Boston Symphony Orchestra Concert Programs, Summer, 1986

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Summer, 1986 Tangtewqpd . - ... HHM — y m'~% P Visit Tanglewoods Neighbor . White Fines at Stockbridge, the only luxury condominium in Stockbridge. You'll find us a short walk down the road among whispering pines; sunny, rolling meadows; quiet, cool woodlands ... a truly uncommon condominium community on 95 acres of a turn-of-the- century estate. Half our luxurious, contemporary units have been completed in and around the original French Provincial buildings. (A very few of these are available for immediate occupancy.) A third of the remaining 34 units . duplex country villas . will also be ready this summer. White Pines homeowners are already enjoying their on-site private recreation facilities . year-round swimming pool, Har-Tru tennis courts, exercise facilities, sauna and lakefront beach. We invite you to visit our furnished model, open seven days a week. Featured in $l)e JfeUf jijork Stttte0 For information, call or write: P.O. Box 529 White Hawthorne Street Stockbridge, MA 01262 (413)637-1140 Pines Our sales agent is: country estate Reinholt Realty condominiums Main Street, Lenox (413) 637-1251 or Main Street, Stockbridge (413) 298-3664. at Stockbridge BOSTON SYMPHONY .ORCHESTRA SEIJI OZAWA^ Music Director Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J. P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H. A. Clowes, Jr. Francis W. Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti Philip K.Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Officers of the Corporation Thomas W. Morris, Vice-President, Special Projects and Planning John Ex Rodgers, Assistant Treasurer Theodore A. Vlahos, Assistant Treasure/ Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Mary Glenn Goldman, Assistant Clerk Administration of the Boston Symphony Orchestra, Inc. Daniel R. Gustin, Acting General Manager Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Theodore A. Vlahos, Director of Business Affairs Helen P. Bridge, Director of Volunteers Marc Mandel, Publications Coordinator Charles Gilroy, Chief Accountant Richard Ortner, Administrator of Vera Gold, Assistant Director of Promotion Tanglewood Music Center Patricia Halligan, Personnel Administrator Nancy E. Phillips, Media and Nancy A. Kay, Director of Sales Production Manager, Boston JohnM. Keenum, Director of Symphony Orchestra Foundation Support Charles Rawson, Manager of James F. Kiley, Operations Manager, Box Office Tanglewood Eric Sanders, Director of Corporate Nancy Knutsen, Assistant Manager, Development Boston Pops Joyce M. Serwitz, Assistant Director Anita R. Kurland, Administrator of of Development Youth Activities Susan E. Tomlin, Director of Steven Ledbetter, Musicologist & Annual Giving Program Annotator r Programs copyright 1986 Boston Symphony Orchestra, Inc. Cover design by Wondriska Associates Inc. JOIN THE BSO FOR A SEASON OF GREAT MUSIC AT SYMPHONY HALL AND CARNEGIE HALL Subscribe now to the 1986 Join Music Director Seiji Ozawa and the Boston Symphony Orchestra in Symphony Hall for a 23-week season of magnificent music. In addition, Ozawa and the BSO will present their traditional three-concert series at Carnegie Hall, featuring appearances by Mstislav Rostropovich and Krystian Zimerman. Free brochures with complete program information for the BSO's Boston and New York seasons are available at the Tanglewood Main Gate, or ca! Symphony Hall, (617) 266-1492. Board of Overseers of the Boston Symphony Orchestra, Inc. Harvey Chet Krentzman, Chairman Avram J. Goldberg Mrs. Carl Koch Vice-Chairman Vice-Chairman Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Secretary John Q. Adams Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Mrs. Weston W. Adams Mrs. James G. Garivaltis Vincent M. O'Reilly Martin Allen Mrs. Ray A. Goldberg Stephen Paine, Sr. Mrs. David Bakalar Jordan L. Golding John A. Perkins Bruce A. Beal Joseph M. Henson Peter C. Read Peter A. Brooke Arnold Hiatt Robert E. Remis Mary Louise Cabot Mrs. Richard D. Hill Mrs. Peter van S. Rice Mrs. C. Thomas Clagett, Jr. Susan M. Hilles David Rockefeller, Jr. James F. Geary Glen H. Hiner John Ex Rodgers John F. Cogan, Jr. Mrs. Marilyn Brachman Hoffman Mrs. Jerome Rosenfeld Mrs. Nat Cole Mrs. BelaT. Kalman Mrs. William C. Rousseau William H. Congleton Mrs. S. Charles Kasdon Mrs. William H. Ryan Arthur P. Contas Richard L. Kaye Gene Shalit Mrs. A. Werk Cook Robert D. King Mark L. Seikowitz Phyllis Curtin John Kittredge Malcolm L. Sherman A.V. d'Arbeloff Robert K. Kraft W Davies Sohier, Jr. Mrs. Michael H. Davis John P. LaWare