DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 69, 1949

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 69, 1949 BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY SIXTY-NINTH SEASON 1949-1950 Constitution Hall, Washington Boston Symphony Orchestra [Sixty-ninth Season, 1949-1950] CHARLES MUNCH, Conductor RICHARD BURGIN. Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhap^ Ernst Panenka Alfred Krips Georges Fourel Theodore Brewster Gaston Elcus Eugen Lehner RoIIand Tapley Albert Bernard Contra-Bassoon Norbert Lauga Emil Kornsand Boaz Filler George Zazofsky George Humphrey Horns Paul Cherkassky Louis Arti^res Harry Dubbs Charles Van Wynbergen Willem Valkenier James Stagliano Resnikoff Hans Werner Vladimir Principals Joseph Leibovici Jerome Lipson Harry Siegfried Gerhardt Shapiro Einar Hansen Harold Meek Daniel Eislev Violoncellos Paul Keaney Norman Carol Walter Macdonald Samuel Mayes Carlos Pinfield Osbourne McConathy Alfred Zighera Paul Fedorovsky Harry Dickson Jacobus Langendoen Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmani Roger Voisin Clarence Knudson Karl Zeise Principals Pierre Mayer Josef Zimbler Marcel Lafosse Manuel Zung Bernard Parronchi Harry Herforth Samuel Diamond Enrico Fabrizio Ren^ Voisin Manusevitch Leon Marjollet Victor Trombones James Nagy Flutes Raichman Leon Gorodetzky Jacob Lucien Hansotte Raphael Del Sordo Georges Laurent James Pappoutsakis John Coffey Melvin Bryant Phillip Kaplan Josef Orosz John Murray Tuba Lloyd Stonestreet Piccolo Henri Erkelens George Madsen Vinal Smith Saverio Messina Harps Herman Silberman Oboes Bernard Zighera Stanley Benson John Holmes Elford Caughey Sheldon Rotenberg Jean Devergie Joseph Lukatsky Timpani Basses English Horn Roman Szulc Georges Moleux Charles Smith walls Page Louis Speyer Ludwig Juht Percussion Clarinets Irving Frankel Max Polster Manuel Valerio Henry Greenberg Simon Sternberg Attilio Poto Henry Portnoi Pasquale Cardillo Piano Gaston Dufresne E\) Clarinet Henri Girard Lukas Foss Henry Freeman Bass Clarinet Librarian John Barwicki Rosario Mazzeo Leslie Rogers Constitution Hall, Washington SIXTY-NINTH SEASON, 1949-1950 Boston Symphony Orchestra CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor Concert Bulletin of the Second Concert THURSDAY EVENING, January 12 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 Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Manager!^ [1] BOX HOLDERS The Ambassador of France and Madame Bonnet The Ambassador of New Zealand and Lady Berendsen The Ambassador of the Netherlands and Madame van Kleffens The Minister of Luxembourg and Madame Le Gajlais The Minister and Madame Charles Bruggmann Ambassador J. B. de Lavalle Mrs. Robert Low Bacon Mrs. Paul Bartlett Mr. and Madame Jean-Pierre Benard Mr. and Mrs. Robert Woods Bliss Dr. and Mrs. Irving Brotman Mr. and Mrs. William R. Castle Mr. Benjamin Colby Mrs. William Crozier Mrs. Stephen Dorsey Mr. and Mrs. Herbert EUiston Dr. and Mrs. Maurice Friedman Mr. and Mrs. Joseph Grew Colonel and Mrs. James Hendrick Mr. George Judd Mr. and Mrs. Preston Kavanagh Mrs. Florence Keep Lt. Angel G. de Mendoza Mr. and Mrs. Eugene Meyer Mr. and Mrs. Howard Mitchell Mr. and Mrs. John W. Morton Mrs. Charles Munoh Judge and Mrs. George Neilson Mrs. Roscoe O'Byrne Mrs. Leverett Saltonstall Mr. Joseph Sanders Mr. and Mrs. Jouett Shouse Mr. and Mrs. Andrew J. Snow Mr. and Madame Andre Visson Mr. and Mrs. Eliot Wadsworth Mr. and Madame Arnaul Wapler Mrs. Edwin M. Watson Mrs. Matthew Whittall Mrs. Arthur Wood Mr. and Mrs. Stanley Woodward [2] Constitution Hall, Washington Boston Symphony Orchestra CHARLES MUNCH, Conductor SECOND CONCERT THURSDAY EVENING, January 12, at 8:30 o'clock Program Handel Suite for Orchestra (From the Water Music) Arranged by Hamilton Harty