Boston Symphony Orchestra Concert Programs, Season 76, 1956-1957

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 76, 1956-1957 BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HI SEVENTY-SIXTH SEASON i95 6 - I 957 Veterans Memorial Auditorium, Providence Boston Symphony Orchestra (Seventy-sixth Season, 1956-1957) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhap£ Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster Albert Bernard George Zazofsky Contra-Bassoon Rolland Tapley George Humphrey Lipson Richard Plaster Norbert Lauga Jerome Vladimir ResnikoflE Robert Karol Green Horns Harry Dickson Reuben James Stagliano Gottfried Wilfinger Bernard Kadinoff Charles Yancich Vincent Mauricci Einar Hansen Harry Shapiro John Fiasca Joseph Leibovici Harold Meek Earl Hedberg Emil Kornsand Paul Keaney Roger Shermont Violoncellos Osbourne McConathy Minot Beale Samuel Mayes Herman Silberman Alfred Zighera Trumpets Roger Voisin Stanley Benson Jacobus Langendoen Marcel Lafosse Leo Panasevich Mischa Nieland Armando Ghitalla Sheldon Rotenberg Karl Zeise Gerard Goguen Fredy Ostrovsky Josef Zimbler Bernard Parronchi Trombones Clarence Knudson Martin Hoherman Pierre Mayer William Gibson Louis Berger Manuel Zung William Moyer Richard Kapuscinski Samuel Diamond Kauko Kahila Robert Ripley Josef Orosz Victor Manusevitch James Nagy Tuba Melvin Bryant Flutes K. Vinal Smith Lloyd Stonestreet Doriot Anthony Dwyer Saverio Messina James Pappoutsakis Harps Phillip Kaplan William Waterhouse Bernard Zighera William Marshall Piccolo Olivia Luetcke Leonard Moss George Madsen Jesse Ceci Timpani Oboes Noah Bielski Everett Firth Alfred Schneider Ralph Gomberg Harold Farberman Joseph Silvers tein Jean Devergie John Holmes Percussion Basses English Horn Charles Smith Georges Moleux Louis Speyer Harold Thompson Arthur Press Gaston Dufresne Clarinets Irving Frankel Gino Cioffi Piano Henry Manuel Valerio Freeman Bernard Zighera Henry Portnoi Pasquale Cardillo Henri Girard E\) Clarinet Library John Barwicki Bass Clarinet Victor Alpert Rosario Mazzeo Veterans Memorial Auditorium, Providence SEVENTY-SIXTH SEASON, 1956-1957 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Third Concert TUESDAY EVENING, January 29 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. E. Morton Jennings, Jr. Theodore P. Ferris Michael T. Kelleher Alvan T. Fuller Palfrey Perkins Francis W. Hatch Charles H. Stockton Harold D. Hodgkinson Edward A. Taft C D. Jackson 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 hi STEIN. WAY The artist's choice . the piano for your home Most of the world's great artists choose the Steinway to enhance their performance. The Steinway's superior tone and long life also make it the ideal piano for the home. See the complete line of Steinway Grands and Verticals at: ~Afveru J-^iano C-o. Exclusive Steinway Piano and Hammond Organ Representatives for All This Territory 256 Weybosset St. Open Mondays [*] SEVENTY-SIXTH SEASON • NINETEEN HUNDRED FIFTY-SIX AND FIFTY-SEVEN Three Hundred and Thirty-eighth Concert in Providence Third Concert TUESDAY EVENING, January 29, at 8:15 o'clock Program Britten Variations for String Orchestra on a Theme by Frank Bridge, Op. 10 Introduction and Theme Variations: Adagio — March — Aria Italiana — Bourree classique — Moto perpetuo — Marcia funebre — Fugue and Finale Bloch "Schelomo" (Solomon), Hebrew Rhapsody for 'Cello arid Orchestra INTERMISSION Beethoven Symphony No. 4, in B-flat major, Op. 60 I. Adagio; Allegro vivace II. Adagio III. Allegro vivace IV. Allegro, ma non troppo SOLOIST GREGOR PIATIGORSKY Performances by this orchestra are broadcast each week on Monday evenings from 8:05 to 9:00 P.M. on the NBC Radio Network. (Local Station WJAR) The Friday afternoon concerts at 2:15 and Saturday evening concerts at 8:30 are broadcast direct by station WGBH-FM. By order of the Chief of the Providence Fire Department, smoking is allowed only in the lounge and the ticket lobby of this auditorium. BALDWIN PIANO RCA VICTOR RECORDS [3] '"V'""' |THE VIRTUOSO ORCHESTRA 1 1W Barn* Orrfctxra . f Srmfhmy ..CMa Uvwti Munch conducts Beethoven s PASTORAL SYMPHOMY Boston Symphony C #- ;.:f';iSfe ,^ ' -- &,.. «»~i|»<4~h.h^»*)»|'4»»«oI» .uim»:; i jf : HI • THREE LONG PLAY RECORDS $11.98 *LONG PLAY $3.98 LONG PLAY $3.98 CHARLES MUNCH BOSTON SYMPHONY ORCHESTRA »LONO PLAY $3.98 48 EP'S S2.98 EA. munch in person on rca Victor records To Charles Munch, conducting is not a profession but a THE sacred calling. And this dedication, combined with