Ralph Z. Sorenson Mrs. Eugene B. Doggett Mrs. James F. Lawrence Mrs. Arthur I. Strang Harriett Eckstein Laurence Lesser William F. Thompson Mrs. Alexander Ellis R. Willis Leith, Jr. Luise Vosgerchian Katherine Fanning Mrs. Charles P. Lyman Mrs. An Wang John A. Fibiger Mrs. Harry L. Marks Roger D. Wellington Kenneth G. Fisher Hanae Mori Mrs. Thomas H. P. Whitney Gerhard M. Freche Richard P. Morse Mrs. Donald B. Wilson Peter H.B. Frelinghuysen Mrs. Thomas S. Morse Brunetta Wolfman Mrs. Thomas J. Galligan Mrs. Robert B. Newman Nicholas T. Zervas Overseers Emeriti Mrs. Frank G. Allen Mrs. Louis I. Kane Mrs. Stephen V.C. Morris Hazen H. Ayer Leonard Kaplan David R. Pokross Paul Fromm Benjamin H. Lacy Mrs. Richard H. Thompson Officers of the Boston Symphony Association of Volunteers Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Carl Koch Executive Vice-President Treasurer Mrs. Harry F. Sweitzer, Jr. Mrs. Gilman W. Conant Secretary Nominating Chairman Vice-Presidents Mrs. Eugene B. Doggett, Development Services Mrs. BelaT. Kalman, Youth Activities Ms. Phyllis Dohanian, Fundraising Projects Mrs. Hart D. Leavitt, Regions Mrs. Craig W Fisher, Tanglewood Mrs. August R. Meyer, Membership Mrs. Mark Selkowitz, Tanglewood Ms. Ellen M. Massey, Public Relations Chairmen of Regions Mrs. Thomas M. Berger Ms. Prudence A. Law Mrs. F.L. Whitney Mrs. Charles A. Hubbard Mrs. Robert B. Newman Mrs. Thomas H. P. Whitney Mrs. Herbert S. Judd, Jr. John H. Stookey Mrs. Norman Wilson Mrs. Thomas Walker Like you, we're unique. How are Conifer Banks statewide resources of The unique? We're made up of 6 Conifer Group, it also has the community banks with 96 power to help you meet those offices serving hundreds of needs. communities throughout Contact the Conifer Bank Massachusetts. What's more, nearest you. The world may every Conifer Bank is backed not be our oyster, but our by the resources ofThe Coni- customers certainly are. fer Group, the 6th largest Guaranty Bank (617) 791-7811 Essexbank (617) 598-2000/(617) 532-2500 bank holding company in the Union National Bank (617) 458-3151 state and the 8th largest in Plymouth-Home National (617) 583-6700 Berkshire Bank (413) 499-1600 New England. Because the Bank of Cape Cod (617) 548-7500 Conifer Bank in your com- Members FDIC munity is local, it under- stands your needs. And be- The Conifer Group cause it has access to the like You, We're Unique. TANGLEWOOD 5 August 1937 the festival's largest crowd so far assembled under a tent for the The Tanglewood Festival first Tanglewood concert, an all- In August 1934, a group of music- Beethoven program. loving summer residents of the At the all-Wagner concert which Berkshires organized a series of three opened the 1937 festival's second outdoor concerts at Interlaken, to be weekend, rain and thunder twice inter- given by members of the New York rupted the performance of the Rienzi Philharmonic under the direction of Overture and necessitated the omission Henry Hadley. The venture was so altogether of the Siegfried "Forest successful that the promoters incorpo- Murmurs," music too delicate to be rated the Berkshire Symphonic Festival heard through the downpour. At the and repeated the experiment during the intermission, Miss Gertrude Robinson next summer. Smith, one of the festival's founders, The Festival Committee then invited made a fundraising appeal for the build- Serge Koussevitzky and the Boston ing of a permanent structure. The appeal Symphony Orchestra to take part in the was broadened by means of a printed following year's concerts. The orchestra's circular handed out at the two remain- Trustees accepted, and on 13 August ing concerts, and within a short time 1936 the Boston Symphony gave its first enough money had been raised to begin concerts in the Berkshires (at Holm- active planning for a "music pavilion." wood, a former Vanderbilt estate, later Eliel Saarinen, the eminent architect the Center at Foxhollow). The series selected by Koussevitzky, proposed an again consisted of three concerts and elaborate design that went far beyond was given under a large tent, drawing a the immediate needs of the festival and, total of nearly 15,000 people. more important, went well beyond the In the winter of 1936, Mrs. Gorham budget of $100,000. His second, Brooks and Miss Mary Aspinwall Tap- simplified plans were still too expensive, pan offered Tanglewood, the Tappan and he finally wrote that if the Trustees family estate, with its buildings and 210 insisted on remaining within their acres of lawns and meadows, as a gift to budget, they would have "just a shed," Koussevitzky and the orchestra.
Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • Haydn London Symphony
    Portrait of Franz Joseph Haydn by Thomas Hardy, 1791 WHAT MAKES IT GREAT?® HAYDN LONDON SYMPHONY 20 CONCERT PROGRAM Louis Babin Friday, February 10, 2017 Retrouvailles: Sesquie for Canada’s 150th* 7:30pm (TSO PREMIÈRE/TSO CO-COMMISSION) Rob Kapilow Rob Kapilow What Makes It Great?® conductor & host Haydn London Symphony Gary Kulesha* conductor Intermission Franz Joseph Haydn Symphony No. 104 in D Major “London” I. Adagio – Allegro II. Andante III. Menuet: Allegro IV. Allegro spiritoso Audience Q&A with Rob Kapilow and Orchestra Please note that Louis Babin’s Retrouvailles is being recorded for online release at TSO.CA/CanadaMosaic. Tonight’s What Makes It Great?® program is all about listening. Paying attention. Noticing all the fantastic things in great music that race by at lightning speed, note by note, and measure by measure. Listening to a piece of music from the composer’s point of view—from the inside out. During the first half of the concert, we will look at selected passages from Franz Joseph Haydn’s Symphony No. 104 (“London”) and I will do everything in my power to get you inside the piece to Rob Kapilow hear what makes it tick and what makes it great. Then, after intermission, we will conductor perform the piece in its entirety, and you will hopefully listen to it with a whole & host new pair of ears. I am thrilled to be sharing this great music with you tonight. All you have to do is listen. 21 For a program note to Louis Babin’s Retrouvailles: Sesquie THE DETAILS for Canada’s 150th, please turn to pg.
    [Show full text]
  • Handel's Oratorios and the Culture of Sentiment By
    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
    [Show full text]
  • The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
    ! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176
    [Show full text]
  • PDF 139.88KB Rps Abo Salomon Prize 2013
    Press Release For release: Friday 10 January 2014 ‘Unsung heroine’ of the City of Birmingham Symphony Orchestra, violinist Catherine Arlidge, a “true advocate of the modern orchestral musician” awarded prestigious RPS/ABO Salomon Prize for orchestral musicians. Catherine Arlidge of the City of Birmingham Symphony Orchestra becomes the first violinist – and only the third ever recipient – of the RPS/ABO Salomon Prize, a prestigious award celebrating the outstanding contribution of orchestral players to the UK’s musical life. The UK boasts many of the world’s finest orchestras, many of which have trophy cabinets bursting with awards in testimony to their brilliance on the concert platform and in the recording studio. Yet, the contribution of individual musicians within an orchestra often goes unnoticed. The Salomon Prize* was created by the Royal Philharmonic Society and Association of British Orchestras in 2011 to celebrate the ‘unsung heroes’ of orchestral life; the orchestral players that make our orchestras great. The award is named after Johann Peter Salomon, violinist and founding member of the Philharmonic Society in 1813. Each year, players in all orchestras across the UK are asked to nominate a colleague who has been ‘an inspiration to their fellow players, fostered greater spirit of teamwork and shown commitment and dedication above and beyond the call of duty’. Catherine Arlidge, Sub Principal of the second violins, who has played with the CBSO for over 20 years, was nominated by her fellow musicians and the CBSO’s management for her creativity, energy and “great skill for motivating and inspiring colleagues and for engaging with her audience”.