I. Allegro 11. Air III. Bourree IV. Hornpipe V. Andante espressivo VI. Allegro deciso PouLENC Concerto for Piano and Orchestra I. Allegro commodo II. Andante con moto III. Rondeau a la Francaise i^Fint performance in fVashington"^ INTERMISSION Brahms Symphony No. 4 in E minor. Op. 98 I. Allegro non troppo II. Andante moderate III. Allegro giocoso IV. Allegro energico e passionato SOLOIST FRANCIS POULENC BALDWIN PIANO RCA VICTOR RECORDS Rehearsal Broadcasts of the Boston Symphony Orchestra are given weekly on the NBC Network, Mondays 1:00-1:30 p.m. [3] Sir! I'm Insulted!! Yes indeed, this man really is insulted. guardian of an estate will perform his And can you guess why? duties honestly . with no chance of Well, he was appointed an executor of financial loss to the beneficiaries. an estate and someone made the "brash Records prove that such insurance is suggestion" that he be bonded. wise. Common sense says the same. After Why the very idea of it. An outstanding all, you put money in a bank for safe- citizen ... a man above reproach . keeping. Your banker is bonded. So are and you ask that he be bonded. "Sir, that's his employees. Banks take no chances a slur on the character and integrity of a with embezzlements. Why then, isn't it man. You practically call him a crook." just as reasonable to bond any other Nonsense! Such a thought is ridiculous. person who has access to the funds of an A bond is a badge of honor. It means that estate. Talk it over with The Man with the an insurance company is willing to guar- Plan, your local Employers' Group Insur- antee that an executor, administrator or ance Agent or Broker. The Insurance Man Serves America The Employers' Group p^e^m^mcc (^?^^^^eum6^ji 110 MILK STREET, BOSTON 7, MASS. THE EMPLOYERS' LIABILITY ASSURANCE CORP.. LTD. AMERICAN EMPLOYERS' INSURANCE CO. THE EMPLOYERS' FIRE INSURANCE CO. L4J I SUITE FOR ORCHESTrL\ (from the WATER MUSIC) By George Frideric Handel Born at Halle, February 23, 1685; died in London, April 14, 1759 Arranged by Sir Hamilton Harty* Handel's "Water Music was probably composed and performed in parts in 1715 and 1717. The original autogiaph has been lost. A suite from the music was published by John "Walsh in 1720, and another version, differently arranged, in 1740. The full suite of 20 movements was published in the Samuel Arnold edition (1785-1797), and appeared in the complete works as edited by Chrysander. Sir Hamilton Harty, arranging a suite of six movements in 1918, and then per- forming it at the Halle Concerts, has scored it for two flutes and piccolo, two oboes, two clarinets, four horns, timpani and strings ^published in 1922) . Suites from the Water Music, derived from Chrysander, have been performed by this Orchestra December 11, 1885, October 21, 1887, December 21, 1900, and March 18, 1927. Handel's time, parties on the Thames were a favorite recreation IN of Londoners in the summer season. R. A. Streatfeild has described the custom in his Life of Handel (1909) : "The River Thames was then, far more than now, one of the main highways of London. It was still Spenser's 'silver Thames,' and on a summer's day it must have presented a picture of life and gaiety very different from its present melancholy and deserted aspect. It was peopled by an immense fleet of boats devoted solely to passenger traffic, which were signalled by passing wayfarers from numerous piers between Blackfriars and Putney, just as one now signals a hansom or taxicab. Besides the humble boats that plied for hire, there were plenty of private barges fitted up with no little luxury and manned by liveried servants. The manners and customs of the boatmen were peculiar, and their wit- combats, carried on in the rich and expressive vernacular of Billings- gate, were already proverbial , . George I liked the River. When the Court was at Whitehall water parties to Richmond or Hampton Court were of frequent occurrence, and as often as not the royal barge was accompanied by an attendant boat laden with musicians." Handel, serving as kapellmeister to Georg Ludwig, Elector of Han- over, obtained leave of absence to visit England in 1712. He not only overstayed his leave, but came under the open patronage of the reign- ing Queen Anne, between whom and Georg there was no love lost. Handel, while thus still bound to the House of Hanover, composed his Ode to Queen Anne^ and his Te Deinn and Jubilate for the hated Peace of Utrecht. ^Vhen the Queen died in 1714, Georg was crowned George I of England and Handel's position became suddenly pre- carious. He was pointedly ignored by the new monarch and so deprived of his principal opportunities for social recognition and consequent • Born at Hillsboroueh, County Down, Ireland, December A, 1879 ; died February 19, 1941. [5] income. But the continuing ostracism of the illustrious Handel would have been likewise a true deprivation to George himself, for he had brought with him from Germany a passion for music which was more enduring than his dislike of a dead queen. It was obviously a question of a propitious moment, and Handel had friends ready to do their tactful part when that moment should come. There are three legends circumstantially related at the time, each claiming the achievement of this act of grace. The Water Music is connected with two of them. One of Handel's true friends was Francesco Geminiani, violinist and composer for the violin, two years younger than himself. Geminiani, so the story goes, was asked to play one of his concertos at Court, and replying, admitted a rubato in his style so incorrigible that no one could be trusted to accompany him and not be thrown off but Handel himself. Handel was accordingly asked, and accordingly reinstated. But Handel had other colleagues equally ready to claim the credit for the good deed.
Load more

Recommended publications
  • BOSTON UNIVERSITY COLLEGE of FINE ARTS Dissertation MERRI FRANQUIN and HIS CONTRIBUTION to the ART of TRUMPET PLAYING by GEOFFRE
    BOSTON UNIVERSITY COLLEGE OF FINE ARTS Dissertation MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING by GEOFFREY SHAMU A.B. cum laude, Harvard College, 1994 M.M., Boston University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2009 © Copyright by GEOFFREY SHAMU 2009 Approved by First Reader Thomas Peattie, Ph.D. Assistant Professor of Music Second Reader David Kopp, Ph.D. Associate Professor of Music Third Reader Terry Everson, M.M. Associate Professor of Music To the memory of Pierre Thibaud and Roger Voisin iv ACKNOWLEDGEMENTS Completion of this work would not have been possible without the support of my family and friends—particularly Laura; my parents; Margaret and Caroline; Howard and Ann; Jonathan and Françoise; Aaron, Catherine, and Caroline; Renaud; les Davids; Carine, Leeanna, John, Tyler, and Sara. I would also like to thank my Readers—Professor Peattie for his invaluable direction, patience, and close reading of the manuscript; Professor Kopp, especially for his advice to consider the method book and its organization carefully; and Professor Everson for his teaching, support and advocacy over the years, and encouraging me to write this dissertation. Finally, I would like to acknowledge the generosity of the Voisin family, who granted interviews, access to the documents of René Voisin, and the use of Roger Voisin’s antique Franquin-system C/D trumpet; Veronique Lavedan and Enoch & Compagnie; and Mme. Courtois, who opened her archive of Franquin family documents to me. v MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING (Order No.
