Boston Symphony Orchestra Concert Programs, Season 46,1926-1927, Trip

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 46,1926-1927, Trip 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.
Recommended publications
  • Alpacas Orgling Mp3, Flac, Wma
    L.E.O. Alpacas Orgling mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Alpacas Orgling Country: US Released: 2006 Style: Alternative Rock, Power Pop, Pop Rock MP3 version RAR size: 1267 mb FLAC version RAR size: 1788 mb WMA version RAR size: 1127 mb Rating: 4.5 Votes: 156 Other Formats: MP3 XM MP2 VOX MIDI DTS AAC Tracklist Hide Credits Overture 1 0:33 Written-By, Strings, Acoustic Guitar – Maclaine Diemer Goodbye Innocence Bass – Chris Z. Electric Guitar – John FieldsMellotron – Maclaine DiemerSlide Guitar – Tony 2 3:51 GoddessWritten-By, Vocals – Andy SturmerWritten-By, Vocals, Acoustic Guitar, Drums, Keyboards, Mellotron – Bleu Ya Had Me Goin' 3 Backing Vocals – Matt MahaffeyBass, Clavinet – John FieldsDrums – Steve GormanGuitar – 3:10 Maclaine DiemerWritten-By, Vocals, Electric Guitar, Keyboards – Bleu Distracted Cello – David Bentley Lyrics By – Alex ScutroStrings, Arranged By – Paula KelleyViolin – 4 4:18 Angie ShyrWritten-By, Lyrics By, Vocals, Acoustic Guitar, Drums, Keyboards – Bleu Written-By, Vocals – Mike Viola Make Me Acoustic Guitar – Chris Holmes , Derek Webb, Isaac Hanson, Jay LashleyBacking Vocals – 5 Jason ScheffBacking Vocals, Drums – Ducky CarlisleBass – John FieldsWritten-By, Backing 3:00 Vocals, Electric Guitar, Vocoder, Acoustic Guitar – Bleu Written-By, Vocals, Acoustic Guitar – Mike Viola The Ol' College Try Cello – David Bentley Electric Guitar – John FieldsViolin – Angie ShyrVocals, Arranged By, 6 3:43 Strings – Paula KelleyWritten-By, Bass – Tony GoddessWritten-By, Vocals, Piano, Drums, Keyboards
    [Show full text]
  • The Bayreuth Festspielhaus: the Metaphysical Manifestation of Wagner's Der Ring Des Nibelungen Matthew Timmermans University of Ottawa
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 8 | Issue 1 Article 6 The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Matthew Timmermans University of Ottawa Recommended Citation Timmermans, Matthew (2015) "The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 8: Iss. 1, Article 6. The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Abstract This essay explores how the architectural design of the Bayreuth Festspielhaus effects the performance of Wagner’s later operas, specifically Der Ring des Nibelungen. Contrary to Wagner’s theoretical writings, which advocate equality among the various facets of operatic production (Gesamtkuntswerk), I argue that Wagner’s architectural design elevates music above these other art forms. The evidence lies within the unique architecture of the house, which Wagner constructed to realize his operatic vision. An old conception of Wagnerian performance advocated by Cosima Wagner—in interviews and letters—was consciously left by Richard Wagner. However, I juxtapose this with Daniel Barenboim’s modern interpretation, which suggests that Wagner unconsciously, or by a Will beyond himself, created Bayreuth as more than the legacy he passed on. The juxtaposition parallels the revolutionary nature of Wagner’s ideas embedded in Bayreuth’s architecture. To underscore this revolution, I briefly outline Wagner’s philosophical development, specifically the ideas he extracted from the works of Ludwig Feuerbach and Arthur Schopenhauer, further defining the focus of Wagner’s composition and performance of the music. The analysis thereby challenges the prevailing belief that Wagner intended Bayreuth and Der Ring des Nibelungen, the opera which inspired the house’s inception, to embody Gesamtkunstwerk; instead, these creations internalize the drama, allowing the music to reign supreme.