    [Show full text]
  • Quartet Dimensions
    concert program ii: Quartet Dimensions JOHANN SEBASTIAN BACH (1685–1750)! July 21 WOLFGANG AMADEUS MOZART (1756–1791) Sunday, July 21, 6:00 p.m., The Center for Performing Arts Fugue in E-flat Major, BWV 876, and Fugue in d minor, BWV 877, from at Menlo-Atherton Das wohltemperierte Klavier; arr. String Quartets nos. 7 and 8, K. 405 JOSEPH HAYDN (1732–1809) PROGRAM OVERVIEW String Quartet in d minor, op. 76, no. 2, Quinten (1796) The string quartet medium, arguably the spinal column of the Allegro chamber music literature, did not exist in Bach’s lifetime. Yet Andante o più tosto allegretto Minuetto: Allegro ma non troppo even here, Bach’s legacy is inescapable. The fugues of his semi- Finale: Vivace assai nal The Well-Tempered Clavier inspired no less a genius than Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Mozart, who arranged a set of them for string quartet. The influ- Fredrik Schøyen Sjölin, cello ence of Bach’s architectural mastery permeates the ingenious DMITRY SHOSTAKOVICH (1906–1975) Quinten Quartet of Joseph Haydn, the father of the modern Piano Quintet in g minor, op. 57 (1940) string quartet, and even Dmitry Shostakovich’s Piano Quintet, Prelude composed nearly two hundred years after Bach’s death. The Fugue Scherzo centerpiece of Beethoven’s Opus 132—the Heiliger Dankgesang Intermezzo CONCERT PROGRAMSCONCERT eines Genesenen an die Gottheit (“A Convalescent’s Holy Song Finale PROGRAMSCONCERT of Thanksgiving to the Divinity”)—recalls another Bachian signa- Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; ture: the Baroque master’s sacred chorales.
    [Show full text]
  • Ideazione E Coordinamento Della Programmazione a Cura Di Massimo Di Pinto Con La Collaborazione Di Leonardo Gragnoli
    Ideazione e coordinamento della programmazione a cura di Massimo Di Pinto con la collaborazione di Leonardo Gragnoli gli orari indicati possono variare nell'ambito di 4 minuti per eccesso o difetto Martedì 7 febbraio 2017 00:00 - 02:00 euroclassic notturno schubert, franz (1797-1828) sei danze tedesche (D 820) orchestraz di anton webern dall'orig. per pf. in la bem mag - in la bem mag - in la bem mag - in si bem mag - in si bem mag - in si bem mag. luxembourg philharmonic orch dir. justin brown (reg. lussemburgo, 20/12/1996) durata: 8.56 RSL radio televisione lussemburghese larsson, lars-erik (1908-1986) croquiser, sei schizzi per pf op. 38 capriccioso - grazioso - semplice - scherzando - espressivo - ritmico. marten landström, pf durata: 11.59 SR radio svedese bruch, max (1838-1920) kol nidrei, per vcl e orch op. 47 adam krzeszowiec, vcl; polish radio symphony orch dir. lukasz borowicz (reg. varsavia, 21/04/2013) durata: 12.26 PR radio polacca poulenc, francis (1899-1963) sept chansons per coro la blanche neige - à peine défigurée - par une nuit nouvelle - tous les droits - belle et ressemblante - marie - luire. jutland chamber choir dir. mogens dahl durata: 12.59 DR radiotelevisione di stato danese händel, georg friedrich (1685-1759) concerto in si bem mag per arpa e orch op. 4 n. 6 (HWV 294) andante, allegro - larghetto - allegro moderato. sofija ristic, arpa; slovenian radio television symphony orch dir. pavle despalj durata: 13.06 RTVS radiotelevisione slovena elgar, edward (1857-1934) sea pictures op. 37 sea slumber song - in haven - sabbath morning at sea - where corals lie - the swimmer.