    [Show full text]
  • Pathetique Symphony New York Philharmonic/Bernstein Columbia
    Title Artist Label Tchaikovsky: Pathetique Symphony New York Philharmonic/Bernstein Columbia MS 6689 Prokofiev: Two Sonatas for Violin and Piano Wilkomirska and Schein Connoiseur CS 2016 Acadie and Flood by Oliver and Allbritton Monroe Symphony/Worthington United Sound 6290 Everything You Always Wanted to Hear on the Moog Kazdin and Shepard Columbia M 30383 Avant Garde Piano various Candide CE 31015 Dance Music of the Renaissance and Baroque various MHS OR 352 Dance Music of the Renaissance and Baroque various MHS OR 353 Claude Debussy Melodies Gerard Souzay/Dalton Baldwin EMI C 065 12049 Honegger: Le Roi David (2 records) various Vanguard VSD 2117/18 Beginnings: A Praise Concert by Buryl Red & Ragan Courtney various Triangle TR 107 Ravel: Quartet in F Major/ Debussy: Quartet in G minor Budapest String Quartet Columbia MS 6015 Jazz Guitar Bach Andre Benichou Nonsuch H 71069 Mozart: Four Sonatas for Piano and Violin George Szell/Rafael Druian Columbia MS 7064 MOZART: Symphony #34 / SCHUBERT: Symphony #3 Berlin Philharmonic/Markevitch Dacca DL 9810 Mozart's Greatest Hits various Columbia MS 7507 Mozart: The 2 Cassations Collegium Musicum, Zurich Turnabout TV-S 34373 Mozart: The Four Horn Concertos Philadelphia Orchestra/Ormandy Mason Jones Columbia MS 6785 Footlifters - A Century of American Marches Gunther Schuller Columbia M 33513 William Schuman Symphony No. 3 / Symphony for Strings New York Philharmonic/Bernstein Columbia MS 7442 Beethoven: Symphony No. 9 in D minor Westminster Choir/various artists Columbia ML 5200 Tchaikovsky: Symphony No. 6 (Pathetique) Philadelphia Orchestra/Ormandy Columbia ML 4544 Tchaikovsky: Symphony No. 5 Cleveland Orchestra/Rodzinski Columbia ML 4052 Haydn: Symphony No 104 / Mendelssohn: Symphony No 4 New York Philharmonic/Bernstein Columbia ML 5349 Porgy and Bess Symphonic Picture / Spirituals Minneapolis Symphony/Dorati Mercury MG 50016 Beethoven: Symphony No 4 and Symphony No.
    [Show full text]
  • Le Scandale Au Théâtre Des Années 1940 Aux Années 1960 Delphine Aebi
    ”Il faut trouver un modus vivendi” : le scandale au théâtre des années 1940 aux années 1960 Delphine Aebi To cite this version: Delphine Aebi. ”Il faut trouver un modus vivendi” : le scandale au théâtre des années 1940 aux années 1960. Littératures. Université de Grenoble, 2011. Français. NNT : 2011GRENL025. tel-01214959 HAL Id: tel-01214959 https://tel.archives-ouvertes.fr/tel-01214959 Submitted on 15 Oct 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THÈSE Pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ DE GRENOBLE Spécialité : Littérature Française Arrêté ministériel : 7 août 2006 Présentée par Delphine AEBI Thèse dirigée par Claude Coste préparée au sein du Laboratoire Traverses 19-21 Equipe de recherches sur la Crise de la Représentation (E.CRI.RE) dans l'Ecole Doctorale « Langues, Littératures et Sciences Humaines » - n° 50 « IL FAUT TROUVER UN MODUS VIVENDI » Le scandale au théâtre des années 1940 aux années 1960 Thèse soutenue publiquement le 6 juin 2011, devant le jury composé de : M. Claude COSTE Professeur à l'Université Grenoble 3 – Stendhal, Membre Mme Marie DOLLE Professeur à l'Université de Picardie Jules Verne, Rapporteur M.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 71, 1951-1952, Trip
    S- ,'r^^-'<^- ^GyO\. -/ -L BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON 7 k. ^9 X 'illl ""^ .^^ l^ H r vm \f SEVENTY -FIRST SEASON 1951-1952 Carnegie Hall, New York ; RCA VICTOR RECORDS BOSTON SYMPHONY ORCHESTRA Recorded under the direction of Charles Munch Beethoven ** Symphony No. 7 Beethoven *"Gratulations" Minuet Berlioz *Beatrice and Benedict Overture Brahms Symphony No. 4 Bruch Violin Concerto No. 1, in G minor Soloist, Yehudi Menuhin Haydn Symphony No. 104 ("London") Ravel La Valse Schubert Symphony No. 2 Among the recordings under the leadership of Serge Koussevitzky Bach Brandenburg Concerto No. 1, Mozart Eine kleine Nachtmusik; in F; Brandenburg Concerto No. Serenade No. 10, in B-Flat, K. 6, in B-Flat; Suite No. 1, in C; 361; Symphony No. 