the WORLD'S GREATEST magnificence of the Boston Symphony Orchestra, brings ARTISTS you performances of unmatched power and beauty. You ARE feel and hear this devotion whether he conducts Ravel, ON Berlioz . or Beethoven . whether the performance is in rcaVictoR Symphony Hall or ... on RCA Victor Records, of course! Nationally AdTertised Price*—Optional •£•»*«•» "Krw Orthoe-toote" BlfB Fidelity Retorting, beet oa u RCA Victor "New Orthopboolo" High Fidelity "Yletroh." [4] VARIATIONS FOR STRING ORCHESTRA ON A THEME OF FRANK BRIDGE, Op. 10 By Benjamin Britten Born at Lowestoft, England, November 22, 1913 These Variations were composed in 1937 and in that year had their first perform- ance, at the Salzburg Festival. They were performed at the Boston Symphony Con- certs April 25-26, 1941, and February 3-4, 1950. npHE brief introduction to the Variations consists of broad chords *• and displayful runs and trills. The theme is given out by the first violins allegro poco lento. It is to be varied with such freedom as often to be scarcely recognizable. The descending interval of a fifth which begins it becomes a sort of earmark. An "Adagio" follows, consisting of soft chords for lower strings and ornamental passages for the violins. There is a lively "March," light and staccato, presto alia marcia. An "Aria Italiana" follows, allegro brillante. The first violins with orna- mental trills suggest the operatic, coloratura style. The next movement is a "Bourree Classique" a simple but strongly rhythmed movement with a pianissimo middle section. A Moto Perpetuo progresses upon IN PROVIDENCE make your choice from the complete line of BALDWIN PIANOS and ORGANS at Rhode Island's authorized Official Piano BALDWIN DEALER Boston Symphony Orchestra {see back cover) 287 Weybosset St. (Across from Round Top Church) Phone TEmple 1-6304 PIANOS fc ORGANS [5] rapid and unremitting sixteenth notes to a fortissimo climax. A Marcia Funebre follows. The final Fugue is in a lively 12-8 rhythm, sometimes suggestive, as it gathers impetus, of the tarantella. The orchestra, much divided, attains a considerable complexity and sets forth the usual devices of augmentation and inversion. At last, lento e solenne, the violins revert to a full-length statement of the theme. The orchestra ultimately spreads into diaphanous arpeggios, punctuated in the last measure by a strong chord. A "Wiener Walz" and "Chant" are omitted in this performance. Benjamin Britten was only twelve years old when he began to study with Frank Bridge, his fellow English composer, who remained his life-long friend.* Mr. Britten attended the Royal College of Music of * Frank Bridge conducted his own orchestral suite "The Sea" at the concerts of the Boston Symphony Orchestra, October 26, 1923. He died in 1941. c 2 H 4 6 E Chic Clothes z T FOR H DAY A E Y L OR E 1 R NIGHT S S E T Jones Warehouses, Inc. For more than 60 years rendering an exceptionally fine service in Furniture Storage, and in Dependable Moving both local and long distance. 59 Member.M.m h,r. CENTRAL ST., PROVIDENCE, R. I. Aero Mayflower 1-0081 Nation-wide GA Moving Service 'Rhode Island's Largest Household Storage Firm" [«] London, where John Ireland became his teacher in composition, Arthur Benjamin his teacher in piano. It was in 1934, when the composer was barely of age, that his music, which he produced with considerable regularity, began to be played. His published works include a Sinfonietta for chamber orchestra, 1932; Phantasy for oboe and strings, 1932; Choral Variations A Boy Was Born, 1933; Simple Symphony for string orchestra, 1934; Holiday Tales for piano, 1934; Te Deum for chorus and organ, 1934; Suite for Violin and Piano, 1935; Friday Afternoon, School Songs, 1935; Our Hunting Fathers, symphonic cycle for soprano and orchestra, 1936; Soirees Musicales, Suite for orchestra, 1936; On This Island, songs by W. H. Auden, 1937; Mont Juic, Catalan Dance Suite, 1937; Piano Concerto, 1938; Ballad of Heroes, for tenor, chorus and orchestra, 1939; Violin Concerto; Les Illuminations, for voice and string orches- tra; Kermesse Canadienne, for orchestra; Sinfonia da Requiem (in 1940). In 1940 also he composed his opera Paul Bunyan, and it has been in the following years that he has established himself in the world of opera. Peter Grimes (introduced to this country by the Berkshire Music Center at Tanglewood in 1946) has been followed by Albert Herring (introduced to this country by the Berkshire Music Center at Tanglewood, 1949), The Rape