Boston Symphony Orchestra Concert Programs, Season 102, 1982-1983
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Recordings of Mahler Symphony No. 4
Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel). -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
For Student Success
TRANSFORMING School Environments OUR VISION For Student Success Weaving SKILLS ROPES Relationships 2018 Annual Report Practices to Help All Students Our Vision for Student Success City Year has always been about nurturing and developing young people, from the talented students we serve to our dedicated AmeriCorps members. We put this commitment to work through service in schools across the country. Every day, our AmeriCorps members help students to develop the skills and mindsets needed to thrive in school and in life, while they themselves acquire valuable professional experience that prepares them to be leaders in their careers and communities. We believe that all students can succeed. Supporting the success of our students goes far beyond just making sure they know how to add fractions or write a persuasive essay—students also need to know how to work in teams, how to problem solve and how to work toward a goal. City Year AmeriCorps members model these behaviors and mindsets for students while partnering with teachers and schools to create supportive learning environments where students feel a sense of belonging and agency as they develop the social, emotional and academic skills that will help them succeed in and out of school. When our children succeed, we all benefit. From Our Leadership Table of Contents At City Year, we are committed to partnering Our 2018 Annual Report tells the story of how 2 What We Do 25 Campaign Feature: with teachers, parents, schools and school City Year AmeriCorps members help students 4 How Students Learn Jeannie & Jonathan Lavine districts, and communities to ensure that all build a wide range of academic and social- 26 National Corporate Partners children have access to a quality education that emotional skills to help them succeed in school 6 Alumni Profile: Andrea Encarnacao Martin 28 enables them to reach their potential, develop and beyond. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
The Four Seasons I
27 Season 2013-2014 Friday, November 29, at 8:00 The Philadelphia Orchestra Saturday, November 30, at 8:00 Sunday, December 1, at 2:00 Richard Egarr Conductor and Harpsichord Giuliano Carmignola Violin Vivaldi The Four Seasons I. Spring, Concerto in E major, RV 269 a. Allegro b. Largo c. Allegro II. Summer, Concerto in G minor, RV 315 a. Allegro non molto b. Adagio alternating with Presto c. Presto III. Autumn, Concerto in F major, RV 293 a. Allegro b. Adagio molto c. Allegro IV. Winter, Concerto in F minor, RV 297 a. Allegro non molto b. Largo c. Allegro Intermission 28 Purcell Suite No. 1 from The Fairy Queen I. Prelude II. Rondeau III. Jig IV. Hornpipe V. Dance for the Fairies Haydn Symphony No. 101 in D major (“The Clock”) I. Adagio—Presto II. Andante III. Menuetto (Allegretto)—Trio—Menuetto da capo IV. Vivace This program runs approximately 1 hour, 40 minutes. The November 29 concert is sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 3 Story Title 29 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. -
Proquest Dissertations
Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure Item Type text; Dissertation-Reproduction (electronic) Authors Alcaraz, Roberto Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 13:06:08 Link to Item http://hdl.handle.net/10150/279989 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be f^ any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitlsd. Brolcen or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author dkl not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectk)ning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additkxial charge. -
Permian Basin String Quartet
