DOCSLIB.ORG

Mystery in the Music of Anton Bruckner

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mystery in the Music of Anton Bruckner Issued three times a year and sold by subscription www.brucknerjournal.co.uk Editorial: [email protected] 23 Mornington Grove, Bow, London E3 4NS Subscriptions and Mailing: [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME ELEVEN, NUMBER TWO, JULY 2007 Editor: Ken Ward Managing Editor: Raymond Cox. Associate Editors: Peter Palmer, Crawford Howie, Nicholas Attfield In this issue NO BRUCKNER AT THE SOUTH BANK This issue of The Bruckner Journal has more than the usual Concert reviews page 4 complement of concert reviews, and readers might be tempted CD & DVD reviews page 15 to assume from this that all is well in the world of concert performances. But it needs to be pointed out that we are Sir Simon Rattle on Bruckner page 19 fortunate with this issue to have received many reviews of concerts outside the UK, and these are welcome indeed - Bruckner Orchester Linz especially as some of them report on significant concerts such as by Franz Zamazal page 22 a performance of the first version of the 8th in Lisbon, and a Music and Mystical Experience première of a Performing Version of the Finale to the 9th in by Erling E Guldbrandsen page 23 Aachen. But in assembling the concert listings at the back of the Mystery in the Music of Anton journal I always keep my eye open for performances of the Bruckner - by Crawford Howie page 30 Masses, psalm settings, Helgoland and lesser known sacred or secular choral works. Half a dozen or so of the motets and Mass Genius of Naivety - Hans Keller No. 2 turn up fairly frequently because of the small forces on reactions to Bruckner page 33 required; Mass No. 3 and the Te Deum you can hear once in a while if you’re prepared to travel in Europe - but as for the rest, How well do Bruckner’s these works are very rarely, if ever, performed. And indeed, interpreters understand him? by Peter & Florence Bishop page 34 many of Bruckner’s choral works still remain to be recorded, so it’s gratifying to see that Elisabeth Maier will be performing How I discovered Bruckner lieder by Bruckner at St. Florian in August as part of the by Gert Van Gelder page 35 BrucknerTage festival - (see back cover). In recent times there has always been some Bruckner Letters from Wolgang Winkler, performed at and broadcast from The BBC Proms, and this year Juan I Cahis, Benjamin-Gunnar Cohrs, Dermot Gault page 36 will be no exception, but if you survey the orchestral season beyond The Proms, readers in the UK enter lean times. There’s Concert Listings page 42 a 5th and a 9th in Birmingham, Sir Colin Davis and the LSO __________________________ promise us the 4th and the 6th at the Barbican - and that’s it. It Copyright in all pieces remains with the is sad indeed there will be no opportunity at all in the author. Silhouette by Otto Böhler. foreseeable future to hear, and perhaps celebrate, how Bruckner Ansfelden Bruckner bust on page 29 by will sound in the newly refurbished Royal Festival Hall on the Michael Felmingham. South Bank with its reputedly much improved acoustic. It Views expressed by contributors to The Bruckner Journal are not necessarily those would have been ideal music with which to put it to the test. KW of the editors. 2 TEN YEARS OF THE BRUCKNER JOURNAL We hope at some time during the coming year to produce a simple index of the contents of all past issues of The Bruckner Journal. But until then, for the benefit of readers looking for specific items and for those interested in back copies, here is a list compiled by Raymond Cox of the main articles in each issue. 1997 Vol.1/1 Constantin Floros: Bruckner Propositions (1) Vol.1/2 " " " " (2) 2003 Vol.1/3 “ “ “ “ (3) Vol.7/1 Peter Palmer: Some early composer- Alan George: Bruckner's String Quintet conductors of Bruckner Henry Raynor: An Approach to Anton 1998 Bruckner Vol.2/1 Derek Scott: Lux in Tenebris (1) Vol.7/2 Jacques Roelands: The Finale of Vol.2/2 " " " " " (2) Bruckner's Ninth Vol.2/3 " " " " " (3) Vol.7/3 Wilhelm Furtwängler: Speech (1939) to Nigel Simeone: Lovro von Matacic the German Bruckner Society 1999 2004 Vol.3/1 Derek Scott:Lux in Tenebris (end) Vol.8/1 Ken Ward: Bruckner and Death Joseph Braunstein interview Crawford Howie: Bruckner String Quintet Otto Biba: Bruckner's Dedications Vol.8/2 Paul Coones: Bruckner in amateur Vol.3/2 Crawford Howie: Bruckner Letters performance Joseph Braunstein interview (end) Vol.8/3 Dermot Gault: Bruckner's Eighth: The Mark Audus: Jascha Horenstien 1890 Version Vol.3/3 Crawford Howie: Bruckner Letters (2) Angela Pachovsky: Bruckner's Songs 2005 Vol.9/1 William Carragan: Bruckner's Golden 2000 Arches Vol.4/1 (various): Franz Schalk & Bruckner's Fifth Vol.9/2 Nicola Samale & Benjamin-Gunnar Cohrs: Elisabeth Maier: Ignaz Dorn Bruckner's Ninth Finale Vol.4/2 Andrea Harrandt: The Late Letters Vol.9/3 Ian Beresford Gleaves: Bruckner, God Mark Kluge: The Royale Third and Light Vol/4/3 Benjamin-Gunnar Cohrs: Bruckner's Ninth Paul Hawkshaw: A report on the sources for Bruckner's Eighth Symphony 2001 Vol.5/1 Keith Warsop: Spohr and Bruckner 2006 Vol.5/2 Leon Botstein: Music and Ideology - Vol.10/1 Benjamin Korstvedt: The 1888 Version of Thoughts on Bruckner Bruckner's Fourth Symphony Crawford Howie: Bruckner's Third Dermot Gault: A version of the Adagio for chronology/Mahler's role the Eighth Symphony Vol.5/3 " " " " (conclusion) Vol.10/2 Constantin Floros: Anton Bruckner in a Stanislav Skrowaczewski interview New Perspective David Aldborgh: Austerity and Charm: Peter Jan Marthé on a his completion of Revisions in the 4th and 1st symphonies the Ninth Symphony Jacques Roelands: Doing Justice to 2002 Bruckner Vol.6/1 Dermot Gault: The Third Version of Derek Cooke compares 1887 and 1890 Bruckner's Third Symphony versions of the Eighth Vol.6/2 William Carragan: The "Wagner Vol.10/3 Paul Dawson-Bowling: Thematic and Symphony" on stage Tonal Unity in Bruckner's Eighth Vol.6/3 Mark Kluge: Bruckner in New York: Raymond Rice: Bruckner in the Academy. A 1964-65 Cycle Raymond Cox: Bruckner's Cosmic Musical Background in Relation to the Zodiac SUBSCRIPTIONS & BACK COPIES Subscription & back copies enquiries to Raymond Cox 01384 566383 or by email to [email protected] Subscriptions for 3 issues a calendar year are £10 UK, Europe 15 Euros or £10; Rest of the world $US25 or £12. Subscriptions, cash or cheque, to The Bruckner Journal, 4 Lulworth Close, Halesowen, B63 2UJ, UK. Those readers with Internet access may like to visit the web-site at www.brucknerjournal.co.uk. Subscriptions can be paid there using credit or debit card via the PayPal facility 3 THE BRUCKNER JOURNAL READERS’ CONFERENCE BIRMINGHAM, 20/21 APRIL 2007 About 35 people attended the Bruckner Journal Readers’ Conference, some travelling from USA, Norway, Denmark and other far-away places, and it was certainly a great success. Although the venue at Birmingham could not boast the surrounding parkland and lakes of our previous venue at Nottingham University, the meeting room itself was more than adequate and many of those attending found it easier to get to Birmingham than Beeston. Musical examples were played on a Bose CD player. An innovation was the Friday evening session in which, after an introductory talk by Ken Ward surveying a range of mysteries evoked by or associated with the music of Anton Bruckner, Erling E. Guldbrandsen gave a paper, informed by his personal experience as much as by his academic studies, about Bruckner and mystical experience. He focused his investigation on the opening and the coda of the first movement of the Ninth Symphony. After the evening session many of us met up in a local hotel and discussed matters Brucknerian until the need for sleep overcame us. On Saturday Crawford Howie chaired the conference. Benjamin Korstvedt spoke about Bruckner’s early work on the 4th Symphony, demonstrating how at one stage he loaded the score with considerable imitative contrapuntal orchestration, but later removed it and clarified the texture. William Carragan gave an intriguing presentation, related to the recent première of his revised completion of the Finale of the 9th symphony, illustrated with viewgraphs showing the comparative proportions of elements in Bruckner’s finales, that of the Ninth in particular. Paul Hawkshaw gave an insight into what Bruckner was up to during his years in St. Florian, the music he would have heard and the works and passages from works he painstakingly copied out at that time. Nicholas Attfield introduced us to the ideas and writings of Erich Schwebsch, and to his strange somewhat mystifying ‘analyses’ of Bruckner symphonies. The Conference closed with an open session led by Crawford Howie who discussed the element of mystery in Bruckner’s music with special reference to Bruckner’s sacred choral music. All the papers presented will be published in this and future issues of The Bruckner Journal. The Alternative Bruckner Event The Bruckner Weekend at Chantmarle Manor To have been “Absent Without Leave” from the Journal’s Conference on the 21 April 2007 is a serious matter. Readers will take a dim view of such conduct. What excuse could be offered for such a heinous offence? I accept that it is no defence to the charge but the fact that I was attending elsewhere another Bruckner event, a Bruckner Weekend, may afford a degree of mitigation. The weekend took place in Dorset at Chantmarle Manor.
