DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 58,1938-1939

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 58,1938-1939 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 FIFTY-EIGHTH SEASON, 1938-1939 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1938, BY BOSTON SYMPHONY ORCHESTRA, Inc. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Ernest B. Dane . .... 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 Jerome D. Greene Edward A. Taft N. Penrose Hallowell Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [241] Complete FIDUCIARY SERVICE >r INDIVIDUALS The fiduciary services of Old Colony Trust Company available to individuals are many and varied. We cite some of the fiduciary capacities in which we act. Executor and Administrator We settle estates as Executor and Administrator. Trustee We act as Trustee under wills and under voluntary or living trusts. Agent We act as Agent for those who wish to be relieved of the care of their investments. lib The officers of Old Colony Trust Company are always glad to discuss estate and property matters with you and point out if and where our services are applicable. Old Colony Trust Company 17 COURT STREET, BOSTON Member of the Federal Deposit Insurance Corporation ^Allied witkTiiE First National Bank ^Boston SYMPHONIANA GENUINE Exhibition of Aquarelles AMERICAN ANTIQUES EXHIBITION OF AQUARELLES The collection of aquarelles by John : A : Singer Sargent will remain on view dur- ing the concerts of this week. It is an interesting coincidence that one of Charles Martin Loeffler's most signifi- cant works should have been performed while Sargent's paintings were on exhi- bition. Loeffler and Sargent were the best of friends, sympathetic, and each understanding the artistic point of view of the other. Loeffler was convinced that Sargent's ability as a pianist — his sight- reading was exceptional — and his clearly defined attitudes toward music indicated remarkable gifts, and felt that he would have had a brilliant and re- warding career as a musician, had he chosen it instead of that of a painter. Several of the papers in this group were at one time in Loeffler's collection. When Sargent painted the portrait of Sir George Henschel, first conductor of Another rare piece the Boston Symphony Orchestra, he had from the an opportunity to explore with his historical old town of Salem, brush the outward characteristics of a where Mclntire did profoundly musical mind. In answer to so much Sir George's note of thanks, he wrote, "I must tell you what a great pleasure beautiful work it has been to me that my venture at painting you has resulted in such a gen- erous expression of satisfaction . and (§u??n Attn* (Enitage that with my means I have given you 3 2lu>*r fbtrttt - SiiHtnn. Mass. the pleasure that you always give me Tel. Capitol 6495 with yours." (tyuten Ann* (Harntra-Arrorn, Mass. Edward Halfway between Boston and Plymouth Burlingame Hill, whose Vio- on Inland State Road, Route 3 lin Concerto is being given at this Tel. Rockland 1245 week's concerts, was a friend of both [243] Sargent and Loeffler, and joined with the former in raising a considerable We take Time fund to buy a manuscript of Gabriel Faure from the composer, who was at that time in serious need. The manu- to take Qare script is now in the Treasure Room of Widener Library. Perhaps it is a sig- Sometimes we lose business. Es- nificant commentary on the color of pecially if the owner of a lovely dress wants us to use undue haste Professor Hill's orchestration that he in cleansing. has often requested his students to seek For we know after one hundred relaxation in fre- years of cleansing just what can both and stimulation be done safely, and what cannot. quent visits to collections of water- We know definitely when there are colors by Sargent and Dodge Macknight no safe shortcuts ... no speedy expedients that justify the danger — seeing in this analogy of the arts a of damage. So we say "No" and heightened perception of coloristic pos- lose some business. But out of this has come the sibilities. reward of reputation — a reputa- It is said