Boston Symphony Orchestra Concert Programs, Season 99, 1979-1980

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 99, 1979-1980 Providence III 99th SEASON ./* $ BOSTON SYMPHONY ORCHESTRA SHJI OZAWA Music Director te mil) s t *% wtw* v.s.ojpl REMY MAW- )fSKW>F ^iL^/n^^f^4 ****** llQ$ COGNAC f0eact& F n A N C6 *c»f2i £?.*Xft HOttLKO 8Y R.BFJWTC «*»«**-£. 'NE CHAMPAGNE COO' THE FIRST NAMEJJ^OGN^ : INE CHAMPAGNE QUALITY A DISTINGUISHING ATTRIBUTE State Street Bank and Trust Company invites you to an evening with The Boston Symphony Orehest every Friday at nine on WCRB/hM. Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Ninety-Ninth Season 1979-80 The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks, Chairman Nelson J. Darling, Jr., President Philip K. Allen, Vice-President Sidney Stoneman, Vice-President Mrs. Harris Fahnestock, Vice-President John L. Thorndike, Vice-President Roderick M. MacDougall, Treasurer Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr. Allen G. Barry E. Morton Jennings, Jr. Irving W. Rabb Leo L. Beranek Edward M. Kennedy Paul C. Reardon Mrs. John M. Bradley George H. Kidder David Rockefeller, Jr. George H.A. Clowes, Jr. Edward G. Murray Mrs. George Lee Sargent Abram T. Collier Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Richard P. Chapman John T. Noonan Mrs. James H. Perkins Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager Peter Gelb Gideon Toeplitz Daniel R. Gustin Assistant Manager Orchestra Manager Assistant Manager Joseph M. Hobbs Walter D. Hill William Bernell Director of Director of Assistant to the Development Business Affairs General Manager Dorothy Sullivan Richard Ortner Anita R. Kurland Controller Assistant Administrator, Administrator of Berkshire Music Center Youth Activities Elizabeth Dunton James F. Kiley Elisabeth Quinn Director of Operations Manager, Director of Sales Tanglewood Volunteer Services Charles Rawson James E. Whitaker Katherine Whitty Manager of Hall Manager, Coordinator of Box Office Symphony Hall Boston Council Steven Ledbetter Jean A. Miller Marc Mandel Director of Publications Publications Publications Assistant Assistant Programs copyright ©1979 Boston Symphony Orchestra, Inc. The Board of Overseers of the Boston Symphony Orchestra Inc. Leo L. Beranek Chairman Mrs. Norman L. Cahners Weston P. Figgins Mrs. William H. Ryan V ice-Chairman V ice-Chairman Secretary Charles F. Adams Jordan L. Golding David Mugar John Q. Adams Haskell Gordon Stephen Paine, Sr. Mrs. Frank G. Allen Mrs. John L. Grandih David R. Pokross Hazen H. Ayer Mrs. Howard E. Hansen William Poorvu Mrs. Richard Bennink Christian Halby Mrs. Curtis Prout David W. Bernstein Mrs. R. Douglas Hall III Harry Remis David Bird Mrs. Richard D. Hill Mrs. Peter van S. Rice Gerhard D. Bleicken Mrs. Amory Houghton, Jr. Mrs. Samuel L. Rosenberry William M. Bulger Richard S. Humphrey, Jr. Mrs. Jerome Rosenfeld Mrs. Kelton Burbank Mrs. Louis I. Kane Mrs. George R. Rowland Curtis Buttenheim Leonard Kaplan Francis P. Sears, Jr. Mrs. Mary Louise Cabot Mrs. F. Corning Kenly, Jr. William A. Selke The Hon. Levin H. Campbell III John Kittredge Gene Shalit Julian Cohen Robert K. Kraft Donald Sinclair Johns H. Congdon Benjamin H. Lacy Samuel L. Slosberg Arthur P. Contas Mrs. Henry A. Laughlin Richard A. Smith Mrs. C. Russell Eddy Mrs. Warren B. Manhard II Peter J. Sprague William Edgerly C. Charles Marran Mrs. Edward S. Stimpson Mrs. John Fitzpatrick J. William Middendorf II Mrs. Richard H. Thompson Paul Fromm Colman M. Mockler Mark Tishler Carlton P. Fuller Paul Montrone D. Thomas Trigg Mrs. Thomas J. Galligan Mrs. Elting E. Morison Mrs. Donald Wilson Mrs. Thomas Gardiner Mrs. Stephen V. C. Morris Roger H. Woodworth Mrs. Robert Gibb Richard P. Morse The best of the bunch. UnionWarren Savings Bank Main Office— 133 Federal Street, Boston ,;.