Load more

Recommended publications
  • Paul Lewis in Recital a Feast of Piano Masterpieces
    PAUL LEWIS IN RECITAL A FEAST OF PIANO MASTERPIECES SAT 14 SEP 2019 QUEENSLAND SYMPHONY ORCHESTRA STUDIO PROGRAM | PAUL LEWIS IN RECITAL I WELCOME Welcome to this evening’s recital. I have been honoured to join Queensland Symphony Orchestra this year as their Artist-in- Residence, and am delighted to perform for you tonight. This intimate studio is a perfect setting for a recital, and I very much hope you will enjoy it. The first work on the program is Haydn’s Piano Sonata in E minor. Haydn is well known for his string quartets but he also wrote a great number of piano sonatas, and this one is a particular gem. It showcases the composer’s skill of creating interesting variations of simple musical material. The Three Intermezzi Op.117 are some of Brahms’s saddest and most heartfelt piano pieces. The first Intermezzo was influenced by a Scottish lullaby,Lady Anne Bothwell’s Lament, and was described by Brahms as a ‘lullaby to my sorrows’. This is Brahms in his most introspective mood, with quietly anguished harmonies and dynamic markings that rarely rise above mezzo piano. Finally, tonight’s recital concludes with one of the great peaks of the piano repertoire. The 33 Variations in C on a Waltz by Diabelli is one of Beethoven’s most extreme and all- encompassing works – an unforgettable journey for the listener as much as the performer. Thank you for your attendance this evening and I hope you enjoy the performance. Paul Lewis 2019 Artist-in-Residence IN THIS CONCERT PROGRAM Piano Paul Lewis Haydn Piano Sonata in E minor, Hob XVI:34 Brahms Three Intermezzi, Op.117 INTERVAL Approx.
    [Show full text]
  • The Stockholm Philharmonic Orchestra
    HansSchmidt-lsserstedt and the StockholmPhilharmonic Orchestra (1957) TheStockholm Philharmonic Orchestra - ALL RECORDINGSMARKED WITH ARE STEREO BIS-CD-421A AAD Totalplayingtime: 71'05 van BEETHOVEN,Ludwig (1770-1827) 23'33 tr SymphonyNo.9 in D minor,Op.125 ("Choral'/, Fourth Movemenl Gutenbuts) 2'.43 l Bars1-91. Conductor.Paavo Berglund Liveconcert at the StockholmConcert Hall 25thMarch 19BB Fadiorecording on tape:Radio Stockholm 1',44 2. Bars92' 163. Conductor:Antal Dor6t Liveconcerl at the StockholmConcert Hall 15thSeptember 1976 Privaterecording on tape.SFO B 276lll 1',56 3 Bars164 '236. Soloist:Sigurd Bjorling, bass Conduclor.Antal Dordti '16th Liveconcert at theStockholm Concert Hall December 1967 Privaterecording on tape.SFO 362 Recordingengineer. Borje Cronstrand 2',27 4 Bars237 '33O' Soloists.Aase Nordmo'Lovberg, soprano, Harriet Selin' mezzo-soprano BagnarUlfung, tenor, Sigurd Biorling' bass Muiit<alisxaSallskapet (chorus master: Johannes Norrby) Conductor.Hans Schmidt-lsserstedt Liveconcert at the StockholmConcert Hall, 19th May 1960 Privaterecording on tape SFO87 Recordingengineer' Borje Cronstrand Bars331 -431 1IAA Soloist:Gosta Bdckelin. tenor MusikaliskaSdllskapet (chorus-master: Johannes Norrbv) Conductor:Paul Kletzki Liveconcert at the StockholmConcerl Hall, ist Octoberi95B Radiorecording on tape:RR Ma 58/849 -597 Bars431 2'24 MusikaliskaSallskapet (chorus-master: Johannes Norroy,l Conductor:Ferenc Fricsay Llverecording at the StockholmConcert Hall,271h February 1957 Radiorecording on tape:RR Ma 571199 Bars595-646 3',05
    [Show full text]
