DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 57,1937

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 57,1937 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 FIFTY-SEVENTH SEASON, 1937-1938 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1937, BY BOSTON SYMPHONY ORCHESTRA, Inc. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Bentley W. Warren President Henry B. Sawyer Vice-President Ernest B. Dane Treasurer Allston Burr M. A. De Wolfe Howe Henry B. Cabot Roger I. Lee Ernest B. Dane Richard C. Paine Alvan T. Fuller Henry B. Sawyer N. Penrose Hallowell Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. SPALDING, Assistant Manager [289] . Old Colony Trust Company 17 COURT STREET, BOSTON The principal business of this company is: 1 Investment of funds and management of property for living persons. 2. Carrying out the provisions of the last will and testament of deceased persons. Our officers would welcome a chance to dis- cuss with you either form of service. Allied with The First National Bank ^Boston [290] SYMPHONIANA Appia's Stage Designs TAILORED "The Boston Symphony Gives Its First New York Concert of the Season" to the Queen's taste (The Announcement of the Annual Meeting of the Friends of the Boston Symphony Orchestra, Wed., Dec. 1st, will be found on pages 312-313.) APPIA'S STAGE DESIGNS Supplementary to the etchings and drypoints of Arthur William Heintzel- man listed in these columns last week are two prints by the same artist of Adolphe Appia which may be seen in the cases in the First Balcony Gallery. Reproductions of a number of Appia's Adolphe Appia by A. W. Heintzelman stage designs from a collection pre- sented to Mr. Heintzelman in memory Above: In black suede with calf of his friendship with the artist philoso- trim and leather heel §9.75. pher are displayed with the prints. Center: In black, brown suede - It will be remembered that Appia calf trim, leather heel $14.75, was a pioneer in what we commonly term "modern" stage devices. His teach- Below: In black, brown suede - alligator trim 815.75. ing embraced the fundamental laws of genuine theatre-craft in an intense simplifica- 47 tion of traditional technique. He argued TEMPLE PLACE that attention must be directed to the 414 BOYLSTON STREET actor, who was a three-dimensional pro- WELLESLEY SQUARE tagonist in an absolute and concentrated reality. Certainly three-dimensional THAYER McNEIL scenery in the form of painted back- [291 ] drops would but limit the actuality of the actor. Hence he must act in space which could be controlled by a general "diffused" light and by a dramatic beam WetakeTime which would throw him into relief while at the same time casting signifi- cant and delineating shadows. Appia be- lieved that scenery must be perpendicu- to take Qare lar to exhibit the rounded movements of individuals to their best advantage. Sometimes we lose business. Es- Music was the medium of his inspira- lovely pecially if the owner of a tion and his achievement. It occupied to use undue haste dress wants us him from his youth in Geneva, where in cleansing. he was born in 1862, until his death in For we know after one hundred 1928. At the age of fifteen, a perform- years of cleansing just what can ance of the Saint Matthew Passion re- be done safely, and what cannot. We know definitely when there are vealed the breadth of the world of art no safe shortcuts ... no speedy to him. Shortly afterwards, Beethoven's expedients that justify the danger Ninth Symphony continued this revela- of damage. So we say "No" and tion. But it was the abysmal deception lose some business. of his first experience in the theatre — But out of this has come the with Gounod's "Faust" — that pointed reputation — a reputa- reward of the way to a study of staging. tion for reliability. And to our- selves we have attracted thousands Wagner was Appia's ultimate dis- who respect us for taking time to covery. To the Bayreuth master's ex- take care. traordinary union of action and music, If you want cleansing well done he tried to add the ultimate perfection dependable ... if you want safe, of setting. Certain drawings for "Das service always ... if you like Rheingold" are on view this week, to- painstaking care, individualized gether with two "rhythmic" drawings care, may we suggest that you call Appia made for his friend, Jacques Lewandos. Dalcroze. G. H. L. S. Lewandos, as you probably know, cleanses ANYTHING - and anything that Lewandos cleanses is well cleansed. For we take time to take care — with your things. You Can Rely on Lewanaosx Cleansers -:- Launderers Dyers -:- Fur Storage For Service-At-Your-Door Telephone MIDDLESEX 85OO Emma Boynet Soloist, December 3-4 [292] "THE BOSTON SYMPHONY GIVES ITS FIRST NEW YORK CONCERT OF THE SEASON Kranich & Bach "A huge audience, in festal mood, greeted