Permian Basin String Quartet John Madura Alex Norris Melssa Madura Amy Huzjak Described by the Odessa American as “a precise and authoritative sound” the Permian Basin String Quartet (PBSQ) is the resident quartet of the Midland-Odessa Symphony & Chorale and is comprised of the principal string players of the orchestra. The quartet members have developed a loyal audience and a reputation as a leading ensemble in the Permian Basin. The PBSQ has made recent appearances in Midland, Odessa, Abilene, Alpine, San Angelo, Big Spring, Lubbock, and Hobbs, NM. In 2015, the PBSQ was the featured guest artist on the Abilene Christian University (ACU) Tour as the soloists on Short Stories by Joel Puckett as well as gave the Texas premiers of several works by ACU visiting composer Hyunjoo Lee. In 2013 the PBSQ appeared in the Abilene Philharmonic Nocturne series as well as the Church of the Heavenly Rest Chamber series. The PBSQ frequently appears with the San Angelo State University Choir, has given masterclasses in Mexico and Lubbock, TX as well as appeared with Chamber Music Amarillo. In addition to performance, the PBSQ is very dedicated to music education. The PBSQ gives educational concerts at elementary schools in the Permian Basin throughout the year. In addition, the PBSQ serves as section coaches for several high school orchestras in the Permian Basin as well as the University of Texas-Permian Basin (UTPB) University Orchestra. The PBSQ has also partnered with UTPB as the faculty for the All-Region Summer Workshop as well as the Hartwick College Summer Festival in Oneonta, NY. -
Boston Symphony Orchestra Concert Programs, Season 106,1986-1987, Subscription
I 1M86 'C) 1985 BENE Dlf.riNt ',A 8f) PROOF IMPORTED FROM FRANCE JULIUS WILE SONS « CO. LAKE SUCCESS, NY TOSEND A GIFT OF B&B LIQUEUR ANYWHERE IN THE US CALL 1 •800-238-4373 VOID WHERE PROHIBITED Seiji Ozawa^ Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Honorary Chairman George H. Kidder, President Nelson J. Darling, Jr., Chairman J. P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman WiUiam J. Poorvu, Vice-Chairman and Treasurer Mrs. George L. Sargent, Vice-Chairman Vernon R. Alden Archie C. Epps Roderick M. MacDougall David B. Arnold, Jr. Mrs. John H. Fitzpatrick Mrs. August R. Meyer Mrs. Norman L. Cahners Avram J. Goldberg E. James Morton George H.A. Clowes, Jr. Mrs. John L. Grandin David G. Mugar William M. Crozier, Jr. Francis W. Hatch, Jr. Mrs. George R. Rowland Mrs. Lewis S. Dabney Harvey Chet Krentzman Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti PMlip K. Allen E. Morton Jennings, Jr. Thomas D. Perry, Jr. Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Albert L. Nickerson Paul C. Reardon Abram T. Collier John T. Noonan Sidney Stoneman Mrs. Harris Fahnestock John L. Thomdike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director Anne H. Parsons, Orchestra Manager Costa FWaxachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Robert Bell, Data Processing Manager Steven Ledbetter, Musicologist d: Helen P. -
Boston Symphony Orchestra Archives
Boston Symphony Orchestra SEIJI OZAWA, Music Director # > BOSTON ^ /symphony \ orchestra, ,J\ SEIjI OZAWA A 104th Season \\ ifA MusuD.ncIo, < Vf ^ip.',, 1984-85 SHARE THE SENSE OF 4&f 3Ss EXCLUSIVELY FINE CHAMPAGNE COGNAC Proot Imported By Remy Martin Amerique, Inc , NY. NY 80 Seiji Ozawa, Music Director One Hundred and Fourth Season, 1984-85 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J. P. Barger, Vice-President George H. Kidder, Vice-President Mrs. George L. Sargent, Vice-President William J. Poorvu, Treasurer Vernon R. Alden Mrs. Michael H. Davis E. James Morton David B. Arnold, Jr. Archie C. Epps David G. Mugar Mrs. John M. Bradley Mrs. John H. Fitzpatrick Thomas D. Perry, Jr. Mrs. Norman L. Cahners Mrs. John L. Grandin Irving W. Rabb George H.A. Clowes, Jr. Harvey Chet Krentzman Mrs. George R. Rowland William M. Crozier, Jr. Roderick M. MacDougall Richard A. Smith Mrs. Lewis S. Dabney John Hoyt Stookey Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Mrs. James H. Perkins Richard R Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Administration of the Boston Symphony Orchestra, Inc. Thomas W. Morris, General Manager William Bernell, Artistic Administrator Daniel R. Gustin, Assistant Manager Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director of Promotion Josiah Stevenson, Director ofDevelopment Theodore A. Vlahos, Director ofBusiness Affairs Charles S. Fox, Director ofAnnual Giving Anita R. Kurland, Administrator of Youth Activities Arlene Germain, Financial Analyst Richard Ortner, Administrator of Charles Gilroy, ChiefAccountant Tanglewood Music Center Vera Gold, Assistant Director ofPromotion Robert A. -
