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

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955 jCfa BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 7 fe X •ml UIIHIl H #1 SEVENTY-FOURTH SEASON 1954-1955 Academy of Music, Brooklyn Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn 1954 - 1955 THE WOMEN'S COMMITTEE FOR The Boston Symphony Orchestra Concerts IN BROOKLYN Mrs. Carroll J. Dickson, Chairman Mrs. Edward C. Blum Mrs. William H. Good Mrs. H. Haughton Bell Vice-Chairman Vice-Chairman Vice-Chairman Mrs. Frederick H. Rohlfs Mrs. Miles Kastendieck Chairman Membership Co-Chairman Membership Mrs. Irving G. Idler Mrs. Thomas K. Ware Chairman Boxes Chairman Junior Committee Mrs. Elias J. Audi Mrs. Percy R. Gray Mrs. Valentine K. Raymond Mrs. Charles L. Babcock, Jr. Mrs. Arthur C. Hallan Mrs. Donald Ross Mrs. Bernard S. Barr Mrs. J. Morton Halstead Mrs. Irving J. Sands Mrs. John R. Bartels Mrs. James M. Hills Mrs. Donald Gray Schenk Mrs. George M. Billings Mrs. Raymond V. Ingersoll Mrs. Oscar P. Schoenemann Mrs. Robert E. Blum Mrs. Henry A. Ingraham Mrs. Eliot H. Sharp Mrs. Irving L. Cabot Mrs. Charles Jaffa Mrs. Frank E. Simmons Mrs. Otis Swan Carroll Mrs. Darwin R. James, Jr. Mrs. Donald G. C. Sinclair Mrs. Oliver G. Carter Mrs. James Vincent Keogh Mrs. Ainsworth L. Smith Mrs. Francis T. Christy Mrs. John Bailey King Mrs. Harry H. Spencer Mrs. Donald M. Crawford Mrs. Warner King Mrs. E. A. Sunde Mrs. Russell V. Cruikshank Mrs. Almet R. Latson, Jr. Mrs. David W. Swanson Mrs. Sidney W. Davidson Mrs. M. Paul Luther Mrs. Hollis K. Thayer Mrs. Berton J. Delmhorst Mrs. Eugene R. Marzullo Mrs. Theodore N. Trynin Mrs. Remick C. Eckardt Mrs. Carleton D. Mason Mrs. Franklin B. Tuttle Mrs. James F. Fairman Mrs. Edwin P. Maynard, Jr. Mrs. Adrian Van Sinderen Mrs. Merrill N. Foote Mrs. Richard Maynard Mrs. Robert F. Warren Mrs. Lewis W. Francis Miss Helen McWilliams Mrs. Carl T. Washburn Mrs. George H. Gartlan Mrs. Alfred E. Mudge Mrs. Harold E. Weeks Mrs. Edwin L. Garvin Miss Emma Jessie Ogg Mrs. Walter F. Wells Mrs. Harrison R. Glennon, Jr. Mrs. William M. Parke Mrs. George N. Whittlesey Mrs. Andrew L. Gomory Mrs. William B. Parker Mrs. R. Whitney Gosnell Mrs. Frank H. Parsons Miss Elizabeth Wright Academy of Music, Brooklyn SEVENTY-FOURTH SEASON, 1954-1955 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Fifth Concert FRIDAY EVENING, March 11 with historical and descriptive notes by John N. Burr 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 Treasure* N. S. Shirk \ Managers Rosario Mazzeo, Personnel Manager [1] Berkshire Festival, 1955 Boston Symphony Orchestra CHARLES MUNCH, Music Director July 6 - August 14 At Tanglewood (SIX WEEKS) LENOX, MASSACHUSETTS Guest Artists . conductors: PIERRE MONTEUX, LEONARD BERN- STEIN, THOR JOHNSON; pianists: RUDOLF SERKIN, EUGENE ISTO- MIN, LEONARD BERNSTEIN; violinist: ISAAC STERN; cellist: GREGOR PIATIGORSKY; singers: MARGARET HARSHAW, JENNIE TOUREL, LEONTYNE PRICE (and others to be announced) ; Choruses: Harvard Glee Club and Radcliffe Choral Society, G. Wallace Woodworth. Conductor; Berkshire Festival Chorus, Hugh Ross, Conductor. A Beethoven Season The Festival concerts for 1955, as planned by Mr. Munch, will be largely dedicated to the music of Beethoven, and will include the nine symphonies, Fidelio (Act II) in concert performance, the violin concerto, two piano concertos, and the principal overtures. Mr. Bernstein will conduct the Missa Solemnis in memory of Serge Koussevitzky. The Wednesday evening chamber series will consist of selected quartets, trios and sonatas of Beethoven. Weekly Schedule FRIDAY EVENINGS AT 8:30 SATURDAY EVENINGS AT 8:30 SUNDAY AFTERNOONS AT 2:30 The first