DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955 y.u. i BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON '7 Q) X 'till ill Hi* '*"//'/<* m H SEVENTY-FOURTH SEASON 1954-1955 Sanders Theatre, Cambridge [3/arvard University] Boston Symphony Orchestra (Seventy-fourth Season, 1954-1955) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Rolland Tapley George Humphrey Contra-Bassoon Norbert Lauga Jerome Lipson Richard Plaster Vladimir Resnikoff Robert Karol Harry Dickson Louis Artieres Horns Gottfried Wilfinger Reuben Green James Stagliano Einar Hansen Bernard Kadinoff Charles Yancich Joseph Leibovici Vincent Mauricci Harry Shapiro Emil Kornsand John Fiasca Harold Meek Roger Shermont Paul Keaney Paul Fedorovsky Violoncellos Osbourne McConathy Carlos Pinfield Samuel Mayes Walter Macdonald Minot Beale Alfred Zighera Herman Silberman Jacobus Langendoen Trumpets Stanley Benson Mischa Nieland Roger Voisin Leo Panasevich Karl Zeise Marcel Lafosse Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Leon Marjollet Clarence Knudson Martin Hoherman Trombones Pierre Mayer Louis Berger Jacob Raichman Manuel Zung William Mover Samuel Diamond Flutes Kauko Kahila Victor Manusevitch Doriot Anthony Dwyer Josef Orosz James Nagy James Pappoutsakis Melvin Bryant Phillip Kaplan Tuba Raphael Del Sordo K. Vinal Smith Piccolo Lloyd Stonestreet Saverio Messina George Madsen Harps William Waterhouse Oboes Bernard Zighera William Marshall Ralph Gomberg Olivia Luetcke Leonard Moss Jean Devergie Jesse Ceci John Holmes Timpani Roman Szulc English Horn Everett Firth Basses Louis Speyer Georges Moleux Percussion Gaston Dufresne Clarinets Charles Smith Gino Cioffi Ludwig Juht Harold Farberman Manuel Valerio Irving Frankel Harold Pasquale Thompson Henry Freeman Cardillo E\) Clarinet Henry Portnoi Librarians Henri Girard Bass Clarinet Leslie Rogers Barwicki John Rosario Mazzeo Victor Alpert, Ass't SandersTheatre, Cambridge \3iarvard University'] SEVENTY-FOURTH SEASON, i954"i955 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Fourth Concert TUESDAY EVENING, February 22 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Talcott M. Banks, Jr. C. D. Jackson John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Charles H. Stockton Francis W. Hatch Edward A. Taft Harold D. Hodgkinson Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Thomas D. Perry, Jr., Manager G. W. Rector ) Assistant J. J. Brosnahan, Assistant Treasurer N. S. Shirk ( Managers Rosario Mazzeo, Personnel Manager M Boston Symphony Orchestra CHARLES MUNCH, Music Director OPEN REHEARSALS In SYMPHONY HALL at 7:30 P.M. MARCH 3, Thursday APRIL 14, Thursday Single Tickets at Box Office $2.00 Hear these performances come wALIVE" with new RCA Victor high fidelity CHARLES MUNCH . Among the exciting performances conducted b; Charles Munch which are yours 01 RCA Victor "New Orthophonic" High Fidelity Records: Berlioz: The Damnation of Faust (coi plete) Berlioz: Romeo and Juliet (complete) Brahms: Concerto No. 2 in B-Flat. Artur Rubinstein, pianist Honegger: Symphony No. 5 Roussel: Bacchus et Ariane Ravel : Pavane for a Dead Princess Charles Munch Conducts French Music La . Rhapsodie Espagnole and Valse (Ravel) rcA Victor FIRST "IN RECORDED MUSIC •"New Orthophonic" High Fidelity Recording BRIGGS & BRIGGS, INC. 1270 Mass, Ave., Harvard Sq., Cambridge, Mass. [*] KIrkland 7-2007 On account of the illness of Mr. Munch Mr. RICHARD BURGIN will conduct tonight Program Bach Suite No. 3 in D major, for Orchestra I. Overture II. Air III. Gavotte I; Gavotte II IV. Bourree V. Gigue Mendelssohn Symphony No. 4 in A major ("Italian"), Op. 90 I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello: Presto INTERMISSION Beethoven Symphony No. 6, in F major, Op. 68, "Pastoral" I. Awakening of serene impressions on arriving in the country: Allegio ma non troppo II. Scene by the brookside: Andante molto moto III. Jolly gathering of country folk: Allegro; in tempo d' allegro; Thunderstorm; Tempest: Allegro IV. Shepherd's Song: Gladsome and thankful feelings after the storm: Allegretto Sanders Theatre, Cambridge {{Harvard University^ Boston Symphony Orchestra CHARLES MUNCH, Music Director FOURTH CONCERT TUESDAY EVENING, February 22 Program Bach Suite No. 3 in D major, for Orchestra I. Overture II. Air III. Gavotte I; Gavotte II IV. Bourree V. Gigue Stravinsky "Orpheus," Ballet in Three Scenes Orpheus weeps for Eurydice — Dance air — Dance of the Angel of Death — Interlude; Second Scene — Dance of the Furies — Dance Air (Orpheus) — "Pas d'Action" — "Pas-de-deux" — "Pas d'Action"; Third Scene — Apotheosis of Orpheus INTERMISSION Beethoven Symphony No. 6, in F major, Op. 68, "Pastoral" I. Awakening of serene impressions on arriving in the country: Allegro ma non troppo II. Scene