Boston Symphony Orchestra Concert Programs, Season 111, 1991
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
TRISTAN UND MATHILDE Inspiration – Werk – Rezeption
TRISTAN UND MATHILDE Inspiration – Werk – Rezeption Sonderausstellung 29. 11. 2014 bis 11. 01. 2015 Stadtschloss Eisenach 2 / 3 Nicolaus J. Oesterlein (1841–1898), Sammler und Initiator der Sammlung DIE EISENACHER RICHARD-WAGNER-SAMMLUNG In der Reuter-Villa am Fuße der Wartburg schlummern manch vergessene Schätze: Das Abbild einer römischen Villa beherbergt die zweitgrößte Richard-Wagner-Sammlung der Welt. Den Grundstein hierfür legte der glühende Wagner-Verehrer Nicolaus J. Oesterlein (1841–1898) mit einer akribisch angelegten Sammlung von ca. 25.000 Objekten – darunter etwa 200 Handschriften und Originalbriefe Wagners, 700 Theaterzettel, 1000 Graphiken und Fotos, 15.000 Zeitungsausschnitte, handgeschriebene Partituren. Das Herzstück der Sammlung ist eine über 5.500 Bücher umfassende Bibliothek, die neben sämtlichen Wer- ken des Komponisten den fast lückenlosen Bestand der Wagner-Sekundärliteratur des 19. Jahrhunderts enthält. Das Archivmaterial stellt nicht nur einen umfassenden Zugang zu Wagners kompositori- schem und literarischem Schaffen dar, sondern ebenso zu musikästhetischen, philoso- phischen, kulturgeschichtlichen und soziopolitischen Kontroversen des späten 19. Jahr- hunderts. Oesterleins Sammlung kann somit als ein Spiegelbild der Wagner-Rezeption gedeutet werden. Die Sonderausstellung »Tristan und Mathilde. Inspiration – Werk – Rezeption« rückt einige der exquisiten Exemplare aus der Sammlung erstmals wieder in die Öffentlichkeit, die auf diese Weise mit diesem unschätzbaren Kulturgut konfrontiert werden soll. Wie die Sammlung nach Eisenach kam In den 1870er Jahren begann Nicolaus J. Oesterlein mit einem enormen finanziellen Auf- wand und einer fast manischen Akribie alles zu sammeln, was mit dem Komponisten in Verbindung stand. 1887 eröffnete Oesterlein ein Privatmuseum in Wien – in den 1890er Jahren brachte er seinen vierbändigen Katalog heraus. Zu diesem Zeitpunkt umfasste seine Sammlung – nach eigenen Angaben – ca. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
July 8-18, 2021
July 8-18, 2021 Val Underwood Artistic Director ExecutiveFrom Directorthe Dear Friends: to offer a world-class training and performance program, to improve Throughout education, and to elevate the spirit of history, global all who participate. pandemics have shaped society, We are delighted to begin our season culture, and with Stars of Tomorrow, featuring institutions. As many successful young alumni of our we find ourselves Young Singer Program—including exiting the Becca Barrett, Stacee Firestone, and COVID-19 crisis, one pandemic and many others. Under the direction subsequent recovery that comes to of both Beth Dunnington and Val mind is the bubonic plague—or Black Underwood, this performance will Death—which devastated Europe and celebrate the art of storytelling in its Asia in the 14th century. There was a most simple and elegant state. The silver lining, however, as it’s believed season also includes performances that the socio-economic impacts of by many of our very own, long- the Plague on European society— time Festival favorites, and two of particularly in Italy—helped create Broadway’s finest, including HPAF the conditions necessary for what is Alumna and 1st Place Winner of arguably the greatest post-pandemic the 2020 HPAF Musical Theatre recovery of all time—the Renaissance. Competition, Nyla Watson (Wicked, The Color Purple). Though our 2021 Summer Festival is not what was initially envisioned, As we enter the recovery phase and we are thrilled to return to in-person many of us eagerly await a return to programming for the first time in 24 “normal,” let’s remember one thing: we months. -
Cds by Composer/Performer
CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
Boston Symphony Orchestra
Tangtewqpd 19 3 7-1987 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Saturday, 29 August at 8:30 The Boston Symphony Orchestra is pleased to present WYNTON MARSALIS An evening ofjazz. Week 9 Wynton Marsalis at this year's awards to win in the last four consecutive years. An exclusive CBS Masterworks and Columbia Records recording artist, Wynton made musical history at the 1984 Grammy ceremonies when he became the first instrumentalist to win awards in the categories ofjazz ("Best Soloist," for "Think of One") and classical music ("Best Soloist With Orches- tra," for "Trumpet Concertos"). He won Grammys again in both categories in 1985, for "Hot House Flowers" and his Baroque classical album. In the past four years he has received a combined total of fifteen nominations in the jazz and classical fields. His latest album, During the 1986-87 season Wynton "Marsalis Standard Time, Volume I," Marsalis set the all-time record in the represents the second complete album down beat magazine Readers' Poll with of the Wynton Marsalis Quartet—Wynton his fifth consecutive "Jazz Musician of on trumpet, pianist Marcus Roberts, the Year" award, also winning "Best Trum- bassist Bob Hurst, and drummer Jeff pet" for the same years, 1982 through "Tain" Watts. 1986. This was underscored when his The second of six sons of New Orleans album "J Mood" earned him his seventh jazz pianist Ellis Marsalis, Wynton grew career Grammy, at the February 1987 up in a musical environment. He played ceremonies, making him the only artist first trumpet in the New -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
The Performer As Classical Voice Teacher
