2019 Tchaikovsky's Violin Concerto

Total Page:16

File Type:pdf, Size:1020Kb

2019 Tchaikovsky's Violin Concerto Tchaikovsky’s Violin Concerto MORNING SYMPHONY SERIES Thu 20 June 2019, 11am MASTERS SERIES Fri 21 June & Sat 22 June 2019, 7.30pm Perth Concert Hall West Australian Symphony Orchestra and Wesfarmers Arts, creating the spark that sets off a lifelong love of music. Julia Brooke – WASO Horn The West Australian Symphony Orchestra respectfully acknowledges the Traditional Owners, Custodians and Elders of the Indigenous Nations across Western Australia and on whose Lands we work. MORNING SYMPHONY SERIES Tchaikovsky’s Violin Concerto TCHAIKOVSKY Violin Concerto (36 mins) Allegro moderato – Moderato assai Canzonetta (Andante) Finale (Allegro vivacissimo) MENDELSSOHN Symphony No.4 Italian (27 mins) Allegro vivace Andante con moto Con moto moderato Saltarello (Presto) Asher Fisch conductor Vadim Gluzman violin Asher Fisch appears courtesy of Wesfarmers Arts Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker, Yvonne Frindle (see page 16 for her biography). The Pre-concert Talk will take place at 9.40am in the Auditorium. Listen to WASO This performance is recorded for broadcast on ABC Classic on Sunday, 14 July at 12pm AWST (or 10am online). For further details visit abc.net.au/classic 3 MASTERS SERIES Tchaikovsky’s Violin Concerto PFITZNER Palestrina: Three Preludes (19 mins) Act I: Prelude (Ruhig) Act II: Prelude (Mit Wucht und Wildheit) Act III: Prelude (Langsam) TCHAIKOVSKY Violin Concerto (36 mins) Allegro moderato – Moderato assai Canzonetta (Andante) Finale (Allegro vivacissimo) Interval (25 mins) MENDELSSOHN Symphony No.4 Italian (27 mins) Allegro vivace Andante con moto Con moto moderato Saltarello (Presto) Asher Fisch conductor Vadim Gluzman violin Asher Fisch appears courtesy of Wesfarmers Arts Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker, Yvonne Frindle (see page 16 for her biography). The Pre-concert Talk will take place at 6.45pm in the Terrace Level Foyer. Wesfarmers Arts Meet the Musician Enjoy a conversation with Graeme Norris and Christina Katsimbardis post-concert Saturday night in the Terrace Level foyer. Listen to WASO This performance is recorded for broadcast on ABC Classic FM on Sunday, 14 July at 12pm AWST (or 10am online). For further details visit abc.net.au/classic 4 2019 Upcoming Concerts MORNING SYMPHONY SERIES Tchaikovsky Symphony No.5 Thu 4 July 11am Perth Concert Hall Estonian conductor Hendrik Vestmann makes his WASO debut with Tchaikovsky’s Fifth Symphony. This irresistible work journeys from a bleak funeral march to a powerful conclusion. We open with the kaleidoscopic textures of Esa-Pekka Salonen’s Nyx, named after the Greek Goddess of the night. ESA-PEKKA SALONEN Nyx TCHAIKOVSKY Symphony No.5 TICKETS FROM $30* Hendrik Vestmann conductor (pictured) MASTERS SERIES Shostakovich & Tchaikovsky Fri 5 & Sat 6 July 7.30pm Perth Concert Hall Hailed as “the real deal” and “nothing short of magnificent”, Armenian-born Narek Hakhnazaryan brings his formidable technical prowess to one of the most difficult works in the cellist’s repertoire, Shostakovich’s First Cello Concerto. ESA-PEKKA SALONEN Nyx SHOSTAKOVICH Cello Concerto No.1 Photo: Marco Borggreve TCHAIKOVSKY Symphony No.5 TICKETS Hendrik Vestmann conductor FROM $33* Narek Hakhnazaryan cello (pictured) SPECIAL EVENT Last Night of the Proms Fri 19 July 8pm & Sun 21 July 2pm Perth Concert Hall Bring your best voice and party spirit as we raise the roof at the Perth Concert Hall with a grand ‘Hurrah’ of flag-waving favourites. As always the concert comes to an unmissable end with the traditional ‘Last Night of the Proms’ sing-a-long including Jerusalem and Rule, Britannia! ROGERS & HAMMERSTEIN The Sound of Music: Climb Ev’ry Mountain LOEWE My Fair Lady: I Could Have Danced All Night WOOD Fantasy on British Sea Songs ELGAR Pomp and Circumstance No.1 ‘Land of Hope and Glory’ …and more Guy Noble conductor Jacqueline Dark mezzo soprano