- • s *vv> , . v , :v...^^_ Vi"'' -|»-|-T^ ^>' >/- V| ^ "That's my wife, those are the twins, and, on the right, my New England Merchants trust officer' For good advice on personal trust matters, call our Trust Division at (617) 742-4000. Or write England Merchants National Bank, 28 State Street, Boston, Massachusetts 02109. The Bank of New England. BSO BSO/100 Drive Accelerates in March BSO/100 volunteers will mount a major telephone campaign next month to reach prospective donors. Mrs. John M. Bradley, Centennial Fund Chairman, empha- sizes that this effort is directed toward specially selected subscribers, Friends, and "other civic-minded individuals who would like to support our great Orchestra at the time of its 100th birthday by making a significant, lasting, per- manent contribution which can be added to the BSO's endowment fund and so benefit the Orchestra for years to come." The effort will be coordinated by Major Gifts Committee Chairmen, Mrs. R. Douglas Hall III and Mr. Mark Tishler. Two recent major gifts have come in the form of chair endowments: J.P. Barger, president of the Dynatech Corporation, Burlington, Massachusetts, has endowed the /. P. and Mary B. Barger chair occupied by principal trombonist Ronald Barron. Irving Rabb, for many years a Boston Symphony trustee, has endowed the Charlotte and Irving W. Rabb chair occupied by Vyacheslav Uritsky, assistant principal of the second violins. BSO/WCRB Musical Marathon '80 "Turn Your Money Into Music" during the tenth BSO/WCRB Musical Marathon, scheduled this year for Friday, Saturday, Sunday, the weekend of 18 April. Once again, Marathon headquarters will be Symphony Hall's Cabot-Cahners Room, and host for the three days of broadcasting will be WCRB's Richard L. Kaye. There'll be a pledge booth and broadcast facility at the Quincy Market Rotunda, a special concert with BSO Music Director Seiji Ozawa and Boston Pops Conductor John Williams— televised live from 6:30-8 pm by WCVB-TV-Channel 5 on Sun- day, 20 April— and lots of new "thank-you" premiums in return for your pledges. Again, that's the tenth annual BSO/WCRB Musical Marathon, the week- end of 18-19-20 April. 'Ozawa in Peking' "Ozawa in Peking," a one- hour television special documenting Seiji Ozawa's historic performances of Beethoven's Ninth Symphony in China last December, will be aired in Boston by WNAC-TV-Channel 7 on Friday evening, 29 February from 8 to 9 pm. The program will be shown in New York by WOR-TV-Channel 9 on Monday evening, 10 March from 8 to 9 pm, and it will be seen in other parts of the country as well. BSO Guests on WGBH-FM Robert J. Lurtsema, host of WGBH-FM-89.7's Morning Pro Musica, continues his series of live interviews with BSO guest artists when he speaks with conductor Sergiu Comissiona on Monday morning, 25 February at 11. In addition, WGBH is repeating last season's series of Lurtsema-hosted inter- views, The Orchestra, on Thursday evenings at 8: 6 March— Peter Gelb, Assistant Manager 13 March— Charles Kavalovski, Principal Horn 20 March— Armando Ghitalla, Former Principal Trumpet 27 March— Ronald Barron, Principal Trombone BSO on Record A new Boston Symphony recording of the Tchaikovsky First Piano Concerto has just been released by Philips records; Sir Colin Davis conducts, and the piano soloist is Claudio Arrau. And by mid-March, Deutsche Grammophon will have issued its latest BSO disc: the Alban Berg and Igor Stravinsky violin concertos with soloist Itzhak Perlman and Music Director Seiji Ozawa. BARNES &NOBLE The Classical Record Center . More music for your money. 