that Sargent was a master of tion for reliability. And to our- selves we have attracted thousands portraiture, a failure as a decorator, and for taking time to who respect us as a water-colorist "a master of pyro- take care. holiday." If you want cleansing well done technics on a He was the peer ... if you want safe dependable of all in the warmth, picturesqueness service always ... if you like and truth of his papers; they are satur- painstaking care, individualized care, may we suggest that you call ated with the lights of Spain, of Syria, Lewandos. of Italy and America. Lewandos, as you probably He disapproved of abstraction and know, cleanses ANYTHING — and anything that Lewandos cleanses simplification, and was apparently in« is well cleansed. capable of personal interpretation. By For we take time to take care — painting exactly what he saw, he with your things. achieved strong impressionistic effects in landscapes and architecture, strong contrasts of light and shadow. There is no mystery, no transparent depth to a Sargent water-color, but a marvelous beauty of brush-work, an arresting bril- You Can Rely on liance, and the evidence of a sure mas- tery of the lightest and most difficult of mediums. Mr. Roger Fry has written: "Sargent Lewandos has not the distinctly artistic vision. He Cleansers -:- Launderers has, one might say, no visual passion at Dyers -:- Fur Storage all, scarcely any visual predilection — he has, rather, the undifferentiated eye For Service-At-Your-Door of the ordinary man trained to its finest Telephone acuteness of observation and supplied MIDdlesex 8500 with the most perfectly obedient and skillful hand to do its bidding." [244] . A list of the paintings follows, read- ing in order from the northeast corner of the Gallery: "Simplon, Fresh Snow." Lent by the Museum of Fine Arts, Boston. "Glacier." Lent by the Fogg Museum of Art, Harvard University. "Tents, Bailleuval." Lent by the Museum of Fine Arts, Boston. "Interior of the Cathedral at Toledo." Lent by the Museum of Fine Arts, Boston. "Camping at Lake O'Hara." Lent by The Ada? the Fogg Museum of Art, Harvard University. "The Brook." Lent by the Fogg Museum With CAPEHART . of Art, Harvard University. Conduct your own orchestra "Lake O'Hara." Anonymous loan through the courtesy of the Fogg Capehart Maestro Tone Con- Museum of Art, Harvard University. trol enables the listener to adapt "White Ships." Lent by the Brooklyn the tone of the Capehart to his in- Museum, The Brooklyn Institute of dividual hearing. From fortissimo Arts and Sciences. to pianissimo, from bass to middle "In a Medici Garden." Lent by the register and treble, you can com- Brooklyn Museum, The Brooklyn In- mand the tone of instruments stitute of Arts and Sciences. and voices surely and effectively. "Villa Corsini." Lent by The Honorable You can offer your guests a Alvan T. Fuller. whole evening of music without "Tomb at Toledo." Lent by the Fogg interruption, for Capehart is the Museum of Art, Harvard University. only Phonograph-radio combina- "Majorca, Trees on a Hillside." Lent by tion with the exclusive Capehart The Honorable Alvan T. Fuller. record changer, handling from "Santa Maria della Salute." Lent by the three to twenty records, both 10- Brooklyn Museum, The Brooklyn In- inch and 12-inch, intermixed, and stitute of Arts and Sciences. playing each record on both sides "La Riva Degli Schiavoni." Lent by the successively. No re-stacking or re- Brooklyn Museum, The Brooklyn In- loading of the records . plus stitute of Arts and Sciences. radio whose many exclusive fea- "In the Tyrol." Lent by the Fogg tures account for its reputation as Museum of Art, Harvard University. the finest radio obtainable. "The Artist's Sister." Lent by Mr. and Mrs. William James. "Spanish Soldiers I." Lent by the Brook- lyn Museum, The Brooklyn Institute of Arts and Sciences. ik^ "Spanish Soldiers II." Lent by the Brooklyn Museum, The Brooklyn In- stitute of Arts and Sciences. "Spanish Boys at Play." Lent by the Museum of Fine Arts, Boston. J. McKEMA Portrait of Mrs. William James. Lent by Mr. and Mrs. William James. 