Boston Symphony Orchestra Concert Programs, Season 50,1930
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13 Foreword to Richard Taruskin's Essays On
13 FOREWORD TO RICHARD TARUSKIN’S ESSAYS ON MUSORGSKY Th e entry below initially appeared in 1993, as a Foreword to a book of ground-breaking essays on Modest Musorgsky by Richard Taruskin (Musorgsky: Eight Essays and an Epilogue [Princeton: Princeton University Press, 1993]). At the time Taruskin was the foremost authority on Russian music in the Western world; by now (2010) he has become foremost in several other areas as well. To his writings and generous mentorship I owe my education in this Russian composer. EXCERPTS FROM THE FOREWORD TO RICHARD TARUSKIN, MUSORGSKY: EIGHT ESSAYS AND AN EPILOGUE 1993 In 1839, the year of Musorgsky’s birth, the Marquis de Custine made a three-month journey through the Russian Empire. Th e travel account he published four years later, La Russie en 1839, became an international bestseller; to this day, fairly or no, it is read as a key to that country’s most grimly persistent cultural traits.1 Astolphe de Custine (1790–1857) was an aristocrat from a family ravaged by the French Revolution. Nevertheless, he came to view the Russian absolute autocracy (and the cunning, imitative, servile subjects it bred and fostered) as far more deceitful and potentially 1 See the reprint edition of the fi rst (anonymously translated) English version of 1843, Th e Marquis de Custine, Empire of the Czar: A Journey through Eternal Russia (New York: Anchor-Doubleday, 1989). Quotations in this essay occur on pp. 600, 109, and 206 respectively. George Kennan has called La Russie en 1839 “not a very good book about Russia in 1839” but “an excellent book, probably in fact the best of books, about the Russia of Joseph Stalin” (George F. -
The Inextricable Link Between Literature and Music in 19Th
COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57 -
Boston Symphony Orchestra Concert Programs, Season 44,1924-1925, Trip
SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, March 19, at 8.00 PRoGR2W\E ffmrroro STEINWAY STEINERT JEWETT WOODBURY PIANOS DUOART Reproducing Pianos Pianola Pianos « VICTROLAS VICTOR RECORDS DeForest Radio Merchandise M. STEINERT & SONS 162 Boylston Street 35 Arch Street BOSTON, MASS. SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-FOURTH SEASON. 1924-1925 >&a>*tt ^ INC. SERGE KOUSSEVITZKY, Conductor Programm© ©f the SEVEMTH COMCERT SEASON 1924-1925 THURSDAY EVENING, MARCH 19, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1925, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT -ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN ARTHUR LYMAN E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager — THE INST%UMENT OF THE IMMORTALS IT IS true that Rachmaninoff, Pader- Each embodies all the Steinway ewski, Hofmann—to name but a few principles and ideals. And each waits of a long list of eminent pianists only your touch upon the ivory keys have chosen the Steinway as the one to loose its matchless singing tone, perfect instrument. It is true that in to answer in glorious voice your the homes of literally thousands of quickening commands, to echo in singers, directors and musical celebri- lingering beauty or rushing splendor ties, the Steinway is an integral part the genius of the great composers. of the household. And it is equally true that the Steinway, superlatively fine as it is, comes well within the There is a Steinway dealer in your range of the moderate income and community or near you through 'whom meets all the requirements of the you may purchase a new Steinway modest home. -
Amherst Center for Russian Culture Aron Pressman
Amherst Center for Russian Culture Aron Pressman Collection of Opera Scores Accession number: CRC99-0003 Quantity: 6.5 linear ft. Containers: 6 archival boxes Processed by: Aaron Stayman Fall 1999 Finding Aid Date: December 1999 Prepared by: Aaron Stayman Edited by: Stanley Rabinowitz Director of the Center for Russian Culture Access: No restriction. Copyright: It is the responsibility of the researcher to identify and satisfy the holders of the copyrights, Requests for permission to publish material from the collection should be directed to the Director of the Amherst Center for Russian Culture. © Amherst College Center for Russian Culture Page 1 Aron Pressman Collection of Opera Scores Contents Desciption of the collection........................................................................................................3 Complete listing of materials Operas in Russian (or translated into Russian)..............................................................4 Operas not in Russian...................................................................................................7 Ballet............................................................................................................................7 Other sheet music.........................................................................................................7 © Amherst College Center for Russian Culture Page 2 Description of the Collection The present collection includes books of sheet music belonging to Aron Pressman. Many of these are opera scores printed -
Opera's 'Wicked Women': the Presence of Female Type in the Bible and Its Translation to the Stage