two week-ends will consist of "Bach-Mozart" concerts by a chamber orchestra from the Boston Symphony, in the Theatre-Concert Hall. The concerts of the last four week-ends will be given by the full Orchestra in the Music Shed. The chamber music concerts will be given on Wednesday evening of each week in the Theatre-Concert Hall by famous chamber groups. Series Subscriptions for each week now available at the Festival Office, Symphony Hall, Boston. Thomas D. Perry Jr., Mgr. Programs on request. [«] JOHK MCCOLLUM, tenor, replaces David Pole ri in the performance of "The Damnation f, of ^aust 5 Academy of Music, Brooklyn Boston Symphony Orchestra CHARLES MUNCH, Music Director FIFTH CONCERT FRIDAY EVENING, March 11, at 8:30 o'clock Program Berlioz "The Damnation of Faust," Dramatic Legend, Op. 24 I 1. A plain in Hungary 2. Dance of the peasants 3. Another part of the plain II 4. In the north of Germany 5. Faust and Mephistopheles 6. Auerbach's cellar in Leipzig 7. Woods and meadows on the banks of the Elbe 8. Chorus of soldiers and students marching toward the town INTERMISSION III 9. Evening, in Marguerite's chamber 10. Mephistopheles, Faust 11. Marguerite, Faust (hidden) 12. A square before Marguerite's house 13. Marguerite's room (Duet) 14. Faust, Marguerite, Mephistopheles and Chorus IV 15. Marguerite's room (Romance) 16. Foiests and caves (Invocation to nature) 17. Mephistopheles, Faust 18. Plains, mountains, valleys (The ride to the abyss) 19. Pandaemonium; Epilogue (on Earth) (A voice on earth: DONALD GRAMM) 20. In Heaven; The Apotheosis of Marguerite CHORUS The Harvard Glee Club and Radcliffe Choral Society G. Wallace Woodworth, Conductor SOLOISTS Marguerite .... SUZANNE DANCO, Soprano Faust DAVID POLERI, Tenor Mephistopheles . MARTIAL SINGHER, Baritone Brander .... DONALD GRAMM, Bass Concerts by this orchestra will be broadcast on Saturdays from Boston 8:30-9:30 E.S.T. on the NBC Network. BALDWIN PIANO RCA VICTOR RECORDS [3] . "THE DAMNATION OF FAUST," Dramatic Legend, Op. 24 By Hector Berlioz Born at Cote St. Andre, France, December 11, 1803; died in Paris, March 8, 1869 Berlioz began to compose La Damnation de Faust, Legende Dramatique, in 1845 and completed it October 19, 1846. He prepared the text, with the assistance of A. Gaudonniere, and based it upon the French translation of Goethe's Faust by Gerard de Nerval. The first performance was at the Opera-Comique in Paris, December 6, 1846. It was first performed in America on February 12, 1880, when Dr. Leopold Damrosch introduced it in New York. The full work was performed by the Boston Symphony Orchestra on November 30, 1934, when Serge Koussevitzky conducted; the Cecilia Society Chorus, Arthur Fiedler, Conductor, assisted. Mr. Munch revived it on February 19, 1954, recorded it, and conducted it at Tanglewood. The Damnation of Faust was first adapted for the stage by R. Gunsbourg and produced at the Monte Carlo Theatre, February 18, 1893. There have been numerous operatic productions elsewhere, the first in New York City having been at the Metropolitan Opera House, December 7, 1906. The work still holds the stage of the Paris Opera. The following instruments are called for: 3 flutes and 2 piccolos, 2 oboes and 2 English horns, 2 clarinets and bass clarinet, 4 bassoons, 4 horns, 2 trumpets, 2 cornets-a-pistons, 3 trombones, 2 tubas, timpani, percussion, 2 harps and strings. The score is dedicated to Franz Liszt. "The prevailing characteristics of my music are passionate expression, inner ardor, rhythmic impulse, and the unexpected." — Berlioz {Memoirs) PART I The first part is joyous in mood — joyous after the rather grave opening air of the solitary Faust, beginning in the violas, a musical