New York Philharmonic : the Authorized Recordings, 1917-2005 Pdf, Epub, Ebook
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William Burnet Tuthill Collection
WILLIAM BURNET TUTHILL COLLECTION William Burnet Tuthill Collection Guide Overview: Repository: Inclusive Dates: Carnegie Hall Archives – 1891 - 1920 Storage Room Creator: Extent: William Burnet Tuthill 1 box, 42 folders; 1 Scrapbook (10 X 15 X 3.5), 5 pages + 1 folder; 44 architectural drawings Summary / Abstract: William Burnet Tuthill is the architect of Carnegie Hall. He was an amateur cellist, the secretary of the Oratorio Society, and an active man in the music panorama of New York. The Collection includes the questionnaires he sent to European theaters to investigate about other theaters and hall, a scrapbook with clippings of articles and lithographs of his works, and a series of architectural drawings for the Hall and its renovations. Access and restriction: This collection is open to on-site access. Appointments must be made with Carnegie Hall Archives. Due to the fragile nature of the Scrapbook, consultation could be restricted by archivist’s choice. To publish images of material from this collection, permission must be obtained in writing from the Carnegie Hall Archives Collection Identifier & Preferred citation note: CHA – WBTC – Q (001-042) ; CHA – WBTC – S (001-011) ; CHA – AD (001-044) William Burnet Tuthill Collection, Personal Collections, Carnegie Hall Archives, NY Biography of William Burnet Tuthill William Burnet Tuthill born in Hoboken, New Jersey, in 1855. He was a professional architect as well as passionate and amateur musician, a good cellist, and an active man in the music scene of New York. He studied at College of the City of New York in 1875 and after receiving the Master of Arts degree, started his architectural career in Richard Morris Hunt’s atelier (renowned architect recognized for the main hall and the façade of the Metropolitan Museum on Fifth Avenue, the Charity Home on Amsterdam Avenue – now the Hosteling International Building- and the pedestal of the Statue of Liberty). -
Vail Daily Column Musically Speaking on New York Philharmonic's
Vail Daily column Musically Speaking on New York Philharmonic’s Thirteenth Residency at Bravo! Vail by Sandra Pearson, Assistant Principal Librarian, New York Philharmonic An orchestra's season has a certain flow to it. When we finish our winter season, the shirt sleeves get shorter, and our summer festival wardroBe is donned. Our thoughts also turn towards a change of scenery that takes us from the concrete confines of New York to the pine-scented fresh mountain air of Colorado. Along with the other orchestras who get to enjoy a summer season such as Blossom or Tanglewood, we too get to enjoy our summer residency hiking and making music in the Beautiful surroundings of the Rocky Mountains. We are happy to once again Be sharing music By some our greatest composers with our enthusiastic audiences in the Vail Valley. We enjoy our collaBoration with the amicaBle and witty Bramwell Tovey, and judging from past audience reactions, so do our fans in Vail. The first program on July 24th showcases the pianist Jon Kimura Parker playing Edvard Grieg's classic Piano Concerto in A minor. This concert will also showcase the suBliminal overture to Fingal's Cave By Felix Mendelssohn and Edward Elgar's Enigma Variations. Maestro Tovey's second program on July 26th features Bravo! Vail's artistic director and talented pianist Anne-Marie McDermott playing Rachmaninoff's romantic Rhapsody on a Theme of Paganini. Balancing out the rest of the program are Le Corsair Overture By Berlioz, The Emperor Waltzes by Johann Strauss, Jr., and the prismatic Suite from Der Rosenkavalier by Richard Strauss. -
[email protected] BARBARA HAWS NAMED ARCHIV