the Boston Symphony Orches- tra last evening in Carnegie Hall at its first New York concert of the season. "The instrumentalists from the zone J of the East Wind were never more ad- mired and renowned in the metropolis than they are today. Their reputation is prodigious. Places at their concerts are almost unobtainable. The audiences that gather to hear them in Carnegie Hall are the cream of New York's con- cert-going public. Their enthusiasm is Priced from $ 675 thunderous, electric, and unfailing. For- tunate indeed is the Boston Symphony Makers of the world's finest Orchestra in this fourteenth year of the small grand, mastercraftsmen reign of Serge the First! have been building the Kranich "Its state of felicity is deserved. The & Bach since 1864 and it is one concerts of the Boston Or- Symphony of the few pianos still manufac- chestra are models of dignity, expert- tured by members of the origi- ness, and fine taste. Their programmes nal families who founded the are seldom or never dull, and certainly company. never maladroit. The orchestra is al- ways on its mettle, and the occasions The exquisite tone quality and when it has not played admirably are unusual volume of the Kranich difficult to recall. & Bach baby grand are an "Mr. Koussevitzky was his familiar achievement of modern science. visual and interpretative self—perhaps grands we a shade less ascetic in appearance than In reconditioned hitherto, but no less concentrated, taut, offer Steinways, Chickerings, imperious, and controlling. Also, as of Ivers & Pond, Knabe, C. C. yore, he was fervently greeted and ac- Harvey, Charles S. Norrif, claimed by his audience. Hazelton. Priced from $150. "He was at his best in the superb Small uprights and grands creation of Sibelius, one of the most rented at low rates. original, exciting, and extraordinary achievements of the modern musical mind. If Sibelius had written nothing Convenient Terms but this single symphony, with its mysterious intensities, its haunting imaginative power, he would stand Norris <S» Company among the masters." INCORPORATED —Lawrence Gilman, New York 41 Boylston Street, Boston Tribune, Friday, November 19, 1937. (Between Arlington and Berkeley Sti.) Established 1852 Tel. COM 3033 [293] Clfwxbht $c Co: Tremont and West Streets Persian superbly casual A coat of richly lustrous, care- fully matched and individu- ally selected skins. $495 The Black Persian Lamb possesses so much elegance in itself that you wear it with your formal afternoon gowns . over your dinner costumes. The casual lines make this coat perfect with wools, too. Other Persian Coats $295.00 to $750.00 Second Floor [294] FIFTY-SEVENTH SEASON, NINETEEN HUNDRED THIRTY-SEVEN and THIRTY-EIGHT Seventh Pnogramme FRIDAY AFTERNOON, November 26, at 2:30 o'clock SATURDAY EVENING, November 27, at 8:15 o'clock Richard Burgin. Conducting Bach Brandenburg Concerto No. 6 in B-flat major (Edited by Felix Mottl) Violas concertante: Jean Lefranc and Louis Artieres; Violoncellos: Jean Bedetti, Alfred Zighera, Jacobus Langendoen I. Allegro II. Adagio ma non tanto III. Allegro (First performances at these concerts) Poot Symphony I. Allegro vivo II. Andante III. Rondo, Jazz-Allegro (First performances at these concerts) INTERMISSION Chausson Symphony in B-flat major, Op. 20 I. Lent; Allegro vivo II. Tres lent III. Anime Dolmetsch Harpsichord by courtesy of the New England Conservatory of Music. This programme will end about 4:05 on Friday Afternoon, 9:50 o'clock on Saturday Evening [295] WHEN ^umfikonu cz)yaLl WAS A-BUILDING . Fashionable Boston was wearing rococo gilt and passementerie, then . great scroll initials on its handbags . massive, ornate jewels (and perhaps a paste gem among the real ones!). Today, fashion history is repeating itself, and if a raid on ancestral jewel-boxes doesn't yield all these things, our accessories collec- tions will! Walk through our Street Floor— as fashionable Boston did when Symphony Hall was a-building — and see! The "Gold Mine" of Jewelry, $1 to $24 . • . and "Rhinestone Row" ideas, $1 to $45, both invite your interest. STREET FLOOR— MAIN STORE [296] BRANDENBURG CONCERTO IN B-FLAT MAJOR, NO. 6 (Edited ry Felix Moth) By Johann Sebastian Bach i> i ( '' (>t ' ;it Born at Eisenach on March . 1685; Leipzig, July 28, 1750 Bach wrote the last of his set of Brandenburg Concertos in six parts for two "viole da braccia/' two "viole da gamba/' one violoncello, and string bass, with harpsichord cohtinuo. This would indicate a chamber piece by six string players,* since a manifold performance of the parts by an orchestra would hardly have been possible, viola da gamba players having been far from numerous in Bach's time. Felix Mottl, arranging the score for orchestral performance, has preserved the five solo parts and given them to two violas and three 'cellos.