delineation of his char- acter at one stroke, impassioned, eager, darkly colored. At this point, Faust delights in nature, but he is at odds with the simple carefree life of country folk, which he beholds as they dance in a rollicking chorus, and the equally carefree life of soldiers on the march. The familiar Hungarian March (too familiar out of context) closes this part. Scene I (A plain in Hungary) Faust, alone in the fields, at sunrise Le vieil hiver a fait place au printemps; De ma poitrine ardente un souffle pur La nature s'est rajeunie; s'exhale. Des cieux la coupole infinie J'entends autour de moi le reveil des Laisse pleuvoir mille feux £clatants. oiseaux, Je sens glisser dans l'air la brise matinale; Le long bruissement des plantes et des eaux. Oh! qu'il est doux de vivre au fond des solitudes, Loin de la lutte humaine et loin des multitudes! [4] Scene II {Dance of the Peasants) Chorus: Les bergers laissent leurs troupeaux; Ils passaient tous comme l'eclair, Pour la fete ils se rendent beaux Et les robes volaient en l'air; Rubans et fleurs sont leur parure; Mais bientot on fut moins agile: Sous les tilleuls, les voila tous Le rouge leur montait au front, Dansant, sautant comme des fous. Et Tun sur Tautre dans le rond, Ha! hal ha! ha! Ha! ha! ha! ha! Landerira! Landerira! Suivez done la mesure! Tous tombaient a la file. Faust: Ne me touchez done pas ainsi! — Paix! ma femme n'est point ici! Quels sont ces cris, ces chants? quel est Profitons de la circonstance! ce bruit lointain? . Dehors il l'emmena soudain, Ce sont des villageois, au lever du matin, Et tout pourtant alia son train, Qui dansent en chantant sur la verte Ha! ha! ha! ha! pelouse. Landerira! De leurs plaisirs ma misere est jalouse.
Recommended publications
  • PILGRIMAGE a Project of Lorelei, Unplugged
    FOR IMMEDIATE RELEASE Contact: Jonah Kappraff, [email protected] 862-205-9563 Cambridge, MA- April 22, 2013 PILGRIMAGE a project of Lorelei, unPLUGGED Friday, May 10 BU, Marsh Chapel 735 Commonwealth Avenue Boston, MA 8pm Purchase Tickets at: www.loreleiensemble.com $20 General Admission/$12 Students/Seniors The eight women of Boston’s Lorelei Ensemble announce the third concert series of their 2012- 13 season featuring music of Hildegard von Bingen and Guillaume Du Fay alongside the premiere of two new multimedia works by composer/videographer collaborators Reiko Yamada/Sibylle Irma and Isaac Schankler/Chris O’Leary. The program will be presented on Friday, January 10 at Boston University’s Marsh Chapel (8pm). Pilgrimage, a project of Lorelei’s new unPLUGGED multimedia series, explores concepts of spirituality and pilgrimage from ancient and contemporary perspectives. Consistent with Lorelei’s commitment to programming early and new music side-by-side, small ensembles set the stage for each half of the program with the music of Hildegard von Bingen and Guillaume Du Fay. Selected responsories from Hildegard’s Scivias portray some of the composer’s earliest visions. Hildegard’s transcendent melodies elevate the already rich symbolism in her deeply rooted poetry. The strength and optimism of Guillaume Du Fay’s motet Rite Majorem reflect its ties to the service for St. James the Greater, patron saint of pilgrims. His shrine at Santiago de Compostela in Northwest Spain continues to be a destination for Christian pilgrims from around the world. The World Premiere of two new works commissioned by the ensemble explore both secular and sacred concepts of spirituality: The Familiar Spirit (2013) turns the first recorded instance of "spirit-rapping" communication into a series of poetic vignettes that explore the spiritual and social significance of the medium in the 19th-century.