  • Multivalent Form in Gustav Mahlerʼs Lied Von Der Erde from the Perspective of Its Performance History
    Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History Christian Utz All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 09/10/2017 Accepted: 19/11/2017 Published: 27/02/2018 Last updated: 27/02/2018 How to cite: Christian Utz, “Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History,” Musicologica Austriaca: Journal for Austrian Music Studies (February 27, 2018) Tags: 20th century; Analysis; Bernstein, Leonard; Das Lied von der Erde; Klemperer, Otto; Mahler, Gustav; Performance; Performance history; Rotational form; Sonata form; Strophic form; Walter, Bruno This essay is an expanded version of a paper presented at the symposiumGustav Mahler im Dialog, held at the Gustav Mahler Musikwochen in Toblach/Dobbiaco on July 18, 2017. The research was developed as part of the research project Performing, Experiencing and Theorizing Augmented Listening [PETAL]. Interpretation and Analysis of Macroform in Cyclic Musical Works (Austrian Science Fund (FWF): P 30058-G26; 2017–2020). I am grateful for advice received from Federico Celestini, Peter Revers, Thomas Glaser, and Laurence Willis. Files for download: Tables and Diagrams, Video examples 1-2, Video examples 3-4, Video examples 5-8, Video examples 9-10 Best Paper Award 2017 Abstract The challenge of reconstructing Gustav Mahlerʼs aesthetics and style of performance, which incorporated expressive and structuralist principles, as well as problematic implications of a post- Mahlerian structuralist performance style (most prominently developed by the Schoenberg School) are taken in this article as the background for a discussion of the performance history of Mahlerʼs Lied von der Erde with the aim of probing the model of “performance as analysis in real time” (Robert Hill).
    [Show full text]
  • Monday, June 30Th at 7:30 P.M. Blue Lake Fine Arts Camp Free Admission
    JUNE 2008 Listener BLUE LAKE PUBLIC RADIO PROGRAM GUIDE Monday, June 30th at 7:30 p.m. TheBlue Grand Lake Rapids Fine ArtsSymphony’s Camp DavidFree LockingtonAdmission WBLV-FM 90.3 - MUSKEGON & THE LAKESHORE WBLU-FM 88.9 - GRAND RAPIDS A Service of Blue Lake Fine Arts Camp 231-894-5656 http://www.bluelake.org J U N E 2 0 0 8 H i g h l i g h t s “Listener” Volume XXVI, No.6 “Listener” is published monthly by Blue Lake Public Radio, Route Two, Twin Lake, MI 49457. (231)894-5656. Summer at Blue Lake WBLV, FM-90.3, and WBLU, FM-88.9, are owned and Summer is here and with it a terrific live from operated by Blue Lake Fine Arts Camp Blue Lake and broadcast from the Rosenberg- season of performances at Blue Lake Fine Clark Broadcast Center on Blue Lake’s Arts Camp. Highlighting this summer’s Muskegon County Campus. WBLV and WBLU are public, non-commercial concerts is a presentation of Beethoven’s stations. Symphony No. 9, the Choral Symphony, Blue Lake Fine Arts Camp with the Blue Lake Festival Orchestra, admits students of any race, color, Festival Choir, Domkantorei St. Martin from national or ethnic origin and does not discriminate in the administration of its Mainz, Germany, and soloists, conducted programs. by Professor Mathias Breitschaft. The U.S. BLUE LAKE FINE ARTS CAMP Army Field Band and Soldier’s Chorus BOARD OF TRUSTEES will present a free concert on June 30th, and Jefferson Baum, Grand Haven A series of five live jazz performances John Cooper, E.