    [Show full text]
  • Mozart's Die Zauberflöte: a Kingdom of Notes and Numbers
    MOZART’S DIE ZAUBERFLÖTE: A KINGDOM OF NOTES AND NUMBERS by Daemon Garafallo A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL May 2016 Copyright 2016 by Daemon Garafallo ii ACKNOWLEDGMENTS The author wishes to express his thanks to his committee members for their guidance, especially to his thesis advisor, Dr. Ken Keaton, for helping the author through a difficult time these past few years, and to Dr. Sandra McClain for going above and beyond in her dual role of committee member and academic advisor and for doing an excellent job at both. He also would like to acknowledge Dr. James Cunningham for his help and guidance throughout his degree. iv ABSTRACT Author: Daemon Garafallo Title: Mozart’s Die Zauberflöte: A Kingdom of Notes and Numbers Institution: Florida Atlantic University Thesis Advisor: Dr. Ken Keaton Degree: Master of Arts Year: 2016 Wolfgang Amadeus Mozart composed Die Zauberflöte in the last year of his life. It was intended in part to glorify Freemasonry as a new Emperor, more hostile to the Masons, took his office. After a brief survey of his life and works, this paper shows how Mozart used number symbolism in the opera, and will equip the reader with an understanding of this as practiced by the Freemasons. Further, it will show how Mozart associated the characters of the opera with specific musical tones. It will expose a deeper understanding of the question of meaning in word and text in his opera.
    [Show full text]
  • Icons of Elegance Dancing Is Easy Mp3, Flac, Wma
    Icons Of Elegance Dancing Is Easy mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Dancing Is Easy Country: Finland Released: 2004 MP3 version RAR size: 1677 mb FLAC version RAR size: 1562 mb WMA version RAR size: 1557 mb Rating: 4.3 Votes: 733 Other Formats: XM APE DMF AC3 WMA APE ASF Tracklist Hide Credits Dancing Is Easy Backing Vocals – Antti IkolaBacking Vocals, Bass, Bass [6-String Bass] – Anssi*Drums, 1 Tambourine – Harri*Electric Piano [Wurlitzer], Musical Box, Glockenspiel – Catherine KontzVocals, Electric Guitar, Acoustic Guitar, Synth – Henri* Sandra Lee Backing Vocals, Electric Guitar, Acoustic Guitar, Synth – Henri*Drums – Harri*Electric Piano 2 [Rhodes], Organ [Hammond] – Antti*Vocals, Bass, Piano, Mandolin [Electric Mandolin], Keyboards – Anssi* Running To Catch Up With Myself Acoustic Guitar – Antti*Backing Vocals, Bass, Vibraphone, Bass [6-String Bass] – Anssi*Drums – 3 Harri*Electric Piano [Wurlitzer] – Catherine*Trombone, Trombone [Bass Trombone], Euphonium – Mikko MustonenVocals, Electric Guitar, Slide Guitar, Guitar [Nashville Guitar], Dulcitone – Henri* Local Library Backing Vocals, Acoustic Guitar, Mandolin [Electric Mandolin] – Henri*Drums – Harri*Electric 4 Piano [Rhodes] – Antti*Vocals, Bass, Guitar [Nashville Guitar], Strings [String Machine], Piano – Anssi* Lead Me Away Acoustic Guitar – Riku RajamaaDrums – Harri*Electric Piano [Rhodes] – Antti*Harmony Vocals, 5 Bass – Anssi*Organ [Hammond] – Pekka GröhnPedal Steel Guitar – Olli HaavistoVocals, Electric Guitar – Henri* Ready When You Are 6
    [Show full text]
  • Grande Messe Des Morts: Hector Berlioz's Romantic Interpretation Of
    GRAND MESSE DES MORTS: HECTOR BERLIOZ'S ROMANTIC INTERPRETATION OF THE ROMAN CATHOLIC REQUIEM TRADITION Amber E. Broderick A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC December 2012 Committee: Arne Spohr, Advisor Eftychia Papanikolaou © 2012 Amber E. Broderick All Rights Reserved iii ABSTRACT Arne Spohr, Advisor Hector Berlioz (1803-1869) was commissioned by the French government in 1836 to compose a requiem mass for a state ceremony and to restore sacred music to a respected position in France. Berlioz envisioned a requiem that both continued the Roman Catholic requiem tradition and expanded it in context of the Romantic era and Kunstreligion. Berlioz conceived his Grande messe des morts (Requiem) as a “music drama,” in which the thirteenth-century Latin prose wa s used as secular poetry rather than an immutable sacred text. Berlioz’s Requiem is not religious in strict theological terms but relates more closely to what Frank Heidlberger calls an artistic statement of “secular moral philosophy.” Berlioz devised a first-person physiological narrative which presented the listener with a private emotional experience, achieving this psychological journey, in part, through a Romantic interpretation: textual alterations, programmatic orchestration, and the innovative use of antiphonal brass orchestras. The text was freely edited and rearranged to produce a libretto-type program, which Edward Cone deems a “dramatic portrayal of an imaginary progress through this world and the next.” Berlioz enhanced his interpretation by shifting from the traditional third-person perspective to the first-person. This adjustment required minimal changes to the text but maximum changes for the listener, who experienced a personal journey focused on the individual, rather than the divine.