    [Show full text]
  • L'enfance Du Christ by HECTOR BERLIOZ
    FRIDAY EVENI NG DECEMBER 20th f/27 I q C:'-.C. ) o~'C!- THE LITTLE ORCHESTRA SOCIETY THOMAS SCHERMAN, conductor L'Enfance du Christ BY HECTOR BERLIOZ PROGRAM NOTES BY HERBERT WEINSTOCK OPERA HOUSE Brooklyn Academy of Music FRIDAY EVENING· DECEMBER 20 , 1957 THE CAST LA SAINTE MARIE-Frances Bible, MEZZO-SOPRANO LE RECITANT} . Leopold s~moneau, TENOR UN C ENTURION LE SAINT JOSEPH} . , M artwl Smgher, BARITONE HERODE , POLYDORUS} ]an Rubes BASS LEPERE DE FAMILLE ' THE AMERICAN CO CERT CHOIR-Margaret HiUis, DIRECTOR PART I • Herod's Dream INTERMISSION PART II • The Flight into Egypt PART III • The Arrival at Sais L'ENFANCE DU CHRIST Hector Berlioz, 1803-1869 ISITI'{G at a friend's home one evening during 1849. Berlioz was bored because the other V guests were playing cards. He began idly to sketch out a brief organ composition. His friend Pierre Due. architect of the Bastille Column, dissuaded him from continuing thi Andantino, however, and turned him to composing something for a souvenir album. The resulting mu ic. thus idly begun ~ shortly became a chorus in which a group of shepherds bids farewell to the Holy Family leaving for the fli ght into Egypt. The text was by Berlioz himself. As a joke of which Due shared the knowledge, Berlioz next invented a seventeenth· century chapel-master named Pierre Ducre, "dated" the "Adieu des Bergers" 1679, and gave out that it was Ducre's work. Within one year Berlioz had added to the "Adieu" a brief orchestral overture, an in­ strumental interlude entitled "Le Repos de la Sainte Famille," a tenor recitative describing the Holy Family's rest by the wayside, and a very short final chorus of angels chanting " Alleluia." To the entire brief cantata he gave the title "La Fuite en Egypte," allowing it to be performed on November 17, 1850, as the work of " Ducre." Although Berlioz knew that a listener would have to be as "ignorant as a fish" to believe that any seventeenth-century composer could have produced a work so clearly modern in harmony, most Parisian critics swallowed the hoax.
    [Show full text]
  • Student Recital
    STUDENT RECITAL Center for Faith and Life Main Hall Luther College ~ Decorah, Iowa 8:00 P.M., Wednesday, July 17, 1996 9 ° > TRI Gitano (Gypsy) Cathy Anderson, marimba Dirait-on (So they say) (1993) Morten Johannes Lauridsen No. 5 from Les Chansons des Roses text by Rainer Maria Rilke (1875-1926) Lori Bormet, soprano Anna McKnight, alto David Von Bargen, tenor Mark Galinat, bass David Mennicke, piano Concerto in B-Flat Major Luigi Boccherini (1743-1805) I. Allegro moderato Maggie Darby, cello Robert Satterlee, piano Concerto in E Major Carl Ditters von Dittersdorf (1739-1799) ed. Franz Tischer-Zeitz II. Adagio Ill. Allegro Dylan Vanderhoof, bass Craig Mueller, piano Perpetuum Mobile Ottakar Novatek (1866-1900) Rachel Brosz, violin Robert Satterlee, piano aa ltalian Concerto, BWV 971 (1735) J. S. Bach (1685-1750) I Allegro Franco Holder, piano Ludwig Maurer (1789-1878) I Maestoso all marcia Il Andante con moto II Allegro grazioso, un poco agitato Erik Riesterer, trum pet Evan Roverud, trumpet Suzanna Collerd, horn Marci Major, trombone John Spurlock, trombone Nocturne, Op. 33 Samuel Barber (Homage to John Field) (1910-1981) Cole Burger, piano Sonata in B-Flat (1959) Halsey Stevens (1908-1989) I. Allegro moderato Kyle Haugen, trumpet Robert Satterlee, piano We gratefully acknowledge the generous support of this concert through the donation of Program Patrons: Greg Peterson Saint Peter, Minnesota Harlan and Mildred Hartner Mission, Kansas We ask that all members of the audience refrain from photographing or recording the performance. A high-fidelity tape recording of this concert may be ordered at the desk in the lobby after the concert.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 62,1942-1943, Trip