Opera’s ‘Wicked Women’: The Presence of Female Type in the Bible and its Translation to the Stage Zoë Elizabeth Spencer MA by Research University of York Music December 2015 Abstract Throughout the Christian Bible and accompanying religious scriptures, female characters display common, defining traits, that mean they fall into certain ‘categories’ or types of woman. The relatively small quantity of female character profiles found in Christian scripture are continued in art-forms throughout history – in this thesis, opera will be the chosen medium. The fates of operatic heroines and biblical female characters are often extremely similar; therefore, it is interesting to see what happens dramatically when the two worlds collide. Both the Bible and opera as an art-form seem to fixate upon the ideas of the female victim, the dangerous femme fatale, and, to a lesser extent, the heroic woman. These tropes, which take different and numerous forms and guises within the Bible, are explored musically on stage. Through elements of the operas I have chosen, such as musical interaction, character profiling, and specific staging, I will address the issues facing women who inhabit the pages of the Bible and its various Apocrypha. The works that have been selected for study contain one significant, and often problematical, female character. In this thesis, I will focus on four case studies composed within sixty years of each other, around the late 19th century/early 20th century. These works are Hagith, by Karol Szymanowski, Samson et Dalila by Saint- Saëns, Judith by Serov, and Salome, the product of Strauss’s music and Wilde’s text. -
Not for Citation Without Permission of Author
NOT FOR CITATION WITHOUT PERMISSION OF AUTHOR 1220 THE BLAGOVEST THEME IN RUSSIAN MUSIC Edward V. Williams Professor of Music History University of Kansas This paper was originally presented at a Kennan Institute for Advanced Russian Studies colloquium on December 18, 1985. Copyright 1987 by the Wilson Center Kennan Institute for Advanced Russian Studies Woodrow Wilson International Center for Scholars The following essay was prepared and distributed by the Kennan Institute for Advanced Russian Studies as part of its Occasional Paper series. The series aims to extend Kennan Institute Occasional Papers to all those interested in Russian and Soviet studies and to help authors obtain timely feedback on their work. Occasional Papers are written by Kennan Institute scholars and visiting speakers. They are working papers presented at, or resulting from, seminars, colloquia, and conferences held under the auspices of the Kennan Institute. Copies of Occasional Papers and a list of Occasional Papers currently available can be obtained free of charge by writing to: Occasional Papers Kennan Institute for Advanced Russian Studies Woodrow Wilson International Center for Scholars Smithsonian Institution 955 L'Enfant Plaza, Suite 7400 Washington, D.C. 20560 The Kennan Institute for Advanced Russian Studies was established in 1975 as a program of the Woodrow Wilson International Center for Scholars. The Kennan Institute was created to provide a center in washington, D.C., where advanced research on Russia and the USSR could be pursued by qualified U.S. and foreign scholars, where encouragement and support could be given to the cultivation of Russian and Soviet studies throughout the United States, and where contact could be maintained with similar_institutions abroad. -
Fourteenth Rehearsal and Concert
SYMPHONY HALL, BOSTON HUNTINGTON (S- MASSACHUSETTS AVENUES _ , . Ticket Office, 1492 Telephones I I ^"*^^d ^i ^^^o { Administration Offices, 3200 } TWENTY-SEVENTH SEASON, 1907-1908 DR. KARL MUCK, Conductor Fourteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, FEBRUARY 7 f^i AT 2.30 O'CLOCK SATURDAY EVENING, FEBRUARY 8 AT 8.00 O'CLOCK PUBLISHED BY C. A. ELLIS, MANAGER 1045 : piAi^a Used and Indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel "Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY a L SCHIRMER & COMPANY, 38 Huntington Avenue, Boston, Mass. 1046 Boston Symphony Orchestra PERSONNEL orijtcik^rtng iStatu Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET Cor. NORTHAMPTON ST. Near Mass. Ave. BOSTON TWENTY-SEVENTH SEASON, NINETEEN HUNDRED SEVEN anrf EIGHT e Fourteenth Rehearsal and Concert* FRIDAY AFTERNOON, FEBRUARY 7, at 2.30. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wifi indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 AN ANTHOLOGY OF NINETEENTH-CENTURY RUSSIAN ARIAS FOR TENOR: A GUIDE TO PERFORMANCE 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 Larry Wayne Fralick, Jr., B.M., M.M. -
Russian Review
BOOK REVIEWS LITERATURE AND FINE A RTS Chadaga, Julie Bekman. Optical Play: Glass, Vision, and Spectacle in Russian Culture. Studies in Russian Literature and Theory. Evanston: Northwestern University Press, 2015. xvi + 315 pp. $89.95. ISBN 978-0-8101-3003-6. This book is a Wunderkammer of Russian and Soviet culture, a museum of glass in literary texts, architecture, film, and other media. Her analysis of high and low culture is interspersed with the history of the material: the arrival of glass in Russia, the process of making window panes in the early nineteenth century, the working conditions in glass factories. The scope of the book is both astonishing and impressive. Julie Chadaga’s argument runs along two lines. On the one hand she makes a case for the significance of material culture itself, drawing on scholarship outside of the field of Russian studies. Her particular interest lies in showing “how the text and the object mutually illuminate one another,” and how “artifacts in literature can speak volumes” (p. 7). She is also invested in bringing Russia into the broader discourse around modernity and technological innovation from which it is so often omitted. The second line of argumentation concerns the fundamental ambivalence of glass as both a material and a cultural signifier. Glass is a “threshold” material, located at the “intersection of art and science;” it also exercises a peculiar power over the imagination, the “workings of the mind’s eye” (p. 5). In the case of Russia, glass arrived just as the country was opening up to the West and “simultaneously helped to both symbolize and realize modernity and the process of Westernization in Russia” (p. -
