DOCSLIB.ORG

Boston Symphony Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra ABRAHAM cf ..."' c ="' HOODS UP TO THE AMERICAN WAY WITH WOOL Blanket plaid ... toggle terrific, either way you coat it this fall ... A&S says do it with pure wool fabric made in America! PURE WOOL® "The Wool mark is your assurance of a quality tested product made of pure wool" -----------------------------------OCTOBER, 1971 I BROOKLYN ACADEMY OF MUSIC I 3 Thursday Evening, October 28, 1971 , 8:30 p.m. Subscription Performance The Brooklyn Institute of Arts and Sciences presents the Boston Symphony Orchestra \X:'illiam Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Michael Tilson Thomas, Conducting Polonaise and Krakoviak from 'A Life for the Tsar' MIKHAIL GLINKA Symphony in C IGOR STRAVINSKY Mode.rato alia breve Larghetto concertante Allegretto Largo - tempo giu sto, alia breve IN TERMISSION Concerto for flute, oboe, piano and percussion EDISON DENISOV Overture: allegro moderato Cadenza: Iento rubato - allegro Coda: allegro giusto DORIOT ANTHONY DWYER, flute RALPH GOMBERG, oboe GILBERT KALISH, piano EVERETT FIRTH, percussion Symphony No. 2 in B minor, Op. 5 ALEXANDER BORODIN Allegro Scherzo: prestissimo - allegretto Andante Finale: allegro The Boston Symphony Orchestra records exclusively for Deutsche Grammophon. BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA RECORDS 4 I BROOKLYN ACADEMY OF MUSIC I OCTOBER, 1971 The Brooklyn Academy of Mus 1 c The t. Felix Street Corporation Administrative Staff Board of Directors : Harvey Lichtenstein, Director Seth S. Faison, Chairman Lewis L. Lloyd, General Manager Donald M. Blinken, President John V. Lindsay, Honorary Chairman Charles Hammock, Asst. General Manager M arti·n P. Carter Jane Yackel, Comptroller Barbaralce Diamonstein Thomas Kerrigan, Assistant to the Director Mrs. Henry Epstein David Midla· nd, Production Manager Richard M . Hexter Becky Hannum, Assistant to the Director Peter C. R. Huang Ruth Lipton, Associate Press Representative Gilbert Kaplan J anc Biral, Manager of Harvey Lichtenstein Audience and Community Development Alan J . Patricof Mimi Johnson, Stage Translator David Picker J an H ash, Administrative Assistant Richard C. Sachs Betty Rosendorn, Administrator, Education Program William Tobey The St. Felix Street Corporation is responsible Sarah Walder, Education Program for programming at the Brooklyn Academy Michele Kelsey, Administrative Secretary of Music. Adele Allen, Press Secretary Sylvia Rodin, Administrative Assistant Foundution nnd Corporate Contributors Frances M. Seidenburg, Financial Secretary Abraham and Straus Pearl Light, Administrative Assistant Anonymous Evelyn August, Staff Assistant Doll Foundation Debby Shaw, Dance Center Registrar Institutional l·nvestors Fund The Lepercq Foundation Henry and Lucy Moses Foundation House Staff The National Endowment for the Arts Alfredo Salmaggi, Jr., House Manager New York Community Trust James Hillary, Box Office Treasurer New York State Council on the Arts Bill Griffith, Assistant Treasurer Edward Noble Foundation Robert Blum, Assistant Treasurer Celia and David Picker FoundatiO-n Rockefeller Bros. Fund, Inc. John Cooney, Stage Crew Chief The Rockefeller Foundation John Va· n Buskirk, Master Carpenter Rosenwald Family Trust Edward Cooney, Assistant Carpenter The Sachs Foundation, Inc. Donald Beck, Master Electrician van Ameringen Foundation Louis Beck, Assistant Electrician Thomas Lough lin, Master of Properties Business Sponsors Charles Brette, Custodian Bankers Trust Pela Ullmann, Wardrobe Supervisor Manufacturer's Ha·nover Trust John McLain, Lighting Designer Seatrain Shipbuilding Corporation Brooklyn Institute of Arts and Sciences OFFICERS: James Q . Riordan, Chairman Thomas S. Buechner, President Justin J. Murphy, Vice-Chairman Robert S. Rubin, Vice-Chairman Seth S. Faison, Executive Vice-President Covington H ardee, Vice-President John E . Heyke Jr., Vice-President