Boston Symphony Orchestra Concert Programs, Summer, 1967-1968

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Summer, 1967-1968 ' %j "V-TT-ni^iiii! 1 11 ?' *r* t i \%. i *:ies ;ai « t § i #% ^ '"•.'"' •'..' "'•- ; '- ". " At $9.40*a fifth, it ought to be called Sir Jonathan Walker B Lincoln Center, then to Joe's place for jazz. John Meyer woolens for autumn dates in town. Among the reasons : clear, strong, up-beat colorings and virtuoso tailoring—traditionally i w John Meyer. At discerning stores everywhere. ^ ven it this is all you know about woofers and tweete you can still get a great stereo. iiiiiip^ i§ii 5 ---V-V ''--•"•'*' aaSBssHS .v 111 i I You have almost all the stereo-judging equip- It also has a 23 all-silicon transistor amp ment you need right on your head. (Your ears.) with a full 66 watts of music power for i Armed with your ears, you'll probably end up channel. with a good stereo. Unfortunately, it won't be a Unfortunately, you can't read how go great stereo. Because there are certain things stereo sounds. So bring your head to your r your ears can't tell you. (Like what kind of equip- est Sony dealer. And let your ears do their s ment you'll need, etc.) Of t But now you can get a great stereo, no mat- yea ter how little you know. With the Sony HP-550 ing Compact Stereo System. of r It has a Garrard turntable. A 13-transistor amr FM /AM tuner. Dual airtight speakers with 10" woofers and 4" tweeters. (A woofer transmits bass and a tweeter transmits treble.) Funny Some people still think a Diners Club Card is just for beautiful meals* You can swing into Puerto Rico on a Diners than any other credit card. Card. And swing. It's the most international credit card in You can charge the plane tickets. And get the world. rooms at all the best hotels. And rent a car. After all these years we Ye going to have And buy gas. And do your shopping. to get people off the idea a Diners Card is A Diners Card is all the credit you need. only for dining. Not only in Puerto Rico. Everywhere. You can use a Diners Card to charge more mings at more places in more countries Maybe we should change our name. JOIN THE DINERS CLUB NOW ! Take a minute now to fill out one of the Official Diners Club Membership Applications facing this advertisement. If applications are gone write Diners Club, 10 Columbus Circle, New York, New York 10019. Vio] Norfolk, Connecticut Sari AVAVOC/y Fridays at 8:30 p.m. Bog A COUNTRY INN July 5-August 23, 1968 Luc YALE CONCERTS Artl Across the road from ._ Mai ^ in NORFOLK Don ^TANGLEWOOD^*************************** Emi A Country Inn resort with charming The Yale Quartet Ban rooms, excellent food and all Broadus Erie Mai resort facilities including pool, Syoko Aki water-skiing, tennis David Schwartz Pris and free golf. •••••••••••••••••••••••••a*** Aldo Parisot You BEFORE THE CONCERT HAVE AN Ward Davenny Mai EXCEPTIONAL AND UNUSUAL MEAL IN THE Gustav Meier Mic FIVE REASONS STEAK & ALE HOUSE ***•••*•••*•*•••*••*••*•••••* Paul Ulanowsky Nan Keith Wilson After the concert try our 30 varieties of Clai Yale Summer Orchestra Mai Imported beers and ales, taste one of our many delicious and different sandwiches, Guests Artists Bria or just enjoy the fine music. Robert Bloom Donald Currier Dor Blake Stern Eva DINING INTHE GAZEBO Have you discovered