Load more

Recommended publications
  • Marcel Poot (Vilvoorde, 8.Mai 1901 – Brüssel, 12
    Marcel Poot (Vilvoorde, 8.Mai 1901 – Brüssel, 12. Juni 1988) Vrolijke ouverture (Fröhliche Ouverture) (1934) Vorwort Marcel Poot begann seine Musikstudien am Königlichen Konservatorium Brüssel mitten im ersten Weltkrieg. Seine wichtigsten Lehrer waren dort Arthur De Greef (Klavier) und Martin Lunssens (Harmonielehre). Ab 1919 setzte er seine Studien am Königlichen Flämischen Konservatorium Antwerpen fort. In der Klasse von Lodewijk Mortelmans erwarb er die Abschlüsse (Premier Prix) in Kontrapunkt und Fuge. Wie so viele seiner belgischen Zeitgenossen nahm er gleichzeitig Privatunterricht bei Paul Gilson, einem ausgezeichneten Komponisten und renommierten Musikpädagogen. Gilson stand in hohem Ansehen, vor allem als Meister der Orchestrierung. Poot sagte mehrmals mit Nachdruck, er hätte Gilson viel zu verdanken. 1925 er wurde Mitglied einer Gruppe belgischer Komponisten (sowohl niederländisch - als auch französischsprachig), die sich aus Anlass des sechzigsten Geburtstags von Gilson unter dem Namen Les Synthétistes zusammengeschlossen hatten. Außer Poot gehörten zu dieser Gruppe: Gaston Brenta, René Bernier, Theo Dejoncker, Robert Otlet, Maurice Schoemaker und Jules Strens. Nach kurzer Zeit schon verließ Otlet die Gruppe und Francis de Bourgignon rückte nach. Dieser bunte Komponistenzirkel hatte in La Revue musicale belge seine eigene Zeitschrift, die von Poot als Chefredakteur geleitet wurde. In dieser Zeitschrift veröffentlichten die Synthétistes ihre Grundsatzerklärung. Die Gruppe stellte den Anspruch, dass sie die Errungenschaften der zeitgenössischen Musik in deutlich umschriebene und gut ausgewogene Formen gießen wollte, also «synthetisieren». Mit der Erwähnung der «deutlich umschriebene Formen» war die Nähe der Synthétistes zu den herrschenden neoklassischen Strömungen gemeint. Gemeinschaftlich publizierten die Synthétistes ein Album mit Klavierwerken (herausgegeben bei den Editions de la Synthèse), aber wegen der sehr unterschiedlichen Charaktere der angeschlossenen Komponisten zerfiel die Gruppe schnell wieder.
