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The regulations of the Academy of Music will not permit the distribution of these programme books at the concert. They may be had at the Liggett Drug Co.* Fulton Street and Lafayette Avenue. ACADEMY OF MUSIC . BROOKLYN Friday Evening, November 26, at 8.15 Under the auspicea of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn ' ^ BOSTON Xtmm SYAPHONY ORCHESTRA INC. FORTY-SIXTH SEASON J926-J927 ' ilk PR5GR2W\E *«i8 — B^ V\ "... Your piano is ad7nirable and it is nvith my warmestgreetings that I wish you the great success <which your instrument deserves. When CHALIAPIN sings, the piano is always a Baldwin. The greatest operatic genius of this genera- tion finds in Baldwin tone the perfect background for his magnificent art. As on the concert stage, so in his homes in New York and in Paris — Chaliapin uses the Baldwin. That loveliness and purity of tone which appeals to Chaliapin as well as to every exacting musician is found in all Baldwins; alike in the Concert Grand, in the smaller Grands, and in the Uprights. The history of the Baldwin is the history of an ideal. latttorin CINCINNATI CHICAGO NEW YORK INDIANAPOLIS ST. LOUIS LOUISVILLE DENVER DALLAS SAN FRANCISCO ACADEMY OF MUSIC BROOKLYN FORTY-SIXTH SEASON, 1926-1927 'ceestra INC. SERGE KOUSSEVITZKY, Conductor FIRST CONCERT FRIDAY EVENING, NOVEMBER 26, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1926, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN FREDERICK E. LOWELL W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1 After more than half a century on Fourteenth Street, Steinway Hall is now located at 109 West 57th Street. The new Steinway Hall is one of the handsomest buildings in New York on a street noted for finely designed business structures. As a center of music, it will extend the Steinway tradition to the new generations of music lovers. IN THE INST%U£MENT OF THE IMMORTALS Forty-sixth Season, 1926-1927 SERGE KOUSSEVITZKY, Conductor per: Violins. Burgin, R. EIcus, G. Gerardi, A. Hamilton, V. Gundersen, R. Concert-master Kreinin, B. Eisler, D. Sauvlet, H. Kassman, N. Theodorowicz, J. Cherkassky, P. Graeser, H. Fedorovsky, P. Siegl, F. Pinfield, C. Hansen, E. Leveen, P. Mariotti, V. Thillois, F. Seiniger, S. Zung, M. Gorodetzky, L. Mayer, P. Leibovici, J. Diamond, S. Fiedler, B. Bryant, M. Knudsen, C. Stonestreet, L. Erkelens, H. Murray, J. Del Sordo, R. Tapley, R. Messina. S. Violas. Lefranc, J. Fourel, G. Van Wynbergen, C. Grover, H. Fiedler, A. Artidres, L. Cauhape, J. Werner, H. Shirley, P. Avierino, N. Gerhardt, S. Bernard, A. Deane, C. Violoncellos. Bedetti, J. Zighera, A. Langendoen, J. Stockbridge, C. Fabrizio, E. Keller, J. Barth, C. Belinski, M. Warnke, J. Marjollet, L. Basses. Kunze, M. Lemaire, J. Ludwig, O. Kelley, A. Girard, H. Vondrak, A. Seydel, T. Frankel, I. Demetrides, L. Oliver, F. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Hamelin, G. Laus, A. Bladet, G. Devergie, J. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Allegra, E. Bettoney, F. (E-flat Clarinet) Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Mimart, P. PUler,B. Horns. Horns. Trumpets. Trombones. Wendler, G. Valkenier, W. Mager, G. Rochut, J. Schindler, G. Lannoye, M. Perret, G. Adam, E. Van Den Berg, C. Pogrebniak, S. Lafosse, G. Hansotte, L. Lorbeer, H. Gebhardt, W. Mann, J. Kenfield, L. Kloepfel, L. Tuba. Harps. Timpani. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Zighera, B. Polster, M. Sternburg, S. Seiniger, S. Organ. Piano. Celesta. Librarian. Snow, A. Sanroma, J. Fiedler, A. Rogers, L. J. ACADEMY OF MUSIC .... BROOKLYN Thirty-ninth season in Brooklyn Forty-sixth Season, 1926-1927 SERGE KOUSSEVITZKY, Conductor FIRST CONCERT FRIDAY EVENING, NOVEMBER 26 AT 8.15 PROGRAMME Beethoven Symphony No. 3 in E-flat major, "Eroica," Op. 55 I. Allegro con brio. II. Marcia funebre : Adagio assai. III. Scherzo: Allegro vivace; Trio. IV. Finale: Allegro molto. .ProkofiefT . Suite from the Opera, "The Love for Three Oranges" a. Les Ridicules. b. Marche. c. Scherzo. d. Le Prince et la Princesse. e. La Fuite. Respighi Symphonic Poem, "Pini di Roma" ("Pines of Rome") I. The Pines of the Villa Borghese. II. The Pines near a Catacomb. III. The Pines of the Janiculum. IV. The Pines of the Appian Way. ORTHOPHONIC VICTROLA FURNISHED BY THE NEW YORK TALKING MACHINE CO. MASON & HAMLIN PIANOFORTE There will be an intermission of ten minutes after the symphony 5 — RAYMOND -WHITCOMB CRUISES t ( 0(fr* r Jan. 27 and Feb. 22 West Indies Two 25-day cruises on the Columbus' largest &most luxurious Cruise m Ship in the Caribbean. Visiting 20 places' in South America,Central Sailing January 29 America & the Antilles. Sightseeing drives & South America trips to inland places The only cruise to visit are included—no extras. all South America. A Rates $400 & upward complete circuit —Pan- ama Canal— West Coast 7f~^ —spectacular Straits of Magellan — East Coast —Buenos Aires, Monte- video, Riode Janeiro. All MEDITERRANEAN in 2 months. On the pop- ular new liner % Laconia\ February 9, on the "Samaria" Rates $975 & upward March 29, on the "Carinthia" NORTH CAPE June 28, on the "Carinthia" ROUND THE WORLD ROUND AFRICA Jan. 18, 1928, on the "Samaria" Jan. 14, 1928, on the "Laconia" LAND CRUISES TO CALIFORNIA Every week this winter—special