TICKETS WASO Chorus FROM $49* BOOK NOW – 9326 0000 – waso.com.au *A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post. 5 West Australian Symphony Orchestra From the centre of Perth to the furthest WASO Chorus, to create exceptional corners of our State, every year since 1928, performances for hundreds of thousands we set hearts racing with extraordinary of people each year. music and exhilarating performances for all West Australians to share. Our Orchestra is led by Principal Conductor and Artistic Adviser West Australian Symphony Orchestra Asher Fisch. Israeli-born, Fisch is an (WASO) is a for-purpose not-for-profit internationally renowned conductor company that thrives on the enthusiasm, in both the operatic and symphonic passion and support of our entire repertoire, and is a frequent guest at the community. We harness this energy world’s great opera houses including La to create events and programs across Scala, the Bayerische Staatsoper and the the State to stimulate learning and Metropolitan Opera in New York. participation in a vibrant cultural life. We are proud to call Perth Concert Hall We are both fierce advocates for our home. great classical musical heritage and passionate leaders in the commissioning and performance of new music by leading Australian and international Connect With WASO composers. Every year we mobilise and waso.com.au nurture a new generation of young and emerging artists to help secure a bright facebook.com/ future for music in Australia. WASymphonyOrchestra We create the spark that sets off a lifelong twitter.com/WASymphony love of music because we believe it has the power to touch the soul and enrich lives. instagram.com/ Our resident company of full-time wasymphonyorchestra professional musicians are the beating youtube.com/ heart of our organisation. The Orchestra WestAustSymOrchestra plays a central role in the vibrancy of our creative state, and they are also Stay up to date and sign-up to our supported by hundreds of visiting SymphonE-news at waso.com.au artists, alongside the volunteers of the 6 WASO On Stage VIOLIN VIOLA FLUTE TRUMPET Laurence Jackson Daniel Schmitt Andrew Nicholson Brent Grapes Concertmaster Alex Brogan Chair partnered by Peter Miller Anonymous Semra Lee-Smith Kierstan Arkleysmith Ben Noonan^ A/Assoc Concertmaster Andrew Freeman^ Nik Babic Michael Howell^ William Theis^ Graeme Norris Benjamin Caddy A/Assistant Concertmaster Diane Riddell^ TROMBONE Alison Hall Rebecca Glorie Joshua Davis A/Principal 1st Violin Rachael Kirk OBOE Chair partnered by Zak Rowntree* Kathryn McKay^ Joshua Oats Dr Ken Evans and Principal 2nd Violin Allan McLean Liz Chee Dr Glenda Campbell-Evans Kylie Liang Elliot O’Brien A/Principal Oboe Liam O’Malley Chair partnered by Matthew Walker^ Penrhos College Helen Tuckey COR ANGLAIS Assoc Principal 2nd Violin CELLO Leanne Glover BASS TROMBONE Akiko Miyazawa Chair partnered by Philip Holdsworth A/Assistant Principal Rod McGrath Sam & Leanne Walsh Chair partnered by 2nd Violin TUBA Tokyo Gas CLARINET Hannah Brockway^ Melinda Forsythe° Cameron Brook Fleur Challen Allan Meyer Chair partnered by Shigeru Komatsu Lorna Cook Peter & Jean Stokes Stephanie Dean Oliver McAslan Chair partnered by Catherine Cahill Marc & Nadia Geary Nicholas Metcalfe TIMPANI Amy Furfaro^ Eve Silver* BASS CLARINET Alex Timcke Alexander Millier Beth Hebert Fotis Skordas PERCUSSION Tim South Alexandra Isted BASSOON Brian Maloney Xiao Le Wu Sunmi Jung Jane Kircher-Lindner Francois Combemorel Christina Katsimbardis DOUBLE BASS Adam Mikulicz Assoc Principal Ellie Lawrence Percussion & Timpani Andrew Sinclair* Linda Charteris^ Sera Lee^ John Keene HARP Shaun Lee-Chen^ CONTRABASSOON Caitlin Bass^ Bronwyn Wallis^ Andrea Mendham° Chloe Turner Louise Elaerts Lucas O’Brien Christine Reitzenstein HORN Melanie Pearn Mark Tooby David Evans Louise Sandercock Phillip Waldron^ Robert Gladstones Jane Serrangeli Principal 3rd Horn Kathryn Shinnick Sarah Brien^ Bao Di Tang Julia Brooke Cerys