Norfolk? V. Pau Breakfast, Lunch and Dinner Herbert, Huge Sunday Brunches J. Sibeiius, 5. Rachmaninoff, etc., etc. did! Step and Friday Buffets Nao ^xm¥mmmMs Brochure: Yale Summer School ot Music, Mas Norfolk, Conn. 203: 542 2-5719 Pau STEAK l ALE BOUSE Northwestern Conn, at U.S. 44 & Conn. 272 Vio Hei 637-2000 Mai fcl Her BerKshire sevi anc eigi abr phi; con falo L ni Lou n ^\ ra r& l Acs WHERE YOU LL FIND out w^o^£ Lie m ffi pho mm 1>\ \SL> V-.V3 THE TOP BRAND FASHION fffe3%^®JjHM of t AT ZO% -4.0% yea ing SAVINGS !!! of I arm Oak St. off Lincoln — Pittsfield, Mass. BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor EIGHTY-SEVENTH SEASON 1967-1968 THIRTY-FIRST BERKSHIRE FESTIVAL 1968 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President HAROLD D. HODGKINSON TALCOTT M. BANKS Vice-President E. MORTON JENNINGS JR JOHN L. THORNDIKE Treasurer EDWARD M. KENNEDY PHILIP K. ALLEN HENRY A. LAUGHLIN ABRAM BERKOWITZ EDWARD G. MURRAY THEODORE P. FERRIS JOHN T. NOONAN ROBERT H. GARDINER MRS JAMES H. PERKINS FRANCIS W. HATCH SIDNEY R. RABB ANDREW HEISKELL RAYMOND S. WILKINS TRUSTEES EMERITUS PALFREY PERKINS LEWIS PERRY EDWARD A. TAFT TANGLEWOOD ADVISORY COMMITTEE ALAN J. BLAU GEORGE E. MOLE ROBERT K. WHEELER LAWRENCE K. MILLER WHITNEY S. STODDARD H. GEORGE WILDE JESSE L. THOMASON 231 CHAIRMEN OF THE BOARDS OF SELECTMEN (ex officio) ARTHUR W. MASKELL JR JOHN PIGNATELLI ANDRE JAOUEN Stockbridge Lenox Lee ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR Manager NORMAN S. SHIRK JAMES J. BROSNAHAN HARRY J. KRAUT Assistant Manager Business Administrator Assistant to the Manager MARVIN SCHOFER ANDREW RAEBURN MARY H. SMITH Press and publicity Program Editor Executive Assistant JAMES F. KILEY Tanglewood Superintendent copyright © by Boston Symphony Orchestra Inc. TANGLEWOOD LENOX MASSACHUSETTS BOSTON SYMPHONY ORCHESTRA Via ERICH LEINSDORF Music Director Sar CHARLES WILSON Assistant Conductor Bog first violins cellos bassoons Luc Artl Joseph Silverstein Jules Eskin Sherman Walt Mai concertmaster Martin Hoherman Ernst Panenka Don Alfred Krips Mischa Nieland Matthew Ruggiero Emi George Zazofsky Karl Zeise Ban Rolland Tapley Robert Ripley Mai contra bassoon Roger Shermont John Sant Ambrogio Pri Richard Plaster You Max Winder Luis Leguia Harry Dickson Stephen Geber Mai horns Mic Gottfried Wilfinger Carol Procter James Stagliano Nan Fredy Ostrovsky Jerome Patterson Charles Yancich Glai Leo Panasevich Ronald Feldman Mar Noah Bielski Harry Shapiro Bris Thomas Newell Dor Herman Silberman basses Stanley Benson Paul Keaney Eva Henry Portnoi Sheldon Rotenberg Ralph Pottle Pan William Rhein Step Alfred Schneider Joseph Hearne Nao Julius Schulman trumpets Bela Wurtzler Mas Gerald Gelbloom Armando Ghitalla Pau Leslie Martin Raymond Sird Roger Voisin John Salkowski Vio Andre Come second violins John Barwicki Hei( Buell Neidlinger Gerard Goguen Clarence Knudson Mai Robert Olson Her William Marshall trombones Michel Sasson William Gibson Samuel Diamond flutes Leonard Moss Doriot Anthony Dwyer Josef Orosz William Waterhouse James Pappoutsakis Kauko Kahila Ayrton Pinto Phillip Kaplan Amnon Levy tuba Laszlo Chester Schmitz Nagy piccolo Michael Vitale Lois Schaefer Victor Manusevitch timpani sevi Toshiyuki Kikkawa* Everett Firth anc Max Hobart oboes eigr John Korman Ralph Gomberg