    [Show full text]
  • PROKOFIEV Hannu Lintu Piano Concertos Nos
    Olli Mustonen Finnish Radio Symphony Orchestra PROKOFIEV Hannu Lintu Piano Concertos Nos. 2 & 5 SERGEI PROKOFIEV (1891–1953) Piano Concerto No. 2 in G minor, Op. 16 33:55 1 I Andantino 11:57 2 II Scherzo. Vivace 2:59 3 III Intermezzo. Allegro moderato 7:04 4 IV Finale. Allegro tempestoso 11:55 Piano Concerto No. 5 in G major, Op. 55 23:43 5 I Allegro con brio 5:15 6 II Moderato ben accentuato 4:02 7 III Toccata. Allegro con fuoco 1:58 8 IV Larghetto 6:27 9 V Vivo 6:01 OLLI MUSTONEN, piano Finnish Radio Symphony Orchestra HANNU LINTU, conductor 3 Prokofiev Piano Concertos Nos. 2 and 5 Honestly frank, or just plain rude? Prokofiev was renowned for his uncompromisingly direct behaviour. On one occasion he berated a famous singer saying – within the hearing of her many admirers – that she understood nothing of his music. Seeing her eyes brim, he mercilessly sharpened his tongue and humiliated her still further: ‘All of you women take refuge in tears instead of listening to what one has to say and learning how to correct your faults.’ One of Prokofiev’s long-suffering friends in France, fellow Russian émigré Nicolas Nabokov, sought to explain the composer’s boorishness by saying ‘Prokofiev, by nature, cannot tell a lie. He cannot even say the most conventional lie, such as “This is a charming piece”, when he believes the piece has no charm. […] On the contrary he would say exactly what he thought of it and discuss at great length its faults and its qualities and give valuable suggestions as to how to improve the piece.’ Nabokov said that for anyone with the resilience to withstand Prokofiev’s gruff manner and biting sarcasm he was an invaluable friend.
    [Show full text]
  • Rundfunk-Sinfonieorchester Berlin Rundfunkchor Berlin Marek Janowski SYMPHONIA DOMESTICA & DIE TAGESZEITEN Richard Strauss
    Richard Strauss SYMPHONIA DOMESTICA & DIE TAGESZEITEN Rundfunk-Sinfonieorchester Berlin Rundfunkchor Berlin Marek Janowski Richard Strauss (1864-1949) Symphonia statement (if meant sincerely) does not the Frenchman recommended the reference to the (outdated) traditional necessarily win you friends... work be performed only without the genre, in order to subsequently Symphonia Domestica, Op. 53 Domestica, Op. 53 accompanying programme, as it would demolish the internal musical structure 1 Bewegt 5. 03 In fact, the content of the Symphonia certainly distract the listener and and compositional content with 2 Scherzo 12. 46 Richard Strauss was a master at domestica does seem rather trivial, as misrepresent the character of the work. powerful irony. After all, one would 3 Adagio 11. 22 creating double entendres in his the composer places his own, deeply To which Strauss responded: “For me, surely elect a completely diff erent 4 Mäßig langsam. Bewegter 15. 43 music. Nothing is as it seems at fi rst bourgeois family idyll in the spotlight of the poetic programme is no more than genre to accompany the private glance. One should always keep this the musical scene. His original working a means of expressing and developing area of a domestic idyll: an art song, Die Tageszeiten, Op. 76 in mind when dealing with such a title for the work was: “My home. A my perception in a purely musical perhaps, a sonata – but certainly not (Poems by Joseph von Eichendorff ) controversial work as his Symphonia symphonic portrait of myself and my manner; not, as you think, merely a a symphony written for the concert For Male Chorus and Orchestra domestica, Op.