Tooby Dorée Dixon *Instruments used by these Teresa Vinci° Francesco Lo Surdo musicians are on loan from David Yeh Janet Holmes à Court AC. Principal Associate Principal Assistant Principal Contract Player˚ Guest Musician^ 7 24 June to 21 July Experience the best the city has to offer with loads of events, dining and entertainment. visitperth.com.au #winterfestperth About The Artist Asher Fisch Principal Conductor & Artistic Adviser A renowned conductor in both the operatic and symphonic worlds, Asher Fisch is especially celebrated for his interpretative command of core German and Italian repertoire of the Romantic and post- Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers. Since 2014, Asher Fisch has been the Principal Photo: Chris Gonz Chris Photo: Conductor and Artistic Advisor of the West Australian Symphony Orchestra (WASO). those of Boston, Chicago, Cleveland, His former posts include Principal Guest New York, and Philadelphia. In Europe he Conductor of the Seattle Opera (2007- has appeared at the Berlin Philharmonic, 2013), Music Director of the New Israeli Munich Philharmonic, London Symphony Opera (1998-2008), and Music Director of Orchestra, Leipzig Gewandhaus Orchestra, the Wiener Volksoper (1995-2000). and the Orchestre National de France, among others. Highlights of Asher Fisch’s 2018-19 season include guest engagements with Asher Fisch’s recent recordings include the Düsseldorf Philharmonic, Sydney Bruckner Symphony No.8 released Symphony, Teatro Massimo Orchestra in on WASO Live by ABC. Tenor Stuart Palermo, Boston Symphony Orchestra at Skelton’s first solo album, recorded with Tanglewood, and the Cleveland Orchestra WASO and released on ABC Classics at the Blossom Festival. Guest opera in 2018, and a recording of Ravel’s engagements include Il Trovatore, Otello, L’heure espagnole with the Munich Die Fliegende Holländer, and Andrea Radio Orchestra, which won Limelight Chénier at the Bayerische Staatsoper, Magazine’s Opera Recording of the Year Arabella and Hansel und Gretel at the in 2017.
Recommended publications
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran 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 August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • Joseph Joachim, David Laurie, and Mischa Elman: Revising the Provenance
    Joseph Joachim, David Laurie, and Mischa Elman: revising the provenance © Nicholas Sackman New version, 2020 Charles-Nicolas-Eugène Gand, in his Catalogue descriptif des Instruments de Stradivarius et J. Guarnerius, writes descriptions of four Stradivari violins belonging to Charles Lamoureux, the French conductor and violinist (1834-1899): Upper part of Gand’s Catalogue descriptif page 18 (hereafter G18U) (année 1870) Monsieur Lamoureux, Paris Violon Stradivarius, 13 pouces 1 ligne ½, année 1735 Fond de deux pièces presqu’uni, éclisse plus veinées, très-belle table et très-belle tête. Les filets sont un peu écartés dans certains endroits. Vernis rouge doré, très-beau. Complètement intact. Ex marquis de Louvencourt [this annotation written by Gand using red ink] (1870) Mr Lamoureux, Paris Antonio Stradivari violin, 13 pouces, 1½ lignes [355.3mm], year 1735 The back plate is made from two pieces; almost plain. The ribs are more flamed. Very beautiful front plate and very beautiful head. There are slight gaps in the purfling in some areas. The varnish is golden red, very beautiful. Completely intact. ex Marquis de Louvencourt. This 1735 violin has no association with Joseph Joachim, David Laurie, or Mischa Elman. ___________ Lower part of page 18 (G18L) [Monsieur Lamoureux] (année 1870) Violon Stradivarius, 13 pouces 2 lignes, année 1722 Fond de deux pièces, veines un peu serrées remontant un peu, belles éclisses, table de deux pièces ayant une petite cassure à l’âme, une petite au menton près du cordier, marque d’usure faite par l’archet, tête beau modèle. Vernis rouge doré clair. 187 M r Accursi, 5,000 } 1874 M r Laurie, 5,500 } red ink 1886 M r Joachim.
