Newsletter Winter 2009
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La Recepción Temprana De Wagner En Estados Unidos: Wagner En La Kleindeutschland De Nueva York, 1854-1874
Resonancias vol. 19, n°35, junio-noviembre 2014, pp. 11-24 La recepción temprana de Wagner en Estados Unidos: Wagner en la Kleindeutschland de Nueva York, 1854-1874 F. Javier Albo Georgia State University, Atlanta, USA. [email protected] Resumen Este trabajo se centra en la recepción de la música de Richard Wagner, limitado a un marco geográfico específico, el de la ciudad de Nueva York –en concreto el distrito alemán de la ciudad, conocido como Kleindeutschland– y temporal, el comprendido entre la primera ejecución documentada de una obra de Wagner en la ciudad, en 1854, y la definitiva entronización del compositor como legítimo representante de la tradición musical alemana a partir del estreno de Lohengrin en la Academy of Music, en 1874. Se destaca la labor de promoción a cargo de los emigrantes alemanes, en su papel de mediadores, en los años 50 y 60 del siglo XIX, una labor fundamental ya que gracias a ella germinó la semilla del culto a Wagner que eclosionaría durante la Gilded Age, la “Edad dorada” del desarrollo económico y artístico finisecular, que afectó a todo el país pero de manera especial a Nueva York. Asimismo, se incluye una aproximación a la recepción en la crítica periodística neoyorquina durante el periodo en cuestión. Palabras clave: Wagner; Recepción temprana en Nueva York; Músicos alemanes y emigración, 1850-1875; Crítica periodística. Abstract This study discusses the early reception of Richard Wagner’s music in New York, starting with the first documented performance of a work by Wagner in the city, in 1854, and the momentous production of Lohengrin at the Academy of Music, in 1874. -
Pierre Boule
SALLE PLEYEL CENTRE ARTISTIQUE DE PARIS Administrateur général : Henri VIEILLARD-BARON FESTIVAL FESTIVAL D'AUTOMNE ESTIVAL A PARIS DE PARIS JEUDI 18 SEPTEMBRE 1975 NEW YORK PHILHARMONIC DIRECTION: PIERRE BOULE/ La tournée européenne du New York Philharmonic a pu être réalisée grâce à undon d'IBM WORLD TRADE CORPORATION Le New York Philharmonic enregistre en exclusivité sur disques CBS Piano STEINWAY Représentant en France : Bureau International des Concerts et Conférences Ch. et C. KIESGEN, 252, Faubourg Saint-Honoré, 75008 PARIS Tél. 924-21-25 Document de communication du Festival d'Automne à Paris - tous droits réservés LE NEW YORK PHILHARMONIC ETSON PASSE Il y a quelques années le critique américain James Huneker put Le hombre des solistes de premier plan qui se sont produits avec écrire :« L'histoire du Philharmonique de New York est celle-là le New York Philharmonie n'est pas moins impressionnant :Isaye, même de la musique aux Etats-Unis ». Ce faisant il ne se contentait Bull, Gottschalk, Sarasate, Wieniawsky, Vieuxtemps, Casals, Thibaud, pas de résumer en une phrase l'activité ininterrompue de l'orchestre Busoni, AlmaGluck,Hofmann,Carreno,Joseffy,Feuermant4 depuis 1842 mais soulignait aussi le travail de pionnier qui fit de Schnabel, Cortot, Kreisler, Rachmaninov, Lilli Lehmann, Lhevin.ne, cet orchestre le chef de file de toute une tradition musicaleassocier Nordica, Horowitz,Heifetz,Casadesus,Rubinstein, Paderewsky, les ,oeuvres nouvelles à celles qui sont déjà familières au public. Schumann-Heink, Flagstadt, Tourd, Novaes, Milstein, Hess, Stern, Tebaldi,Cliburn,Anderson,aistrakh,Farrel,Szigeti,Serkin, Le Philharmonique de New York fut fondé en tantque coopérative Schwartzkopf,Piatigorsky,Menuhin,Lotte Lehmann,Melchior, à une époque où un Washington Irving quittait les U.S.A.pour Francescatti, Guilels, Richter, Sutherland, Nilsson, Rostropovitch.. -
Boston Symphony Orchestra Concert Programs, Season 28,1908-1909, Trip