Donald G. C. Sinclair, \/ice-President Mrs. Fra·nklin B. Tuttle, Vice-President William B. Hewson, Secretary Paul F . Ely, Treasurer Thomas A . Donnelly, Vice-President for Administration Mrs. George Liberman Chairman of Institute Symphony Series OCTOBER , 1971 I BROOKLYN ACAOEMY OF MUSIC I 5 Program Notes MIKHAIL GLINKA (1804-1857) Polonaise and Krakoviak from 'A Life for the Tsar' Probably nobody would have been more Baron's text had arrived. The opera wa~ surprised th an Mikhail G linka himself to fi nished early in 1836, and wa~ accepted for know that he was posthumously dubbed the production at the Grand Theatre in St. 'father of Russian music'. A spoiled dilet­ Petersburg. There was a glittering premiere tante and an incurable libertine, he used on December 9, attended by Tsar ichola~ his musical gift to divert himself with little I and his family, and reaction was generally regard to the verdict of posterity. Glinka enthusiastic. After the success of A Life was brought in close contact with the folk for th e Tsar Glinka was appointed Kape/1- music of Russia from his early years. His m eister of the Imperial Chapel and as usual , uncle maintai ned an orchestra of serfs, his interest in hard work soon waned, and and he began to learn the piano with his he resigned two years later. During these governess, and the violin with a member of years Glinka worked on his second opera the serf orchestra. During school vacations Ruslan and Ludmila, which he finished Glinka used to conduct or perform with his eventually in 1842. The premiere took place uncle's orchestra, and in St. Petersburg at the Bolshoi Theatre, St. Petersburg, in would often appear at soirees as pianist, December of that year. Dispirited by the violinist and si nger. After he finished failure of Ruslan and his domestic prob­ school, he had ambitions neither for public lems, Glinka went abroad again. He spent service nor business. Music was to be his a year in Paris, where he became friendly career. with Berlioz, then went on to Spain. which he found enchanting. He returned In July 1833 Glinka traveled to Baden, to Russia in 1847, but becoming ill and and took the waters there, which made him restless once more, he set out the followin g increasingly ill. He became incapable of year for Warsaw. His last years were spent controlling the movement of hi s hands and partly in the Polish capital, partly in Paris, feet, and suffered wild halluci nat ions. Even­ partly in Russia. He wrote his MemoirJ tually he tried homeopathy, and was re­ during 1854 and 1855, then, interested sud­ stored to health with amazing suddenness. denly in the music of Bach, decided to go He resumed composing, and it was at this to Berlin once more to study counterpoint time that he wrote the melody which he with his old teacher Siegfried Dehn. later used for the Krakoviak in A Life for Glinka's health finally gave way for the the Tsar. Continuing on to Berlin, he be­ last time and he died in the Prussian capital gan his first serious stud y of composition on February 15, 1857. with Siegfried Dehn, who had been a pupil of Cherubini, and was teacher of Peter A Life for the Tsar is constructed in the Cornelius and Anton Rubinstein. In the typical style of the French grand opera. spring of 1834 he returned to Russia, and It has four acts and an epilogue, a large decided to start work on an opera. His number of choral and ensemble pieces, friend Zhukovsky, the poet and critic, sug­ divertissements for the corps de ballet, and gested the historical legend of Ivan Susanin. an imposing finale. The underlying theme Susanin was a peasant who, it was said, of the patriotism and heroism of the Rus­ had saved Russia and the first Romanov sian people is expressed in the two elaborate Tsar in 1613 from Polish invaders by di­ folk choruses which begin and end the recting the advancing enemy into the depths opera. Glinka used at least two traditional of a forest