THE PERFORMER AS CLASSICAL VOICE TEACHER: EVALUATING THE ROLE OF THE PERFORMER-TEACHER AND ITS IMPACT ON THE STUDENT LEARNING EXPERIENCE MARGARET SCHINDLER S368294 QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY in fulfilment of the requirement of the degree of Doctor of Musical Arts TABLE OF CONTENTS Table of Contents ..................................................................................................................................... i ABSTRACT ....................................................................................................................................... iii ACKNOWLEDGEMENTS .................................................................................................................. iv BOOK CHAPTERS AND PRESENTATIONS ......................................................................................... v STATEMENT OF AUTHENTICITY ...................................................................................................... vi Chapter One: Setting the Scene ................................................................................................ 1 1.1 Introduction .............................................................................................................................. 1 1.2 An auto-ethnography ................................................................................................................ 3 1.3 Rationale for this thesis .......................................................................................................... 10 Chapter Two: -
Download February 2021
ALWAYS Mendocino Coast's FREE Lighthouse February 2021 Peddler The Best Original Writing, plus the Guide to Art, Music, Events, Theater, Film, Books, Poetry and Life on the Coast ValentinesValentines DayDay ArtArt toto Enjoy,Enjoy, 22 GalleriesGalleries toto VisitVisit We’re blessed here on the coast with a world of art that surrounds us. We can take a look at the art, spend a li!le time gazing upon it, read something into it or just enjoy the moment. "is month two of our local galleries will have new exhibits and both are worth a look. So we’ve planned a day for you. Start your day in Gualala at the Dolphin Gallery for their new opening “Hearts for the Arts. "en take an easy 15 minute drive north to Point Arena for a stop at the Coast Highway art Collective where members of the collective will present Valentines Art. And don’t forget to look at the ocean as you drive between the two galleries. Both galleries will welcome you, and you will be assured a delightful day. At the Dolphin Gallery the new exhibit, “Hearts for the Arts”, brings together three artists: Jane Head’s focus on clay, Walt Rush’s on jewels, and Leslie Moody Cresswell’s glass. Cont'd on Page 12 Coast Highway Art Collective in February • Valentines Art and Poetry Meet February 6 By Rozann Grunig !e members of the Coast Highway Art mechanically adept artist mother” and her Council to deliver creative arts instruction Collective are hosting their "rst opening “gregarious, disordered, audacious poet fa- in K-12 classrooms around the Northern reception of 2021 on Saturday, February 6 ther,” she says. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
Tristan Und Isolde - Wikipedia, the Free Encyclopedia
איזולדה Isolde – garland of flowers in her blonde hair, which has thin plaits falling down her face from her forehead. Identify your Ascended Master إيزولدى http://www.egyptianoasis.net/showthread.php?t=8350 ِاي ُزول ِدِ Ιζόλδη ISOLDE …. The origins of this name are uncertain, though some Celtic roots have been suggested. It is possible that the name is ultimately Germanic, perhaps from a hypothetic name like Ishild, composed of the elements is "ice" and hild "battle". http://www.behindthename.com/name/isolde Tristan und Isolde - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Tristan_und_Isolde Tristan und Isolde From Wikipedia, the free encyclopedia Tristan und Isolde ( Tristan and Isolde , or Tristan and Isolda , or Tristran and Ysolt ) is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hof- und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally a drama , a plot or an action ), which was the equivalent of the term used by the Spanish playwright Calderón for his dramas. Wagner's composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer (particularly The World as Will and Representation ) and Wagner's affair with Mathilde Wesendonck. Widely acknowledged as one of the peaks of the operatic repertoire, Tristan was notable for Wagner's unprecedented use of chromaticism, tonality, orchestral colour and harmonic suspension. -
Boston Symphony Orchestra Concert Programs, Summer, 1954-1956
contltictA me «L$o4tim ^ymfmtmu &^cAe4t^a RCA Victor recreates all the eloquence of his interpretations in these brilliant "New Orthophonic ' High Fidelity recordings **Berlioz:The Damnation of Faust (complete)—Suzanne Danco, Soprano; David Poleri, Tenor; Martial Singher, Baritone **Berlioz: Romeo and Juliet (complete)—Margaret Roggero, Contralto; Leslie Chabay, Tenor; Yi-Kwei Sze, Bass **Brahms: Piano Concerto No. 2, in B Flat, op. 83—Artur Rubinstein, Piano *Beethoven: Symphony No. 7, in A, op. 92 **Chopin: Piano Concerto No. 2, in F Minor. **Saint-Saens: Piano Concerto No. 4, in C Minor—Alexander Brailowsky, Piano. **"New Orthophonic' High Fidelity. *High Fidelity. rcaVictor D I D MUSIC ill ^i1 s i ? » "• I *> ". :, Pv ^H—JL i i ~.~z~ BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director Berkshire Festival, Season 1955 (EIGHTEENTH SEASON) TANGLEWOOD, LENOX, MASSACHUSETTS FIRST WEEK Concert Bulletin, with historical and descriptive notes by John 1\. Burk copyright. l955, by boston symphony orchestra, inc. Trustees of the Boston Symphony Orchestra, Inc. Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richabd C. Paine, Treasurer Talcott M. Banks, Jr. \lvan I. Fuller C. D. Jackson Charles H. Stockton John Nicholas Brown Francis W. Hatch Michael T. Kelleher Ldward A. Taft Theodore P. Ferris Harold D. Hodgkinson Palfrey Perkins Raymond S. Wilkins Oliver Wolcott Trustees Emeritus Philip B. \lleiv M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Tanglewood Advisory Committee \i.\n J. Blai Henry W. Dwight F. Anthony Hanlon George E. Mole Lenges Bi m George W. Edman Lawrence K. Miller Whitney S. Stoddard Jesse L. Thomason Bobert K. Wheeler H.