percussion abr Christopher Kimber John Holmes Charles Smith Spencer Larrison phi; Hugh Matheny Arthur Press assistant timpanist corr violas english horn Thomas Gauger falo Burton Fine Lou Laurence Thorstenberg Reuben Green harps Acs Eugen Lehner Bernard Zighera out Jerome Lipson clarinets Olivia Luetcke pho Robert Karol Gino Cioffi Akio Akaboshi* Pasquale Cardillo librarians Bernard Kadinoff Peter Hadcock of t Vincent Mauricci Victor Alpert f clarinet yea Earl Hedberg b William Shisler ing Joseph Pietropaolo of r Robert Barnes bass clarinet stage manager am Yizhak Schotten Felix Viscuglia Alfred Robison personnel manager William Moyer members of the Japan Philharmonic Symphony Orchestra participating in a one season exchange with Messrs George Humphrey and Ronald Knudsen e CHESTERWOOD Dining for Those Who Know Barn Gallery and Studio of DANIEL CUISINE FRANCAISE CHESTER SPECIALTIES FRENCH Sculptor of the Escargots de Bourgogne Lincoln Grenouilles, Provencal Memorial Le Poussin Farci aux Marrons Exhibit of Mignonettes de Bouef Lucullus Sculpture and 9 MILES) Painting. From Tanglewood (ONLY TO ROUTE 41 AND 295 Beautiful Garden Open Dinner and Lovely for Hemlock Forest. Weekly 5:00 to 10:30 p.m. Sunday 2:00 to 10:30 p.m. Admission $1.00 • Children $.25 Your Hosts Betty and Louis Chevallier Open Daily, 10 - 6 Phone: CANAAN 2-2781 - 2-2441 STOCKBRIDGE, MASS. QUEECHY LAKE • CANAAN, N. Y. (Off Route 183, Glen dale) Creating New England's Most Distinctive Interiors Since 1835 Inspiring displays of the finest furniture and decora- tive accessories await you in all Paine stores and pro- fessional interior designers offer an abundance of crea- tive ideas to make your home express your individuality and good taste. MS furniture 173 Asylum Street, Hartford, Conn. • 140 Chestnut Street, Springfield Other stores in Boston, Natick and Peabody, Mass. ~ TANGLEWOOD NEEDS FRIENDS . Vio . and offers its Friends San Bog Luc Artl Chamber music concerts by players of the Mai Boston Symphony Orchestra, Dor Emi Ban Concerts by the talented young musicians of Mai Pris the Berkshire Music Center, You Mai Mic Informal concerts by Berkshire Music Center Nan faculty members and visiting Tanglewood Clai Mai soloists, Brie Dor Eva An opportunity to give vital support to the Pau Berkshire Music Center. Step Nao Mas The Berkshire Music Center has no parallel. Here in the beautiful setting Pau of the Tanglewood grounds, young musicians, selected by audition from Viol all parts of the United States and other countries, meet for eight weeks Hei Mai of intensive study. There is music at Tanglewood seven days a week. Her The costs are enormous. Each year the Berkshire Music Center operates with a budgeted deficit. Fortunately the Rockefeller Foundation has recognized the Center's importance: a challenge grant of $125,000 has been awarded, to be matched by the Friends. Each dollar you give as a Friend means two dollars for the Center. sevi The FRIENDS OF MUSIC AT TANGLEWOOD can be proud that they anc provide tuition funds and an audience for the promising young men and eigr women who represent the future of the musical profession.
Recommended publications
  • Elliott Carter Works List
    W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) ..................................................