    [Show full text]
  • NFA Gift Oakes Collection.Xlsx
    Title Creator bib. number Call Number Twenty‐four exercises :for the flute (in all major and minor keys), op. 33 Joachim Andersen. MT345 .A544 op. 33 F57 Georg Philipp Telemann herausgegeben im Auftrag der Gesellschaft für Musikalische Werke Musikforschung. M3 .T268 Jeux :sonatine pour flute et piano Jacques Ibert. M242 .I12j Trois pieces en courte‐pointe,pour flute et piano Jacques Chailley. .b27393860 M242 .C434 T 65 Aria for flute and piano,op. 48, no. 1. .b27394268 M242 .DF656 op. 48, no. 1 Quartett, D‐dur, für Flöte (Oboe), Violine, Viola (Horn) und Violoncello, op. VIII/1. Hrsg. von Walter Upmeyer. .b27982981 M462 .S783 op.8 no. 1 Sonatine Es‐durfür Cembalo (Klavier), 2 Flöten, 2 Violinen, Bratsche und Bass hrsg. von Fritz Oberdorffer. .b27996517 M722 .B116s E b maj. Concerto for flute and chamber orchestra, or flute and piano,MCMXXXXII op. 35 [by] Robert Casadesus. .b28016798 M1021 .C334 op.35 Sinfonien für Kammerorchester:E‐moll. Hrsg. von Raymond Meylan. Symphonies for chamber orchestra. .b28020832 M1105 .S286 S5 no.4 Concertino pour flute et orchestre a cordes, ou piano Antonio Szalowski. .b28037613 M1106 .S996 C74 Joh. Seb. Bach auf Grund der Ausgabe der Bachgesellschaft bearbeitet von Ausgewahlte Arien für Alt :mit obligaten Instrumenten und Klavier oder Orgel Eusebius Mandyczewski. .b28068075 M2103.3 .B118 A6 alto Sonate pour piano et flute :op. 52 Ch. Koechlin. .b30264923 M242 .K777 op.52 Melody for flute and piano : op. 35, no. 1 Reinhold Gliere [edited with special annotations by John Wummer] .b4067082x M242 .G545 op. 35 no. 1 1946 6 canonic sonatas :for two flutes Telemann [edited by] C.
    [Show full text]
  • GOLDBERG VARIATIONS - English Suite No
    BHP 901 - BACH: GOLDBERG VARIATIONS - English Suite No. 5 in e - Millicent Silver, Harpsichord _____________________________________________________________________________________________________________________ This disc, the first in our Heritage Performances Series, celebrates the career and the artistry of Millicent Silver, who for some forty years was well-known as a regular performer in London and on BBC Radio both as soloist and as harpsichordist with the London Harpsichord Ensemble which she founded with her husband John Francis. Though she made very few recordings, we are delighted to preserve this recording of the Goldberg Variations for its musical integrity, its warmth, and particularly the use of tonal dynamics (adding or subtracting of 4’ and 16’ stops to the basic 8’) which enhances the dramatic architecture. Millicent Irene Silver was born in South London on 17 November 1905. Her father, Alfred Silver, had been a boy chorister at St. George’s Chapel, Windsor where his singing attracted the attention of Queen Victoria, who had him give special performances for her. He earned his living playing the violin and oboe. His wife Amelia was an accomplished and busy piano teacher. Millicent was the second of their four children, and her musical talent became evident in time-honoured fashion when she was discovered at the age of three picking out on the family’s piano the tunes she had heard her elder brother practising. Eventually Millicent Silver won a scholarship to the Royal College of Music in London where, as was more common in those days, she studied equally both piano and violin. She was awarded the Chappell Silver Medal for piano playing and, in 1928, the College’s Tagore Gold Medal for the best student of her year.
    [Show full text]
  • Spanish Local Color in Bizet's Carmen.Pdf
    !@14 QW Spanish Local Color in Bizet’s Carmen unexplored borrowings and transformations Ralph P. Locke Bizet’s greatest opera had a rough start in life. True, it was written and composed to meet many of the dramatic and musical expectations of opéra comique. It offered charming and colorful secondary characters that helped “place” the work in its cho- sen locale (such as the Spanish innkeeper Lillas Pastia and Carmen’s various Gypsy sidekicks, female and male), simple strophic forms in many musical numbers, and extensive spoken dialogue between the musical numbers.1 Despite all of this, the work I am grateful for many insightful suggestions from Philip Gossett and Roger Parker and from early readers of this paper—notably Steven Huebner, David Rosen, Lesley A. Wright, and Hervé Lacombe. I also benefi ted from the suggestions of three specialists in the music of Spain: Michael Christoforidis, Suzanne Rhodes Draayer (who kindly provided a photocopy of the sheet-music cover featuring Zélia Trebelli), and—for generously sharing his trove of Garciana, including photocopies of the autograph vocal and instrumental parts for “Cuerpo bueno” that survive in Madrid—James Radomski. The Bibliothèque nationale de France kindly provided microfi lms of their two manu- scripts of “Cuerpo bueno” (formerly in the library of the Paris Conservatoire). Certain points in the present paper were fi rst aired briefl y in one section of a wider-ranging essay, “Nineteenth-Century Music: Quantity, Quality, Qualities,” Nineteenth-Century Music Review 1 (2004): 3–41, at 30–37. In that essay I erroneously referred in passing to Bizet’s piano-vocal score as having been published by Heugel; the publisher was, of course, Choudens.