36, in C, K. Suite No. 4, in D 425, "Linz"; Symphony No. 39, in E-Flat, K. 543 Beethoven Symphony No. 3, in E- Flat» "Broica" ; Symphony No. 5, Prolcofleff Concerto No. 2, in G Minor, in C Minor, Op. 67; Symphony Op. 63, Heifetz, violinist; Sym- No. 9, in D Minor, "Choral" phony No. 5 ; Peter and the Wolf, Op. 67 , Eleanor Roosevelt, narrator Brahms Symphony No. 3, in F, Op. 90 Ravel Bolero; Ma M6re L'Oye Suite Haydn Symphony No. 92, in G, "Ox- ford"; Symphony No. 94, in G, Schuhert Symphony No. 8, in B Minor, "Unfinished" "Surprise" ; Toy Symphony Khatchaturian Concerto for Piano Tchaikovsky Serenade in C, Op. 48 and Orchestra, William Kapell, Symphony No. 4, in F Minor, Op. pianist 36; Symphony No. 5, in E Minor, Op.
    [Show full text]
  • Sir Hamilton Harty Music Collection
    MS14 Harty Collection About the collection: This is a collection of holograph manuscripts of the composer and conductor, Sir Hamilton Harty (1879-1941) featuring full and part scores to a range of orchestral and choral pieces composed or arranged by Harty, c 1900-1939. Included in the collection are arrangements of Handel and Berlioz, whose performances of which Harty was most noted, and autograph manuscripts approx. 48 original works including ‘Symphony in D (Irish)’ (1915), ‘The Children of Lir’ (c 1939), ‘In Ireland, A Fantasy for flute, harp and small orchestra’ and ‘Quartet in F for 2 violins, viola and ‘cello’ for which he won the Feis Ceoil prize in 1900. The collection also contains an incomplete autobiographical memoir, letters, telegrams, photographs and various typescript copies of lectures and articles by Harty on Berlioz and piano accompaniment, c 1926 – c 1936. Also included is a set of 5 scrapbooks containing cuttings from newspapers and periodicals, letters, photographs, autographs etc. by or relating to Harty. Some published material is also included: Performance Sets (Appendix1), Harty Songs (MS14/11). The Harty Collection was donated to the library by Harty’s personal secretary and intimate friend Olive Baguley in 1946. She was the executer of his possessions after his death. In 1960 she received an honorary degree from Queen’s (Master of Arts) in recognition of her commitment to Harty, his legacy, and her assignment of his belongings to the university. The original listing was compiled in various stages by Declan Plumber
    [Show full text]
  • Yorkshire & North East Branch Newsletter No
    Yorkshire & North East Branch Newsletter No 20 - April 2021 Edited by Paul Kampen - [email protected] 74 Springfield Road, Baildon, Shipley, W.Yorks BD17 5LX 01274 581051 Branch Chairman’s message n view of the significance for Elgar of that delightful perennial, the anemone nemorosa, we can all take hope from our first sighting of the windflower, not only that spring has Iarrived but that the various restrictions which society has been forced to endure are gradually being lifted. As the politicians are fond of reminding us: it’s been a challenging year. Here at the Yorkshire & North East branch we have met the challenge in various ways. Most importantly, we have maintained our programme of talks, almost without interruption, by means of that technological miracle, the remote electronic platforms, especially Zoom. We took a degree of satisfaction in being the first branch to embrace the technology when, in May 2020, Christopher Wiltshire gave his trailblazing presentation, followed by Stuart Freed (June), Peter Newble (September, via Vimeo), Bernard Porter (November), and Steven Halls (March). We are extremely grateful to all these speakers not only for rising to the technological challenge but for such highly informative and enjoyable occasions, and we look forward to more on-line meetings in April, May and June. By the time of our scheduled meeting in September, we should be out of lockdown and back at our home, the Bar Convent, York. But this raises an important question: do we continue as before, as if nothing had happened, or do we learn from the experience and modify our operations? Let us not forget that Zoom meetings have attracted a wider audience than those at the Bar Convent.