    Jfletropolttan Gtfjeatre • Jkototbence Tuesday Evening, April 6 Friends of the Boston Symphony and Opera Lovers WFCI has the honor to present The Boston Symphony Orchestra under the direction of Dr. SERGE KOUSSEVITZKY Saturday Nights at 8.15 o'clock also The Metropolitan Opera Saturday Afternoons at 2 o'clock fffleirojrolttan QHj^aire • Prmritottre SIXTY-SECOND SEASON, 1942-1943 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor RICHARD Burgin, Associate Conductor Concert Bulletin of the Fifth Concert TUESDAY EVENING, April 6 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Jerome D. Greene . President Henry B. Sawyer . Vice-President Henry B. Cabot . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Roger I. Lee Reginald C. Foster Richard C. Paine Alvan T. Fuller William Phillips N. Penrose Hallowell Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [ 1 ] SYMPHONY HALL, BOSTON Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor PENSION FUNP CONCERT SUNDAY, APRIL 25, 1943 AT 3:30 BEETHOVEN OVERTURE TO "EEONORE" NO. 3 NINTH SYMPHONY with the assistance of the HARVARD GLEE CLUB and the RADCLIFFE CHORAL SOCIETY (G. WALLACE WOODWORTH, Conductor) Soloists IRMA GONZALES, Soprano ANNA KASKAS, Contralto KURT BAUM, Tenor JULIUS HUEHN, Bass Tickets: $1.50, $2.00, $2.50, $3.00, $3.50, $4.00 (Plus Tax, Address mail orders to Symphony Hall, Boston [2] Hetrnpnlttatt Sljeatr? • Protrifottre Two Hundred and Seventy-first Concert in Providence Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor FIFTH CONCERT TUESDAY EVENING, April 6 Programme i Handel Concerto Grosso for String Orchestra in D minor, Op.
    [Show full text]
  • 95.3 Fm 95.3 Fm
    October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op.
    [Show full text]
  • 1969 Compassion and Care
    Justice Holmes • Inflammation • Harry Widener MAY-JUNE 2019 • $4.95 Compassion 1969 and Care Physician-Poet Rafael Campo Reprinted from Harvard Magazine. For more information, contact Harvard Magazine, Inc. at 617-495-5746 May 2019 Dear Reader, In 1898, an association of Harvard graduates established the Harvard Alumni Bulletin, “to give selected and summarized Harvard news to graduates who want it” and “to serve as a medium for publishing promptly all notices and announcements of interest to graduates.” members and students extend the limits of discovery and human understanding—in service to an ever more far- ung, diverse group of alumni around the globe. Today, nearly a century and a quarter later, the name has changed, to Harvard Magazine (as have the look and contents), but the founding Your Harvard Magazine can capture alumni voices (see the letters responding to the March-April principles have not: feature on the events of April 1969, beginning on page 4 of this issue), dive deep into critical research (read the feature on the scientists exploring in ammation, and how their work contributes • e magazine exists to serve the interests of its readers (now including all University to understanding disease, on page 46), and keep you current on the critical issues facing higher alumni, faculty, and sta )—not any other agenda. education on campus and around the world (see John Harvard’s Journal, beginning on page 18). • Readers’ support is the most important underpinning of this commitment to high- Your contribution underwrites the journalism you are reading now, the expanded coverage quality, editorially independent journalism on readers’ behalf.
    [Show full text]
  • The Harvard-Radcliffe Collegium Musicum Joseph Fort, Conductor
    The Radcliffe Choral Society Beth Willer, Conductor & The Harvard-Radcliffe Collegium Musicum Joseph Fort, Conductor present Requiescat Saturday, November 1, 2014 8 P.M. Sanders Theatre Program The Radcliffe Choral Society Be Like the Bird Abbie Betinis (b. 1980) Requiescat William Schuman (1910-1992) "Den Tod niemand zwingen kunnt" Johann Sebastian Bach from Christ Lag in Todes Banden, BWV 4 (1685-1750) Meg Weckworth, conductor Echoes Paul Fowler (b. 1978) O sacrum convivium Tomás Luis de Victoria (c. 1548-1611) evening morning day David Lang (b. 1957) Spaséniye sodélal, Op. 25, No. 5 Pavel Chesnokov (1877-1944) Radcliffe Now Emily Coolidge Radcliffe Class of 1908 R-A-D Alice Hunnewell-Hemmens Radcliffe Class of 1911 arr. Kevin Leong I Want It That Way The Backstreet Boys The 'Cliffe Notes arr. Stella Fiorenzoli and Josh Graham The Harvard-Radcliffe Collegium Musicum Their Hearts Were Full of Spring Bobby Troup Collegium Underground (1918-1999) arr. Kirby Shaw Intermission Civitas sancti tui William Byrd (1543-1623) When David Heard Thomas Tomkins (1573-1656) Requiem Herbert Howells I. Salvator mundi (1892-1983) II. Psalm 23 Eliza Wiant, Aliza Theis, and Andrew Hausmann, soloists III. Requiem aeternam (I) IV. Psalm 121 Kyle Whelihan and Lijia Xie, soloists V. Requiem aeternam (II) VI. I heard a voice from heaven Miranda Chang, Kyle Whelihan, and Connor Harris, soloists beautiful dreamer Lang We kindly ask that you silence all electronic devices. Texts and Translations BETINIS: BE LIKE THE BIRD Be like the bird that, pausing in her flight awhile on boughs too slight, feels them give way beneath her -- and sings -- knowing she hath wings.