    [Show full text]
  • Super Drama Sunday Marathon
    WXXI-TV/HD | WORLD | CREATE | AM1370 | CLASSICAL 91.5 | WRUR 88.5 PROGRAMPUBLIC TELEVISION & PUBLIC RADIO FOR ROCHESTERLISTINGSFEBRUARY 2012 Super Drama Sunday Marathon Some may relish in watching the Super Bowl on February 5th, while others may long for something a bit more sophisticated. That’s why WXXI is proud to bring back Super Drama Sunday – with two Masterpiece Classic presentations. We’ll kick off the afternoon at 12:30 withReturn to Cranford, where change is racing towards the small, close- knit village of Cranford like a steam train — quite literally. As the railroad continues to encroach on the town, Cranford strives to open to new realities, from surprising romances to unexpected losses and even waltzing! At 3:30 p.m. WXXI-TV/HD makes a touch down with the Emmy Award-winning Downton Abbey. You’ll enjoy the first five episodes of season two back to back, which rejoins the story of the noble Crawley family and their servants at Downton Abbey during the tumultuous World War I era. Return to Cranford airs 12:30 p.m., Downton Abbey at Photo credit: 20 Toe Photo 3:30 p.m., Sunday, February 5 on WXXI-TV/HD Executive Staff FEBRUARY 2012 Volume 3, Issue 4 Norm Silverstein, President & CEO Member & Audience Services ... 585.258.0200 WXXI Main Number ................... 585.325.7500 Susan Rogers, Executive Vice President & General WXXI is a public non-commercial broadcasting station owned and op- Manager Service Interruptions ................. 585.258.0331 Audience Response Line ........... 585.258.0360 erated by WXXI Public Broadcasting Council, a not-for-profit corporation Jeanne E.
    [Show full text]
  • Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season
    Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season April 23, 2017 MANFRED MARIA HONECK, CONDUCTOR TILL FELLNER, PIANO FRANZ SCHUBERT Selections from the Incidental Music to Rosamunde, D. 644 I. Overture II. Ballet Music No. 2 LUDWIG VAN BEETHOVEN Concerto No. 3 for Piano and Orchestra in C minor, Opus 37 I. Allegro con brio II. Largo III. Rondo: Allegro Mr. Fellner Intermission WOLFGANG AMADEUS Symphony No. 41 in C major, K. 551, “Jupiter” MOZART I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro PROGRAM NOTES BY DR. RICHARD E. RODDA FRANZ SCHUBERT Overture and Ballet Music No. 2 from the Incidental Music to Rosamunde, D. 644 (1820 and 1823) Franz Schubert was born in Vienna on January 31, 1797, and died there on November 19, 1828. He composed the music for Rosamunde during the years 1820 and 1823. The ballet was premiered in Vienna on December 20, 1823 at the Theater-an-der-Wein, with the composer conducting. The Incidental Music to Rosamunde was first performed by the Pittsburgh Symphony on November 9, 1906, conducted by Emil Paur at Carnegie Music Hall. Most recently, Lorin Maazel conducted the Overture to Rosamunde on March 14, 1986. The score calls for pairs of woodwinds, four horns, two trumpets, three trombones, timpani and strings. Performance tine: approximately 17 minutes Schubert wrote more for the stage than is commonly realized. His output contains over a dozen works for the theater, including eight complete operas and operettas. Every one flopped. Still, he doggedly followed each new theatrical opportunity that came his way.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1991, Tanglewood
    /JQL-EWOOD . , . ., An Enduring Tradition ofExcellence In science as in the lively arts, fine performance is crafted with aptitude attitude and application Qualities that remain timeless . As a worldwide technology leader, GE Plastics remains committed to better the best in engineering polymers silicones, superabrasives and circuit board substrates It's a quality commitment our people share Everyone. Every day. Everywhere, GE Plastics .-: : ;: ; \V:. :\-/V.' .;p:i-f bhubuhh Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President T Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, V ice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. Smith Julian Cohen Mrs. BelaT. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr.
    [Show full text]
  • Nikolaj Znaider in 2016/17
    London Symphony Orchestra Living Music Sunday 29 May 2016 7pm Barbican Hall BEETHOVEN VIOLIN CONCERTO Beethoven Violin Concerto London’s Symphony Orchestra INTERVAL Elgar Symphony No 2 Sir Antonio Pappano conductor Nikolaj Znaider violin Concert finishes approx 9.20pm 2 Welcome 29 May 2016 Welcome Living Music Kathryn McDowell In Brief A very warm welcome to this evening’s LSO ELGAR UP CLOSE ON BBC iPLAYER concert at the Barbican. Tonight’s performance is the last in a number of programmes this season, During April and May, a series of four BBC Radio 3 both at the Barbican and LSO St Luke’s, which have Lunchtime Concerts at LSO St Luke’s was dedicated explored the music of Elgar, not only one of to Elgar’s moving chamber music for strings, with Britain’s greatest composers, but also a former performances by violinist Jennifer Pike, the LSO Principal Conductor of the Orchestra. String Ensemble directed by Roman Simovic, and the Elias String Quartet. All four concerts are now We are delighted to be joined once more by available to listen back to on BBC iPlayer Radio. Sir Antonio Pappano and Nikolaj Znaider, who toured with the LSO earlier this week to Eastern Europe. bbc.co.uk/radio3 Following his appearance as conductor back in lso.co.uk/lunchtimeconcerts November, it is a great pleasure to be joined by Nikolaj Znaider as soloist, playing the Beethoven Violin Concerto. We also greatly look forward to 2016/17 SEASON ON SALE NOW Sir Antonio Pappano’s reading of Elgar’s Second Symphony, following his memorable performance Next season Gianandrea Noseda gives his first concerts of Symphony No 1 with the LSO in 2012.