instead of to the Tsar's lodging. Russian songs in his score, while many of The Poles, realizing at last that they had the other pieces are written in the style been duped, killed Susanin, but the Tsar of Russian folk music. The second act, was meanwhile able to find safety. The from which the Polonaise and Krakoviak libretto was entrusted to Baron Rosen, are both taken, is devoted to the Poles, and secretary to the Tsarevich. Rosen had no the flavor of the music is in distinct con­ easy task: Glinka became so carried away trast to that which Glinka wrote for the that he often wrote the music before the Russian scenes. ANDREW RAEB RN 6 I BROOKLY N ACADEMY OF MUSIC I OCTOBER, 1971 IGOR STRAYINSKY (1882-1971 ) Symphon y in C A description of the 'Symphony in C' by net JOin this group. All in trument take Sol Babitz in the January 1941 issue of turns, singly and in groups, in carrying the Musical Quarterly is derived from a the sweetly ornamented melodies. study of the score previous to its perform­ The third movement consists of a minuet, ance - a study in which the writer was passepied and fugue . In the dance we have aided by the composer explaining his music a ta te of the rhythmic complexity to sub­ at the piano. In reading the core. the form tle movement, ending on the dominant. As unfolds before the eye as clearly a that the voices enter, the fugue unfold in a of a classical work. Yet the page a a splendor difficult to describe. Here are whole reveals a visual difference portentous inversions, augmentations and diminutions of the new sounds contained. The economy as integrated as those of Bach. Later the and simultaneous richness of the opening part thin out, some of the voice are con­ movement are evident. Throughout there centrated into rhythmic figures. Then, after is a certain breathle sne s which adds life a beat of silence, a freely developed variant to the already busy music. The second sub­ ject, in F. is introduced by a grandiose of the fugue begin .
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Summer
    m^^^^j^^fjSjmggU ^^If0jisdii^ Accompanist to Boston Symphony Orchestra Berkshire Festival • Berkshire Music Center and to these Tanglewood 1971 artists Leonard Bernstein • Arthur Fiedler • Byron Janis • Ruth Laredo Seiji Ozawa • Gunther SchuIIer • Michael Tilson Thomas • Earl Wild BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETIETH ANNIVERSARY SEASON 1970-1971 TANGLEWOOD 1971 SEIJI OZAWA, GUNTHER SCHULLER Artistic Directors LEONARD BERNSTEIN Advisor THIRTY-FOURTH BERKSHIRE FESTIVAL THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President ABRAM T. COLLIER HENRY A. LAUGHLIN PHILIP K. ALLEN Vice-President MRS HARRIS FAHNESTOCK EDWARD G. MURRAY ROBERT H. GARDINER Vice-President THEODORE P. FERRIS JOHN T. NOONAN JOHN L. THORNDIKE Treasurer FRANCIS W. HATCH MRS JAMES H. PERKINS ALLEN G. BARRY HAROLD D. HODGKINSON IRVING W. RABB RICHARD P. CHAPMAN E. MORTON JENNINGS JR SIDNEY STONEMAN EDWARD M. KENNEDY TRUSTEES EMERITUS HENRY B. CABOT PALFREY PERKINS EDWARD A. TAFT THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC. ERWIN D. CANHAM Chairman HENRY B. DEWEY LAWRENCE K. MILLER VERNON ALDEN Vice-Chairman RICHARD A. EHRLICH FRANK E. MORRIS LEONARD KAPLAN Secretary/ BYRON K. ELLIOTT MRS STEPHEN V. C. MORRIS HAZEN H. AYER ARCHIE C. EPPS III JOHN T. G. NICHOLS MRS FRANK G. ALLEN PAUL FROMM LOUVILLE NILES ROBERT C. ALSOP CARLTON P. FULLER DAVID R. POKROSS LEO L. BERANEK MRS ALBERT GOODHUE MRS BROOKS POTTER DAVID W. BERNSTEIN MRS JOHN L. GRANDIN HERBERT W. PRATT MRS CURTIS B. BROOKS STEPHEN W. GRANT MRS FAIRFIELD E. RAYMOND J. CARTER BROWN SAMUEL A. GROVES PAUL C. REARDON MRS LOUIS W.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1961-1962