MECHANICS HALL . WORCESTER Twenty-eighth Season, I908-J909 Ionian ^ptpfjmuj GDrdf^fra MAX FIEDLER, Conductor ffrogramm? of a?* Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, APRIL 20 AT 8. J 5 PRECISELY COPYRIGHT, 1908, BY C. A. ELLIS MANAGER PUBLISHED BY C. A. ELLIS, Mme. CECILE CHAMINADE The World's Greatest Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE ^^ Piano. THE JOHN CHURCH CO., 37 West 3*d Street New York City REPRESENTED BY THE JOHN CHURCH CO., 37 West 32d Street, New York City Boston Symphony Orchestra PERSONNEL TWENTY-EIOHTH SEASON, 1908-1909 MAX 1FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J, Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noach, S. Mahn, F. Eichheim, H, Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, K Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. -
Presenting the Best of Music, Dance, Comedy and Entertainment from Around the World
2015 / 2016 SEASON PRESENTING THE BEST OF MUSIC, DANCE, COMEDY AND ENTERTAINMENT FROM AROUND THE WORLD. FUN EVENTS FOR KIDS AND THE ENTIRE FAMILY. JORGENSEN Center for the Performing Arts jorgensen.uconn.edu | 860-486-4226 Saturday, December 5, 2015 at 8:00 pm University of Connecticut School of Fine Arts Anne D'Alleva, Dean Jorgensen Center for the Performing Arts Rodney Rock, Director presents Holiday Pops Concert THE BOSTON POPS ESPLANADE ORCHESTRA KEITH LOCKHART Julian & Eunice Cohen Boston Pops Conductor JOHN WILLIAMS George & Roberta Berry Boston Pops Conductor Laureate KEITH LOCKHART conducting with The Metropolitan Chorale of Brookline Lisa Graham, Music Director Duane Moody, tenor Columbia Artists Management 1790 Broadway New York, NY 10019 (212) 841-9509 www.cami.com PROGRAM Sing Noel Cutter Christmas Canticles O'Loughlin Hallelujah Chorus, from Messiah Handel–Mozart Tomorrow Is My Dancing Day arr. Hollenbeck In the Bleak Midwinter arr. Parker/Shaw Waltz of the Flowers from The Nutcracker Tchaikovsky The Christmas Story arr. Lane/Lockhart/Elliot Duane Moody, tenor and narrator INTERMISSION Wonderful! arr. Chase/Elliot Blue Christmas Blues Hayes/Johnson/Holt/Cahn-Oddo Cool Yule Allen-Oddo Duane Moody, tenor Winter Weather Medley arr. Chase/Sebesky I Love the Winter Weather–Baby It's Cold Outside–I've Got My Love to Keep Me Warm A Visit From St. Nicholas ('Twas the Night Before Christmas) arr. Reisman Text by Clement C. Moore with a very special guest narrator A Merry Little Sing-Along arr. Reisman Rudolph the Red-Nosed Reindeer -
German Project
1 Max Siegling 16.05.2011 Professor Kasinitz Germans in New York City: From the Revolutions of 1848 to World War I The experience of German immigrants in New York City in the 1800s was one of fruitful struggle, from the coalescing of a German American community after the revolutions of 1848 brought many Germans into New York, to the height of German American culture pre-World War I, with its abundance of theater troupes, opera companies, cultural societies, and journals. It was at this very height, when German Americans had moved upward socially and economically in American society, that anti-German sentiment in WWI led to the complete assimilation of an ethnic group which had earlier maintained a high ethnic presence. This high ethnic presence was enabled by the creation of a German American culture – not fully German anymore, but neither completely American – with cultural products – art, music, journals – that depicted the German American experience in New York. This German American experience was marked by a longing for the homeland, regional disunity and mixing, class conflict, and an integration into and ascent in American society. These cultural products were split between a “high” and “low” culture (in terms of upper and lower classes); where the high culture sought to promote German art of the homeland, particularly Wagner, the low culture, often through humor – only sometimes sardonic – sought to express the experience of Germans in New York with new art, art made by and for Germans in New York. There was always a German presence in New York, but it was only after the failed revolutions of 1848 in Europe that the German community really began to coalesce in New York, into a neighborhood known as Klein Deutschland (Little Germany – now the East 2 Village and parts of the Lower East Side). -