Singing the Myths of the Nation: Historical Themes in Russian Nineteenth-Century Opera
Singing the Myths of the Nation: Historical Themes in Russian Nineteenth-Century Opera Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate school of The Ohio State University By Ray Alston, M.A. Graduate Program in Slavic and East European Languages and Cultures The Ohio State University 2018 Dissertation Committee: Alexander Burry, Advisor Angela Brintlinger Helena Goscilo Jon Linford © Ray Alston 2018 Abstract Historical opera represents an important subgenre in the Russian repertoire, but many of the Russian operas on historical themes are unperformed and unknown in the West. However, they continue to play an important role in Russia’s self-exploration and historical identity. This dissertation seeks to address the matter of what it means to interpret history through the lens of opera. What assumptions about history are present in these works by virtue of the genre? To answer this question, this dissertation draws on the essays of W. H. Auden who asserts that in opera, virtuosic singing causes even real, historical persons to seem like the gods and heroes of myth. This principle serves as something of the reversal of the concept of displacement that Northrop Frye discusses in Anatomy of Criticism. According to Frye, all plots have a mythic core. Realistic works displace their mythic core by limiting the power of heroes and placing greater obstacles in their way. In opera, the process collapses. A realistic or historical plot may displace the mythic elements of the story of an opera, but the virtuosic singing reconnects the plot with its mythic core. -
ARSC Journal
HISTORICAL REISSUES A "collectors' series" of historical recordings, wherever it is issued and under whatever auspices, is in effect an extension of the record club concept. Generally speaking record collectors are not misers. Even those whose chief interest is in labels know that a record was made to sound, and most of us like to share our treasures. This is a case where you can eat your cake and have it. The Rubini label thus takes us into some of the great British collections, which is to say some of the finest in the world. Checking the source credits against the labels and jackets it is not too difficult to guess that the code letters SJG and GV stand for Syd J. Gray and the joint collection of George Stuart and Vi vi an Liff. Other compilers are represented in the CC ("Collectors' Choice") series. If the overall quality of these transfers is un usually good considering the rarity of the originals, one may safely give credit to these collectors, first in their selection of choice materials in the best copies to be found, then in maintaining a high standard of copying. Of course there is some unevenness. The list has been growing for several years and some lessons have obviously been learned. Pitching old records involves a certain amount of guesswork; for the most part I think the correct answers have been found. Where they are definitely wrong - notably in the Chaliapin program - I believe the dubbing was done early in the game. Certain of the repro ductions emerge with a hum and in the batch of 18 releases sent to me there were a couple of stylus jumps. -
VLADIMIR KASTORSKY Remarkable Lower Register (Including the Low D Natural) Are Indeed Impressive
NI 7917 are well observed by Kastorsky evoking the correct mood and developing the lovely melody that is first heard in the overture. Mazeppa. The three treasures. Kocubei is imprisoned in Mazeppa’s castle and initially refuses, even under torture, to tell where his treasure is hidden. A highly dramatic scenario, and part of a plot that is historical in content, this aria calls for long sustained phrasing in a demanding tessitura which Kastorsky sings in masterly fashion. Die Zauberflöte. In diesen heil’gen Hallen. The High Priest Sarastro leads Pamina into the temple. He tells her that should Tamino be successful in all his trials, peace will reign and they will be re-united. Sonority and gravitas are essential here, and Kastorsky’s excellent legato and VLADIMIR KASTORSKY remarkable lower register (including the low D natural) are indeed impressive. TheWolves and Before the Voyevoda. Anton Rubenstein is probably best remembered for his opera the Demon, which was once so popular, particularly in Eastern Europe. The first of these attractive songs is dramatic in content and Kastorsky’s sepulchral tone is filled with dread. The second song contains a solemn narrative type melody, interrupted by some demanding dramatic phrases. When we cross the river is a traditional and very attractive folk melody sung as a duet with a tenor and is probably the kind of material that Kastorsky popularised in his recitals. The tenor may be one of Kedroff brothers with whom Kastorsky formed a famous vocal ensemble. Massenet’s well known Elégie is usually sung by a higher voice, but Kastorsky (like his bass colleague Chaliapin), has real feeling for the text and makes much of the haunting melody.