    [Show full text]
  • MALCOLM FRAGER COLLECTION (2013 Gift)
    MALCOLM FRAGER COLLECTION (2013 Gift) RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Jacek Blaszkiewicz, summer 2015 Revised by David Peter Coppen, spring 2017 1 Vladimir Ashkenazy and Malcolm Frager. Photograph attributed to New York Times Staff Photographer (ca. 1966). From Malcolm Frager Collection, Box 11, Folder 11. 2 TABLE OF CONTENTS Description of the Collection . 4 Description of Series . 6 SUB-GROUP I: PERSONAL PAPERS Series 1: Correspondence . 8 Series 2: Publicity . 15 Series 3: Business papers . 16 Series 4: Biographical and other personal papers . 17 Series 5: Concert programs . 18 Series 6: Awards . 19 Series 7: Sound recordings . 21 Series 8: Oversized items . 25 SUB-GROUP II: SCORES Series 1: Inscribed to Malcolm Frager . 26 Series 2: Annotated by Malcolm Frager . 27 3 DESCRIPTION OF THE COLLECTION Shelf location M3A 1,1—1,6 Physical extent: 18 linear feet Biographical sketch Photograph of Malcolm Frager from CAMI publicity circular. From Malcolm Frager Collection (2013 Gift), Box 11, Folder 4. Malcolm Frager (1935-1991), American concert pianist, was born in St. Louis, Missouri, where he attended public school and received his earliest musical training. He earned his baccalaureate at Columbia University, where he studied languages in addition to music. His twin victories in the Leventritt Competition (1959) and the Queen Elisabeth of Belgium Competition (1960) launched his career on an international level. In 1963 he made a tour of the U.S.S.R., on which occasion he performed two-piano repertory with fellow pianist Vladimir Ashkenazy, who would remain a close friend of Mr.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1967-1968
    ' %j "V-TT-ni^iiii! 1 11 ?' *r* t i \%. i *:ies ;ai « t § i #% ^ '"•.'"' •'..' "'•- ; '- ". " At $9.40*a fifth, it ought to be called Sir Jonathan Walker B Lincoln Center, then to Joe's place for jazz. John Meyer woolens for autumn dates in town. Among the reasons : clear, strong, up-beat colorings and virtuoso tailoring—traditionally i w John Meyer. At discerning stores everywhere. ^ ven it this is all you know about woofers and tweete you can still get a great stereo. iiiiiip^ i§ii 5 ---V-V ''--•"•'*' aaSBssHS .v 111 i I You have almost all the stereo-judging equip- It also has a 23 all-silicon transistor amp ment you need right on your head. (Your ears.) with a full 66 watts of music power for i Armed with your ears, you'll probably end up channel. with a good stereo. Unfortunately, it won't be a Unfortunately, you can't read how go great stereo. Because there are certain things stereo sounds. So bring your head to your r your ears can't tell you. (Like what kind of equip- est Sony dealer. And let your ears do their s ment you'll need, etc.) Of t But now you can get a great stereo, no mat- yea ter how little you know. With the Sony HP-550 ing Compact Stereo System. of r It has a Garrard turntable. A 13-transistor amr FM /AM tuner. Dual airtight speakers with 10" woofers and 4" tweeters. (A woofer transmits bass and a tweeter transmits treble.) Funny Some people still think a Diners Club Card is just for beautiful meals* You can swing into Puerto Rico on a Diners than any other credit card.
    [Show full text]
  • AMERICAN CLASSICS Elliott CARTER
    559151bk Carter USA 17/12/2003 08:42 pm Page 5 The Nashville Symphony Kenneth Schermerhorn Under the leadership of Music Director Kenneth Schermerhorn for the past twenty years, the Grammy-nominated One of today’s most distinguished and versatile conductors, Kenneth Schermerhorn has been Music Director of the AMERICAN CLASSICS Nashville Symphony is widely regarded as the cornerstone of the performing arts in Middle Tennessee. With more Nashville Symphony since 1983. He is equally at ease with symphonic repertoire, opera and ballet. His experience, than 200 performances annually, the Symphony offers local audiences a range of Classical, Pops and Pied Piper presence and dynamic programming have been applauded by audiences and critics worldwide, not least through children’s series concerts, as well as a variety of special events. A true cultural ambassador for the citizens of his recordings, which include a number of Naxos releases of American music, part of a new series. Earlier Nashville, the Nashville Symphony also shares its artistry with national and international audiences through its recordings include pioneering discs of music by Villa-Lobos, Richard Strauss, and Glazunov with the Hong Kong Elliott Fourth of July concerts, which are broadcast nationwide on the A&E cable network, and through critically Philharmonic Orchestra, of which he was music director, and other recordings include an all-Sibelius album with acclaimed recordings on the Naxos American Classics series, and a new recording of Beethoven’s choral tour de the Slovak Radio Symphony Orchestra and a recording of Samuel Barber’s First Symphony with the Milwaukee force Missa Solemnis.