125 Years of the Boston Pops (Timeline)
symphony hall tel: (617) 266-1492 301 massachusetts avenue fax: (617) 638-9493 boston, ma 02115-4511 www.bso.org Boston Pops Timeline The Origins of the Pops: 1881 – 1899 • 1881 - Civil War veteran Henry Lee Higginson founds the Boston Symphony Orchestra and writes of his intention to present “especially in the summer, concerts of a lighter kind of music,” and the seed is planted for Boston Pops concerts, originally called “Promenade Concerts.” The introduction of these concerts also provided year-round employment for the Boston Symphony musicians. • 1885 - The first Promenade Concert, led by Adolf Neuendorff, takes place on July 11 at the old Boston Music Hall, the only locale in the city allowing food and beverages to be served in the performance space. Response from audience and critics is favorable. • 1890 - By this time, the public customarily refers to these “popular” concerts in the shorthand “Pop” or “Pops.” • 1896 - The tradition of annual “college nights” at the Pops begins when Harvard hosts Harvard Night at the Pops. Harvard was followed by MIT in 1897, Tufts in 1901, and a host of others. • 1897 - A new march by John Philip Sousa, The Stars and Stripes Forever, is played in its orchestral version for the first time. Works by other American composers are played more frequently at the concerts, contributing to their increasing “American-ness.” The Move to Symphony Hall: 1900– 1929 • 1900 - The BSO management officially changes the name of the concerts to the “Pops,” andThe Stars and Stripes Forever regularly serves as the grand finale. • Symphony Hall, the new home of the Boston Symphony and Boston Pops, opens in October. -
Celebrating 175 Years in New York Alan Gilbert's Farewell Season
FOR RELEASE: February 3, 2016 Contact: Katherine E. Johnson NEW YORK PHILHARMONIC 2016–17 SEASON — CELEBRATING 175 YEARS IN NEW YORK ALAN GILBERT’S FAREWELL SEASON OPENING GALA CONCERT: New York Philharmonic Premieres Past and Present THE NEW WORLD INITIATIVE: Season-Long, Citywide Immersion in DVOŘÁK’S NEW WORLD SYMPHONY THE NEW YORK COMMISSIONS: Works on NEW YORK Theme by New York–Based WYNTON MARSALIS, SEAN SHEPHERD, and JULIA WOLFE THE ART OF THE SCORE: Film Week at the Philharmonic Celebrates New York MANHATTAN & WEST SIDE STORY SPRING GALA: BREAKFAST AT TIFFANY’S ALAN GILBERT’S FAREWELL SEASON HIGHLIGHTS SEVEN PREMIERES, FINAL EUROPE TOUR, WAGNER’s Das Rheingold, MAHLER’s Fourth Symphony, BEETHOVEN’s Ninth Symphony with SCHOENBERG’s A Survivor from Warsaw, JOHN ADAMS’s 70th Birthday, LIGETI’s Mysteries of the Macabre, HANDEL’s Messiah, and More SEASON FINALE: A Program Exploring How Music Can Effect Positive Change and Harmony in the World ______________________________________ BELOVED FRIEND — TCHAIKOVSKY AND HIS WORLD: A Philharmonic Festival Conducted by SEMYON BYCHKOV Violinist LEONIDAS KAVAKOS: The Mary and James G. Wallach ARTIST-IN-RESIDENCE ESA-PEKKA SALONEN: Second Season as The Marie-Josée Kravis COMPOSER-IN-RESIDENCE Pianist INON BARNATAN: Final Season as Inaugural ARTIST-IN-ASSOCIATION ______________________________________ Additional Philharmonic Commissions by JULIA ADOLPHE, LERA AUERBACH, TANSY DAVIES, HK GRUBER, ESA-PEKKA SALONEN, and XU SHUYA PHILHARMONIC’S NEXT MUSIC DIRECTOR JAAP VAN ZWEDEN To Return Appearances -
THE BOSTON POPS ESPLANADE ORCHESTRA by GEORGE! the POPS PLAYS GERSHWIN Saturday, March 25, 2017, 8:00 Pm