    Music Shed — Tanglewood Lenox, Massachusetts Thursday, August 2, 1962, at 8:00 For the Benefit of the Berkshire Music Center THE BOSTON POPS ARTHUR FIEDLER, Conductor Soloist EARL WILD, Piano PROGRAM *The Stars and Stripes Forever Sousa *Suite from "Le Cid" Massenet Castiliane — Aragonaise — Aubade — Navarraise #Mein Lebenslauf ist Lieb' und Lust, Waltzes Josef Strauss Pines of Rome Respighi I. The Pines of the Villa Borghese II. The Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way Intermission *Concerto in F for Piano and Orchestra Gershwin I. Allegro II. Adagio; Andante con moto III. Allegro agitato Soloist: Earl Wild *Selection from "West Side Story" Bernstein I Feel Pretty — Maria — Something's Coming — Tonight — One Hand, One Heart — Cool — A-mer-i-ca Mr. Wild plays the Baldwin Piano Baldwin Piano *RCA Victor Recording Special Event at Tanglewood Thursday, August 23 A GALA EVENING of Performances by the Students For the Benefit of the Berkshire Music Center ORDER OF EVENTS 4 :00 Chamber Music in the Theatre 5 :00 Music by Tanglewood Composers in the Chamber Music Hall 6:00 Picnic Hour 7 :00 Tanglewood Choir on the Main House Porch 8 :00 The Berkshire Music Center Orchestra Concert in the Shed In Mahler's Third Symphony, with the Festival Chorus and Florence Kopleff, Contralto Conductor—Richard Burgin Admission tickets . (All seats unreserved except boxes) $2.50 — Box Seats $5.00 Grounds open for admission at 3 :00 p.m. REMAINING FESTIVAL CONCERTS (The final concerts of Charles Munch as Music Director of the Boston Symphony Orchestra) EVENINGS — 8 :00 P.M.
    [Show full text]
  • A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018)
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 4-2018 State of the Art: A Sampling of Twenty-First- Century American Baroque Flute Pedagogy Tamara Tanner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, and the Music Performance Commons Tanner, Tamara, "State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018). Student Research, Creative Activity, and Performance - School of Music. 115. https://digitalcommons.unl.edu/musicstudent/115 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY by Tamara J. Tanner A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Flute Performance Under the Supervision of Professor John R. Bailey Lincoln, Nebraska April, 2018 STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY Tamara J. Tanner, D.M.A. University of Nebraska, 2018 Advisor: John R. Bailey During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 94, 1974-1975
    THE FRIENDS OF THE COLLEGE Presents BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA, Music Director COLIN DAVIS, Principal Guest Conductor Ninty-fourth Season Monday evening, November 18, 1974 Tuesday evening, November 19, 1974 SEIJI OZAWA, Conductor William Neal Reynolds Coliseum 8 P.M. PROGRAM Le tombeau de Couperin Maurice Ravel Prelude Forlane Menuet Rigaudon Ostensibly this music represents neoclassic expression in its purest distillate. And it was, indeed, conceived as a pianistic idealization of the clavecin aesthetic exemplified by Francois Couperin le Crand. But that was in the fateful summer of 1914, and even Ravel's sleepy St. Jean-de-Luz was traumatized by the news of Archduke Francis Ferdinand's assassination at Sarajevo. France mobilized overnight, and by August was at war. By then the sketches for Le tombeau de Couperin were in a desk drawer. When he returned to them three wretched years later the composer was a very different man, broken in health and shattered emotionally by the loss of his mother, who had died barely a week after his medical discharge. Thus it was that the six movements became as many 'tomb- stones' (each one inscribed separately) for friends and regimental comrads who had been killed on the Western Front. As a work for solo piano—Ravel's last, incidentally—Le tombeau was not a notable success. Strictly speaking it could not have been because it marked a stylistic retrogression after the harmonic leaps forward in the Valse nobles et sentimentales and Gas-pard de la nuit. But fortu- nately that was not the end of the matter.