    [Show full text]
  • Lutheran Summer Music Festival Student Recital
    Lutheran Summer Music Festival 1998 Student Recital Kresge Recital Hall Humanities Building Augustana College Sioux Falls, South Dakota Friday, July 17, 11:30 a.m. Program Concerto for Trumpet in E-Flat Major Joseph Haydn (1732-1809) arr. A. Goeyens II. Andante Nick Miller, trumpet Genevieve Feiwen Lee, piano Largo and Presto Benedetto Marcello (1686-1739) arr. Donald C. Little Matt Brunoehler, tuba Genevieve Feiwen Lee, piano Praeludium and Allegro Fritz Kreisler (1875-1962) Beth Schoening, violin Rick Andrews, piano Concerto in B-Flat Major Alexander Grigori Harat’ unyan’ (b. 1920) ed. Roger Voisin Mary Stoneback, trumpet Rick Andrews, piano Six Poems after Heine, Op. 31 Edward MacDowell (1860-1908) II. Scotch Poem Elizabeth Westerman, piano Arabesque II Claude Debussy (1862-1918) Ellie Steffen, piano Variations on “The Carnival of Venice” Jean-Baptiste Arban (1825-1889) arr. Donald Hunsberger Sarah Stoneback, trumpet Genevieve Feiwen Lee, piano *R RR RK OK RK OK We ask that all members of the audience refrain from photographing or recording the performance. A high-fidelity recording of this performance may be ordered. You are invited to attend the next events of Lutheran Summer Music 1 998: Student Recitals Kresge Recital Hall, Humanities Room 173, or Chapel of Reconciliation Augustana College Friday, July 17, 1:00 P-m., 2:30 p.m., 5:30 p.m. Chamber Strings Kresge Recital Hall Humanities Building Augustana College Friday, July 17, 4:00 p.m. Festival Band Concert Jeschke Fine Arts Center Auditorium University of Sioux Falls Sioux Falls, South Dakota Friday, July 17, 8:00 p.m. This concert is the twenty-sixth event of the seventeenth season of Lutheran Summer Music Lutheran Summer Music Festival 1998 Student Recital Room 173 Humanities Building Augustana College Sioux Falls, South Dakota Friday, July 17, 11:30 a.m.