FOR IMMEDIATE RELEASE April 18, 2018 Contact: Katherine E. Johnson (212) 875-5700; [email protected] BARBARA HAWS NAMED ARCHIVIST AND HISTORIAN EMERITUS AT THE NEW YORK PHILHARMONIC Haws To Retire from the Philharmonic After 34-Year Tenure To Pursue Doctoral Degree from University of Oxford, Researching Philharmonic Founder Ureli Corelli Hill The New York Philharmonic has named Barbara Haws Archivist and Historian Emeritus for her leadership role in the creation, curation, and expansion of the Philharmonic’s extensive Archives for almost 34 years. She will retire from the Philharmonic in August 2018 and pursue a doctorate in musicology when she matriculates at New College, University of Oxford, in October. Over the course of three-and-a-half decades as Philharmonic Archivist / Historian, Ms. Haws amassed and added to the Philharmonic Archives through research and acquisition. She also made the remarkable American cultural resource accessible for free throughout the world by launching and developing the New York Philharmonic Leon Levy Digital Archives. “Barbara has been an indispensable colleague in the more than 25 years we’ve known each other,” said Deborah Borda, New York Philharmonic President and CEO. “Her pioneering work in the Archives has produced an invaluable resource for the world, one that allows us to clearly see how the New York Philharmonic’s history is the history of our city, our country, and classical music in America. Barbara’s creativity in crafting events and stories around this material, and her innovation and foresight in establishing the Digital Archives, has positioned the Philharmonic as a leader in this area. -
Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
SHI BOSTON SYMPHONY ORCH ESTRA 2005-2006 SEASON JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK CONDUCTOR EMERITUS SEIJI OZAWA MUSIC DIRECTOR LAUREATE Tap, tap, tap. The final movement is about to begin. unique and In the heart of This 1 final phase is priced this eight-acre gated *" - : million community, at the ->r-C from $1,625 to $6.6 million. pinnacle of Fisher Hill appointment to view the original Manor will be trans- For an finale, please call formed into five estate-sized luxury this grand condominiums ranging from 2,052 Hammond GMAC Real Estate 617-731-4644, ext. 410. to a lavish 6,650 square feet of at old world charm with today's ultra-modern comforts. LONGYEAR at 3is£er( Jfitf BROOKLINE www.longyearestates . com -••*- 1 Hammond CORt-LAND III I . I N j I . L I'ROr'l-K'I'IIiS INC. i<$t?Tv fr '^ i*6lfe" •i? *? *'A-I , * The path to recovery... JS&S * McLean Hospital '- j— - -The nation's top psychiatric hospital. 1 -V U.S. News ScWorld Report, &&* i j» .? - *** - .*•** 1 * SB apr^fe- >£Jd :%&^£r &, ;iDBi:;||::!BSi: A; jRS The Pavilion at McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service Belmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean /s the largest p psychiatric clinical care, teaching and research affiliate 1 ARTNERb™ of Harvard Medical School, an affiliate of Massachusetts General Hospital and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. -
Jewish Contributions to Music
Jewish Contributions to the Art of Music By: Cantor Paul Kowarsky How significant was the Jewish contribution to the development of the art of music? Many of the early Christians were formerly Jews, and brought their Jewish music & melodies into their churches. Research and comparison studies with Gregorian chants have proven conclusively the debt which early church music owes to Ancient Jewish music. This fact impacts upon the entire history and development of the art of music. Biblical texts inspired the early Italian composers and were the basis for the texts of numerous great choral works such as many of Handel's compositions for choir, Haydn's "The Creation" and Mendelssohn's "Elijah." The influence of Jewish song is clear in the works of many great 19th Century composers: Bruch's Kol Nidrei and "Three Hebrew Melodies"; Mussorgsky's "Joshua", Rimsky Korsakov’s song entitled: "Chanson Hebraique," to mention but a few. After the destruction of the Temple and the ban on instrumental playing at services, Jewish musical talent was found in synagogue singing. Young boys sang in choirs and then became cantors (as did I). Many of the great cantors were admired also by the non-Jewish world. Cantor Israel Lovy (1773-1832) of the Great Synagogue in Paris, was invited by Maximilian Joseph Duke of Bavaria, to sing the tenor part in Haydn's "Creation". Cantor Salomon Sulzer (1844-1890) of Vienna was recognized as the first interpreter of the songs of his friend, Franz Schubert. Franz Liszt's laudatory writings about how moved he was when hearing Sulzer daven, are well-known. -