by the brookside: Andante molto moto III. Jolly gathering of country folk: Allegro; in tempo d' allegro; Thunderstorm; Tempest: Allegro IV. Shepherd's Song: Gladsome and thankful feelings after the storm: Allegretto The first part of each Saturday evening concert will be broadcast (8:30-9:30 E.S.T.) on the NBC Network (Boston Station WBZ) . Both concerts entire will be broadcast from Station WGBH-FM. BALDWIN PIANO RCA VICTOR RECORDS [3] OVERTURE (SUITE) NO. 3 in D major for Orchestra By Johann Sebastian Bach Born at Eisenach, March 21, 1685; died in Leipzig, July 27, 1750 This "Overture" calls for 2 oboes, 3 trumpets, timpani, first and second violins, violas and basso continuo. Philip Hale found a record of a performance in Boston under Theodore Thomas, October 30, 1869, and another by the Harvard Musical Association, January 20, 1870. Bach's "overtures," as he called them, of which there are four, have generally been attributed to the five-year period (1717-23) in which he was Kapellmeister to the young Prince Leopold of Anhalt-Cothen. Albert Schweitzer conjectures that they may belong to the subsequent Leipzig years, for Bach included them in the per- formances of the Telemann Musical Society, which he conducted from the years 1729 to 1736. But the larger part of his instrumental music belongs to the years at Cothen where the Prince not only patronized but practised this department of the art — it is said that he could acquit himself more than acceptably upon the violin, the viola da gamba, and the clavier. It was for the pleasure of his Prince that Bach composed most of his chamber music, half of the "Well- tempered Clavichord," the "Inventions." Composing the six concertos for the Margraf of Brandenburg at this time, he very likely made copies of his manuscripts and performed them at Cothen. The first suite, in C major, adds two oboes and bassoon to the strings. The second, in B minor, is for solo flute and strings. The last two suites, which are each in D major, include timpani and a larger wind group; in the third suite, two oboes and three trumpets; in the fourth suite, three oboes, bassoon and three trumpets. The "overtures," so titled, by Bach were no more than variants upon the suite form. When Bach labeled each of his orchestral suites as an "ouverture," there is no doubt that the French ouverture such as Lulli wrote was in his mind. This composer, whom Bach closely re- garded, had developed the operatic overture into a larger form with a slow introduction followed by a lively allegro of fugal character and a reprise. To this "overture" were sometimes added, even at operatic performances, a stately dance or two, such as were a customary and integral part of the operas of the period. These overtures, with several dance movements, were often performed at concerts, retaining the title of the more extended and impressive "opening" movement. Georg Muffat introduced the custom into Germany, and Bach followed him. [41 . Bach held to the formal outline of the French ouverture, but extended and elaborated it to his own purposes. In the dance melodies of these suites, Albert Schweitzer has said "a fragment of a vanished world of grace and eloquence has been pre- served for us. They are the ideal musical picture of the rococo period. Their charm resides in the perfection of their blending of strength and grace." The "ouverture" of the third suite, which is its main substance, consists of a grave, a vivace on a fugued figure, and a return of the grave section, slightly shorter and differently treated. The air, lento (which certainly deserves its popularity, but not to the exclusion in lay experience of many another beautiful air by this composer) , is scored for strings only. The Gavotte is followed by a second gavotte, used in trio fashion (but not more lightly scored as was the way with early trios), the first returning da capo. The Bourree (allegro) is brief, the final Gigue more extended but nevertheless a fleeting allegro vivace. [copyrighted] ORPHEUS, BALLET IN THREE SCENES Igor Stravinsky Born at Oranienbaum, near St. Petersburg, on June 17, 1882 The score of this ballet bears the signature at the end "Hollywood, September 23, 1947." It was introduced by the Ballet Society at the New York City Center, April 28, 1948. The choreography was by George Balanchine, the decor by Isamu Noguchi. The part of Orpheus was danced by Nicholas Magallanes, Eurydice by Maria Tallchief. The orchestra called for includes: 2 flutes and piccolo, 2 oboes and English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp and strings. The music, comprising the entire ballet, was presented for the first time as a concert number at the Boston Symphony concerts on February 11, 1949, when the composer conducted.