395 Washington Street (across from Filene's) Hours: Mon., Wed., Fri. 9:30-7, Tues., Thurs., Sat. 9:30-6 Master Charge, VISA Seiji Ozawa In the fall of 1973, Seiji Ozawa became the thirteenth Music Director of the Boston Symphony Orchestra since the Orchestra's founding in 1881. Born in Shenyang, China in 1935 to Japanese parents, Mr. Ozawa studied both Western and Oriental music as a child and later graduated from Tokyo's Toho School of Music with first prizes in composition and conducting. In the fall of 1959 he won first prize at the Inter- national Competition of Orchestra Con- ductors, Besancon, France. Charles Munch, then Music Director of the Boston Symphony and a judge at the competition, invited him to Tanglewood for trie summer following, and he there won the Berkshire Music Center's high- est honor, the Koussevitzky Prize for outstanding student conductor. While working with Herbert von Karajan in West Berlin, Mr. Ozawa came to the attention of Leonard Bernstein, whom he accompanied on the New York Philhar- monic's spring 1961 Japan tour, and he was made an Assistant Conductor of that orchestra for the 1961-62 season. His first professional concert appearance in North America came in January 1962 with the San Francisco Symphony Orchestra. He was Music Director of the Chicago Symphony's Ravinia Festival for rive summers begin- ning in 1964, and Music Director for four seasons of the Toronto Symphony Orches- tra, a post he relinquished at the end of the 1968-69 season in favor of guest conduct- ing numerous American and European orchestras. Seiji Ozawa first conducted the Boston Symphony in Symphony Hall in January of 1968; he had previously appeared with the Orchestra at Tanglewood, where he was made an Artistic Director in 1970. In December of that year he began his inaugural season as Conductor and Music Director of the San Francisco Symphony Orchestra. The Music Directorship of the Boston Symphony followed in 197J, and Mr. Ozawa resigned his San Francisco position in the spring of 1976, serving as Music Advisor there for the 1976-77 season. As Music Director of the Boston Symphony Orchestra, Mr. Ozawa has strength- ened the Orchestra's reputation internationally as well as at home. In February/ March of 1976 he conducted concerts on the Orchestra's European tour, and in March 1978 he took the Orchestra to Japan for thirteen concerts in nine cities.
Recommended publications
  • Wwciguide January 2017.Pdf
    Air Check The Guide Dear Member, The Member Magazine for Happy New Year! January is always a very exciting month for us as we often debut some of the WTTW and WFMT Renée Crown Public Media Center most highly-anticipated series and content of the year. And so it goes, we are thrilled to bring you 5400 North Saint Louis Avenue what we hope will be the next Masterpiece blockbuster series, about the epic life of Queen Victoria, Chicago, Illinois 60625 which will fill the Sunday night time slot that Downton Abbey held to Main Switchboard great success. Following Victoria from the time she becomes Queen (773) 583-5000 through her passionate courtship and marriage to Prince Albert, Member and Viewer Services the lavish premiere season of Victoria dramatizes the romance and (773) 509-1111 x 6 reign of the girl behind the famous monarch. Also, join us for new WFMT Radio Networks (773) 279-2000 seasons of Sherlock with Benedict Cumberbatch and Mercy Street, Chicago Production Center the homegrown drama series set during the Civil War. Leading up (773) 583-5000 to both of these season premieres, you can catch up with an all-day Websites marathon. wttw.com On January 16, we will debut an all-new channel and live stream wfmt.com offering for kids! You can find our new WTTW/PBS Kids 24/7 service President & CEO free on over-the-air channel 11-4, Comcast digital channel 368, and Daniel J. Schmidt RCN channel 39. Or watch the live stream on wttw.com, pbskids.org, and on the PBS KIDS Video COO & CFO Reese Marcusson App.