    [Show full text]
  • Offenbach Et L'opéra-Comique
    Offenbach et l’opéra-comique Lionel Pons avril 2017 Les rapports de Jacques Offenbach (1819-1880) avec le genre opéra-comique relèvent, tout au long de la vie créatrice du compositeur, d’un paradoxe amoureux. La culture lyrique d’Offenbach, son expérience en tant que violoncelliste dans l’orchestre de l’Opéra-Comique, son goût personnel pour ce genre si français, qui ne dissimule pas sa dette envers le dernier tiers du XVIIIe siècle vont nécessairement le pousser à s’intéresser au genre. Le répertoire de François Adrien Boieldieu (1775-1834), de Ferdinand Hérold (1791-1833), de Nicolò Isouard (1773-1818) lui est tout à fait familier, et quoique d’un esprit particulièrement mordant, il en apprécie le caractère sentimental et la délicatesse de touche. Et presque naturellement, il développe pourtant une conscience claire de ce que réclame impérativement la survie du genre. Offenbach sauveteur de l’opéra-comique ? L’opéra-comique, tel qu’Offenbach le découvre en ce début de XIXe siècle, est l’héritier direct des ouvrages d’André-Ernest-Modeste Grétry (1741-1813), de Pierre-Alexandre Monsigny (1729-1817) ou de Nicolas Dalayrac (1753-1809). Le genre est le fruit d’une période transitionnelle (il occupe dans le répertoire français la place chronologique du classicisme viennois outre Rhin, entre le crépuscule baroque et l’affirmation du romantisme), et reflète assez logiquement le goût de l’époque pour une forme de sentimentalité, sensible en France dans toutes les disciplines artistiques entre 1760 et 1789. Les gravures de Jean-Baptiste Greuze (1725-1805), l’architecture du Hameau de Marie-Antoinette (1783-1876), due à Richard Mique (1728-1794), l’orientation morale de L’autre Tartuffe ou la mère coupable (1792) de Pierre-Augustin Caron de Beaumarchais (1732-1799), La nouvelle Héloïse (1761) de Jean-Jacques Rousseau (1712-1778) ou Paul et Virginie (1787) d’Henri Bernardin de Saint-Pierre (1737-1814) portent témoignage de cette tendance esthétique.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
    *l'\ fr^j BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 G> X will MIIHIi H tf SEVENTY-SEVENTH SEASON 1957-1958 BAYARD TUCEERMAN. JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT 8. TUCEERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mast. LA fayette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1958, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D.
    [Show full text]
  • December 2012 – (PDF)
    Monday, December 3, 2012 • Vol. 3 Iss. 1 • Holden Chapel, Harvard Yard • Cambridge, MA 02138 UPCOMING EVENTS DEAR ALUMNAE AN D FRIEN D S , Friday, February 15 – I am overwhelmed by your generosity last year. Your support enabled us to help send Sunday, February 17 RCSers on an international tour they will cherish forever. Thank you so much to each of Women’s Choral Festival you who donated, provided assistance, hosted students in NYC, or attended a concert or Sanders Theatre event. The strength and dedication of this community are an inspiration and a testament to the lasting bonds RCS can forge. Friday, March 1 This year, RCS and RCSF are collaborating on many projects, and I hope you’ll consider Junior Parents Weekend Concert a gift to help make them possible. In particular, I’m looking forward to gathering with Sanders Theatre many of you on February 15-17 at the Women’s Choral Festival, which will include Friday, March 10 alumnae events and a keynote address from Beverly Taylor, RCS conductor from 1978 to History Tea 1995. The Foundation is proud to be contributing to the canon of women’s choral music by Cambridge, MA co-funding a joint commission for RCS and the Lorelei Ensemble, to be performed at the Friday, March 15 – festival. You can read below for details about the festival, the RCS Midwest tour, and other Sunday, March 24 RCS and alumnae-focused activities for the year. Midwest Tour Projects like these that advance women’s choral music as an art form and enhance the Chicago, IL student experience would not be possible without the generosity of RCS alumnae and friends, Madison, WI past and present.