of Lucretia, Billy Budd, The Turn of NEW INTERIORS 680 no. main street • providence rhode island * jackson 1-6042 FINE CONTEMPORARY FURNISHINGS FOR THE HOME AND OFFICE • MODERN FURNITURE • FABRICS • CARPETING . LAMPS . ACCESSORIES • INTERIOR PLANNING [7] the Screw, Gloriana (on the subject of his Queen, on her coronation). He has revised The Beggar's Opera and recently composed a children's opera Let's Make an Opera in which the audience participates. He has written a cantata, St. Nicholas, and a Spring Symphony with chorus which had its first American performance at the Berkshire Festival in 1949. Mr. Britten, who has visited this country several times, made a tour with the tenor Peter Pears, accompanying the singer and conduct- ing his own music.
Recommended publications
  • For All the Attention Paid to the Striking Passage of Thirty-Four
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons for Jane, on our thirty-fourth Accents of Remorse The good has never been perfect. There is always some flaw in it, some defect. First Sightings For all the attention paid to the “interview” scene in Benjamin Britten’s opera Billy Budd, its musical depths have proved remarkably resistant to analysis and have remained unplumbed. This striking passage of thirty-four whole-note chords has probably attracted more comment than any other in the opera since Andrew Porter first spotted shortly after the 1951 premiere that all the chords harmonize members of the F major triad, leading to much discussion over whether or not the passage is “in F major.” 1 Beyond Porter’s perception, the structure was far from obvious, perhaps in some way unprecedented, and has remained mysterious. Indeed, it is the undisputed gnomic power of its strangeness that attracted (and still attracts) most comment. Arnold Whittall has shown that no functional harmonic or contrapuntal explanation of the passage is satisfactory, and proceeded from there to make the interesting assertion that that was the point: The “creative indecision”2 that characterizes the music of the opera was meant to confront the listener with the same sort of difficulty as the layers of irony in Herman Melville’s “inside narrative,” on which the opera is based. To quote a single sentence of the original story that itself contains several layers of ironic ambiguity, a sentence thought by some—I believe mistakenly—to say that Vere felt no remorse: 1.
    [Show full text]
  • Benjamin Britten: a Catalogue of the Orchestral Music
    BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op.
    [Show full text]
  • BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi
    BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • Britten's Acoustic Miracles in Noye's Fludde and Curlew River
    Britten’s Acoustic Miracles in Noye’s Fludde and Curlew River A thesis submitted by Cole D. Swanson In partial fulfillment of the requirements for the degree of Master of Arts in Music TUFTS UNIVERSITY May 2017 Advisor: Alessandra Campana Readers: Joseph Auner Philip Rupprecht ii ABSTRACT Benjamin Britten sought to engage the English musical public through the creation of new theatrical genres that renewed, rather than simply reused, historical frameworks and religious gestures. I argue that Britten’s process in creating these genres and their representative works denotes an operation of theatrical and musical “re-enchantment,” returning spiritual and aesthetic resonance to the cultural relics of a shared British heritage. My study focuses particularly on how this process of renewal further enabled Britten to engage with the state of amateur and communal music participation in post-war England. His new, genre-bending works that I engage with represent conscious attempts to provide greater opportunities for amateur performance, as well cultivating sonically and thematically inclusive sound worlds. As such, Noye’s Fludde (1958) was designed as a means to revive the musical past while immersing the Aldeburgh Festival community in present musical performance through Anglican hymn singing. Curlew River (1964) stages a cultural encounter between the medieval past and the Japanese Nō theatre tradition, creating an atmosphere of sensory ritual that encourages sustained and empathetic listening. To explore these genre-bending works, this thesis considers how these musical and theatrical gestures to the past are reactions to the post-war revivalist environment as well as expressions of Britten’s own musical ethics and frustrations.