    [Show full text]
  • STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
    STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT By ©2016 Olivia Needham Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________________ Chairperson: Paul Laird ________________________________________ Véronique Mathieu ________________________________________ Bryan Haaheim ________________________________________ Philip Kramp ________________________________________ Jerel Hilding Date Defended: 04/15/2016 The Dissertation Committee for Olivia Needham certifies that this is the approved version of the following dissertation: STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT ________________________________________ Chairperson: Paul Laird Date Approved: 04/15/2016 ii ABSTRACT This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing. iii Igor Stravinsky (1882-1971) was born in Oranienbaum (now Lomonosov) in Russia near St.
    [Show full text]
  • Chamber Music Society of Lincoln Center
    Chamber Music Society of Lincoln Center Saturday, April 18, 2015 8 p.m. 7:15 p.m. – Pre-performance discussion Regina A. Quick Center for the Arts www.quickcenter.com ~INTERMISSION~ COPLAND ................................ Two Pieces for Violin and Piano (1926) K. LEE, MCDERMOTT ANNE-MARIE MCDERMOTT, piano STRAVINSKY ................................Concertino for String Quartet (1920) DAVID SHIFRIN, clarinet AMPHION STRING QUARTET, HYUN, KRISTIN LEE, violin SOUTHORN, LIN, MARICA AMPHION STRING QUARTET KATIE HYUN, violin DAVID SOUTHORN, violin COPLAND ............................................Sextet for Clarinet, Two Violins, WEI-YANG ANDY LIN, viola Viola, Cello, and Piano (1937) MIHAI MARICA, cello Allegro vivace Lento Finale STRAVINSKY ..................................... Suite italienne for Cello and Piano SHIFRIN, HYUN, SOUTHORN, Introduzione: Allegro moderato LIN, MARICA, MCDERMOTT Serenata: Larghetto Aria: Allegro alla breve Tarantella: Vivace Please turn off cell phones, beepers, and other electronic devices. Menuetto e Finale Photographing, sound recording, or videotaping this performance is prohibited. MARICA, MCDERMOTT COPLAND ...............................Two Pieces for String Quartet (1923-28) AMPHION STRING QUARTET, HYUN, SOUTHORN, LIN, MARICA STRAVINSKY ............................Suite from Histoire du soldat for Violin, Clarinet, and Piano (1918-19) The Soldier’s March Music to Scene I Music to Scene II Tonight’s performance is sponsored, in part, by: The Royal March The Little Concert Three Dances: Tango–Waltz–Ragtime The Devil’s Dance Great Choral Triumphal March of the Devil K. LEE, SHIFRIN, MCDERMOTT Notes on the Program by DR. RICHARD E. RODDA Two Pieces for String Quartet Aaron Copland Suite italienne for Cello and Piano Born November 14, 1900 in Brooklyn, New York. Igor Stravinsky Died December 2, 1990 in North Tarrytown, New York.
    [Show full text]
  • The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the Soothing Melody STAY with US
    The Fourteenth Season: Russian Reflections July 15–August 6, 2016 David Finckel and Wu Han, Artistic Directors Experience the soothing melody STAY WITH US Spacious modern comfortable rooms, complimentary Wi-Fi, 24-hour room service, fitness room and a large pool. Just two miles from Stanford. BOOK EVENT MEETING SPACE FOR 10 TO 700 GUESTS. CALL TO BOOK YOUR STAY TODAY: 650-857-0787 CABANAPALOALTO.COM DINE IN STYLE Chef Francis Ramirez’ cuisine centers around sourcing quality seasonal ingredients to create delectable dishes combining French techniques with a California flare! TRY OUR CHAMPAGNE SUNDAY BRUNCH RESERVATIONS: 650-628-0145 4290 EL CAMINO REAL PALO ALTO CALIFORNIA 94306 Music@Menlo Russian Reflections the fourteenth season July 15–August 6, 2016 D AVID FINCKEL AND WU HAN, ARTISTIC DIRECTORS Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 R ussian Reflections Program Overview 6 E ssay: “Natasha’s Dance: The Myth of Exotic Russia” by Orlando Figes 10 Encounters I–III 13 Concert Programs I–VII 43 Carte Blanche Concerts I–IV 58 Chamber Music Institute 60 Prelude Performances 67 Koret Young Performers Concerts 70 Master Classes 71 Café Conversations 72 2016 Visual Artist: Andrei Petrov 73 Music@Menlo LIVE 74 2016–2017 Winter Series 76 Artist and Faculty Biographies A dance lesson in the main hall of the Smolny Institute, St. Petersburg. Russian photographer, twentieth century. Private collection/Calmann and King Ltd./Bridgeman Images 88 Internship Program 90 Glossary 94 Join Music@Menlo 96 Acknowledgments 101 Ticket and Performance Information 103 Map and Directions 104 Calendar www.musicatmenlo.org 1 2016 Season Dedication Music@Menlo’s fourteenth season is dedicated to the following individuals and organizations that share the festival’s vision and whose tremendous support continues to make the realization of Music@Menlo’s mission possible.
