquestionably a vir- (Enter the Void), Pierre Boulez, Valery Next GMI Festival tuoso and a musician.” Gergiev, Michel Plasson, Myung-Whun Chung, Paul Sacher, Jean-Francois Planned for Thomas Bloch was born in Colmar, Zygel, Maurice Bourgue, Alexei Williamsburg in France in 1962 and lives in Paris. He is Ogrintchouk, Patrick Gallios, Andras a worldwide prominent classical soloist Adorjan, Pierre-Yves Artaud, Vladimir March 2011 specializing in rare instruments (ondes Mendelssohn, Philippe Muller, Gil Dean Shostak and I have started the plan- Martenot, glass harmonica, and cris- Sharon, Roger Muraro, Jay Gottlieb, ning process for the 9th Glass music Festival tal Baschet). His performances range quatuor Rosamonde, Balanescu quar- which will be held in Colonial Williamsburg, from classical and contemporary music tet, Orlando quartet, Artis quartet, Virginia, USA from 24 March through 27 to songs, rock, theatre music, opera, Michel Redolfi, Marcel Landowski, March, 2011. We suggest that GMI members improvisation, film music, world music, Jacques Chailley, Philippe Sarde, try to keep their calendars clear for that and ballet music. He is also a com- Isabelle Huppert, Charles Berling, -M-, month and we will zero in on the exact dates poser and a producer. He received a Yvan Cassar, Manu Dibango, Arno, soon. First Prize for ondes Martenot at the Marc Almond (Soft Cell), Fred Frith, As members are aware from the fea- Paris Conservatoire National Superieur Phil Minton, Lara Fabian, Vanessa ture article in the last issue of GMW, Dean de Musique (with Jeanne Loriod) and Paradis….
    [Show full text]
  • Jean-Guy Talamoni
    Lire page 18 www.lemonde.fr 57e ANNÉE – Nº 17128 – 7,50 F - 1,14 EURO FRANCE MÉTROPOLITAINE -- MARDI 7 AOÛT 2001 FONDATEUR : HUBERT BEUVE-MÉRY – DIRECTEUR : JEAN-MARIE COLOMBANI Proche-Orient : guerre quotidienne Voyage dans le « cybersquat » b a De Ramallah De nombreuses personnalités et entreprises ont été dépossédées de leur nom sur Internet à Tel-Aviv : nouveau b De nouvelles catégories sont créées pour mettre de l’ordre sur le réseau b Les attributions de « .biz » week-end sanglant se terminaient lundi pour les marques déposées b La course mondiale aux noms de domaine est relancée PROTÉGER son nom sur Inter- droits. Les entreprises avaient ainsi a Israéliens net n’est pas chose aisée. Selon la jusqu’au lundi 6 août pour revendi- règle du « premier arrivé, premier quer les adresses se terminant par et Palestiniens servi », n’importe qui peut déposer «. biz » (pour « business »). Ce nou- SHAUN BEST/REUTERS un nom de site suivi de la célèbre veau suffixe fera son apparition en enfermés dans le cycle extension «. com ». On recense octobre, en même temps que ATHLÉTISME plus de 22 millions d’adresses avec «. info » et quelques semaines des violences cette terminaison. De nombreuses avant «. name ». Quatre autres personnalités et entreprises ont fait extensions dont «. museum » sui- Greene, pour a les frais de cette liberté absolue et vront dans les prochains mois. En Israël, ont eu maille à partir avec des L’introduction de ces nouvelles « squatteurs » du cyberespace. Au catégories ne fait pas l’unanimité. la troisième fois la renaissance d’un prix de longs procès, d’arbitrages Le directeur général de l’Associa- ou de négociations à l’amiable, tion française pour le nommage Le sprinter américain Maurice Gree- mouvement de la paix elles sont souvent parvenues à récu- Internet (Afnic) craint ainsi que ces ne a remporté pour la troisième fois pérer leur nom.