    [Show full text]
  • Season 2013-2014
    27 Season 2013-2014 Thursday, March 27, at 8:00 Friday, March 28, at 2:00 The Philadelphia Orchestra Saturday, March 29, at 8:00 Donald Runnicles Conductor Tal Rosner Video Artist Janine Jansen Violin Britten Four Sea Interludes, Op. 33a, from Peter Grimes I. Dawn II. Sunday Morning III. Moonlight IV. Storm Video and animation by Tal Rosner Video co-commissioned by the New World Symphony, America’s Orchestral Academy; the Los Angeles Philharmonic Association; The Philadelphia Orchestra Association; and the San Francisco Symphony Britten Violin Concerto, Op. 15 I. Moderato con moto— II. Vivace— III. Passacaglia: Andante lento (un poco meno mosso) Intermission Pärt Cantus in Memory of Benjamin Britten First Philadelphia Orchestra performances Mozart Symphony No. 36 in C major, K. 425 (“Linz”) I. Adagio—Allegro spiritoso II. Andante III. Menuetto—Trio—Menuetto da capo IV. Presto This program runs approximately 1 hour, 50 minutes. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 228 Story Title The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations.
    [Show full text]
  • CUL Keller Archive Catalogue
    HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles.
    [Show full text]
  • 'Englishness' in the Quartets of Britten, Tippett, and Vaughan Williams
    Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 4-22-2009 The rT ouble with Nationalism: ‘Englishness’ in the Quartets of Britten, Tippett, and Vaughan Williams Sarah Elaine Robinson Trinity University Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Part of the Music Commons Recommended Citation Robinson, Sarah Elaine, "The rT ouble with Nationalism: ‘Englishness’ in the Quartets of Britten, Tippett, and Vaughan Williams" (2009). Music Honors Theses. 4. http://digitalcommons.trinity.edu/music_honors/4 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. The Trouble with Nationalism: ‘Englishness’ in the Quartets of Britten, Tippett, and Vaughan Williams by Sarah Elaine Robinson A thesis submitted to the Department of Music at Trinity University in partial fulfillment of the requirements for graduation with departmental honors. 22 April 2009 _________________________________ ________________________________ Thesis Advisor Department Chair _________________________________ Associate Vice-President For Academic Affairs Student Copyright Declaration: the author has selected the following copyright provision: [X ] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S. Code Title 17.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 61,1941-1942, Subscription
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-FIRST SEASON, 1941-1942 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1941, BY BOSTON SYMPHONY ORCHESTRA, ltlC. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Ernest B. Dane President Henry B. Sawyer Vice-President Ernest B. Dane Treasurer Henry B. Cabot N. Penrose Hallowell Ernest B. Dane M. A. De Wolfe Howe Reginald C. Foster Roger I. Lee Alvan T. Fuller Richard C. Paine Jerome D. Greene Henry B. Sawyer Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [481] In all the world i^afyekarl has 710 equal A refreshingly new adventure in music awaits you when listening to your favorite compositions re- produced on the new Capehart. You will be en- tranced to discover new expressions, tonal colorings that have been denied you before. Capehart full range perfect reproductions catch the extreme vel- vety "lows" and the golden threadlike "highs" as well as every intermediate overtone so vital to the correct interpretation of great music. No other instrument can compare with the Cape- hart. Let us reproduce your favorite music for you on one of the new Capeharts we have on display. CHAS. W. HOMEYER CO., Inc. BOYLSTON STREET, BOSTON <0&&l HALL-MARK OF RACIOUS LIVING [482! SYMPHONIANA Exhibitions Thoroughbreds EXHIBITIONS In the First Balcony Gallery are to be seen paintings by Miss Pat Eriokson, Cambridge artist. In the small gallery off the west cor- ridor of the First Balcony is to be seen a collection of South American art fur- nished through the courtesy of the Grace Lines.