    [Show full text]
  • Gentse · Bijdragen ·- Tot De Kunstgeschiedenis En Oudheidkunde
    GENTSE · BIJDRAGEN ·- TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE XXVII (1988) UITGEGEVEN DOOR DE SECTIE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE VAN DE RIJKSUNIVERSITEIT T E GENT MET DE STEUN VAN HET UN IVERSITEITSVERMOGEN GENT 1988 F GENTSE BIJDRAGEN TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE EDITORlAL ADDRESS e.o. Joost Vander Auwera Secretary of the Editorial Board St.-Hubertusstraat 2, B-9000 Gent DISTRIBUTION up to vol. 26: idem from vol. 27 onwards: PEETERS PRESS- P.B. 41 - B-3000 LOUVAIN All rights reserved. No part of this pub/ication may be reproduced, slored in a retrieval system, or transmitted in any form or by any means, e/ectronic, mechanica/ photocopying, recording, or otherwise, without the prior permission of the Faculteit Letteren en Wijsbegeerte, Sectie Kunst­ geschiedenis en Oudheidkunde. Copyright: © Faculteit Letteren en Wijsbegeerte Sectie Kunstgeschiedenis en Oudheidkunde Wettelijk depot: D. 1989/0634/8 ISSN: 0772-7151 GENTSE BIJDRAGEN TOT DE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE . 4 XXVII (1988) UITGEGEVEN DOOR DE SECTIE KUNSTGESCHIEDENIS EN OUDHEIDKUNDE VAN DE RIJKSUNIVERSITEIT TE GENT MET DE STEUN VAN HET UNIVERSITEITSVERMOGEN GENT 1988 INHOUDSTAFEL H. F. MusscHE, Holzwege im Laureion Patriek MoNSIEUR, Het Herakteion van Thasos: Een evaluatie van het onderzoek . 8 F.J. DE HEN, Tohu Ubohu en Genesis van de muziekinstrumenten tijdens de middeleeuwen . 21 Juliaan H.A. DE RIDDER, Villard de Honnecourt en de Kabbala . 31 Frieda VAN TYGHEM - Jean VAN CLEVEN, Het kasteel van Moregem bij Oudenaarde ( 1792-1798). Een merkwaardig ensemble uit de 'Direc- toire '-tijd . 39 Sibylle VALCKE, François-Joseph Navez et les peintres primitifs 79 Anthony DEMEY, Een blik in het archief van de Koninklijke Commissie voor Monumenten en Landschappen: Henri Geirnaerf en de kerk van Eksaarde 88 Francisca VANDEPITTE, Het exotisme bij Gauguin .
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years
    BRANDING BRUSSELS MUSICALLY: COSMOPOLITANISM AND NATIONALISM IN THE INTERWAR YEARS Catherine A. Hughes A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds Valérie Dufour John L. Nádas Chérie Rivers Ndaliko © 2015 Catherine A. Hughes ALL RIGHTS RESERVED ii ABSTRACT Catherine A. Hughes: Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years (Under the direction of Annegret Fauser) In Belgium, constructions of musical life in Brussels between the World Wars varied widely: some viewed the city as a major musical center, and others framed the city as a peripheral space to its larger neighbors. Both views, however, based the city’s identity on an intense interest in new foreign music, with works by Belgian composers taking a secondary importance. This modern and cosmopolitan concept of cultural achievement offered an alternative to the more traditional model of national identity as being built solely on creations by native artists sharing local traditions. Such a model eluded a country with competing ethnic groups: the Francophone Walloons in the south and the Flemish in the north. Openness to a wide variety of music became a hallmark of the capital’s cultural identity. As a result, the forces of Belgian cultural identity, patriotism, internationalism, interest in foreign culture, and conflicting views of modern music complicated the construction of Belgian cultural identity through music. By focusing on the work of the four central people in the network of organizers, patrons, and performers that sustained the art music culture in the Belgian capital, this dissertation challenges assumptions about construction of musical culture.