    [Show full text]
  • Of the Bulletin
    i .!y>A;pio-a^ -^rf^ h:3x> *"/;''>?' /r^^- ^\c'» »-^ u M •:^^.': r^-t.H '"^S ' >^>1^ >^-f?^ ^^r:v_^.'.,:'^ ^-x 7/ >i^ 'rfl^O-.^^ ^h ,^ " W ^^' ^ff^' :v,?^M|^ ^«^:l?^ %^n :0/i> v,^ ^f"^"^'?^ \ 1978*1979 BULLETIN OF WELLESLEY COLLEGE Volume 68, Number 1 The College reserves the right to make changes at its dis- cretion affecting policies, fees, curricula, or other matters announced in this Bulletin. Bulletin published nine times a year by Wellesley College, Green Hall, Wellesley, Massachusetts 02181. September, one; October, one; December, two; January, one; March, one; April, one; May, one; August, one. Contents Academic Calendar 1978-79 First Semester 4 Correspondence/Visitors Correspondence Visitors President We welcome visitors to the College. The General interests of the College administrative offices in Green Hall are open Monday through Friday, 8:30 a.m. to 4:30 Dean of the College p.m., and by appointment on Saturday morn- Academic policies and programs ings during term time. Special arrangements for greeting prospective students can also be Dean of Academic Programs made during vacation periods. Rooms for MIT cross-registration alumnae and for parents of students or pro- Exchange programs spective students are available on the cam- pus in the Wellesley College Club and may be Class Deans reserved by writing to the club manager. Individual students A prospective student who wishes to arrange Study abroad; students from abroad an interview with a member of the profes- sional staff of the Board of Admission should Director of Admission make an appointment well in advance. Admission of students Student guides provide tours for visitors with- Director of Financial Aid out previous appointment.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974
    BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THURSDAY A6 FRIDAY-SATURDAY 22 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K. ALLEN SIDNEY STONEMAN JOHN L. THORNDIKE Vice-President Vice-President Treasurer VERNON R. ALDEN MRS HARRIS FAHNESTOCK JOHN T. NOONAN ALLEN G. BARRY HAROLD D. HODGKINSON MRS JAMES H. PERKINS MRS JOHN M. BRADLEY E. MORTON JENNINGS JR IRVING W. RABB RICHARD P. CHAPMAN EDWARD M. KENNEDY PAUL C. REARDON ABRAM T. COLLIER EDWARD G. MURRAY MRS GEORGE LEE SARGENT ARCHIE C EPPS III JOHN HOYT STOOKEY TRUSTEES EMERITUS HENRY B. CABOT HENRY A. LAUGHLIN PALFREY PERKINS FRANCIS W. HATCH EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager PAUL BRONSTEIN JOHN H. CURTIS MARY H. SMITH Business Manager Public Relations Director Assistant to the Manager FORRESTER C. SMITH DANIEL R. GUSTIN RICHARD C. WHITE Development Director Administrator of Assistant to Educational Affairs the Manager DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood HARRY NEVILLE Program Editor Copyright © 1974 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS ^H jgfism SPRING LINES" Outline your approach to spring. In greater detail with our hand- somely tailored, single breasted, navy wool worsted coat. Subtly smart with yoked de- tail at front and back. Elegantly fluid with back panel. A refined spring line worth wearing. $150. Coats. Boston Chestnut Hill Northshore Shopping Center South Shore PlazaBurlington Mall Wellesley BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC.