    [Show full text]
  • Music This Table Outlines What Can Be Found Within Musical Archival Collections in Edinburgh Which Are Relevant to Either Jewish
    Music This table outlines what can be found within musical archival collections in Edinburgh which are relevant to either Jewish representation, Jewish musicians or composers as well as linking to a variety of additional subject matters. Repository Date Title Relevance Scope Reference National Library of 1781 Scottish Tragic Ballads Jewish literary Printed collection of Glen collection Scotland representation within musical ballad lyrics Shelfmark: Glen 140 a ballad in the collection entitled ‘the Jew’ National Library of 1806 Oliver’s collection of Ballad entitled ‘The Printed collection of Glen.5(1-4) Scotland comic songs’ Jew Peddler’ musical ballad lyrics Edinburgh University 1890-1900 Correspondence between Musician: Professional GB 237 Coll-411/1/L85 Archives Joseph Joachim and Sir Joseph Joachim correspondence; music Donald F. Tovey, Francis composition discussion; John Henry Jenkins, Sir concert dates; social Hubert Parry and Sophie niceties Weisse Edinburgh University 1892 and 1940 Letters between Sophie Musicians: One letter which GB 237 Coll 411/1/L2041 Archives Weisse, Sir Donald Tovey Fanny Behrens mentions Fanny Behrens and Fanny Behrens (wife Gustav Behrens between Tovey and of Gustav Behrens) Sophie Weisse; Second Letter from Behrens to Weisse alerting Miss. Weisse to an article about Tovey's 'absolute ear', news of Behrens recovery and of her sons Music This table outlines what can be found within musical archival collections in Edinburgh which are relevant to either Jewish representation, Jewish musicians or composers
    [Show full text]
  • Full Orchestra
    John Adams City Noir 2009 34 min for orchestra picc.3(III=picc).3.corA.3(III=bcl).bcl.asax.dbn--6.4.3.1--timp.perc(5):vib/lg sus.cym/SD/bongos; tuned gongs/sus.cym/glsp/mar/tam-t/BD/chimes/vib/low tom-toms/tgl/castanets/cowbell/clave/temple bl; chimes/glsp/tamb/med tam-t/2 timbales/sus.cym/crotales/xyl; BD/tuned gongs/med tam-t/2 sus.cym/mar/crotales/castanet/tgl/glsp; 2 tam-t/BD/sus.cym/tgl/temple block/SD/2 tom-t/timbale/bongo/conga/tuned gongs.trap set--pft--cel--2harps--strings 9790051097791 Orchestra (full score) John Adams photo © Christine Alicino World Premiere: 08 Oct 2009 Walt Disney Concert Hall, Los Angeles, CA, United States Los Angeles Philharmonic FULL ORCHESTRA Conductor: Gustavo Dudamel Availability: This work is available from Boosey & Hawkes for the world Absolute Jest 2011 25 min Doctor Atomic Symphony 25 min for string quartet and orchestra 2007 2.picc.2.corA.2.bcl.2.dbn-4.2.2.0-timp.perc(2):cowbell/xyl/BD/chimes/glsp/vib-harp-pft.c for orchestra el-strings 2.picc.3(III=corA).3(II=Ebcl, III=bcl).3(III=dbn) -4.4(IV=picc.tpt).3.1-harp-cel-timp-perc(4):crotales/chimes/SD/thunder sheet/glsp/BD/2 This work requires additional technological components and/or amplification. tam-t/2 susp.cym/tuned gongs-strings 9790051097326 (Full score) <u>NOTE</u>: Due to certain balance issues in the orchestration, it is strongly recommended that very light amplification of the solo quartet be used with the sound controlled through a mixing board located at the rear, behind the audience.
    [Show full text]