    [Show full text]
  • Tchaikovsky.Pdf
    Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day.
    [Show full text]
  • Iolanta Bluebeard's Castle
    iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today.
    [Show full text]
  • Peter Tchaikovsky Symphony No. 4 in F Minor, Op. 36
    PROGRAM NOTES by Phillip Huscher Peter Tchaikovsky Born May 7, 1840, Viatka, Russia. Died November 18, 1893, Saint Petersburg, Russia. Symphony No. 4 in F Minor, Op. 36 Tchaikovsky began this symphony in May 1877 and completed it on January 19, 1878. The first performance was given in Moscow on March 4, 1878. The score calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, triangle, cymbals, bass drum, and strings. Performance time is approximately forty-four minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Tchaikovsky’s Fourth Symphony were given at the Auditorium Theatre on November 3 and 4, 1899, with Theodore Thomas conducting. Our most recent subscription concert performance was given at Orchestra Hall on November 10, 2006, with Ludovic Morlot conducting. The Orchestra first performed this symphony at the Ravinia Festival on July 17, 1936, with Willem van Hoogstraten conducting, and most recently on July 31, 1999, with Christoph Eschenbach conducting. The Chicago Symphony Orchestra recorded Tchaikovsky’s Fourth Symphony under Rafael Kubelík in 1951 for Mercury, under Sir Georg Solti for London in 1984, under Claudio Abbado for CBS in 1988, and under Daniel Barenboim for Teldec in 1997. Tchaikovsky was at work on his Fourth Symphony when he received a letter from Antonina Milyukova claiming to be a former student of his and declaring that she was madly in love with him. Tchaikovsky had just read Pushkin’s Eugene Onegin, hoping to find an opera subject, and he saw fateful parallels between Antonina and Pushkin’s heroine, Tatiana.
    [Show full text]
  • BIO-Sulimsky AUG20.Pdf
    Vladislav Sulimsky Baritone Belarussian Verdi baritone Vladislav Sulimsky has rapidly become one of the leading singers of the world. In the summer of 2018, he made his debut at the Salzburg Festival as Tomsky (Queen of the Spades) under the baton of Mariss Jansons, followed by Count Luna (Il trovatore) at the Berlin State Opera, Jago (Otello) at the Vienna State Opera, and his role debut as Scarpia (Tosca) at the Malmö opera. He also made his house debut at the Munich State Opera with Count Luna and will appear for the first time at the Frankfurt Opera in the role of Siriex (Fedore) in January 2021, as well as with the Berlin Philharmonic and Kyrill Petrenko as Lanceotto Malatesta in Rachmaninov’s Francesca da Rimini. His house debut at the Paris Opera was cancelled due to the Covid-19 pandemic. Since 2004, baritone Vladislav Sulimsky has been a member of the Mariinsky Theatre in St. Petersburg, where he has sung countless parts including the title roles in Eugen Onegin and Gianni Schicchi, Ibn-Hakia (Iolanta), Kovalev (The Nose), Rodrigo (Don Carlo), Silvio (Pagliacci), Andrei Bolkonsky (War and Peace), Enrico (Lucia di Lammermoor), Giorgio Germont (La Traviata), Renato (Un ballo in maschera) and Ford (Falstaff). In 2010 Sulimsky sang Enrico Ashton (Lucia di Lammermoor) at the Mariinsky alongside Nathalie Dessay and Belcore in L’elisir d´amore with Anna Netrebko as Adina, followed by Giorgio Germont (La Traviata) and Robert in Iolanta. A frequent guest at the Bolshoi Theatre in Moscow, he has performed Prince Kurlyatev in Enchantress by Tchaikovsky and his parade title role Eugen Onegin.