Boys' Voices, Lads' Voices: Benjamin Britten and the “Raggazo
Boys’ Voices, Lads’ Voices: Benjamin Britten and the “Raggazo” (Continental) Sound. Jim Coyle Lecturer, Sydney Conservatorium of Music, The University of Sydney, Australia. Abstract Over 20% of the opus-numbered compositions by Benjamin Britten involved the sound of young voices. In thirteen of these pieces, he stipulated a chorus of trebles. Britten is known to have had a preference for what he perceived as a natural singing sound, rather than the refined and pure tone of a cathedral choir. This study analyses these works for five musical parameters: pitch range, pitch proximity, mean pitch, phrase length, and notated dynamics to demonstrate that Britten had two distinct styles when writing for treble chorus. One is for the traditional English cathedral sound and the other is for the ‘continental’ voice produced by certain choirs for whom he wrote. There are some transitional works composed in the late 1940s and early 1950s that show characteristics of both of these styles. These conclusions will help in interpreting Britten’s works and as technical guidelines for composers seeking particular effects when writing for the treble choir. Keywords trebles, cathedral choir, Benjamin Britten, boys, continental tone, ragazzo. Introduction The Nature of the Question The use of boys’ voices is a noticeable characteristic of the music of English composer Benjamin Britten (1913-1976). He was strongly committed to writing music for children and young people of both sexes and used them as soloists, in small ensembles, and in larger choruses and choirs (Holst, 1966). Certain of the works involving a chorus of boys show a marked timbral difference from the others and were composed with that particularly robust tone colour, the continental or ragazzo sound, in mind (Ashley, 2009). -
WILLEM Mengelgerg VERENIGING MEDEDELINGENBLAD Nr
WILLEM MENGELgERG VERENIGING MEDEDELINGENBLAD nr . l0 O:<TOBER 1989 De kascommissie 1988: D. Blokbei"gen en J . Veurman met uw pei1ningmeester C. Baurichter- Jonkers BEZOEK AAN WILLEM NOSKE ======================= Kort na de interessante bijeenkomst van onze leden ten huize van Willem Noske in Den Haag op 10 december 1988, werd onze toenmalige gastheer ernstig ziek. Na een· verblijf van ongeveer 4 maanden in het ziekenhuis is hij gelukkig weer thuis. Hoewel zijn gezondheid helaas niet meer de oude is, heeft hij zich weer met grote energie op zijn werk gestort: een alomvattend onderzoek van het muziekleven in Nederland van vroeger tijden tot nu. Ondanks zijn drukke werkzaamheden, heeft de heer Noske op 3 augustus 1989 een kleine afvaardiging van het bestuur van onze vereniging willen ontvangen, bestaande uit A. van Kapel en ondergetekende. Het bezoek had ten doel, om namens onze Vereniging van onze belangstelling voor zijn gezondheid te doen blijken en hem onze beste wensen voor de toekomst over te brengen, onder aanbieding van een fleurige bloemenhulde. De heer Noske toonde zich verrast door deze attentie en ontving ons aller vriendelijkst. Wij kunnen U verzekeren dat hij er uitstekend uitziet. Er ontspon zich onmiddellijk een levendig gesprek, waarin onze gastheer ons op boeiende wijze deelgenoot maakte van allerlei feiten en gebeurlijkheden, die bij zijn onderzoekingen aan het licht zijn gekomen en die tot dusverre onbekend zijn gebleven. Ook is hem gebleken, dat zich op vele gebieden in de loop der jaren vele misvattingen hebben gevormd, die een vertekend beeld van de historie geven en die in de literatuur een hardnekkig leven lijden doordat zij van generatie op generatie zonder verder onderzoek zijn overgenomen. -
A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them.