    [Show full text]
  • The Evolution of Elliott Carter's Rhythmic Practice Author(S): Jonathan W. Bernard Source: Perspectives of New Music, Vol. 26, No
    The Evolution of Elliott Carter's Rhythmic Practice Author(s): Jonathan W. Bernard Source: Perspectives of New Music, Vol. 26, No. 2 (Summer, 1988), pp. 164-203 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833189 Accessed: 07/02/2010 18:10 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org THE EVOLUTIONOF ELLFTOTTCARTER'S RHYTHMICPRACTICE JONATHANW. BERNARD INTRODUCTION ELLIOTT CARTER'SWORK over the past forty years has made him per- haps the most eminent living American composer, and certainly one of the most important composers of art music in the Western world.
    [Show full text]
  • This Album Presents American Piano Music from the Later Part of the Nineteenth Century to the Beginning of the Twentieth
    EDWARD MacDOWELL and Company New World Records 80206 This album presents American piano music from the later part of the nineteenth century to the beginning of the twentieth. Chronologically it ranges from John Knowles Paine’s Fuga Giocosa, published in 1884, to Henry F. Gilbert’s Mazurka, published in 1902. The majority are from the nineties, a time of great prosperity and self-satisfaction in a nation of philanthropists and “philanthropied,” as a writer characterized it in The New York Times. Though the styles are quite different, there are similarities among the composers themselves. All were pianists or organists or both, all went to Europe for musical training, and all dabbled in the classical forms. If their compatriots earlier in the nineteenth century wrote quantities of ballads, waltzes, galops, marches, polkas, and variations on popular songs (New World Records 80257-2, The Wind Demon), the present group was more likely to write songs (self-consciously referred to as “art songs”) and pieces with abstract titles like prelude, fugue, sonata, trio, quartet, and concerto. There are exceptions. MacDowell’s formal works include two piano concertos, four piano sonatas, and orchestra and piano suites, but he is perhaps best known for his shorter character pieces and nature sketches for piano, such as Fireside Tales and New England Idyls (both completed in 1902). Ethelbert Nevin was essentially a composer of songs and shorter piano pieces, most of them souvenirs of his travels, but he, too, worked in the forms that had become most prestigious in his generation. The central reason for the shift away from dance-inspired and entertainment pieces to formal compositions was that American wealth created a culture that created a musical establishment.
    [Show full text]
  • Carter US 15/11/07 19:27 Page 4
    559362 bk Carter US 15/11/07 19:27 Page 4 Pacifica Quartet AMERICAN CLASSICS Simin Ganatra, Violin I • Sibbi Bernhardsson, Violin II Masumi Per Rostad, Viola • Brandon Vamos, Cello Recognized for its virtuosity, exuberant performance style, and often daring repertory choices, the Pacifica Quartet has carved out a compelling musical path. Since the group first came together in 1994, the ensemble has swept top Elliott prizes in several leading international competitions from the Cleveland Quartet Award to the Naumburg. In 2006, the Pacifica was awarded the prestigious Avery Fisher Career Grant, only the second chamber music ensemble ever to be selected. The Pacifica Quartet tours extensively throughout the United States, Europe, and the Far East, with frequent CARTER broadcasts. Prolific in the recording studio, the quartet’s acclaimed recordings include the complete string quartets of Mendelssohn, Dvofiák chamber works, and the complete quartets of Easley Blackwood. Recitals include cycles of the complete string quartets of Beethoven. The Pacifica was appointed a member of The Chamber Music Society of String Quartets Nos. 1 and 5 Lincoln Center’s CMS Two programme for gifted young musicians in 2002. The Quartet is an ardent advocate of contemporary music, commissioning and performing as many as eight new works a year. A champion of the string quartets of Elliott Carter, the ensemble has distinguished itself with performances of the complete cycle of five Pacifica Quartet quartets in New York, San Francisco, Chicago, and Cleveland, and abroad in Japan, Germany, and the Edinburgh International Festival. As resident string quartet for Contempo, one of the country’s leading contemporary music organizations, the Quartet presents a series of concerts each year devoted exclusively to new music.