19 BRATTLE STREET "Evora, Portugal." Lent by the Museum HARVARD SQ., CAMBRIDGE of Fine Arts, Boston. Telephone, KIR. 0809 "Landscape in Italy." Lent by the Museum of Fine Arts, Boston. [245] tiUptibbr St (Ha. Tremont and West Streets Regal Wraps rich with ^ ERMINE Your first appearance is important. and it de- pends largely upon the beauty of the wrap you wear over your gown Here you have anthra- cite black rayon pile velvet capped by whit- est ermine collar to wrap you in luxury (59.95). Typical of our superb collection o^ ermine trimmed wraps ranging from 29.95 to 89.95. Third Floor [246] FIFTY-EIGHTH SEASON, NINETEEN HUNDRED THIRTY-EIGHT AND THIRTY-NINE Sixth Programme FRIDAY AFTERNOON, November 11, at 2:30 o'clock SATURDAY EVENING, November 12, at 8:15 o'clock Beethoven Symphony No. 2 in D major, Op. 36 I. Adagio molto; Allegro con brio II. Larghetto III. Scherzo IV. Allegro molto Hill Concerto for Violin, Op. 38 I. Allegro giocoso II. Lento ma non troppo III. Allegro moderato; Allegro molto (First performances) INTERMISSION Sibelius Symphony No. 5 in E-flat major, Op.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season
    // BOSTON T /?, SYMPHONY ORCHESTRA THURSDAY B SERIES EIGHTY-SEVENTH SEASON 1967-1968 wgm _«9M wsBt Exquisite Sound From the palace of ancient Egyp to the concert hal of our moder cities, the wondroi music of the harp hi compelled attentio from all peoples and a countries. Through th passage of time man changes have been mac in the original design. Tl early instruments shown i drawings on the tomb < Rameses II (1292-1225 B.C were richly decorated bv lacked the fore-pillar. Lato the "Kinner" developed by tl Hebrews took the form as m know it today. The pedal hai was invented about 1720 by Bavarian named Hochbrucker an through this ingenious device it b came possible to play in eight maj< and five minor scales complete. Tods the harp is an important and familij instrument providing the "Exquisi* Sound" and special effects so importai to modern orchestration and arrang ment. The certainty of change mak< necessary a continuous review of yoi insurance protection. We welcome tl opportunity of providing this service f< your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer PHILIP K. ALLEN E. MORTON JENNINGS JR ABRAM BERKOWITZ EDWARD M. KENNEDY THEODORE P.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 68, 1948-1949
    W fl'r. r^S^ BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON ^r /^:> ,Q 'iiil .A'^ ^VTSOv H SIXTY-EIGHTH SEASON 1948-1949 Carnegie Hall, New York Boston Symphony Orchestra [Sixty-eighth Season, 1948-1949] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhape Ernst Panenka Alfred Krips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Roll and Tapley Albert Bernard Contra-Bassoon Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey Horns Paul Cherkassky Louis Arti^res Harry Dubbs Charles Van Wynbergen Willem Valkenier James Stagliano Vladimir ResnikofiE Hans Werner Principals Joseph Leibovici Jerome Lipson Harry Shapiro Siegfried Gerhardt Einar Hansen Harold Meek Daniel Eisler Violoncellos Paul Keaney Norman Carol Walter Macdonald Carlos P infield Samuel Mayes Osbourne McConathy Alfred Zighera Paul Fedorovsky Harry Dickson Jacobus Langendoen Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmans Roger Voisin Karl Zeise Clarence Knudson Prijicipals Pierre Mayer Josef Zimbler Marcel La fosse Manuel Zung Bernard Parronchi Harry Herforth Samuel Diamond Enrico Fabrizio Ren^ Voisin Leon MarjoUet Victor Manusevitch Trombones James Nagy Flutes Jacob Raichman Leon Gorodetzky Georges Laurent Lucien Hansotte Raphael Del Sordo James Pappoutsakis John Coffey Melvin Bryant Phillip Kaplan Josef Orosz John Murray Lloyd Stonestreet Piccolo Tuba Henri Erkelens George Madsen
    [Show full text]
  • My Musical Lineage Since the 1600S
    Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent
    [Show full text]
  • Le Corsaire Overture, Op. 21