    [Show full text]
  • Winning Fellowship Proposals: Predissertation Fellowship Proposals
    SCHOLARLY PURSUITS: A GUIDE TO PROFESSIONAL DEVELOPMENT DURING THE GRADUATE YEARS Seventh Edition by Cynthia Verba A publication of the Graduate School of Arts and Sciences Harvard University SCHOLARLY PURSUITS: A GUIDE TO PROFESSIONAL DEVELOPMENT DURING THE GRADUATE YEARS SEVENTH EDITION WITH SAMPLE APPLICATION ESSAYS, FELLOWSHIP PROPOSALS, CURRICULUM VITAE AND COVER LETTERS FROM CANDIDATES IN THE GRADUATE SCHOOL OF ARTS AND SCIENCES OF HARVARD UNIVERSITY by Cynthia Verba A Publication of the Graduate School of Arts and Sciences Very special gratitude goes to all the graduate students and PhD’s who shared so generously about their experiences in academe, without whom this booklet could not have been written. Copyright © 2005 by the President & Fellows of Harvard University ABOUT THE AUTHOR Cynthia Verba has been serving as Director of Fellowships in the Graduate School of Arts and Sciences since 1986. Prior to that, she was Associate Director at Harvard’s Office of Career Services, with responsibility for overseeing academic and nonacademic career services for graduate students and PhDs. Her work at Harvard in the area of professional development for PhDs began in 1978. She holds a PhD in musicology from the University of Chicago, and continues to be active as a publishing scholar and teacher. She was a fellow at the Bunting Institute of Radcliffe College in 1987, and received a fellowship from the National Endowment of the Humanities in 1983 to further her research in musicology. She has also served as Chair of the Committee on Academic and Nonacademic Employment of the American Musicological Society from 1979-1985. She has been teaching courses in music history at the Harvard University Extension School since 1977.
    [Show full text]
  • La Belle Hélène Opéra Bouffe in Tre Atti Libretto Di Henri Meilhac E Ludovic Halévy
    Jacques Offenbach La belle Hélène Opéra bouffe in tre atti Libretto di Henri Meilhac e Ludovic Halévy PERSONAGGI Paride figlio del re Priamo tenore Menelao re di Sparta tenore Agamennone re dei re baritono Calcante Grande Augure di Giove basso Achille re di Ftia tenore Ajace primo re di Salamina tenore Ajace secondo re dei Locriesi baritono Elena regina di Sparta soprano Oreste figlio del re Agamennone soprano Bacchide confidente di Elena mezzo-soprano Leena etera soprano Partenide etera soprano Filocomo servo di Calcante recitante Euticle fabbro recitante Guardie, schiavi, popolo, principi, principesse, prefiche di Adone, seguito di Elena. La scena si svolge nell’antichità a Sparta Prima rappresentazione Parigi, Théâtre des Variétés, 17 dicembre 1864 1 Offenbach: La belle Hélène - atto primo [Ouverture] ATTO PRIMO L’oracolo A Sparta. Una pubblica piazza. Sul fondo il tempio di Giove. Davanti al tempio una scalinata di cinque o sei scalini. Da ogni lato delle scala, un treppiede acceso. [N°1 – Coro] Scena I° Popolo, poi Calcante e Filocomo. Al levar del sipario, uomini e donne, inginocchiati davanti al tempio pre- sentano offerte: fiori, frutti, latticini, cesti di vimini con tortorelle. Dominano i fiori CORO LE CHŒUR Verso i tuoi altari, Jupin, noi accorriamo gioiosi, Vers tes autels, Jupin, nous accourons joyeux, Per te i nostri voti! A toi nos voeux! Eccoci tutti qui Nous voici tous in ginocchio davanti a te! À tes genoux! Dio sovrano degli Dei, Dieu souverain des Dieux Tu, dalla barba d’oro Toi dont la barbe est d’or ascolta le nostre suppliche, o Giove Statore! Écoute nos accents, ô Jupiter Stator! Verso i tuoi altari, Jupin, noi accorriamo gioiosi.
    [Show full text]