    [Show full text]
  • Festival Internacional De Piano "Bogota 450 Años"
    OLM ---------- ----- ~ E - MALCOLM FRAGER Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. FESTIVAL INTERNACIONAL DE PIANO "BOGOTA 450 AÑOS" Para vincularse a la celebración de (dos Preludios Opus 23, dos los 450 años de la fundación de Momentos musicales Opus 16 y Bogotá, la Sala de Conciertos de la Daisies Opus 38), Scriabin (Sonata Biblioteca está realizando, dentro Opus 30 No. 4 Y dos Estudios) y de de su temporada musical de este Chopin (Barcarola Opus 60, tres año, el Festival Internacional de Mazu rkas, Noctu rno Opus 32 No. 1 y Piano, en el cual participan desta­ Balada Opus 23 No. 1). El 6 de julio cados intérpretes internacionales y la connotada pianista austríaca colombianos. Ingrid Haebler con obras de Mozart (Variaciones en Do mayor K 265, Blanca Uribe cuya brillante carrera Fantasía en Do menor K 475 YSona­ internacional la ha consagrado ta en Do menor K 457), Schubert como una de las grandes pianistas (Sonata Opus 120) y Debussy (tres colombianas, abrió el festival el pa­ Preludios). sado 16 de marzo. El 27 de marzo intervino el pianista polaco Walde­ El 13 de julio la pianista venezolana mar Malicki, al cual siguieron, el4 de Judith Jaimes con obras de Schu­ mayo, los pianistas Nelly y Jaime mann (Piezas de fantasía Opus 12), Ingram, de Panamá, quienes con­ Juan Bautista Plaza (Intermezzo), forman uno de los más célebres Lauro (Suite venezolana) y de Cho­ dúos pianísticos de la actualidad. pin (cuatro Scherzos). Dos pian istas se presentan en este El 27 de julio el español Joaquín mes de junio: el 8, Malcolm Frager, Achúcarro con obras de Bach (Par­ norteamericano de larga trayecto­ tita No.
    [Show full text]
  • Composer Brochure
    CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time.
    [Show full text]
  • Music 785 Repertory, Spring 2012 Page 1
    Music 785 Repertory, Spring 2012 Page 1 Repertory Studied, Spring 2012 (*) Indicates that you are responsible for identifying the movements of the work. Aaron Copland (1900-1990) M1613.3 C66 A8 LP 8794 5:09 As it Fell Upon a Day (1923) for soprano, flute and clarinet M1010.C6 C6 Circ CD 981 16:19 Piano Concerto (1926) 6:38 I. Andante sostenuto 9:31 II. Molto moderato (molto rubato) M27.C67 V2 Circ CD 3316 12:28 Piano Variations (1930) (*) M1001.C78 S92 Circ CD 425 15:28 Short Symphony (1933) 4:29 Allegro vivace 5:16 Lento 5:47 Finale: Precise and rhythmic M624.C65 S9 Sextet (revision of Short Symphony) M1003.C78 B5 Circ CD 5918 21:16 Billy the Kid, ballet (1938) 3:07 1. Introduction: The Open Prairie 6:37 2. Street in a Frontier Town 3:04 3. Prairie Night (Card Game at Night) 1:58 4. Gun Battle 2:07 5. Celebration (after Billy’s Capture) 2:52 6. The Open Prairie Again M1045.C77 C7 Circ CD 981 19:11 Connotations (1961-62) M25.C67 M5 Circ CD 3316 2:41 Proclamation (1973-82) Roger Sessions (1896-1985) M1003.S5 B5 Circ CD 4870 22:01 Orchestral Suite from "The Black Maskers" (1923) also Circ CD 430 4:14 I. Dance 7:51 II. Scene 3:46 III. Dirge 5:50 IV. Finale (*) M1001.S48 S91 Circ CD 154 18:00 Symphony No. 1 (1929) 5:35 I. Guisto 7:23 II. Largo 5:33 III. Allegro Vivace M24.S48 F7 Circ CD 262 8:20 From My Diary (1937-40) for piano 2:45 I - To Milton Babbitt 2:38 II - To Edward T.
    [Show full text]