    [Show full text]
  • PIANO KAPUSTIN: a Recap of Recent Classical Releases
    HAL LEONARD WIN T ER 2019 UPDATE NIKOLAI Within this newsletter you will find PIANO KAPUSTIN: a recap of recent classical releases. HUMORESQUE, The following classical catalogs are JOHANN SEBASTIAN OP. 75 distributed by Hal Leonard: BACH/JOHANNES Schott BRAHMS: CHACONNE The Humoresque Op. 75 Alphonse Leduc FROM PARTITA NO. 2 IN D — composed in 1994 — is Associated Music MINOR considered one of the most Publishers ARRANGEMENT FOR PIANO, difficult pieces by Kapustin. Boosey & Hawkes LEFT-HAND Presented in the standard jazz Bosworth Music form, the variations sound like Henle Urtext Edition Bote & Bock The D-minor Chaconne is improvisations, influenced by undoubtedly the most famous McCoy Tyner’s style, but are minutely through-composed. Chester Music movement of all of Bach’s 6 49046035 ......................................................................$16.99 DSCH Sonatas and Partitas for violin. Editio Musica Budapest So it is hardly surprising that it has seen many arrangements. Editions Durand Johannes Brahms marvelled at how a single staff of music could SERGEI RACHMANINOFF: offer “a whole world of the deepest thoughts and the mightiest PIANO SONATA NO. 2 IN Editions Max Eschig emotions.” He promptly made his own arrangement for piano, B-FLAT MINOR, OP. 36 Editions Musicales left hand alone. 1913 & 1931 VERSIONS Transatlantique 51481187 ........................................................................$11.95 ed. Dominik Rahmer, fing. Editions Salabert Marc-André Hamelin Ediciones Henle Urtext Edition Joaquín Rodrigo FRÉDÉRIC CHOPIN: Includes both Rachmaninoff’s Edward B. Marks SCHERZI original 1913 version and Music Company ed. Norbert Müllemann edited 1931 version of this Eulenburg fing. Hans-Martin Theopold substantial piece, with Forberg Henle Urtext Edition fingerings by Marc-André 51480886 ........................$25.95 Hamelin.
    [Show full text]
  • Violin Syllabus / 2013 Edition
    VVioliniolin SYLLABUS / 2013 EDITION SYLLABUS EDITION © Copyright 2013 The Frederick Harris Music Co., Limited All Rights Reserved Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary.