Load more

Recommended publications
  • Charles M. Joseph. 2011. Stravinsky's Ballets. New Haven: Yale University
    Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. Reviewed by Maeve Sterbenz Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his develop- ment as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography. To begin, Joseph introduces his motivation for the project, arguing for the necessity of an in–depth study of Stravinsky’s works for dance in light of the fact that they comprise a significant fraction of the composer’s output (more so than any other Western classical composer) and that these works, most notably The Rite of Spring, occupy such a prominent place in the Western canon. According to Joseph, owing to Stravinsky’s sensitivity to the “complexly subtle counterpoint between ballet’s interlocking elements” (xv), the ballets stand out in the genre for their highly interdisciplinary nature. In the chapters that follow, Joseph examines each of the ballets, focusing alternately on details of the works, histories of their production and reception, and their biographical contexts.
    [Show full text]
  • The BALLET RUSSE De Monte Carlo
    The RECORD SHOP Phil Hart, Mgr. presents The BALLET RUSSE de Monte Carlo IN THE PORTLAND AUDITORIUM Thursday, November 16,1944 AT 8:30 P. M. * PLEASE NOTE the following cast changes, due to a leg injury sustained by MR. FRANKLIN. In Le Bourgeois Gentilhornrne Cleonte M. Nicholas MAGALLANES In Gaite Parisienne Tbe Baron M. Nihita TALIN In Danses Concertantes Leon DANIELIAN in place of Frederic FRANKLIN In Rodeo Tbe Champion Roper Mr. Herbert BLISS PROGRAM II. A • "*j 3 • ,. y LE BOURGEOIS GENTILHOMME Choreography by George Balanchine Music by Richard Strauss Scenery and costumes by Eugene Berman Scenery executed by E. B. Dunkel Studios Costumes executed by Karinska, Inc. SERENADE This ballet depicts one episode from Moliere's immortal farce, "Le Bourgeois Gentilhomme." A young man, Cleonte, is in love with M. Jourdain's daughter, Luetic M. Jourdain disapproves of the match, as Cleonte is not of noble birth and it is M. Choreography by George BALANCHINE Music by P. I. Tschaikowsky Jourdain's lifetime ambition to shed his middle-class status and rise to aristocracy. Cleonte and his valet, Coviel, impersonate respectively the son of the Great Turk and his ambassador, and under this disguise Cleonte asks for the hand of Lucile. Lucile, at first, unaware of Cleonte's disguise, bitterly resents the wedlock and not Costumes by Jean LURCAT Costumes executed by H. MAHIEU, Inc. until Cleonte raises his mask does she willingly consent. In exchange for the hand of his bride, Cleonte makes M. Jourdain a Mamamouchi—a great dignitary of Turkey—"than which there is nothing more noble in the world," by means of an imposing ceremony.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
    Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC.
    [Show full text]
  • Finding Aid for Bolender Collection
    KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by
    [Show full text]
  • A Level Schools Concert November 2014
    A level Schools Concert November 2014 An Exploration of Neoclassicism Teachers’ Resource Pack Autumn 2014 2 London Philharmonic Orchestra A level Resources Unauthorised copying of any part of this teachers’ pack is strictly prohibited The copyright of the project pack text is held by: Rachel Leach © 2014 London Philharmonic Orchestra ©2014 Any other copyrights are held by their respective owners. This pack was produced by: London Philharmonic Orchestra Education and Community Department 89 Albert Embankment London SE1 7TP Rachel Leach is a composer, workshop leader and presenter, who has composed and worked for many of the UK’s orchestras and opera companies, including the London Sinfonietta, the Orchestra of the Age of Enlightenment, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North, and the London Symphony Orchestra. She studied at the Guildhall School of Music and Drama, at Opera Lab and Dartington. Recent commissions include ‘Dope Under Thorncombe’ for Trilith Films and ‘In the belly of a horse’, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Her community opera ‘One Day, Two Dawns’ written for ETO recently won the RPS award for best education project 2009. As well as creative music-making and composition in the classroom, Rachel is proud to be the lead tutor on the LSO's teacher training scheme for over 8 years she has helped to train 100 teachers across East London. Rachel also works with Turtle Key Arts and ETO writing song cycles with people with dementia and Alzheimer's, an initiative which also trains students from the RCM, and alongside all this, she is increasingly in demand as a concert presenter.