    [Show full text]
  • BENELUX and SWISS SYMPHONIES from the 19Th Century to the Present
    BENELUX AND SWISS SYMPHONIES From the 19th Century to the Present A Discography of CDs And LPs Prepared by Michael Herman JEAN ABSIL (1893-1974) BELGIUM Born in Bonsecours, Hainaut. After organ studies in his home town, he attended classes at the Royal Music Conservatory of Brussels where his orchestration and composition teacher was Paul Gilson. He also took some private lessons from Florent Schmitt. In addition to composing, he had a distinguished academic career with posts at the Royal Music Conservatory of Brussels and at the Queen Elisabeth Music Chapel and as the long-time director of the Music Academy in Etterbeek that was renamed to honor him. He composed an enormous amount of music that encompasses all genres. His orchestral output is centered on his 5 Symphonies, the unrecorded ones are as follows: No. 1 in D minor, Op. 1 (1920), No. 3, Op. 57 (1943), No. 4, Op. 142 (1969) and No. 5, Op. 148 (1970). Among his other numerous orchestral works are 3 Piano Concertos, 2 Violin Concertos, Viola Concerto. "La mort de Tintagiles" and 7 Rhapsodies. Symphony No. 2, Op. 25 (1936) René Defossez/Belgian National Orchestra ( + Piano Concerto No. 1, Andante and Serenade in 5 Movements) CYPRÈS (MUSIQUE EN WALLONIE) CYP 3602 (1996) (original LP release: DECCA 173.290) (1958) RAFFAELE D'ALESSANDRO (1911-1959) SWITZERLAND Born in St. Gallen. After some early musical training, he studied in Paris under the tutelage of Marcel Dupré (organ), Paul Roës (piano) and Nadia Boulanger (counterpoint). He eventually gave up composing in order to earn a living as an organist.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Since its launch in 1982, the Marco Polo label has for twenty years sought to draw attention to unexplored repertoire. Its main goals have been to record the best music of unknown composers and the rarely heard works of well-known composers. At the same time it aspired, like Marco Polo himself, to bring something of the East to the West and of the West to the East. For many years Marco Polo was the only label dedicated to recording rare repertoire. Most of its releases were world première recordings of works by Romantic, Late Romantic and Early Twentieth Century composers, and of light classical music. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again, particularly those whose careers were affected by political events and composers who refused to follow contemporary fashions. Of particular interest are the operas by Richard Wagner’s son Siegfried, who ran the Bayreuth Festival for so many years, yet wrote music more akin to that of his teacher Humperdinck. To Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich, and Schwarzschwanenreich (The Kingdom of the Black Swan), the new catalogue adds Bruder Lustig, which again explores the mysterious medieval world of German legend. Other German operas included in the catalogue are works by Franz Schreker and Hans Pfitzner. Earlier Romantic opera is represented by Weber’s Peter Schmoll, and by Silvana, the latter notable in that the heroine of the title remains dumb throughout most of the action.
    [Show full text]
  • Twentieth-Century Flemish Art Song: a Compendium for Singers. (Volumes I and II)
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1994 Twentieth-Century Flemish Art Song: A Compendium for Singers. (Volumes I and II). Paul Arthur Huybrechts Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Huybrechts, Paul Arthur, "Twentieth-Century Flemish Art Song: A Compendium for Singers. (Volumes I and II)." (1994). LSU Historical Dissertations and Theses. 5729. https://digitalcommons.lsu.edu/gradschool_disstheses/5729 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Historic Organs of Belgium May 15-26, 2018 12 Days with J
    historic organs of BELGIUM May 15-26, 2018 12 Days with J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible with funding from Mr. & Mrs. Wesley C. Dudley, grants from Walter McCarthy, Clara Ueland, and the Greystone Foundation, the Art and Martha Kaemmer Fund of the HRK Foundation, and Jan Kirchner on behalf of her family foun- dation, by the contributions of listeners to American Public Media stations nationwide, and by the thirty member organizations of the Associated Pipe Organ Builders of America, APOBA, represent- ing the designers and creators of pipe organs heard throughout the country and around the world, with information at www.apoba.com. See and hear Pipedreams on the Internet 24-7 at www.pipedreams.org. A complete booklet pdf with the tour itinerary can be accessed online at www.pipedreams.org/tour Table of Contents Welcome Letter Page 2 Bios of Hosts and Organists Page 3-6 A History of Organs in Belgium Page 7-12 Alphabetical List of Organ Builders Page 13-17 Organ Observations Page 18-21 Tour Itinerary Page 22-25 Playing the Organs Page 26 Organ Sites Page 27-124 Rooming List Page 125 Traveler Profiles Page 126-139 Hotel List Page 130-131 Map Inside Back Cover Thanks to the following people for their valuable assistance in creating this tour: Rachel Perfecto and Paul De Maeyer Valerie Bartl, Cynthia Jorgenson, Kristin Sullivan, Janet Tollund, and Tom Witt of Accolades International Tours for the Arts in Minneapolis. In addition to site specific websites, we gratefully acknowledge the following source for this booklet: http://www.orgbase.nl PAGE 22 HISTORICALORGANTOUR OBSERVATIONS DISCOGRAPHYBACKGROUNDWELCOME ITINERARYHOSTS Welcome Letter from Michael..