    [Show full text]
  • Pragadigitals English 03-2018
    catalogue Praga Digitals PRAGA DIGITALS CATALOGUE 03-2018 http://www.pragadigitals.com ISAAC ALBENIZ (1860-1909) CD1 : IBERIA, 12 “Impressions”, for piano (1905-1908) / Book I, dedicated to Madame Ernest Chausson (1906) /Book II, dedicated to Blanche Selva (1906) / Book III, dedicated to Marguerite Hasselmans (1907) / Book IV, dedicated to Madame Pierre Lalo (1908) PRD/DSD 350 075 CD2 : IBERIA Suite (transcriptions for orchestra by E.Fernández Arbós, 1909-1927) / CANTOS DE ESPAÑA, Op.232, for piano / ESPAÑA, “Souvenirs” for piano (1897) / MALLORCA, barcarola Op.202 (1891) / RECUERDOS DE VIAJE, Op.71 (1887) 3,149,028,025,927 SACD Alicia de LARROCHA, p (CD1) - Orchestre du Théâtre National de l’Opéra de Paris, Manuel ROSENTHAL - Jean-Joël BARBIER, p JOHANN SEBASTIAN BACH (1685-1750) PRD 250 103 SONATAS BWV 1020,1022,1027-1029, WRITTEN FOR HARPSICHORD & VIOLA 794,881,396,023 Zuzana Řů žicková (harpsichord), Josef Suk (viola) Mily BALAKIREV (1837-1910) Russian Symphonies (I) : PRD 250 363 SYMPHONY No.1 in C major (1866-99) SYMPHONY No.2 in D minor (1900-8) 3,149,028,102,024 Genuine Stereo The Philharmonia, London - Herbert von KARAJAN - Moscow Radio Symphony Gennadi ROZHDESTVENSKY BÉLA BARTÓK (1881-1945) PRD 250 135 VIOLIN SONATAS No 1 Sz.75 (1921) & No. 2 Sz.76 794,881,602,124 Peter Csaba (violin), Jean-François Heisser (piano) SONATAS FOR TWO PIANOS AND PERCUSSION Sz. 110. THE MIRACULOUS MANDARIN (written by Bartok for two pianos) . TWO PRD/DSD 250 184 PICTURES (written by Z.Kocsis for two pianos) 794,881,680,924 SACD Jean-François Heisser, Marie-Josèphe Jude (pianos), Florent Jodelet, Michel Cerutti (percussions) RHAPSODY Nos 1, 2 FOR VIOLIN and PIANO Sz.86 & Sz 89 (first release of the original Friss ), HUNGARIAN FOLK SONGS (26) (from PRD/DSD 250 190 FOR THE CHILDREN), RUMANIAN FOLK DANCES, SONATINA Sz 56 794,881,681,525 SACD Peter Csaba (violin), Peter Frankl (piano) STRING QUARTET No 1 SZ 40 PRD/DSD 250 235 STRING QUARTET No 2 SZ 67 794,881,822,423 SACD Parkanyi Quartet Page 1 de 58 catalogue Praga Digitals STRING QUARTET No.
    [Show full text]
  • Chamber Music Society of Lincoln Center Artist Series: Anthony Mcgill Program
    Chamber Music Society of Lincoln Center Artist Series: Anthony McGill Program Olivier Messiaen (1908-1992) “Abyss of the Birds” from Quatuor pour la fin du temps (Quartet for the End of Time) for Clarinet, Violin, Cello, and Piano (1940-41) Anthony McGill, clarinet Francis Poulenc (1899-1963) Sonata for Clarinet and Piano (1962) Allegro tristamente Romanza: Très calme Allegro con fuoco Anthony McGill, clarinet; Gloria Chien, piano Johannes Brahms (1833-1897) Trio in A minor for Clarinet, Cello, and Piano, Op. 114 (1891) Allegro Adagio Andantino grazioso Allegro Anthony McGill, clarinet; Alisa Weilerstein, cello; Inon Barnatan, piano 2 Program Notes Program Notes By Laura Keller “Abyss of the Birds” from Quatuor pour la fin du temps (Quartet for the End of Time) for Clarinet, Violin, Cello, and Piano (1940-41) Olivier Messiaen (Avignon, 1908 – Paris, 1992) “The abyss is Time with its sadness, its weariness. The birds are the opposite of Time; they are our desire for light, for stars, for rainbows, and for jubilant songs.” -Messiaen Quartet for the End of Time had one of the most remarkable premieres of the 20th century. Messiaen served in the French army during World War II and was captured by the Germans at Verdun in June 1940. He was sent to Stalag VIII-A in Görlitz, Germany (today in Poland), where he was imprisoned during the winter of 1940-41. The prisoner-of-war camp was bitterly cold and food was in short supply, but Messiaen’s fame helped him greatly. A sympathetic guard provided him with the materials to compose this quartet and arranged the premiere on January 15, 1941 in a barely heated hall in front of a few hundred spellbound prisoners and guards.