    [Show full text]
  • Tchaikovsky Violin Concerto
    Tchaikovsky Violin Concerto Friday, January 12, 2018 at 11 am Jayce Ogren, Guest conductor Sibelius Symphony No. 7 in C Major Tchaikovsky Concerto for Violin and Orchestra Gabriel Lefkowitz, violin Tchaikovsky Violin Concerto For Tchaikovsky and The Composers Sibelius, these works were departures from their previ- ous compositions. Both Jean Sibelius were composed in later pe- (1865—1957) riods in these composers’ lives and both were pushing Johan Christian Julius (Jean) Sibelius their comfort levels. was born on December 8, 1865 in Hämeenlinna, Finland. His father (a doctor) died when Jean For Tchaikovsky, the was three. After his father’s death, the family Violin Concerto came on had to live with a variety of relatives and it was Jean’s aunt who taught him to read music and the heels of his “year of play the piano. In his teen years, Jean learned the hell” that included his disas- violin and was a quick study. He formed a trio trous marriage. It was also with his sister older Linda (piano) and his younger brother Christian (cello) and also start- the only concerto he would ed composing, primarily for family. When Jean write for the violin. was ready to attend university, most of his fami- Jean Sibelius ly (Christian stayed behind) moved to Helsinki For Sibelius, his final where Jean enrolled in law symphony became a chal- school but also took classes at the Helsinksi Music In- stitute. Sibelius quickly became known as a skilled vio- lenge to synthesize the tra- linist as well as composer. He then spent the next few ditional symphonic form years in Berlin and Vienna gaining more experience as a composer and upon his return to Helsinki in 1892, he with a tone poem.
    [Show full text]
  • Philadelphia Orchestra
    The Philadelphia Orchestra Yannick Nézet-Séguin Music director and conductor Lisa Batiashvili Violin September 25, 2018 7:30 pm Photo: Jan Regan 2018/2019 SEASON Great Artists. Great Audiences. Hancher Performances. THE PHILADELPHIA ORCHESTRA YANNICK NÉZET-SÉGUIN MUSIC DIRECTOR AND CONDUCTOR LISA BATIASHVILI VIOLIN Tuesday, September 25, 2018, at 7:30 pm Hancher Auditorium, The University of Iowa Liar, Suite from Marnie Nico Muhly (b. 1981) Violin Concerto in D Major, Op. 35 Pyotr Ilyich Tchaikovsky (1840–1893) I. Allegro moderato—Moderato assai II. Canzonetta: Andante III. Allegro vivacissimo INTERMISSION Symphonic Dances, Op. 45 Sergei Rachmaninoff (1873–1943) I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai—Allegro vivace—Lento assai, come prima—L’istesso tempo, ma agitato— Poco meno mosso—“Alliluya” 3 Photo: Jessica Griffin Jessica Photo: EVENT SPONSORS MACE AND KAY BRAVERMAN GRADUATE IOWA CITY GARY AND RANDI LEVITZ WILLIAM MATTHES AND ALICIA BROWN-MATTHES LAMONT D. AND VICKI J. OLSON MARY LOU PETERS JACK AND NONA ROE CANDACE WIEBENER HANCHER'S 2018/2019 SEASON IS DEDICATED TO THE MEMORY OF DICK AND MARY JO STANLEY 4 Photo: Jessica Griffin Jessica Photo: BUILDING COMMUNITY June 30, 2018–January 6, 2019 Stanley Visual Classroom Iowa Memorial Union Côte d’Ivoire; Baule peoples Asie usu (nature spirit) pair Wood 15” H The Stanley Collection, X1986.527 Individuals with disabilities are encouraged to attend all University of Iowa-sponsored events. If you are a person with a disability who requires a reasonable accommodation in order to participate in this program, please contact the SMA in advance at 319-335-1727.