    [Show full text]
  • Discografie Kmuzgidsen
    Discografie Koninklijke Muziekkapel der Gidsen 1. René Defossez “The Conquest of Space” € 5 Conductor : Yvon Ducene 1. Man and Infinity 2. The first attemps 3. London 1944 4. The landing 5. Funeral March 6. The Liberation 7. Rocket to the moon 2. Ida Gotkovsky Works for Symphonic Band volume 1 € 5 Conductor Norbert Nozy 1. Concerto for Symphonic Band 2. Concerto for Saxophone and Symphonic Band solist : Jean Leclercq 3. “Poeme du Feu” For Syphonic Band 3. Ida Gotkovsky Works for Symphonic Band volume 2 € 5 Conductor : Norbert Nozy 1. Fanfare 2. Syphonie de Printemps 3. Symphonie Brillante 4. Chant de la Foret 4. Ida Gotkovsky Works for Symphonic Band volume 3 € 5 Conductor : Norbert Nozy 1. Hommage à Jean de La Fontaine 2. Oratorio Olympique 5. Ida Gotkovsky Works for Symphonic Band volume 4 Uit Stock Conductor : Norbert Nozy Clarinet : Christian Debauve 1. Concerto for clarinet and orchestra 2. Concerto Lyrique 6. Concerti for Piano and Wind Orchestra € 5 Conductor : Norbert Nozy Piano : Evgueny Moguilevsky 1. Concerto for piano an wind Instruments Igor Stravinsky 2. Pièce Symphonique – Prelude and Variatons Joseph Jongen 3. Triptyque Dramatique “Les Croix de Bois” Alex De Taye 7. Franz Constant Concerti for Symphonic Band € 5 Conductor : Norbert Nozy 1. Concerto for Accordion and Symphonic Band solist : Frédéric Guerouet 2. Fantasia for Alto saxophone and Symphonic Band solist : Norbert Nozy – conductor jean Baily 3. Concerto for Piano and Wind Instruments solist : Jean-Claude Vanden Eynden 4. Concerto for Symphonic Band 8. Concerti for Alto Saxophone and Symphonic Band € 5 Conductor : Walter Boeykens Solist : Norbert Nozy 1.
    [Show full text]
  • August De Boeck 1865 - 1937
    August De Boeck 1865 - 1937 Een schets uit het leven en werk van August De Boeck 1865 - 1937 Brabants Componist Humor brengt de Vlaamse muziek op Europees niveau R FRANK TEIRLINCK 2 | Het is merkwaardig dat August De Boeck een van de weinige Vlaamse componisten is die, in tegenstelling tot zijn tijdgenoten, nog geregeld wordt uitgevoerd. De redactie van Muziek en Woord schreef in 2007: ‘De wonderen zijn de wereld niet uit. In Klara’s jongste Top 75 van de Klassieke Muziek kwam de Vlaamse componist August De Boeck met zijn Dahomese Rapsodie glorierijk op nummer 23 te staan midden tussen de groten van de muziekwereld’. Ook in 2008 stond ze er samen met de Derde Fantasie van Peter Benoit als enige Vlaamse compositie. Er is echter een grote schaduwzijde aan: dit jeugdwerk is de enig gekende compositie van De Boeck terwijl hij heel wat meer en beter geschreven heeft. Dit lot deelt hij met zijn vriend Marcel Poot die met zijn Vrolijke Ouverture wereldbekend werd. Beiden kregen trouwens het etiket opgekleefd van ‘Uilenspiegel van de Vlaamse muziek’ 1 1 F.TEIRLINCK, August De Boeck. Vlaamse guitigheid in Muziek en Woord, nr. 399, december 2007, p. 15. | 3 1. korte levensschets ugust De Boeck werd geboren te Merchtem op 9 mei 1865 als zoon van Florentinus (1826-1892) en Petronella Amelia Briers (1821- 1895). Vader Awas dorpsorganist en regionaal agent voor de financiële instelling Langrand. Ten gevolge van het bankroet van Langrand in 1871 werd hij een totaal geruïneerd man. Hij betaalde persoonlijk al de sommen terug die hem waren toevertrouwd.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 57,1937-1938, Trip