    Any time Joshua Bell makes an appearance, it’s guaranteed to be impressive! I can’t wait to hear him perform the monumental Brahms Violin Concerto alongside some fireworks for the orchestra. It’s a don’t-miss evening! EMILY GLOVER, NCS VIOLIN Le Corsaire Overture, Op. 21 HECTOR BERLIOZ BORN December 11, 1803, in Côte-Saint-André, France; died March 8, 1869, in Paris PREMIERE Composed 1844, revised before 1852; first performance January 19, 1845, in Paris, conducted by the composer OVERVIEW The Random House Dictionary defines “corsair” both as “a pirate” and as “a ship used for piracy.” Berlioz encountered one of the former on a wild, stormy sea voyage in 1831 from Marseilles to Livorno, on his way to install himself in Rome as winner of the Prix de Rome. The grizzled old buccaneer claimed to be a Venetian seaman who had piloted the ship of Lord Byron during the poet’s adventures in the Adriatic and the Greek archipelago, and his fantastic tales helped the young composer keep his mind off the danger aboard the tossing vessel. They landed safely, but the experience of that storm and the image of Lord Byron painted by the corsair stayed with him. When Berlioz arrived in Rome, he immersed himself in Byron’s poem The Corsair, reading much of it in, of all places, St. Peter’s Basilica. “During the fierce summer heat I spent whole days there ... drinking in that burning poetry,” he wrote in his Memoirs. It was also at that time that word reached him that his fiancée in Paris, Camile Moke, had thrown him over in favor of another suitor.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • Duo Sonatas and Sonatinas for Two Clarinets, Or Clarinet and Another Woodwind Instrument: an Annotated Catalog
    DUO SONATAS AND SONATINAS FOR TWO CLARINETS, OR CLARINET AND ANOTHER WOODWIND INSTRUMENT: AN ANNOTATED CATALOG D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yu-Ju Ti, M.M. ***** The Ohio State University 2009 D.M.A Document Committee: Approved by Professor James Pyne, co-Advisor Professor Alan Green, co-Advisor ___________________________ Professor James Hill Co-advisor Professor Robert Sorton ___________________________ Co-advisor Music Graduate Program Copyright by Yu-Ju Ti 2009 ABSTRACT There are few scholarly writings that exist concerning unaccompanied duet literature for the clarinet. In the late 1900s David Randall and Lowell Weiner explored the unaccompanied clarinet duets in their dissertations “A Comprehensive Performance Project in Clarinet Literature with an Essay on the Clarinet Duet From ca.1715 to ca.1825” and “The Unaccompanied Clarinet Duet Repertoire from 1825 to the Present: An Annotated Catalogue”. However, unaccompanied duets for clarinet and another woodwind instrument are seldom mentioned in the academic literature and are rarely performed. In an attempt to fill the void, this research will provide a partial survey of this category. Because of the sheer volume of the duet literature, the scope of the study will be limited to original compositions entitled Sonata or Sonatina written for a pair of woodwind instruments which include at least one clarinet. Arrangements will be cited but not discussed. All of the works will be annotated, evaluated, graded by difficulty, and comparisons will be made between those with similar style.
    [Show full text]
  • COMPOSER MEMBERS Paul Hastings Allen, Nov 28, 1883, Hyde
    COMPOSER MEMBERS Paul Hastings Allen, Nov 28, 1883, Hyde Park—Sep 28, 1952, Boston (1912-1952)* T(homas) J. Anderson, b. Aug 17, 1928, Coatesville, PA (1976-1996)** Richard Gilmore Appel, Apr 25, 1889, Lancaster, PA—Nov 18, 1975, Cambridge (1920-?) Richard E. Applin, b. Aug 11, 1951, Everett, (2001-) Percy Lee Atherton, Sep 25, 1871, Boston—Mar 8, 1944, Atlantic City (1896-1944)* Edward Ballantine, Aug 6, 1886, Oberlin, OH—Jul 2, 1971, Oak Bluffs, Martha’s Vineyard (1913-1971)* John Alexander Bavicchi, b. Apr 25, 1922, Dedham (1964-)** John Parson Beach, Oct 11, 1877, Gloversville, NY—Nov 6, 1953, Pasadena, CA (1922-1953?) Wheeler Martin Alfred Beckett, 7 Mar 1898, San Francisco, CA—25 Jan 1986, Philadelphia, PA (1937-1948) Francis Boott, Jun 24, 1813, Boston—Mar 2, 1904, Boston* (1839-1893) Thomas Ginnel Boss, b. October 14, 1949, Brooklyn, NY (2008-) Josiah Bradlee, Dec 17, 1837—Sep 10, 1902 (1864-1902)* Obadiah Bruen Brown, a.k.a. Ernest Leslie, 1829, Washington, DC—1901, Boston (1889-1897) John Duncan Buckingham, May 17, 1855, Huntington, PA—d. ? (1914-?) George Albert Burdett, 1856, Boston—1943 (1920-?) Francis Bullard, d. 1913 (1895-?)