    [Show full text]
  • N Ew Y O R K F Lu T E F a Ir 2021
    The New York Flute Club Nancy Toff, President Deirdre McArdle, Flute Fair Program Chair The New York Flute Fair 2021 A VIRTUAL TOOLBOX with guest artist Julien Beaudiment Principal flutist, Lyon (France) Opera Orchestra Saturday and Sunday, April 10 and 11, 2021 via Zoom NEW YORK FLUTE FAIR 2021 BOARD OF DIRECTORS NANCY TOFF, President PATRICIA ZUBER, First Vice President KAORU HINATA, Second Vice President DEIRDRE MCARDLE, Recording Secretary KATHERINE SAENGER, Membership Secretary MAY YU WU, Treasurer AMY APPLETON JEFF MITCHELL JENNY CLINE NICOLE SCHROEDER RAIMATO DIANE COUZENS LINDA RAPPAPORT FRED MARCUSA JAYN ROSENFELD JUDITH MENDENHALL RIE SCHMIDT MALCOLM SPECTOR ADVISORY BOARD JEANNE BAXTRESSER ROBERT LANGEVIN STEFÁN RAGNAR HÖSKULDSSON MICHAEL PARLOFF SUE ANN KAHN RENÉE SIEBERT PAST PRESIDENTS Georges Barrère, 1920-1944 Eleanor Lawrence, 1979-1982 John Wummer, 1944-1947 John Solum, 1983-1986 Milton Wittgenstein, 1947-1952 Eleanor Lawrence, 1986-1989 Mildred Hunt Wummer, 1952-1955 Sue Ann Kahn, 1989-1992 Frederick Wilkins, 1955-1957 Nancy Toff, 1992-1995 Harry H. Moskovitz, 1957-1960 Rie Schmidt, 1995-1998 Paige Brook, 1960-1963 Patricia Spencer, 1998-2001 Mildred Hunt Wummer, 1963-1964 Jan Vinci, 2001-2002 Maurice S. Rosen, 1964-1967 Jayn Rosenfeld, 2002-2005 Harry H. Moskovitz, 1967-1970 David Wechsler, 2005-2008 Paige Brook, 1970-1973 Nancy Toff, 2008-2011 Eleanor Lawrence, 1973-1976 John McMurtery, 2011-2012 Harold Jones, 1976-1979 Wendy Stern, 2012-2015 Patricia Zuber, 2015-2018 FLUTE FAIR STAFF Program Chair: Deirdre McArdle
    [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]
  • Boston Symphony Orchestra Concert Programs, Season 83,1963-1964, Trip
    BOSTON • r . SYMPHONY ORCHESTRA FOUNDED IN 1881 BY /'I HENRY LEE HIGGINSON TUESDAY EVENING 4 ' % mm !l SERIES 5*a ?^°£D* '^<\ -#": <3< .4) \S? EIGHTY-THIRD SEASON 1963-1964 TAKE NOTE The precursor of the oboe goes back to antiquity — it was found in Sumeria (2800 bc) and was the Jewish halil, the Greek aulos, and the Roman tibia • After the renaissance, instruments of this type were found in complete families ranging from the soprano to the bass. The higher or smaller instruments were named by the French "haulx-bois" or "hault- bois" which was transcribed by the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra, it usually gives the pitch to the other instruments • Is it time for you to take note of your insurance needs? • We welcome the opportunity to analyze your present program and offer our professional service to provide you with intelligent, complete protection. invite i . We respectfully* your inquiry , , .,, / Associated with CHARLES H. WATKINS CO. & /qbrioN, RUSSELL 8c CO. Richard P. Nyquist — Charles G. Carleton / 147 milk street boston 9, Massachusetts/ Insurance of Every Description 542-1250 EIGHTY-THIRD SEASON, 1963-1964 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974
    BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THURSDAY A6 FRIDAY-SATURDAY 22 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President PHILIP K. ALLEN SIDNEY STONEMAN JOHN L. THORNDIKE Vice-President Vice-President Treasurer VERNON R. ALDEN MRS HARRIS FAHNESTOCK JOHN T. NOONAN ALLEN G. BARRY HAROLD D. HODGKINSON MRS JAMES H. PERKINS MRS JOHN M. BRADLEY E. MORTON JENNINGS JR IRVING W. RABB RICHARD P. CHAPMAN EDWARD M. KENNEDY PAUL C. REARDON ABRAM T. COLLIER EDWARD G. MURRAY MRS GEORGE LEE SARGENT ARCHIE C EPPS III JOHN HOYT STOOKEY TRUSTEES EMERITUS HENRY B. CABOT HENRY A. LAUGHLIN PALFREY PERKINS FRANCIS W. HATCH EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR THOMAS W. MORRIS Executive Director Manager PAUL BRONSTEIN JOHN H. CURTIS MARY H. SMITH Business Manager Public Relations Director Assistant to the Manager FORRESTER C. SMITH DANIEL R. GUSTIN RICHARD C. WHITE Development Director Administrator of Assistant to Educational Affairs the Manager DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood HARRY NEVILLE Program Editor Copyright © 1974 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS ^H jgfism SPRING LINES" Outline your approach to spring. In greater detail with our hand- somely tailored, single breasted, navy wool worsted coat. Subtly smart with yoked de- tail at front and back. Elegantly fluid with back panel. A refined spring line worth wearing. $150. Coats. Boston Chestnut Hill Northshore Shopping Center South Shore PlazaBurlington Mall Wellesley BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director COLIN DAVIS & MICHAEL TILSON THOMAS Principal Guest Conductors NINETY-THIRD SEASON 1973-1974 THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 108, 1988-1989
    9fi Natl ess *£ IH f iMMHHl BOSTON SYMPHONY CHAMBER PLAYERS Sunday, February 5, 1989, at 3:00 p.m. at Jordan Hall BOSTON SYMPHONY CHAMBER PLAYERS Malcolm Lowe, violin Harold Wright, clarinet i j Burton Fine, viola Sherman Walt, bassoon Jules Eskin, cello Charles Kavalovski, horn M Edwin Barker, double bass Charles Schlueter, trumpet SH gK£*!S Doriot Anthony Dwyer, flute Ronald Barron, trombone m Wm Alfred Genovese, oboe Everett Firth, percussion with guest artists GILBERT KALISH, piano LAWRENCE ISAACSON, trombone clarinet PRESS, percussion PETER HADCOCK, ARTHUR ^flilHH lH mi* '^.v.' RICHARD PLASTER, bassoon FRANK EPSTEIN, percussion Ml . TIMOTHY MORRISON, trumpet ROSEN, celesta JEROME JH H Hi BSS LEON KIRCHNER, conductor Hi PISTON Quintet for Wind Instruments aflMnCc HH H #Bt«3P'j Hi HI Animato Con tenerezza Scherzando Allegro comodo Ms. DWYER, Mr. GENOVESE, Mr. HADCOCK, Mr. WALT, and Mr. KAVALOVSKI KIRCHNER Concerto for Violin, Cello, Ten Winds, and Percussion (in two movements) Messrs. LOWE and ESKIN; Ms. DWYER; Messrs. GENOVESE, HADCOCK, WALT, PLASTER, KAVALOVSKI, SCHLUETER, MORRISON, BARRON, ISAACSON, FIRTH, PRESS, EPSTEIN, and ROSEN LEON KIRCHNER, conductor HI Hi^HB OTH INTERMISSION HHHH FAURE Quartet No. 1 in C minor for piano and strings, Opus 15 WtmHHSSm Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto I Messrs. KALISH, LOWE, FINE, and ESKIN -BHHHflntflElflfli • <&& Baldwin piano Nonesuch, DG, RCA, and New World records tSHHIS WHliHill The Boston Symphony Orchestra gratefully acknowledges the support of the National Endow- &<- ment for the Arts, and of the Massachusetts Council on the Arts and Humanities, a state agency. Walter Piston Quintet for Wind Instruments Early in his career, Walter Piston began a woodwind quintet that he left unfinished in frustration at the inherent technical problems of the medium—the recalcitrant indi- viduality of the five voices, with their different techniques and their very different sonorities, which could never quite be made to blend.