Music (Opportunities for Research in the Watkinson Library)
Trinity College Trinity College Digital Repository Watkinson Library (Rare books & Special Watkinson Publications Collections) 2016 American Periodicals: Music (Opportunities for Research in the Watkinson Library) Leonard Banco Follow this and additional works at: https://digitalrepository.trincoll.edu/exhibitions Part of the Musicology Commons Recommended Citation Banco, Leonard, "American Periodicals: Music (Opportunities for Research in the Watkinson Library)" (2016). Watkinson Publications. 22. https://digitalrepository.trincoll.edu/exhibitions/22 Opportunities for Research in the Watkinson Library • • • • American Perioclicals: USIC Series Introduction A traditional focus of collecting in the Watkinson since we opened on August 28, 1866, has been American periodicals, and we have quite a good representation of them from the late 18th to the early 20th centuries. However, in terms of "discoverability" (to use the current term), it is not enough to represent each of the 600-plus titles in the online catalog. We hope that our students, faculty, and other researchers will appreciate this series ofannotated guides to our periodicals, broken down into basic themes (politics, music, science and medicine, children, education, women, etc.), MUSIC all of which have been compiled by Watkinson Trustee and Introduction volunteer Dr. Leonard Banco. We extend our deep thanks to Len for the hundreds of hours he has devoted to this project The library holds a relatively small but significant since the spring of 2014. His breadth of knowledge about the collection of19 periodicals focusing on music that period and inquisitive nature has made it possible for us to reflects the breadth ofmusical life in 19th-century promote a unique resource through this work, which has America as it transitioned from an agrarian to an already been of great use to visiting scholars and Trinity industrial society. -
Jan Dewilde Paper 2009
Frank Van der Stucken (1858-1929): a friend of Grieg and translator of his songs Lecture for International Edvard Grieg Conference, Berlin, 13-16 May 2009 This paper fits in with a research project that is presently being implemented in the library of the Royal Conservatoire of Antwerp about the composer-conductor Frank Van der Stucken. The library preserves a large collection of scores and documents of Van der Stucken, which form the basis of this research. The contacts between Edvard Grieg and the Flemish composer-pianist Arthur De Greef (1862-1940), who met in 1888, are well documented, but the piano virtuoso De Greef wasn’t Grieg’s first Flemish contact. One decade before, Grieg had already got to know an American composer with Flemish roots, namely Frank Van der Stucken. Frank Van der Stucken was born in 1858 in Fredericksburg, Texas, as the son of a Flemish father and a German mother.1 When the Secession War (1861-1865) had finished, the family no longer felt safe in Texas and in 1865 they returned to father Van der Stucken’s native town of Antwerp (Belgium). There Van der Stucken junior studied at the Flemish School of Music – the later Royal Flemish Conservatoire. He was a student of the director Peter Benoit (1834-1901), the standard bearer of nationalist music in Flanders. After his studies with Benoit, Van der Stucken went to Leipzig in 1878, like so many of his contemporaries, with a view to continuing his formation with Carl Reinecke. That’s where he first met Grieg, who became his friend. -
Choral Union Concert Series