THE BOSTON POPS ESPLANADE ORCHESTRA BY GEORGE! THE POPS PLAYS GERSHWIN Saturday, March 25, 2017, 8:00 pm Photo: Roger Mastroianni OPENING SEASON 2016/2017 Great Artists. Great Audiences. Hancher Performances. THE BOSTON POPS ESPLANADE ORCHESTRA KEITH LOCKHART Julian and Eunice Cohen Boston Pops Conductor JOHN WILLIAMS George and Roberta Berry Boston Pops Conductor Laureate KEITH LOCKHART conducting GERSHWIN, BY GEORGE! Overture to Nice Work If You Can Get It arr. & orch. Elliott Promenade (Walking the Dog) arr. Elliott Fascinating Rhythm arr. Elliott I Got Rhythm Variations for piano and orchestra arr. Schoenfeld MICHAEL CHERTOCK, piano An American in Paris reconstructed Hollenbeck/Elliott Paul Whiteman version additional orchestrations by Bill Elliott INTERMISSION Let’s Call the Whole Thing Off arr. Sebesky JUSTIN HOPKINS and ERICA SPYRES, vocalists By Strauss arr. Sebesky MS. SPYRES Slap that Bass arr. Chase/Sebesky MR. HOPKINS Summertime arr. Williams CHARLES DIMMICK, violin I’ve Got To Be There arr. Elliott MR. HOPKINS The Man I Love arr. Sebesky MS. SPYRES ’S Wonderful, ’S Marvelous, ’S Gershwin arr. Sebesky MS. SPYRES and MR. HOPKINS Rhapsody in Blue 1926 Ferde Grofé version MR. CHERTOCK The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records. 3 EVENT SPONSOR LORETTA ANGERER THE GAZETTE DR. KARL AND GAY KREDER THE NEUMANN FAMILY IN MEMORY OF DR. GEORGE R. NEUMANN WILLIAM H. AND BERTHA S. OLIN DAVID AND NOREEN REVIER SEASON SPONSOR WEST MUSIC 4 Photo: Bill Adams Play now. Play for life. CONGRATUL ATION S HANCHER on a spectacular 2016-2017 Season! westmusic.com Cedar Falls • Cedar Rapids • Coralville Decorah • Des Moines • Dubuque • Quad Cities PROUD to be Hancher’s 2016-2017 Season Sponsor! ABOUT THE ARTISTS KEITH LOCKHART CONDUCTOR Julian and Eunice Cohen Boston Pops Conductor Having celebrated his twentieth anniversary as Boston Pops Conductor in 2015, Keith Lockhart is the second longest-tenured conductor of the Boston Pops Orchestra since its founding in 1885. -
Boston Symphony Orchestra Concert Programs, Season 22,1902
ACADEMY OF MUSIC, PHILADELPHIA. BostonSymptpiy Orchestra Mr. WILHELM GERICKE, Conductor. Eighteenth Season in Philadelphia* PROGRAMME OF THE SECOND CONCERT SECOND SERIES, WEDNESDAY EVENING, DECEMBER 10, AT 8.J5 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. M E S S R S . CHICKERING & SONS PIANOFORTE MAKERS I n v i t e Critical Inspection of Their Latest Production The Quarter Grand ->w The Smallest Grand Embodying Modern Principles Ever Made RETAIL WAREROOMS 791 TREMONT STREET, BOSTON Represented in Philadelphia by JOHN WANAMAKED. DOStOn ACADEMY OF MUSIC, Symphony l PHILADELPHIA. ? Twenty-second Season, J 902- \ 903. Orchestra Eighteenth Season in Philadelphia* Mr. WILHELM GERICKE, Conductor. SECOND CONCERT, SECOND SERIES, WEDNESDAY EVENING, DECEMBER 10, AT 8.15 PRECISELY. PROGRAMME. Mendelssohn Symphony No. 4, in A major, " Italian," Op. 90 I. Allegro vivace (A major). II. Andante con moto (D minor). III. Con moto moderato (A major). IV. Saltarello: Presto (A minor). " n Beethoven . Song with Orchestra, An die Hoffnung Schubert Fantasy in F minor n n Wagner, " Wotan's Farewell and " Fire Charm," from " Die Walkure SOLOIST : Mr. ANTON VAN ROOY There will be an intermission of ten minutes after the Beethoven selection. (3) Our New Small Grand We especially invite the critical attention of artists and lovers of the beautiful in pianos to our NEW SMALL GRAND, which represents the latest and highest development in that field of piano manufacture A request by mail will bring you price and terms. EVERETT PIANO CO., boston New York House, 111, 143 Fifth Avenue Symphony in A major, No. -
Newsletter Fall 2013