    [Show full text]
  • Stravinsky Oedipus
    London Symphony Orchestra LSO Live LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de Stravinsky l’enregistrement haute-définition. La qualité sonore impressionnante entourant ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute Oedipus Rex circonstance, de vivre cette passion intense au travers des plus grandes oeuvres du répertoire. Pour plus d’informations, rendez vous sur le site lso.co.uk Apollon musagète LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sir John Eliot Gardiner Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns Jennifer Johnston herein: lso.co.uk Stuart Skelton Gidon Saks Fanny Ardant LSO0751 Monteverdi Choir London Symphony Orchestra Igor Stravinsky (1882–1971) Igor Stravinsky (1882–1971) The music is linked by a Speaker, who pretends to explain Oedipus Rex: an opera-oratorio in two acts the plot in the language of the audience, though in fact Oedipus Rex (1927, rev 1948) (1927, rev 1948) Cocteau’s text obscures nearly as much as it clarifies.
    [Show full text]
  • The Inventory of the Phyllis Curtin Collection #1247
    The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C.
    [Show full text]
  • November 6, 2018 to the Board of Directors of the Voice Foundation
    November 6, 2018 To the Board of Directors of The Voice Foundation, This is a letter of interest in the Van L. Lawrence Fellowship, to be awarded in 2019. As I look through the bullet points to be included in this document, it’s clear to me that what I should really be submitting is simply a thank-you note, since attending the Annual Symposium has comprehensively re-shaped me as a vocal pedagogue since I began attending four years ago. The singers I teach (at the University of Missouri, and as of this year, at the Jacobs School of Music at IU-Bloomington) are music majors ranging from freshmen to young professionals, c. 18-26 years old. The freshmen arrive having had some introductory experience with vocal instruction, but are basically wide-open to the unknown. They leave after their first lesson knowing what vowel formants are and where they are located, understanding the contribution of harmonics to an expressive vocal color, and demonstrating a solid rudimentary understanding of resonance strategies (including divergence and off-resonance, aka inertance). I’ve been diligent in streamlining this information; I want them to gain fluency in these concepts before they even think twice. The rapidity with which these talented students assimilate a paradigm so squarely founded on acoustics and physiology is inspiring, and very exciting. As recently as three years ago, I felt obliged to defend the validity of these ideas, and my qualifications to present them as established fact. Now, that defensive stance (at least with these superlative students) is already obsolete.
    [Show full text]
  • Burkholder/Grout/Palisca, Eighth Edition, Chapter 32 30 Chapter 32
    30 11. SR: After WW I he founded/directed the __________. Between 19__ and 19__ the society gave approximately Chapter 32 ___ performances. He started the twelve-tone method in Modernism and the Classical Tradition 19__. His wife died and a year later he married ______. (He fathered __ children.) The Nazis came into power in 1. (810) What are the criteria established by the classics? 19__. Although Schoenberg had converted to _____, he converted back. From 19__, he taught at _____. He was forced to retire in 1944 because ________. He died on July __, 1951, a triskaidekaphobiac. 2. Modernists sought to challenge our ______ and _____. 12. SR: Make a list of his major works: 3. (811) Were they opposed to the classics? 4. What is the paradox of modern classical music? 5. All six composers in this chapter "began writing ____ music in the late _____ styles, but then found their own voice. 13. (813) SR: What's his position in the first paragraph? 6. What is the meaning of atonality? 14. SR: What's the essence of the second paragraph? 7. What is the twelve-tone method? 15. "The principle of _____ helps explain how Schoenberg's 8. Name the three works in the first paragraph of "Tonal music would evolve." Works" and name the influential composer. 16. (815) Explain "the emancipation of dissonance." 9. What compositional technique did he employ in his first 17. What were the three elements of Schoenberg's musical string quartet, Op. 7, D minor? What is the structure? organization? 10.