    [Show full text]
  • EJ Full Draft**
    Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today.
    [Show full text]
  • Bibliographic Essay for Alex Ross's Wagnerism: Art and Politics in The
    Bibliographic Essay for Alex Ross’s Wagnerism: Art and Politics in the Shadow of Music The notes in the printed text of Wagnerism give sources for material quoted in the book and cite the important primary and secondary literature on which I drew. From those notes, I have assembled an alphabetized bibliography of works cited. However, my reading and research went well beyond the literature catalogued in the notes, and in the following essay I hope to give as complete an accounting of my research as I can manage. Perhaps the document will be of use to scholars doing further work on the phenomenon of Wagnerism. As I indicate in my introduction and acknowledgments, I am tremendously grateful to those who have gone before me; a not inconsiderable number of them volunteered personal assistance as I worked. Wagner has been the subject of thousands of books—although the often-quoted claim that more has been written about him than anyone except Christ or Napoleon is one of many indestructible Wagner myths. (Barry Millington, long established one of the leading Wagner commentators in English, disposes of it briskly in an essay on “Myths and Legends” in his Wagner Compendium, published by Schirmer in 1992.) Nonetheless, the literature is vast, and since Wagner himself is not the central focus of my book I won’t attempt any sort of broad survey here. I will, however, indicate the major works that guided me in assembling the piecemeal portrait of Wagner that emerges in my book. The most extensive biography, though by no means the most trustworthy, is the six- volume, thirty-one-hundred-page life by the Wagner idolater Carl Friedrich Glasenapp (Breitkopf und Härtel, 1894–1911).
    [Show full text]
  • SPONS AGENCY AVAILABLE from DOCUMENT RESUME Arts
    DOCUMENT RESUME ED 216 480 EC 142 431 TITLE Arts for the Gifted and Talented: Grades One Through Six. INSTITUTION California State Dept. of Education, Sacramento. SPONS AGENCY Department of Education, Washington, D.C. PUB DATE 81 NOTE 88p. AVAILABLE FROMCalifornia State Department of Education, Publications Sales, P.O. Box 271, Sacramento, CA 95802 ($2.75 each, California residents add sales tax). EDRS PRICE, MFO1 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Aesthetic Education; Art Education; Cognitive Development; Dance; Drama; Elementary Education; *Gifted; *Interdisciplinary Approach; Lesson Plans; Music; Poetry; *Talent; Visual Arts IDENTIFIERS *California\-- ABSTRACT The booklet presents California guidelines for arts education of gifted students in Grades 1 through 6. An introductory section examines the relevance of cognitive domain factors (knowledge, comprehension, application, analysis, synthesis, and evaluation) to the :arts. The second section presents 12 sample lesson plans in creative movement and dance, 12 in music, 6 in creative dramatics, 7 in poetry, and 12 in visual arts. Section 3 details interdisciplinary activities blending drama, movement, dance, language arts, social studies, science, and the visual arts. A glossary of approximately 120 terms ilsed in visual arts,.music, drama, poetry, and dance is also included. (CL) *********************************************************************** Reproductions supplied by EDRS aro the best that can be made from the original document. *******'****************************************************************
    [Show full text]
  • Wagner 'S Das Liebesverbot