* Charles Lemuel Capen, Feb 9, 1850, Dedham—1902 (1880-1888) Elliot Cook Carter, b. Dec 11, 1908, New York, NY (2008-)* George Whitefield Chadwick, Nov 13, 1854, Lowell—Apr 4, 1931, Boston* (1881-1931)* Theodore Ward Chanler, Apr 29, 1902, Newport, RI—Jul 27, 1961, Boston (1934-1961)* John Hale Chipman, 1896—Sep 18, 1972 (1938-1972) Philip Greeley Clapp, Aug 4, 1888, Boston—Apr 9, 1954, Iowa City, IA (1914-1954) Chalmers Dancy Clifton, April 30, 1889, Jackson, MS—Jun 19, 1966, New York, NY (1916-?) Frederick Shepherd Converse, Jan 5, 1871, Newton—Jun 8, 1940, Westwood (1899-1940)* Christopher Pearse Cranch, Mar 8, 1813, Alexandria, D.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 59,1939-1940, Trip
    Fifty-Fourth Season in New York '; ^\\\UlllJ/l///^ S w. 70,% ^^^ ¥ BOSTON SYMPHONY ORCHESTRA FOUNDED IN 188) BY HENRY L. HIGGINSON FIFTY-NINTH SEASON & 1939-1940 [1] Thursday Evening, November 23 Saturday Afternoon, November 25 Boston Symphony Orchestra [Fifty-ninth Season, 1939-1940] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, C. LAUGA, N. s W\I IT, II. Kl SNIKOI r, V. Concert-master GUNDERSEN, R. KASSMAN, N. CHI RKASSKY, P. EISI I R, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. I 1 DOROVSKY, P. rAPLEY, R. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNC, M. BEALE, M. GORODETZm , I.. MAYER, P. DIAMOND, S. DELSORDO, R. I II 1)1.1 R, B. BRYANT, M. STONESTREET, L. Ml SSINA.S. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger, s. DUBBS, H. Violas LEFRANC, J. I OURF.L, G. Bl RNARD, A. CROVLR, II. CAUHAPE, J. ARTIERES, L. \ \\ WYNBERGEN, C. WERNER, H. LEHNER, E. KORNSAND, E. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI,J. LANGENDOEN, J. (II \RDON, y. STOCKBRIDGE, C. i abrizio, i . ZIGHERA, A. TORTELIER, P. DROEGHMANS, H. /I ISE, K. marjollet, l. zimbler, j. Basses MOLEUX, G. DUFRESNE, G. greenberg, h. GIRARD, H. barwicki, j. vondrak, a. JUHT, L. frankel, i. PROSE, P. Flutes Oboes Clarinets Bassoons laurent, g. GILLET, F. polatschf.k, v. ALLARD, R. pappoutsakis, j devergie, j. valerio, m. PANENKA, E. KAPLAN, P. lukatsky, j. cardillo, p. LAUS, A. Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. mazzeo, R. PILLER, B. Horns Horns Trumpets Trombones valkenier, w. SINGER, J. MAGER, G.
    [Show full text]
  • Amalie Joachim's 1892 American Tour
    Volume XXXV, Number 1 Spring 2017 Amalie Joachim’s 1892 American Tour By the 1890s, American audiences had grown accustomed to the tours of major European artists, and the successes of Jenny Lind and Anton Rubinstein created high expectations for the performers who came after them. Amalie Joachim toured from March to May of 1892, during the same months as Paderewski, Edward Lloyd, and George and Lillian Henschel.1 Although scholars have explored the tours of artists such as Hans von Bülow and Rubinstein, Joachim’s tour has gone largely unnoticed. Beatrix Borchard, Joachim’s biographer, has used privately held family letters to chronicle some of Joachim’s own responses to the tour, as well as a sampling of the reviews of the performer’s New York appearances. She does not provide complete details of Joachim’s itinerary, however, or performances outside of New York. Although Borchard notes that Villa Whitney White traveled with Joachim and that the two performed duets, she did not realize that White was an American student of Joachim who significantly influenced the tour.2 The women’s activities, however, can be traced through reviews and advertisements in newspapers and music journals, as well as brief descriptions in college yearbooks. These sources include the places Joachim performed, her repertoire, and descriptions of the condition of her voice and health. Most of Joachim’s performances were in and around Boston. During some of her time in this city, she stayed with her Amalie Joachim, portrait given to Clara Kathleen Rogers. friend, the former opera singer Clara Kathleen Rogers.