    [Show full text]
  • 61 CHAPTER 4 CONNECTIONS and CONFLICT with STRAVINSKY Connections and Collaborations a Close Friendship Between Arthur Lourié A
    CHAPTER 4 CONNECTIONS AND CONFLICT WITH STRAVINSKY Connections and Collaborations A close friendship between Arthur Lourié and Igor Stravinsky began once both had left their native Russian homeland and settled on French soil. Stravinsky left before the Russian Revolution occurred and was on friendly terms with his countrymen when he departed; from the premiere of the Firebird (1910) in Paris onward he was the favored representative of Russia abroad. "The force of his example bequeathed a russkiv slog (Russian manner of expression or writing) to the whole world of twentieth-century concert music."1 Lourié on the other hand defected in 1922 after the Bolshevik Revolution and, because he had abandoned his position as the first commissar of music, he was thereafter regarded as a traitor. Fortunately this disrepute did not follow him to Paris, where Stravinsky, as did others, appreciated his musical and literary talents. The first contact between the two composers was apparently a correspondence from Stravinsky to Lourié September 9, 1920 in regard to the emigration of Stravinsky's mother. The letter from Stravinsky thanks Lourié for previous help and requests further assistance in selling items from Stravinsky's 1 Richard Taruskin, Stravinsky and the Russian Traditions: A Biography of the 61 62 apartment in order to raise money for his mother's voyage to France.2 She finally left in 1922, which was the year in which Lourié himself defected while on government business in Berlin. The two may have met for the first time in 1923 when Stravinsky's Histoire du Soldat was performed at the Bauhaus exhibit in Weimar, Germany.
    [Show full text]
  • World Premiere of Orpheus Alive with Company Premiere of Chaconne Opens November 15 Principal Casting Announced
    World Premiere of Orpheus Alive with Company Premiere of Chaconne Opens November 15 Principal Casting Announced November 4, 2019 … Karen Kain, Artistic Director of The National Ballet of Canada, today announced the principal casting for the world premiere of Orpheus Alive by Choreographic Associate Robert Binet featuring a new commissioned score by acclaimed New York composer Missy Mazzoli. Orpheus Alive is paired with the company premiere of George Balanchine’s Chaconne November 15 – 21, 2019 at the Four Seasons Centre for the Performing Arts. #OrpheusAliveNBC #ChaconneNBC Artists have long been fascinated with the Greek myth of Orpheus, the gifted musician who rescues his lover Eurydice from death only to lose her again in a moment of doubt. At its core, theirs is a story about love, trust and the redemptive potential of art. With Orpheus Alive, Mr. Binet brings a fresh perspective to the myth, casting Orpheus as a woman, Eurydice as a man and the audience as gods of the underworld who decide their fate. The opening night cast on November 15 will feature First Soloist Jenna Savella and Second Soloist Spencer Hack as Orpheus and Eurydice along with Principal Dancer Sonia Rodriguez as Eurydice’s Mother. Subsequent performances will feature Principal Dancer Heather Ogden and First Soloist Hannah Fischer in the role of Orpheus, Principal Dancers Harrison James and Brendan Saye as Eurydice and First Soloist Tanya Howard as Eurydice’s Mother. In the music for Orpheus Alive, Ms. Mazzoli quotes Gluck’s opera Orfeo ed Euridice, setting the tone for George Balanchine’s Chaconne which features the same Gluck score.
    [Show full text]
  • The University of Chicago an Experience-Oriented
    THE UNIVERSITY OF CHICAGO AN EXPERIENCE-ORIENTED APPROACH TO ANALYZING STRAVINSKY’S NEOCLASSICISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY SARAH MARIE IKER CHICAGO, ILLINOIS AUGUST 2017 CONTENTS List of Figures ...................................................................................................................................... iv List of Tables ..................................................................................................................................... viii Acknowledgments ............................................................................................................................... ix Abstract .................................................................................................................................................. x Introduction: Analysis, Experience, and Experience-Oriented Analysis ..................................... 1 1 Neoclassicism, Analysis, and Experience ................................................................................ 10 1.1 Neoclassicism After the Great War ................................................................................. 10 1.2 Analyzing Neoclassicism: Problems and Solutions ....................................................... 18 1.3 Whence Listener Experience? ........................................................................................... 37 1.4 The Problem of Historicism ............................................................................................
    [Show full text]