    [Show full text]
  • Ronald Roseman: a Biographical Description and Study of His Teaching Methodology
    LAMPIDIS, ANNA, D.M.A. Ronald Roseman: A Biographical Description and Study of his Teaching Methodology. (2008) Directed by Dr. Mary Ashley Barret. 103 pp. Ronald Roseman was an internationally acclaimed oboe soloist, chamber musician, teacher, recording artist, and composer whose career spanned over 40 years. A renowned oboist, he performed in some of America’s most influential institutions and ensembles including the New York Woodwind Quintet, the New York Philharmonic, and the New York Bach Aria Group. His contributions to 20th Century oboe pedagogy through his own unique teaching methodology enabled him to contribute to the success of both his own personal students and many others in the field of oboe and woodwind performance. His body of compositions that include oboe as well as other instruments and voice serve to encapsulate his career as a noteworthy 20th Century composer. Roseman’s musicianship and unique teaching style continues to be admired and respected worldwide by oboists and musicians. The purpose of this study is to present a biographical overview and pedagogical techniques of oboist Ronald Roseman. This study will be divided into sections about his early life, teaching career, performance career and his pedagogical influence upon his students. Exercises and techniques developed by Roseman for the enhancement of oboe pedagogy will also be included. Interviews have been conducted with his wife and three former well-known students in order to better serve the focus of this study. The author also contributed pedagogical techniques compiled during a two-year period of study with Roseman. Appendices include a discography of recorded materials, the New York Woodwind Quintet works list, Roseman’s published article on Baroque Ornamentation, a list of his compositions with premiere dates and performers, and interview questions.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1976
    "£r -# ^ f ^ *Lik«*«* - • A ?8t aw**- - _.; ^ 1 If ittCll II 4 * I ^'3 \0 *&>--£ >-- ,*£- 1 - Jfe- . $ ^A '-*. ) £ _-' -f . ^ For 104 years we've been serious about people who make music. In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings music history and literature Walter Eisenberg, violin 'Charles Kavaloski, French horn Karol Berger * Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz "Bernard Kadinoff, viola 'David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola ' Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman Martin, string bass 'Charles Yancich, French horn 'Leslie Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello 'Thomas Gauger Malloy Miller Leslie Parnas, cello 'Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence ' Alfred Schneider, violin music education 'Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962
    I ! w>- I A| JjL, ill ^2y „, j V - -IvV % :>-. ^"; -""~^S> r BOSTON f % SYMPHONY if ORCHESTRA ' A / FOUNDED IN 1881 BY ,<# HENRY LEE HIGGINSON jf% / \M6r \W f - • -• 4 /rsL^i/Wlllwfi'r* ' "^ ///?£? Hinull _ & ws»~^ ^W^-^x ~ :" ~ '--'' '...<- '}/ - 41^.-.. C-- y - --. f — ^ . X. «8sS> J EIGHTY-FIRST SEASON 1961-1962 '$,.*» LENOX, MASSACHUSETTS TANGLEWOOD 1962 The Boston Symphony Orchestra CHARLES MUNCH, Music Director The Berkshire Festival Twenty-fifth Season CHARLES MUNCH, Conductor 8 Weeks, Beginning July 6 The Berkshire Music Center Twentieth Season CHARLES MUNCH, Director For full information, address T. D. Perry, Jr., Manager, Symphony Hall, Boston, Mass. EIGHTY-FIRST SEASON, 1961-1962 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Theodore P. Ferris John T. Noonan Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft Palfrey Perkins Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [3] Boston Symphony Orchestra (Eighty-first Season, 1961-1962) CHARLES
    [Show full text]