    [Show full text]
  • Vignettes of His Life and Times by Paul Wittke
    Virgil Thomson - Vignettes of His Life and Times by Paul Wittke I. The Beginnings Kansas City Everything may have been up-to-date in Kansas City, Kansas, as Rodgers and Hammerstein wrote, but everythinghappened in Kansas City, Missouri, where Virgil Thomson, its most inimitable citizen, was born on 25 November 1896. He set the record straight in the first sentences of his spic and span autobiography (1966): "To anyone brought up there, as I was, 'Kansas City' always meant the Missouri one.... You did not speak of Kansas City, Kansas, often...or go there unless you had business." The truculence of these sentences was his benchmark to his dying day. Thomson's great romance with Missouri needs no apology. The state has never been a cultural desert; its historical and sociological history is of great importance in our political life. The journalist Horace Greeley, the editor William Allen White, the painter Thomas Hart Benton, and Harry Truman are among its glories. In fact, the entire Midwest is a bedrock of our cultural history whose native sons and daughters include T. S. Eliot, Mark Twain, F. Scott Fitzgerald, Sherwood Anderson, Langston Hughes, Ernest Hemingway, Cole Porter, and Marianne Moore. Thomson was a prodigy: intellectually, verbally, musically, and literarily, and he voraciously apprehended the world around him. He must have been a difficult child to handle and was surely an oddball to his many friends. They admired him but were aware of the need to protect themselves from his boundless energy and perceptive ability to ferret out fuzzy conclusions and illogical thinking.
    [Show full text]
  • Summer 2019 Boston Symphony Orchestra
    boston symphony orchestra andris nelsons music director summer 2019 EXPERIENCE THE For the Discriminating NEW MET SEASON Shopper PHOTO: PAOLA KUDACKI / MET OPERAPHOTO:/ PAOLA KUDACKI The Met’s 2019 – 20 season features five new productions, including Philip Glass’s Akhnaten, starring Anthony Roth Costanzo (pictured) as the Egyptian pharaoh opposite J’Nai Bridges as Nefertiti. Tickets go on sale June 23 — or curate your own series of performances and save up to 15%. Peter Gelb GENERAL MANAGER Learn more at metopera.org/tickets or by Yannick Nézet-Séguin world class calling 212.362.6000. JEANETTE LERMAN-NEUBAUER MUSIC DIRECTOR C+I 2019 studs.indd 2 8/29/19 12:15 PM Tanglewood_Jun_SingleTickets.indd 2 5/29/19 9:18 AM For the Discriminating Shopper world class BRANDS ManchesterDesignerOutlets.com C+I 2019 studs.indd 3 8/29/19 12:15 PM Tanglewood_Jun_SingleTickets.indd 2 5/29/19 9:18 AM C+I 2019 studs.indd 4 8/29/19 12:16 PM Andris Nelsons, Ray and Maria Stata Music Director Bernard Haitink, LaCroix Family Fund Conductor Emeritus Seiji Ozawa, Music Director Laureate Thomas Adès, Deborah and Philip Edmundson Artistic Partner Thomas Wilkins, Germeshausen Youth and Family Concerts Conductor 138th season, 2018–2019 Trustees of the Boston Symphony Orchestra, Inc. Susan W. Paine, Chair • Joshua A. Lutzker, Treasurer William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L.
    [Show full text]
  • 2016 SDF 5.5X8.5 NFA Book.Pdf 1 6/24/16 7:56 AM
    National Flute Association 44th Annual Convention SanSan Diego,Diego, CACA August 11–14, 2016 SDF_5.5x8.5_NFA_Book.pdf 1 6/24/16 7:56 AM C M Y CM MY CY CMY K YOUR VOICE ARTISTRY TOOLS SERVICES unparalleled sales, repair, & artistic services for all levels BOOTH 514 www.flutistry.com 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 3 nfaonline.org 4 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 nfaonline.org 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 5 nfaonline.org INSURANCE PROVIDER FOR: ALL YOU NEED TO KNOW ABOUT FLUTE INSURANCE www.fluteinsurance.com Located in Florida, USA or a Computer Near You! FL License # L054951 • IL License # 100690222 • CA License# 0I36013 6 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 nfaonline.org TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Coordinators ............................................................... 14 From the Convention Program Chair ................................................. 21 2016 Awards ..................................................................................... 23 Previous Lifetime Achievement and Distinguished Service Award Recipients ....................................................................................... 26 Instrument Security Room Information and Rules and Policies .......... 28 General Hours and Information ........................................................
    [Show full text]