    [Show full text]
  • The Inventory of the Mischa Elman Collection #417
    The Inventory of the Mischa Elman Collection #417 Howard Gotlieb Archival Research Center ! ELMAN, MISCHA Gift of 1969 from Mrs. Elman. A) Newsclippings. Box 1 1) Scrapbooks containing newsclips of ME's concert appearances and personal interest stories from the World's press. wrapped II l No. 1 "1958-1962" wrapped 112 No. 2 "1938-1939" No. 3 "1939-1944" No. 4 "June 1939-September 1939" wrapped II 3 No. 5 "1928-1938" Box 2 No. 6 "South America: 1934" No. 7 "South America: 1934" Box 3 No. 8 "January 1937-May 1939" No. 9 "1937-1939" Box 4 No. 10 "South Africa 1937" No. 11 "Chile: 1939'' No. 12 "1922-1923" Box 5 No. 13 II 1935" No. 14 "Japan; 1955" No. 15 "1923-1936" No. 16 "Chile: 1934" No. 17 "South Africa: 1953" No. 18 "South Africa: 1953" Box6-10 2) Newsclippings. Approximately 10,000 pieces relating to ME from the world's newspapers. Reviews, biographical stories, social notes. I Box 11 - 132) Printed concert programs. ME performed in many states of the USA, and a 12 variety of foreign countries~ all are represented in this group, 1906-1967. 286 items. Several signed. (Of special note: ME concert for President Franklin Delano Roosevelt, the White House, 1939). page2 ELMAN, MISCHA Gift of 1969 Box 13 C) Citations and honorary degrees awarded ME, 1924-1957. 8 items. D) 124 formal and informal photographs of ME, his parents, wife, children. E) 52 broadsides and advertisements announcing ME concerts. Circa 1936-1960. Box 14 • F) 8 posters announcing ME concerts. Various countries.
    [Show full text]
  • MISCHA ELMAN \Vednesday Evening, March 25, 1942
    MISCHA ELMAN \Vednesday Evening, March 25, 1942 THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES COMPRISING THB BROOKLYN MUSBUM, THB BROOKLYN CHILDRBN's MUSBUM, THB BROOKLYN BOTANIC GARDBN, AND THB INSTITUTB AT THB ACADBMY OF MUSIC EowAnu C. BLuM, Chairman of the Board ADRIAN VAN SINDERbN, Pr cstderd PBRMANBNT MEMBERSHIP, $2500 LIFB MBMBBUHIP, $500 CONTRIBUTING MBMBBRSHIP1 $100 PBR YBAR SUSTAINING MBMBBRSHIP, $25 PBR YBAR THE INSTITUTE AT THE ACADEMY OF MUSIC 30 LAFAYBTTII AVBNUB-BROOKLYN-STBRLING 3-6700 AuHIAN VAN SINUI Rl N , Chc1mnan, (jovenunq Comn11tlee Juttlh Bt.o0/11, D11n ''" ANNUAL MBMBBRSHIP, $10. MBMBERSIIIP I'RIVILBGBS INCLUDB FRBB ADMISSION TO MORH THAN TWO HUNDRBD BVBNTS: LBCTURBS, RBCITALS, PRO· GRAMS FOR YOUNG PBOPLB, MOTION PICTURBS, FIBLD TRIPS, BTC. MBMBBRSHIP MAY BB TAKBN OUT ANY TIMB DURING THB YBAR. THE BROOKLYN ACADEMY OF MUSIC 30 LAFAYBTTB AVBNUB-IIROOKLYN-STBRLING 3-6700 WILLIAM T. HuNTIIR, Chairman, Buildin§ Committu HBRBBRT T. SwiN, JWnttagittg Superinlettdefll THB OPERA HOUSE, MUSIC HALL, AND BALLROOM OF THB ACADBMY OF MUSIC ARB AVAILABLB FOR CONCBRTS1 PLAYS, LBCTURBS, DANCBS, AND OTHBR BVENTS. INQUIRB: MANAGING SUPBRINTBNOENT. PUBLICATION AND ADVERTISING OFFICES CONCERT PROGRAM MAGAZINES SIGMUND GoTTLOBBR, Publisher 30 Lafayette Ave., Brooklyn, STerling 3-6700 258 Fifth Ave., Manhattan, CAledonia 5-6690 W ALTBR H. MoRIN, Production JWana§er FREDA RoYCE, .Advertisin§ Director PUBLISHERS OF STADIUM CONCERTS REVIEW BERKSHIRE SYMPHONIC FESTIVAL PROGRAM ESSEX COUNTY SYMPHONY SOCIETY MAGAZINE WESTCHESTER COUNTY MUSIC CENTER CONCERT NEWS THE PROGRAM AND MAGAZINE OF BROOKLYN ACADEMY OF MUSIC .3 AMERICAN PIIOTOGRAPIIY A r TilE BROOKLYN MUSEUM "A Spinster," by E. F. Raynolds 4 The New President ADRIAN VAN SINDEREN ASSUMES OFFICE AS INSTITUTE 'S CHIEF EXECUTIVE F OLLOWING IllS ELECTION AT !"IlL LAS! J\IEET- Yale in 1()10, he served in the last \XIar with the ing of the Board of Trustees, held on January 8, Adrian Van Sinderen assumes the presidency rank of Major and was decorated with the Dis of the In stitute as of March, 1942.