    [Show full text]
  • Messiaen's Forgotten
    MESSIAEN’S FORGOTTEN MIE Rediscovering the Organ Music of Claire Delbos N ICHOLAS J AMES C APOZZOLI Organ Area, Department of Performance Schulich School of Music McGill University, Montreal March 2020 A paper submitted to McGill University in partial fulfillment of the requirements of the degree of D.Mus. Performance Studies © Nicholas Capozzoli 2020 TABLE OF CONTENTS Abstract/Résumé ................................................................................................................................. i List of Tables, Figures, and Musical Examples .............................................................................. ii Acknowledgments ............................................................................................................................. vi Introduction .......................................................................................................................................... 1 Chapter 1: Towards a Biography of Claire Delbos ......................................................................... 7 1.1 Early Years and Marriage ................................................................................................ 7 1.2 Claire Delbos the Violinist ............................................................................................... 9 1.3 Claire Delbos the Composer .......................................................................................... 11 1.4 The War Years .................................................................................................................
    [Show full text]
  • ONDES MARTENOT Boulanger, Xenakis, Messiaen, Malec and Donatoni
    555779 bk Bloch US 30/06/2004 02:21pm Page 8 three ondes, piano, recorder, the human voice, and so on. writing in general and in Space Forest Bound (1997) in Etienne Rolin (b. 1952), an American-born particular, Rolin exploits the low resonances of the instrumentalist (saxophone, clarinet, flute) and composer, instruments to find a common denominator somewhere has lived in France since 1974. He studied with Nadia between the serious and the humorous, Baroque and new ONDES MARTENOT Boulanger, Xenakis, Messiaen, Malec and Donatoni. His music, composition and improvisation. meeting with Thomas Bloch in 1996 has led to the composition of a number of works and creation of the Thomas Bloch Messiaen • MartinÛ • Bloch • Cooper group Fine Tuning, in which they are sometimes joined by Kent Carter (bass) and John Kenny (trombone). In his English translation: Susannah Howe Redolfi • Rolin • Touchard • Wisson Thomas Bloch www.chez.com/thomasbloch Thomas Bloch, born in 1962 in Colmar (France), was the recipient of some fifteen Conservatoire awards, at Colmar and Strasbourg, as well as the First Prize for ondes Martenot at the Paris Conservatoire National Supérieur de Musique, an instrument that he studied with Françoise Cochet and Jeanne Loriod. He obtained a Master’s Degree in Musicology at the University of Strasbourg and was awarded prizes in several international composition competitions. Thomas Bloch is acknowledged as one of the foremost specialists of the rare instruments he plays: the glass harmonica, the ondes Martenot and the cristal Baschet. He has so far given over 2500 performances and taken part in more than eighty recordings for all major labels, and is a continuous inspiration to composers to write musics of all styles for him.
    [Show full text]
  • L'onde Nouvelle
    Edition 2. Mars 2008 ® L’Ondéa Instrument de musique électronique, conçu pour l‟interprétation fidèle du répertoire écrit pour „ l‟Onde Martenot ‟ au 20e siècle. Il est aussi ouvert aux compositions en cours et en devenir. 1 L’Ondea® n’est pas un synthétiseur. Du fait de son jeu expressif, elle est pour le musicien, comme un prolongement de sa pensée, et répond immédiatement à sa sensibilité. Son comportement est proche de celui d’un instrument acoustique, et l’on peut donc parler de lutherie électronique. www.cslevine.com/ondea Email : [email protected] Edition 2. Mars 2008 Historique 1928 Invention de L‟onde Martenot du nom de son créateur Maurice Martenot (1898-1980). Les Ondes Martenot ont évolués en sept modèles (1928, 1929, 1930, 1931, 1937, 1955 et 1975). Les interprètes les plus célèbres sont Ginette Martenot (la sœur de Maurice Martenot) et surtout Jeanne Loriod. 1930 Première utilisation au cinéma de L‟onde Martenot par Maurice Martenot, dans un film d‟Abel Gance, „La Fin du monde‟. 1937 Pour les "Fêtes du son, de l'eau et de la lumière", organisées dans le cadre de l'Exposition universelle, Olivier Messiaen compose La Fête des belles eaux, pour sextuor d'ondes Martenot 2 1945 Création à Paris des Trois petites liturgies de la Présence Divine par Yvonne Loriod (piano), Ginette Martenot (ondes Martenot), la Chorale Yvonne Gouverné et la Société des Concerts du Conservatoire sous la direction de Roger Desormière. 1947 Les ondes Martenot sont enseignées au Conservatoire National de Paris. 1950 Cet instrument monophonique est très usité dans les années 50, dans des publicités télévisées, radiophoniques, musiques de film.
    [Show full text]