    A l WAGNER 'S DAS LIEBESVERBOT THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Danna Behne, B. M. E. Denton, Texas May, 1973 Behne, Danna, Wagner's Das Liebesverbot. Master of Music (Musicology), May, 1973, 192 pp., 162 illustrations, bibliography, 76 titles. Wagner's second opera Das Liebesverbot, composed in 1835 and first performed in Magdeburg in 1836, could be termed Wagner's "Italian" opera. It represents Wagner's attitudes and feelings at the time of its composition. During this period in Wagner's life the composer had be come particularly enchanted with Italian music and also with the Italian way of sensuous and carefree living. At the same time his disillusionment with German conservatism and pedantry also had an influence on the composition of this opera. Although Das Liebesverbot sounds for the most part like the French and Italian operas after which it was patterned, a few traits of the later Wagner can also be detected. The use of the leitmotif in Das Liebesverbot foreshadows its more highly developed use in the later dramas. The dramatic compactness in this early opera is also a characteristic trait of all of Wagner's operas. Das Liebesverbot was termed a "sin of my youth" by the composer and ordered never to be performed at Bayreuth. This decree was recently broken with the performance of the 1 2 opera by the Bayreuth International Youth Festival. Over the years a few other German and English theaters have staged Das Liebesverbot, among those being Munich, Leipzig, Berlin, Dortmund, Nottingham, and London.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 56,1936-1937
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephone, Ticket and Administration Offices, Com. 149s FIFTY-SIXTH SEASON, 1936-1937 CONCERT BULLETIN of the Boston Symphony Orchestra INCORPORATED SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes By John N. Burk COPYRIGHT, 1937, BY BOSTON SYMPHONY ORCHESTRA, IllC. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Bentley W. Warren .... President Henry B. Sawyer . Vice-President Ernest B. Dane . Treasurer Allston Burr M. A. De Wolfe Howe Henry B. Cabot Roger I. Lee Ernest B. Dane Richard C. Paine Alvan T. Fuller Henry B. Sawyer N. Penrose Hallowell Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [729] . Old Colony Trust Company 17 COURT STREET, BOSTON The principal business of this company is: 1 Investment of funds and management of property for living persons. 2. Carrying out the provisions of the last will and testament of deceased persons. Our officers would welcome a chance to dis- cuss with you either form of service. zAllied with The First National Bank a/' Boston [730] SYMPHONIANA Serge Prokofieff The Pushkin Centenary SERGE PROKOFIEFF The accompanying head of Serge Prokofieff is reproduced from the origi- nal drawing by Alexandre Iacofleff which • Considering the rarity of old French porcelain apothecary jars, its not likeiy that lamps made of them will become common. Any reproduction would be obvious, as the texture of the old porcelain gives these pieces their charm. The inscriptions are of course all different, and the coloring of the decorations is varied There is one to be had in black and white.
    [Show full text]
  • Anthropocene Modernisms: Ecological Expressions of The
    ANTHROPOCENE MODERNISMS: ECOLOGICAL EXPRESSIONS OF THE “HUMAN AGE” IN ELIOT, WILLIAMS, TOOMER, AND WOOLF A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Rebekah A. Taylor May 2016 Copyright All rights reserved Except for previously published materials i Dissertation written by Rebekah A. Taylor B.A., Augusta State University, 2007 M.A., Middle Tennessee State University, 2010 Ph.D., Kent State University, 2016 Approved by _____________________________________, Chair, Doctoral Dissertation Committee Kevin Floyd _____________________________________, Chair, Doctoral Dissertation Committee Ryan Hediger ___________________________________, Members, Doctoral Dissertation Committee Tammy Clewell ___________________________________ Emariana Widner ___________________________________ Deborah Barnbaum Accepted by ____________________________________, Chair, Department of English Robert Trogdon ____________________________________, Dean, College of Arts and Sciences James L. Blank ii TABLE OF CONTENTS………………………………………………………………………...iii LIST OF FIGURES………………………………………………………………………………v ACKNOWLEDGEMENTS……………………………………………………………………..vii CHAPTERS I. Introduction to Anthropocene Modernisms ………………………………………………1 Early Twentieth Century Formulations of “Anthropocene”……………..10 The Environmental Tradition and the Role of Literary Criticism……….19 Defining Modernist Form(s) / Aesthetic(s)………………………………30 The Example of Water…………………………………………………...39 Preview of Chapters……………………………………………………...44
    [Show full text]
  • 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.
    [Show full text]