    [Show full text]
  • THE NAFF COLLECTION (Location: Range 4, Section 5 – NR Workroom)
    THE NAFF COLLECTION (Location: Range 4, Section 5 – NR Workroom) The Naff Collection is an accumulation of programs, autographed photographs, posters, folders, booklets, announcements and a few other items which tell the story of professional theater in Nashville between the years 1900 and 1960. This material was collected by the late Mrs. L. C. Naff during the period in which she served as secretary to the Rice Bureau and later as manager of the Ryman Auditorium. She bequeathed the collection to Francis Robinson, assistant manager of the Metropolitan Opera, who began his career as an usher at the Ryman. On March 27, 1967, Mr. Robinson made the formal presentation of the collection to the Public Library of Nashville and Davidson County, Charles C. Trabue, chairman of the board, and Marshall Stewart, chief librarian. The public was invited to this ceremony at which the collection was on display. The materials had been listed by chronological periods and arranged by Ann Dorsey, head of the reference department, Edward Durham and Terry Hudson. After the material had remained on exhibit for one month, it was packed for storage. In January 1971, it was decided that the collection should be classified and indexed so that it might be more readily available to researchers and other interested parties. The holdings in the Naff Collection have been classified as follows: NAFF COLLECTION CLASSIFICATIONS Advertising Announcements Descriptive Folders Letters and Telegrams Librettos Newspaper Clippings Photographs Posters Programs: Concerts Dances Lectures Miscellaneous Musical Comedies Operas Operettas Orchestras Plays Recitals Souvenirs Variety Realia Scripts Souvenir Booklets The subject headings of the various collections will most likely lead to desired information, particularly if the medium of a performer is known.
    [Show full text]
  • Download Booklet
    554844 bk Grishko2 EC 5|12|02 3:29 PM Page 20 Nikolay Andreyevich Rimsky-Korsakov Mikhail Ivanovich Glinka DDD (1844-1908) (1804-1857) Sadko Ruslan and Lyudmila Russian Opera Arias 8.554844 1 Introduction 2:24 9 Bayan’s song 4:22 2 Sadko’s Melismatic Song 3:47 There is a deserted land Ah, you dark oak grove! A Life for the Tsar Sadko • Prince Igor • Rusalka • A Life for the Tsar 0 Krakowiak 7:02 Pyotr Il’yich Tchaikovsky ! Sobinin’s aria 6:03 Vladimir Grishko, Tenor (1840-1893) Brothers. Into the snow storm! The Slippers 3 Danse des cosaques 3:20 Nikolay Andreyevich Rimsky-Korsakov 4 Vakula’s aria 2:51 (1844-1908) Does your heart not hear my terrible grief? The Tsar’s Bride @ Lïkov’s Arioso (Act I) 2:54 Sergey Rachmaninov It is all different (1873-1943) # Lïkov’s Arioso (Act III) 2:47 Aleko The thundercloud has scurried past 5 Men’s dance 4:31 6 The young gypsy’s romance 1:25 Pyotr Il’yich Tchaikovsky See, beneath yon firmament (1840-1893) The Maid of Orleans Alexander Sergeyevich Dargomïzhsky $ Entr’acte (Act II) 3:16 (1813-1869) Iolanta Rusalka % Vaudémont’s Romance 3:41 7 Prince’s cavatina (Act III) 5:44 No! The charm of a feisty beauty’s embraces Involuntarily I am drawn 8 Gypsy dance 2:58 Alexander Porfir’yevich Borodin (1833-1887) Prince Igor ^ Polovtsian March 5:04 & Vladimir’s Aria 5:34 Slowly the day was fading 8.554844 20 554844 bk Grishko2 EC 5|12|02 3:29 PM Page 2 Vladimir Grishko Zhdyosh’ li? wafting dreams of love, Russian Opera Arias, Vol.
    [Show full text]