    [Show full text]
  • Kammerakademie Potsdam Trevor Pinnock Emmanuel Pahud
    Kammerakademie Potsdam Orquestra de Câmara de Potsdam Trevor Pinnock regência Emmanuel Pahud flauta O MINISTÉRIO DA CULTURA, O GOVERNO DO ESTADO DE SÃO PAULO, A SECRETARIA DA CULTURA E A CULTURA ARTÍSTICA APRESENTAM MOMENTO MUSICAL Momento Musical do Le Concert de la Loge (foto Heloisa Bortz) Você conhece o Momento Musical? Sempre às 20h, antes de cada concerto da Temporada Cultura Artística, o jornalista e crítico musical Irineu Franco Perpetuo comenta de forma descontraída sobre os compositores, as obras e os intérpretes que se apresentam naquela noite. Participe deste encontro! realização MINISTÉRIO DA CULTURA Anúncio Momento Musical FINAL.indd 1 19/05/17 10:16 O Ministério da Cultura, o Governo do Estado de São Paulo, a Secretária da Cultura e a Cultura Artística apresentam Kammerakademie Potsdam Orquestra de Câmara de Potsdam Trevor Pinnock regência Emmanuel Pahud flauta PATROCÍNIO REALIZAÇÃO Gioconda Bordon 3 Programa 4 Notas sobre o programa 6 Mônica Lucas Biografias 13 SOCIEDADE DE CULTURA ARTÍSTICA DIRETORIA PRESIDENTE Antonio Hermann D. Menezes de Azevedo VICE-PRESIDENTE Gioconda Bordon DIRETORES Carlos Mendes Pinheiro Júnior, Fernando Lohmann, Gioconda Bordon, Ricardo Becker, Rodolfo Villela Marino SUPERINTENDENTE Frederico Lohmann CONSELHO DE ADMINISTRAÇÃO PRESIDENTE Fernando Carramaschi VICE-PRESIDENTE Roberto Crissiuma Mesquita CONSELHEIROS Antonio Hermann D. Menezes de Azevedo, Carlos José Rauscher, Francisco Mesquita Neto, Gérard Loeb, Henri Philippe Reichstul, Henrique Meirelles, Jayme Sverner, Marcelo Kayath, Milú Villela,
    [Show full text]
  • Die Zauberflöte
    Die Zauberflöte What’s in a Title? Harrison Powley cholars have argued over Die Zauberflöte for many years. Is it a fairy-tale Sopera, a metaphorical discussion of Masonic and Rosicrucian beliefs, or a contemporary political or philosophical commentary on the 1780s and ₁ the Enlightenment? It can be all these and more, but for many in the audi- ence during fall 1791 it was entertainment, pure and simple. The audience at the Theater auf der Weiden came from all levels of society. The nobility and educated attended as well as the working and servant classes. In a work so rich with literary, visual, and musical symbols, it is easy to ₂ gloss over the most obvious ones: the magical musical instruments. Musi- cal instruments of Mozart’s day were similar in some ways to instruments in common use today yet quite different in construction, sound, and per- formance techniques. As performers and conductors try to communicate music of past centuries, they have turned in recent years to performing music on the instruments for which the composers wrote the music, using either surviving instruments or modern reconstructions in an attempt to recreate the timbres or tone colors, tempi, ornamentation, tunings, and the like ₃ of the past. This essay focuses primarily on Mozart’s use of two instruments: the Zauberflöte (magic flute) and the Zauberglöckchen (magic bells). We know what a flute is and what bells are, but why and how are they “magic”? In fact, why do Schikaneder and Mozart use these instruments at specific times in the work, and what meanings did they convey to Mozart’s audi- ence? We will also discuss several surviving instruments that could have influenced Mozart’s music.
    [Show full text]