UNIVERSITY MUSICAL SOCIETY CHARLES A. SINK, PRESIDENT THOR JOHNSON, GUEST CONDUCTOR LESTER MCCOY, ASSOCIATE CONDUCTOR Second Concert 1947-1948 Complete Series 2957 Sixty-ninth Annual Choral Union Concert Series CHICAGO SYMPHONY ORCHESTRA ARTUR RODZINSKI, Conductor SUNDAY EVENING, OCTOBER 26, 1947, AT 7:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Toccata and Fugue in D minor BACH Symphony No. 1 in C minor, Op. 68 ... BRAHMS Un poco sostenuto, allegro Andante sostenuto Un poco allegretto e grazioso Adagio, piu andante; allegro non troppo, ma con brio INTERMISSION Suite from the Ballet, "Appalachian Spring" .... COPLAND Three Dances from "Gaynne" KHATCHATTJRIAN NOTE.—The University Musical Society has presented the Chicago Symphony Orchestra on pre vious occasions as follows: Choral Union Series, Theodore Thomas, conductor (7); in thirty-one May Festivals (1905-1935 inclusive), and in the Choral Union Series, November 2, 1936 and November 30; 1941, Frederick Stock, conductor; March 19, 1945, January 31, 1946, and March 16, 1947, Desire Defauw, conductor. ARS LONGA VITA BREVIS PROGRAM NOTES by FELIX BOROWSKI Toccata and Fugue, D minor .... JOHANN SEBASTIAN BACH Transcribed for Orchestra by Julius Wertheim Bach composed two toccatas in D minor for organ followed in each case by a fugue, both having been composed during his period of service at Weimar as "kam- mermusicus" and concertmaster at the court of Wilhelm Ernst, Duke of Sachsen- Weimar. The instrument in the ducal chapel, for which Bach wrote some of his greatest masterpieces, was a small one (as compared with modern organs), containing nine stops on the Great, eight on the Choir, and seven on the Pedal organ. -
Symphonic Constructions of American National Identity, 1840–1870
MUSIC OF A MORE PERFECT UNION: SYMPHONIC CONSTRUCTIONS OF AMERICAN NATIONAL IDENTITY, 1840–1870 Douglas William Shadle A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2010 Approved By: Mark Evan Bonds, Chair Annegret Fauser Jon Finson Mark Katz Philip Vandermeer ABSTRACT DOUGLAS SHADLE: Music of a More Perfect Union: Symphonic Constructions of American National Identity, 1840–1870 (Under the direction of Mark Evan Bonds) The genre of the symphony has long been recognized as a medium for constructing national identities in German, French, and Russian culture, yet little is known about the genre’s history in the United States. Between 1840 and 1870, the era of the first generation of American orchestral composers, it served as a potent means of expressing American national identity. During this period of American cultural history, two separate processes shaped conceptions of national identity: decolonization from Great Britain and a nascent sense of imperial expansionism. This dissertation explores how mid-century American symphonic composers musically constructed national identities reflecting these conceptions and argues that this practice continued well into the twentieth century. Composers who focused on decolonization generally employed one of two separate strategies. The first was emulation, or copying European symphonic models with the intention of continuing the symphonic tradition. George Frederick Bristow (1825– 1898), for example, wrote symphonies that might be mistaken for music by Mendelssohn or Schumann. The second strategy was exceptionalism, or selectively omitting traditional stylistic elements in order to pave new musical pathways. -
Edvard Grieg Stands As the Most Essential
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Peer Gynt Suite No. 1, Op. 46 Piano Concerto in A minor, Op. 16 Edvard Grieg dvard Grieg stands as the most essential Ecomposer in the history of Norwegian IN SHORT music, a distinction he already clinched Born: June 15, 1843, in Bergen, Norway during his lifetime and would not relinquish in posterity. When he was growing up, his Died: September 4, 1907, in Bergen native country could offer a composer only Works composed and premiered: inciden- limited opportunities for advanced study; tal music to the play Peer Gynt, composed and so he left Norway to enroll, from 1858 to May 1874–September 1875, with additions and 1862, at the Leipzig Conservatory, a destina- revisions continuing through 1902; the four tion for many international music students movements of Peer Gynt Suite No. 1, assembled for publication in 1888; Ibsen’s of the time and a sturdy source of tradition- play Peer Gynt premiered in Christiania (later al learning when it came to musical funda- known as Oslo), Norway, on February 24, mentals and composition. Although in his 1876, with incidental music conducted by later years Grieg would speak of the Leipzig Johan Hennum; Suite No. 1, premiered Conservatory in unflattering terms, the four January 24, 1889, at Chickering Hall in New years he spent there were undeniably im- York City, with Theodore Thomas leading his portant to his development, thanks to his orchestra. Piano Concerto composed June work with such eminent teachers as Ignaz 1868 to early 1869; revised substantially in Moscheles for piano and Carl Reinecke for 1872, 1882, 1890, and 1895; premiered April 3, composition. -