    g>anfor£ 5%atrr, (Eambrifcgr [Harvard University] BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY L- HIGGINSON FIFTY-SEVENTH h SEASON c^ll 1937-1938 [31 Thursday Evening, November 25 at 8 o'clock Boston Symphony Orchestra [Fifty-seventh Season, 1937-1938] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H. RESNIKOFF, V . Concert-master GUNDERSEN, R. KASSMAN, N. CHERKASSKY P. EISLER, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, l. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. MURRAY, J. ERKELENS, H. SEINIGER, S. Violas LEFRANC, J. FOLFREL, G. BERNARD, A. GROVER, H. ARTIERES, L. CAUHAPE, J. VAN WYN BERGEN, C. WERNER, H. AVIERINO, N. JACOB, R. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, J. langendoen, j. chardon, y. stockbridge, C. FABRIZIO, E. ZIGHERA, A. tortelilr, p. droeghmans, h. warnke, j. MARJOLLET, L. ZIMBLER, J. Basses KUNZE, M. LEMAIRE,J. LUDWIG, O. GIRARD, H. JUHT, L. VONDRAK, A. MOLEUX, G. FRANKEL, I. DUFRESNE, G. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. POLATSCHEK, V. ALLARD, R. BLADET, G. DEVERGIE, J. VALERIO, m. PANENKA, E. R. PAPPOUTSAKIS, J- STANISLAUS, H. MAZZEO, LAUS. A. Eb Clarinet Piccolo English Horn Bass Clarinet Contra - B assoon MADSEN,G. SPEYER, L. MIMART, P. PILLER, B. Horns Horns Trumpets Trombones VALKENIER, W. SINGER, J. MAGER, G. RAICHMAN, J. MACDONALD, w LANNOYE, M. LAFOSSE, M. HANSOTTE, L. VOISIN, R. L. SINGER, J. SHAPIRO, H. LILLEBACK, W. GEBHARDT, W.
    [Show full text]
  • Jaarverslag 1963 [PDF]
    BELGISCHE RADIO E N TELEVISIE INSTITUUT DER NEDERIHNDSE UITZENDINGEN JAAROVERZICHT 1 9 6 3 BELGISCHE RADIO EN TELEVISIE„ Instituut der Nederlandse Uitzendingen „ JAAROVERZICHT 1963 I. TEN GELEIDE » Het beleid bij radio en televisie werd voor 1963 gekenmerkt door een drietal gemeen­ schappelijke punten. Ze hebben betrekking op de geldmiddelen, de menselijke hulpmiddelen en de actualiteitenrubrieken. Voor 1963 bedroeg het aandeel van het Instituut der Nederlandse Uitzendingen in de overheidstoelage nagenoeg tachtig miljoen meer dan het jaar voordien, toen het merkelijk beneden de 300 miljoen-grens bleef (28O.725.OOO). Deze kredietverruiming heeft tot een merkelijke kwaliteitsverbetering geleid. Jammer genoeg konden deze bijkomende miljoenen niet worden besteed om in een dringende behoefte te voorzien, t.w, de volledige bezetting van de nieuwsdiensten. Wegens de hoge eisen die bij de aanwerving van journalisten moeten gesteld wor­ den, bleef het aantal geslaagde kandidaten ver beneden het aantal te begeven betrekkingen. Dit tekort aan medewerkers vormt dan weer een geluk­ kige tegenstelling met de overvloedige nieuws­ voorziening rond gebeurtenissen die door de ge­ hele wereld intens werden meegeleefd. Door een verslaggeving met vaak dramatische accenten over de moordaanslag op president Kennedy, de dood­ strijd van paus Johannes en de verkiezing van zijn opvolger, alsook over het Tweede Vaticaans Concilie, verkregen de beide media een waarlijk universele dimensie. * Wat meer in het bijzonder de radio betreft, mag worden gewezen op een aantal be­ langrijke initiatieven die zowel op de program­ ma's als op de technische uitrusting betrekking hebben. Dank zij een vernieuwing van de instal­ latie kunnen de hoorspelen thans in veel gun­ stiger voorwaarden worden opgenomen, hetgeen op een gelukkige wijze tegemoet komt aan het streven om van het luisterspel een volwaardig artistiek genre te maken.
    [Show full text]