trains—luxurious new cars built for Raymond-Whitcomb —comprehensive sight-seeing en route the perfect way to go to California RAYMOND & WHITCOMB CO. 606 FIFTH AVE., Tel. Bryant 2830 225 FIFTH AVE., Tel. Ashland 9530 : Symphony No. 3 in E-flat major, "Eroica," Op. 55 Ltjdwig van Beethoven (Bom at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827) Anton Schindler wrote in his Life of Beethoven (Munster, 1840) "First in the fall of 1802 was his [Beethoven's] mental condition so much bettered that he could take hold afresh of his long-formulated plan and make some progress : to pay homage with a great instrumental work to the hero of the time, Napoleon. Yet not until 1803 did he set himself seriously to this gigantic work, which we now know under the title of 'Sinphonia Eroica' : on account of many interruptions it was not finished until the following year. The first idea of this sym- phony is said to have come from General Bernadotte, who was then French Ambassador at Vienna, and highly treasured Beethoven. I heard this from many friends of Beethoven. Count Moritz Lichnow- sky, who was often with Beethoven in the company of Bernadotte, . told me the same story." Schindler also wrote, with reference to the year 1823: "The correspondence of the King of Sweden led Beethoven's memory back to the time when the King, then General Bernadotte, Ambassador of the French Republic, was at Vienna, and Beethoven had a lively recollection of the fact that Bernadotte indeed first awak- " ened in him the idea of the 'Sinphonia Eroica.' The Piano House ofBrooklyn "Where Fine Grand Pianos Come From f y — and among them is the celebrated Kranich & Bach, behind which is a lifetime reputation for exquisite musical quality *Cwc BROOKLYN -NEW YORK These statements are direct. Unfortunately, Schindler, in the third edition of his book, mentioned Beethoven as a visitor at the house of Bernadotte in 1798, repeated the statement that Bernadotte inspired the idea of the symphony, and added: "Not long afterward the idea blossomed into a deed"; he also laid stress on the fact that Beethoven was a stanch republican, and cited, in support of his admiration of Napoleon, passages from Beethoven's own copy of Schleiermacher's translation of Plato. Thayer admits that the thought of Napoleon may have influenced the form and the contents of the symphony; that the composer may have based a system of politics on Plato; "but," he adds, "Bernadotte had been long absent from Vienna before the Consular form of govern- ment was adopted at Paris, and before Schleiermacher's Plato was published in Berlin." The symphony was composed in 1803-04. The story is that the title-page of the manuscript bore the word "Buonaparte" and at the bottom of the page "Luigi van Beethoven"; "and not a word more," said Ries, who saw the manuscript. "I was the first," also said Ries, "who brought him the news that Bonaparte had had himself declared Emperor, whereat he broke out angrily: 'Then he's nothing but an ordinary man! Now he'll trample on all the rights of men to serve his own ambition; he will put himself higher than all others and turn " out a tyrant!' Furthermore, there is the story that, when the death of Napoleon at St. Helena was announced, Beethoven exclaimed, "Did I not foresee the catastrophe when I wrote the funeral march in the 'Eroica'?" Why not Compare them. LL pianos [without ex- ception]} are modeled from the Chickering and have been for one hundred years. If there is in your mind the slightest doubt as to which is the master instrument of today, why not compare them? The Chickering gladly offers itselffor any comparison you choose. ' f and it's so easy to own it on small monthly payments and rj west57%St, M. Vincent d'Indy in his remarkable Life of Beethoven argues against Schindler's theory that Beethoven wished to celebrate the French Revolution en bloc. "C'etait I'homme de Brumaire" that Beethoven honored by his dedication (pp.
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  • In Support of Nikolai Medtner: an Examination of Five of His Art Songs Daniel J

    In Support of Nikolai Medtner: an Examination of Five of His Art Songs Daniel J

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2017 In Support of Nikolai Medtner: An Examination of Five of his Art Songs Daniel J. Liebeskind Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Liebeskind, Daniel J., "In Support of Nikolai Medtner: An Examination of Five of his Art Songs" (2017). LSU Doctoral Dissertations. 4368. https://digitalcommons.lsu.edu/gradschool_dissertations/4368 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. IN SUPPORT OF NIKOLAI MEDTNER: AN EXAMINATION OF FIVE OF HIS ART SONGS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music & Dramatic Arts By Daniel James Liebeskind B.A., Emory University, 2009 M.M., New Mexico State University, 2013 May 2017 ACKNOWLEDGMENTS This monograph would not have been possible without the help of a number of people. Dr. Delony, your regular reminders about the scope of a monograph are responsible for keeping this paper at a readable length, and your assistance with some of the trickier analyses has been invaluable. I would also like to thank Vera Zholondz for her English translations of numerous Russian poems, only one of which made it into the final paper.