Volume 22 No 3 • Fall 2013 The Milwaukee German Theater: Once the Pride of the City Cora Lee Kluge Milwaukee Libraries. Used with permission. Milwaukee Libraries. Used – Image from Special Collections, University of Wisconsin of Special from Collections,Image University The Schlitz Park Theater, where famous German Theater manager Leon Wachsner began his Milwaukee career or many years, the Milwaukee ten. There are only a handful of older German Theater (MGT) en- articles, theses, and dissertations; a joyed widespread recognition, number of newspaper and journal Fnot only as an excellent German- articles that must still be located and INSIDE American cultural institution and collected; and incomplete assort- • Support the MKI Library one of the primary reasons for Mil- ments of other materials, including • New Publication: waukee’s reputation as the “German occasional theater programs and ad- Wisconsin Talk Athens,” but also as one the most vertisements. However, interest was • Book Review: extraordinary theaters anywhere in recently reawakened when a search- Rocking the Wall the world and performing in any able, digital index of the approxi- • Emigration from Tiefenort, language. Surprisingly—in view of its mately 3,000 items included in the Thuringia former excellence and significance— Milwaukee Public Library’s unique • New MKI Twentieth-Century not many today are aware that there Albert O. Trostel Collection of Ger- Oral History Project once was such an establishment in man Theater Scripts was prepared • Chicago’s Green White Soccer -
Adolph Rosenbecker 1851-1919
1 Adolph Rosenbecker 1851-1919 Adolph Rosenbecker was born in July 11, 1851 in Steinfurth, near Frankfurt, Germany. He studied with local teacher when 14 and played in the Saablau Orchestra of Frankfurt until 1866. He then attended the Leipzig Conservatory studying violin with Ferd David and also conducting with Carl Reinecke from 1866-1869. He became first violin with the Leipzig Gewandhaus Orchestra. To avoid mandatory service with the Prussian Army, he migrated to New York City where he began playing in the German Opera under Adolf Neuendorff. In 1879 he joined the Theodore Thomas New York based touring orchestra and remained for 8 years, until 1877. He then relocated to Chicago. He organized and conducted (1889-1892) an orchestra in Chicago. Rosenbecker then became a teacher at the Chicago Conservatory and directed a theater orchestra. He organized a symphony orchestra and when Thomas died he renamed his group as the 'Theodore Thomas Orchestra in honor of Thomas. This orchestra played at many music festivals in the 'off' season. He brought a band from Chicago to New Orleans' West End for two seasons, the 1901 and 1902 summer seasons. From 1910-1912 he was concertmaster of the Chicago Grand Opera Company. He then joined the San Francisco Symphony in the 1912-1913 season staying from 1912-1915. He left the orchestra around 1916 and three years later died. New Orleans Item - June 23, 1901 - Adolph Rosenbecker's Military Concert Band. Adolph Rosenbecker, Conductor - Programme for Sunday, June 23, 1901 Tonight will see the installation of a new band at West End, this popular resort of New Orleans, and there is no doubt, but that the new military band, under the able direction of Mr. -
A Trip to Africa
A Trip to Africa: A Comic Opera by Franz von Suppé A Trip to Africa: A Comic Opera by Franz von Suppé Compiled and Researched by Dario Salvi and Hannah Salvi A Trip to Africa: A Comic Opera by Franz von Suppé Compiled and Researched by Dario Salvi and Hannah Salvi This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Dario Salvi and Hannah Salvi All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9094-4 ISBN (13): 978-1-4438-9094-6 Dario: To my dad, Bepi, who I know would have been proud of me for contributing to this research. Thank you for sitting me down as a toddler in front of the TV to watch the New Year’s Concert from Vienna. Hannah: To all those who have encouraged me, both musically and in life, to pursue my goals; to my family; and especially to my husband, whose passion for music inspires me every day. DISCLAIMER This document has been constructed for historical reference, and therefore the lyrics and stage directions have been printed as per the original libretto. Some derogatory references have been omitted so that the operetta may be performed publically, however some content may still be seen as offensive.