    [Show full text]
  • California State University, Northridge Jean Cocteau
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Marlisa Jeanine Monroe January 1987 The Thesis of Marlisa Jeanine Monroe is approved: B~y~ri~jl{l Pfj}D. Nancy an Deusen, Ph.D. (Committee Chair) California State University, Northridge l.l. TABLE OF CONTENTS Chapter Page ABSTRACT iv INTRODUCTION • 1 I. EARLY INFLUENCES 4 II. DIAGHILEV 8 III. STRAVINSKY I 15 IV • PARADE 20 v. LE COQ ET L'ARLEQUIN 37 VI. LES SIX 47 Background • 47 The Formation of the Group 54 Les Maries de la tour Eiffel 65 The Split 79 Milhaud 83 Poulenc 90 Auric 97 Honegger 100 VII. STRAVINSKY II 109 VIII. CONCLUSION 116 BIBLIOGRAPHY 120 APPENDIX: MUSICAL CHRONOLOGY 123 iii ABSTRACT JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE by Marlisa Jeanine Monroe Master of Arts in Music Jean Cocteau (1889-1963) was a highly creative and artistically diverse individual. His talents were expressed in every field of art, and in each field he was successful. The diversity of his talent defies traditional categorization and makes it difficult to assess the singularity of his aesthetic. In the field of music, this aesthetic had a profound impact on the music of Post-World War I France. Cocteau was not a trained musician. His talent lay in his revolutionary ideas and in his position as a catalyst for these ideas. This position derived from his ability to seize the opportunities of the time: the need iv to fill the void that was emerging with the waning of German Romanticism and impressionism; the great showcase of Diaghilev • s Ballets Russes; the talents of young musicians eager to experiment and in search of direction; and a congenial artistic atmosphere.
    [Show full text]
  • Choral Union Concert Series
    UNIVERSITY MUSICAL SOCIETY Charles A. Sink, President Thor Johnson, Guest Conductor Lester McCoy, Associate Conductor Tenth Concert 19SO-19S1 Complete Series 3052 Seventy-second Annual Choral Union Concert Series VLADIMIR HOROWITZ, Pianist WEDNESDAY EVENING, APRIL 18, 1951, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Sonata in E-flat major, Op. 78 HAYDN Allegro Adagio Finale; presto Intermezzo in B-flat minor, Op. 117, No. 8 BRAHMS Polonaise-Fantaisie, Op. 61 CHOPIN Barcarolle, Op. 60 , CHOPIN Nocturne in F minor, Op. 55 CHOPIN Scherzo in B minor, Op. 20, No. 1 CHOPIN INTERMISSION Pictures at an Exhibition MOUSSORGSKY (Revision by Vladimir Horowitz, based on the original piano manuscript) Promenade Promenade The Gnome Ballet of Chicks in their Shells Promenade Two Jews, the One Rich, the Other Poor The Old Castle Limoges: The Marketplace Promenade The Catacombs Tuileries: Children Quarreling at Play The Hut on Fowl's Legs Bydlo: The Polish Oxcart The Great Gate at Kiev NOTE.—The University Musical Society has presented Vladimir Horowitz on previous occasions as follows: Nov. 12, 1928; Jan. 31, 1930; Mar. 6, 1933; Jan. 15, 1941; Jan. 15, 1945; Jan. 17 1947; and Feb. 11, 1949. Mr. Horowitz uses the Steinway piano. A R S LONGA VITA BREVIS ANALYTICAL NOTES BY OLIN DOWNES Sonata in E-flat major, Op. 78 HAYDN The sonata is in three movements, done in Haydn's polished and classic man­ ner. The first is a brilliantly written allegro, in strict sonata form; the second, a slow movement in the same form, abridged, and in the unusually related key of E major; the third a rondo of lively and witty spirit.