    [Show full text]
  • SAN DIEGO SYMPHONY ORCHESTRA a JACOBS MASTERWORKS CONCERT Fabien Gabel, Conductor April 1-2, 2017 CLAUDE DEBUSSY Printemps Très
    SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT Fabien Gabel, conductor April 1-2, 2017 CLAUDE DEBUSSY Printemps Très modéré Modéré IGOR STRAVINSKY Violin Concerto in D Major Toccata Aria I Aria II Capriccio Jeff Thayer, violin INTERMISSION DMITRI SHOSTAKOVICH Symphony No. 9 in E-flat Major, Op. 70 Allegro Moderato Presto Largo Allegretto MAURICE RAVEL Suite No. 2 from Daphnis and Chloé Printemps CLAUDE DEBUSSY Born March 25, 1862, Saint-Germain-en-Laye Died March 25, 1918, Paris Printemps, the first orchestral work by Debussy to find a place in the repertory, has an extremely curious history. In 1884 Debussy won first place in the Prix de Rome competition. That award, the highest possible honor for a French composition student, involved several years of study in Rome. But Debussy, 22 years old and a very difficult young man, hated Rome and resented the time he had to spend away from Paris–he spent the minimal possible amount of time in residence at the Villa Medici in the years 1885-86. One of the requirements of the Prix de Rome was that the winners had to send back to the French Academy a series of envois, works composed in Rome that showed their progress. Debussy, never one to put up with rules, made life difficult for the Academy. He wrote three works for chorus and orchestra, and two of these mysteriously vanished: the score to Printemps (for wordless chorus and orchestra) was burned “accidentally” in a fire at the printer’s shop, while the score to Zuleima was “lost”; only the score to The Blessed Damoiselle survived.
    [Show full text]
  • Purdue Convocations
    Purdue Convocations November 17, 2013 YO-YO MA, Cello KATHRYN STOTT, Piano STRAVINSKY Suite Italienne Introduzione: Allegro moderato Serenata: Larghetto Aria: Allegro Tarantella: Vivace Minuetto e Finale: Moderato — Molto vivace VILLA-LOBOS Chôros No. 5, “Alma Brasileira” arr. Jorge Calandrelli PIAZZOLLA Oblivion arr. Kyoko Yamamoto GUARNIERI Dansa Negra from Three Dances arr. Calandrelli FALLA Siete Canciones Populares Españolas El Paño Moruno: Allegretto vivace Seguidilla Murciana: Allegro spiritoso Asturiana: Andante tranquillo Jota: Allegro vivo Nana (Berceuse): Calmo e sostenuto Canción: Allegretto Polo: Vivo — INTERMISSION — MESSIAEN Louange à l’Éternité de Jésus from Quatuor pour la fin du Temps BRAHMS Sonata No. 3 in D minor, Op. 108 Allegro Adagio Un poco presto e con sentimento Presto agitato Nov. 17, 2013 (Yo-Yo Ma), page 1 Notes on the Program by DR. RICHARD E. RODDA Suite Italienne Igor Stravinsky (1882-1971) Composed in 1932. Late in 1930, Willy Strecker, co-owner and director of the prestigious German publishing house of Schott, suggested to Igor Stravinsky that a violin concerto might make a welcome addition to the catalog of his music, and told the composer that the violinist Samuel Dushkin was willing to offer technical advice for the project. Stravinsky was, however, somewhat reluctant to accept the proposal because of his lack of confidence in writing for the violin as a solo instrument and his concern that Dushkin might be one of those performers interested only in “immediate triumphs ... [through] special effects, whose preoccupation naturally influences their taste, their choice of music, and their manner of treating the piece selected.” He agreed to meet the young violinist, however, and their first encounter proved to be warm and friendly.