Ceriani the Reception of Alberto Franchetti’S Works in the United States 271 Marialuisa Pepi Franchetti Attraverso I Documenti Del Gabinetto G.P
Alberto Franchetti. l’uomo, il compositore, l’artista Atti del convegno internazionale Reggio Emilia, 18-19 settembre 2010 a cura di Paolo Giorgi e Richard Erkens Alberto Franchetti. L’uomo, il compositore, l’artista il compositore, L’uomo, Franchetti. Alberto associazione per il musicista ALBERTO FRANCHETTI Alberto Franchetti l’uomo, il compositore, l’artista associazione per il musicista FRANCHETTI ALBERTO a cura di Paolo Giorgi e Richard Erkens € 30,00 LIM Libreria Musicale Italiana Questa pubblicazione è stata realizzata dall’Associazione per il musicista Alberto Franchetti, in collaborazione con il Comune di Regio Emilia / Biblioteca Panizzi, e con il sostegno di Stefano e Ileana Franchetti. Soci benemeriti dell’Associazione per il musicista Alberto Franchetti Famiglia Ponsi Stefano e Ileana Franchetti Fondazione I Teatri – Reggio Emilia Fondazione Pietro Manodori – Reggio Emilia Hotel Posta – Reggio Emilia Redazione, grafica e layout: Ugo Giani © 2015 Libreria Musicale Italiana srl, via di Arsina 296/f, 55100 Lucca [email protected] www.lim.it Tutti i diritti sono riservati. Nessuna parte di questa pubblicazione potrà essere riprodot- ta, archiviata in sistemi di ricerca e trasmessa in qualunque forma elettronica, meccani- ca, fotocopiata, registrata o altro senza il permesso dell’editore, dell’autore e del curatore. ISBN 978-88-7096-817-0 associazione per il musicista ALBERTO FRANCHETTI Alberto Franchetti l’uomo, il compositore, l’artista Atti del convegno internazionale Reggio Emilia, 18-19 settembre 2010 a cura di Paolo Giorgi e Richard Erkens Libreria Musicale Italiana Alla memoria di Elena Franchetti (1922-2009) Sommario Presentazione, Luca Vecchi xi Premessa, Stefano Maccarini Foscolo xiii Paolo Giorgi – Richard Erkens Introduzione xv Alberto Franchetti (1860-1942) l’uomo, il compositore, l’artista Parte I Dal sinfonista all’operista internazionale Antonio Rostagno Alberto Franchetti nel contesto del sinfonismo italiano di fine Ottocento 5 Emanuele d’Angelo Alla scuola di Boito. -
Tchaikovsky Violin Concerto in D Major, Op
23 Season 2018-2019 Thursday, September 20, at 7:30 The Philadelphia Orchestra Friday, September 21, at 2:00 Saturday, September 22, Yannick Nézet-Séguin Conductor at 8:00 Lisa Batiashvili Violin Berwald Symphony No. 3 in C major (“Sinfonie singulière”) I. Allegro fuocoso II. Adagio III. Finale: Presto First Philadelphia Orchestra performances Sibelius Symphony No. 7, Op. 105 (In one movement) Intermission Tchaikovsky Violin Concerto in D major, Op. 35 I. Allegro moderato—Moderato assai II. Canzonetta: Andante— III. Allegro vivacissimo This program runs approximately 1 hour, 50 minutes. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The September 20 concert is sponsored by Mrs. Lyn M. Ross in memory of George M. Ross. The September 21 concert is sponsored by Edith R. Dixon. The September 22 concert is sponsored by David Haas. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. ® Getting Started with LiveNote 2.0 » Please silence your phone ringer. » Make sure you are connected to the internet via a Wi-Fi or cellular connection. » Download the Philadelphia Orchestra app from the Apple App Store or Google Play Store. » Once downloaded open the Philadelphia Orchestra app. » Select the LiveNote tab in the bottom left corner. » Tap “OPEN” on the Philadelphia Orchestra concert you are attending. » Tap the “LIVE” red circle. The app will now automatically advance slides as the live concert progresses.