    [Show full text]
  • Catalogue Chronologique Des Œuvres De Francis Poulenc
    CATALOGUE CHRONOLOGIQUE DES ŒUVRES DE FRANCIS POULENC Légende : [œuvre inédite] [œuvre détruite] [œuvre perdue] 1 [Processionnal pour la crémation d’un mandarin] 2 [Préludes pour piano] 1918 3 Rhapsodie nègre, œuvre pour voix et piano 4 [Scherzo à quatre mains] 5 [Trois pastorales pour piano] 6 [Poèmes sénégalais] 1919 7 Sonate pour 2 clarinettes, œuvre de musique de chambre 8 Sonate pour piano à quatre mains, œuvre pour piano 9 [Prélude-percussion] 10 [Le Jongleur] 11 Toréador (Cocteau), œuvre pour voix et piano 12 [Sonate pour violon et piano n°0] 13 [Sonate pour violon, piano et violoncelle] 1920 14 3 Mouvements perpétuels, œuvre pour piano 15 Le Bestiaire (Apollinaire), œuvre pour voix et piano 16 Cocardes (Cocteau), œuvre pour voix et piano 17 Valse 18 [Quadrille à quatre mains] 19 Suite en 3 mouvements, œuvre pour piano 20 Le gendarme incompris, œuvre pour la scène 21 5 Impromptus, œuvre pour piano 1921 22 Quatre poèmes de Max Jacob, œuvre pour voix et piano 23 Les mariés de la Tour Eiffel, œuvre pour orchestre 24 10 Promenades, œuvre pour piano 25 Esquisse pour une fanfare, œuvre pour la scène 26 [Trois études de pianola] 27 [Suite d’orchestre n°1] 28 [Quatuor à cordes n° 1] 29 [Trio pour piano, clarinette et violoncelle] 30 [Marches militaires pour piano et orchestre] 1 1922 31 Chanson à boire, œuvre chorale profane 32 Sonate pour clarinette et basson, œuvre de musique de chambre 33 Trio pour cor, trompette et trombone, œuvre de musique de chambre 34 [« Caprice espagnole »] 1923 35 [Récitatifs pour La Colombe
    [Show full text]
  • Original Song Settings of Irish Texts by Irish Composers, 1900-1930
    Technological University Dublin ARROW@TU Dublin Masters Applied Arts 2018 Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930. David Scott Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appamas Part of the Composition Commons Recommended Citation Scott, D. (2018) Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930.. Masters thesis, DIT, 2018. This Theses, Masters is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Masters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900–1930 David Scott, B.Mus. Thesis submitted for the award of M.Phil. to the Dublin Institute of Technology College of Arts and Tourism Supervisor: Dr Mark Fitzgerald Dublin Institute of Technology Conservatory of Music and Drama February 2018 i ABSTRACT Throughout the second half of the nineteenth century, arrangements of Irish airs were popularly performed in Victorian drawing rooms and concert venues in both London and Dublin, the most notable publications being Thomas Moore’s collections of Irish Melodies with harmonisations by John Stephenson. Performances of Irish ballads remained popular with English audiences but the publication of Stanford’s song collection An Irish Idyll in Six Miniatures in 1901 by Boosey and Hawkes in London marks a shift to a different type of Irish song.
    [Show full text]
  • The Sorcerer's Apprentice Suite from Les Biches
    Paul Dukas / October 1, 1865 – May 17, 1935 THE SORCERER’S APPRENTICE Best known for its prominent role in Walt Disney’s Fantasia, Dukas’s scherzo is the translation into music of a poem by Johann von Goethe based on an ancient folk tale. The moral of the tale is ‘don’t try to run before you can walk,’ or ‘don’t meddle in matters you don’t understand.’ Goethe turned the fable into poetry, Dukas into a literal sound poem. Dukas’s programmatic music recounts the story of a magician who could turn a broom handle into a living object which would then execute the duties of a servant, such as fetching water. The secret of the trick lay in the magic words the sorcerer used to work this miracle. One day the sorcerer’s apprentice overheard him rehearsing these words, and while his boss was away on an errand, the apprentice decided to try the trick himself – with disastrous results. The broom did become a servant, and it did fetch water as commanded, but the apprentice had not overheard the words needed to put the magic in reverse. The mindless runaway broom proceeded to flood the house. Desperately, the apprentice took an axe to the broom, splitting it in two – but then there were two mindless creatures flooding the house. Fortunately, the sorcerer arrived and put a halt to the mayhem. Dukas’s clever music captures the story in great detail, with the bassoons and contrabassoon playing the part of the broom. As the flood increases, orchestral arpeggios create the effect of flooding water.
    [Show full text]