    [Show full text]
  • 1 J. S. BACH Paul Badura-Skoda Plays Bach : Toccata C Minor, BWV
    PAUL BADURA-SKODA :DISKOGRAPHIE (STAND : DEZEMBER 2011)1 J. S. BACH Paul Badura-Skoda plays Bach : Toccata C minor, BWV 911, Italian Concerto in F major, BWV 971, Chromatic Fantasy and Fugue D minor, BWV 903, Concerto in D minor after Marcello, BWV 974, rec. 1955 Westminster XWN 18855 J.-S. Bach : Concerto in E major, BWV 1053, Paul Badura-Skoda, Vienna State Opera Orchestra, cond. Kurt Redel (+ Concerto in D minor, BWV 1052, Jörg Demus), rec. 1960 Westminster XWNI8925 - HMV EMI CPL 1764 J.-S. Bach : Konzerte für zwei Klaviere... C-Dur, BWV 1061und C-Moll, BWV 1060, Orchester der Wiener Staatsoper, Dir. Kurt Redel, Paul Badura-Skoda und Jörg Demus, rec. 1960 Westminster XWN 18926 Westminster, Gloria, C 045-90 351 J.-S. Bach : Clavier Übung I , 6 Partite , BWV 825-830, Piano, rec. 1951 Westminster XWN 3307 MCA Classics MCAD2-9840 J.-S. Bach : Clavier Übung I , 6 Partite , BWV 825-830, Cembalo (1787), 2 CD, rec. 1987 Astrée E 7771/2 (NAÏVE) L. VAN BEETHOVEN L. van Beethoven : Die Klaviersonaten, Piano Steinway und Bösendorfer, 12 LP Intercord 707-09 Z / 1-6 und 7-12 The musical heritage society mc OR B-375/385 L. van Beethoven : Die Klaviersonaten, Piano Bösendorfer Imperial, 9 CD, aufg. 1969- 1970 Gramola 98742/50 L. van Beethoven : Les Sonates pour le pianoforte sur instruments d'époque (Hammerflügel der Sammlung Badura-Skoda) 9 CD, rec. 1978-1989 Astrée E 8700 (NAÏVE) 1 kursiv : LP Schallplatten – in italics : LP recordings - Les références en italique sont celles des microsillons 1 L. van Beethoven : Sonaten Nr.
    [Show full text]
  • Guide to the Ralph Shapey Papers Circa 1930-2003
    University of Chicago Library Guide to the Ralph Shapey Papers circa 1930-2003 © 2019 University of Chicago Library Table of Contents Descriptive Summary 3 Information on Use 3 Access 3 Restrictions on Use 4 Citation 4 Biographical Note 4 Scope Note 5 Related Resources 7 Subject Headings 7 INVENTORY 7 Series I: Personal 7 Series II: Correspondence 14 Series III: Scores and Compositions 34 Series IV: Scores and Compositions by Others 78 Series V: Recordings and Performances 116 Subseries I: Concerts 116 Subseries II: Festivals 125 Subseries III: Recordings 125 Subseries IV: Contracts and Copyrights 125 Series VI: Teaching and Writings 126 Series VII: Honors, Certificates, and Awards 128 Series IX: Memorabilia 172 Series X: Oversize 172 Series XI: Restricted 175 Descriptive Summary Identifier ICU.SPCL.SHAPEYR Title Shapey, Ralph. Papers Date circa 1930-2003 Size 387 linear feet (278 boxes) Repository Special Collections Research Center University of Chicago Library 1100 East 57th Street Chicago, Illinois 60637 U.S.A. Abstract Ralph Shapey (1921-2002), was a composer and professor of music at the University of Chicago (1964-1991). Papers include musical scores and recordings, advertising and programs related to performances of Shapey's music, professional and personal correspondence, and a small selection of memorabilia. Materials span circa 1930-2003 with the bulk of the collection dating to Shapey's activities from the early 1970s through to the late 1990s. Information on Use Access The collection is open for research, with the exception of material in Series XI. Materials in Box 266 are restricted for 30 years from date of record creation.
    [Show full text]