    [Show full text]
  • The BPO Recommends: an Orchestral Listening Guide for Symphony Scholars
    The BPO Recommends: An Orchestral Listening Guide for Symphony Scholars There are so many great works for orchestra that it is impossible to list them all. So, this guide is by no means completely comprehensive. Instead, these selections are to help you dive head first into the orchestral repertoire. Hopefully you will love some, but maybe you won’t, and that’s ok! What we can guarantee though, is that this list views every corner of the repertoire. Please also refer to the attached exploration guide. Happy Listening! Composer Repertoire Adams, John The Dharma at Big Sur Harmonium Short Ride in a Fast Machine Bach, Johann Sebastian Brandenburg Concertos (Nos. 1-6) Mass in B minor Barber, Samuel Adagio for Strings Overture to School for Scandal Violin Concerto Bartók, Béla Concerto for Orchestra Cantata Profana Miraculous Mandarin Bates, Mason Anthology of Fantastic Zoology Mothership Beach, Amy Symphony in E minor Beethoven, Ludwig van Leonore Overture No. 3 Piano Concerto No. 5, “Emperor” Symphony No. 3, “Eroica” Symphony No. 5 Symphony No. 9, “Choral Berg, Alban Violin Concerto Wozzeck Berlioz, Hector Roman Carnival Overture Symphonie Fantastique Bernstein, Leonard Chichester Psalms Three Dances fro On The Town Symphonic Dances from West Side Story Bizet, Georges Carmen Suites Borodin, Alexander Polovtsian Dances from Prince Igor The BPO Recommends: An Orchestral Listening Guide for Symphony Scholars Brahms, Johannes A German Requiem Hungarian Dances Symphony No. 1 Symphony No. 4 Britten, Benjamin Four Sea Interludes from Peter Grimes War Requiem Young Person’s Guide to the Orchestra Bruch, Max Violin Concerto No. 1 Bruckner, Anton Symphony No.
    [Show full text]
  • A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N.
    [Show full text]
  • Repertoire List
    Fergus McAlpine: Repertoire List Bach, J. S. -Cantata No. 66, “Erfreut euch, ihr Herzen” Barber, S. -Adagio for Strings -A Hand of Bridge Bartók, B. -Concerto for Orchestra -The Miraculous Mandarin, Suite -Music for Strings, Percussion and Celeste Beethoven, L. v. Overture to “Egmont” -Piano Concerto No. 4 -Symphony No. 1 -Symphony No. 3 -Symphony No. 4 -Symphony No. 6 -Symphony No. 7 Berlioz, H. -Carnaval Romain Overture -Symphonie Fantastique Bernstein, L. -Serenade after Plato’s “Symposium” -Symphonic Dances after “West Side Story” -Symphony No. 1, “Jeremiah” -Trouble in Tahiti Bizet, G. -Excerpts from “Carmen” -Symphony in C Bons, J. -Mokum -“Nomaden,” Concerto for Cello and Mixed Chamber Orchestra Brahms, J. -Symphony No. 1 -Symphony No. 2 -Symphony No. 3 -Symphony No. 4 -Tragische Overture -Variations on a theme by Haydn Britten, B. -Albert Herring -Les Illuminations -The Turn of the Screw Bruch, M. -Violin Concerto No. 1 Bryars, G. -“Requiem” (Complete ballet) Brzóska, S. -Citizen Nowhere (Complete ballet) Copland, A. -Clarinet Concerto Chaplin, C. -A Dog’s Life (full film score) Chausson, E. -Poème Debussy, C. -Danses Sacré et profane -Prelude “Après-midi d’une Faune” Dvorák, A. -Cello Concerto -Serenade for Strings -Serenade in d minor -Stabat Mater -Symphony No. 6 -Symphony No. 9 Elgar, E. -Cello Concerto -In the South (Alassio) -Symphony No. 1 Ellis, P. -Components Franck, C. -Symphony in d Grieg, E. -“Kulokk og Stabbelått” -Piano Concerto Gubaidulina, S. -Offertorium Händel, G. F. -Excerpts from “Alcina” -Concerto Grosso Op. 6, No. 3 -Messiah -Music for the Royal Fireworks Haydn, J. -Cello Concerto No. 2 -Symphony No.
    [Show full text]