DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 79, 1959-1960, Subscription

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 79, 1959-1960, Subscription SEVENTY- NINTH SEASON, 1959-1960 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1959, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [449] CAN YOU DESCRIBE A LIFE INSURANCE TRUST? ® If you are unaware of the many advantages of a Life Insurance Trust, it may be that a talk with a Shawmut Trust Officer would show you precisely how this type of protection would best suit your insurance needs. For example, your life insurance can very easily be arranged to provide life-long support for your widow plus a substantial inheritance for your children. In Shawmut's Personal Trust Department we would be glad to discuss your complete insurance program . with you, your life insurance counsellor and your attorney, or simply write for a copy of our brochure "A Modern Life Insurance Program." Naturally, there would be no obligation. Write or call The Personal Trust Department The Rational Shawmut Bank Tel. LAfayette 3-6800 Member Federal Deposit Insurance Corporation . CONTENTS Program (for this week) . 455 Program (December 11-12) . 5°9 Program (December 24-26) . 5 11 Notes Q/lfuruJiMfjws. Schubert (Symphony in B minor) 457 Mahler (Adagio and Allegretto moderato ("Purgatorio") from the Tenth Symphony) . 478 Entr'actes Mahler and Boston 487 Krenek and Mahler's Tenth . 489 Music's Lesser Partner (J.N.B.) 492 Notes Locffler ("A Pagan Poem") . 498 Symphoniana STRASBOURG AND BOSTON The musical linking of cities geo- graphically so far apart as Strasbourg and Boston is pointed by the perform- ance of Loeffler's "A Pagan Poem" at this week's concerts which will be trans- mitted by tape through the Voice of America to Strasbourg. Charles Martin Loeffler was born in Alsace and lived the greater part of his life in or near Boston. There are later associations. nocturnal On December 8, 1949, Dr. Albert Schweitzer wrote from Lambarene to costume Charles Munch in Boston: "How curious is destiny! Who could have foreseen handsome new when I used to take you out for a walk along the River 111 near the Garnison way of evening Church [Strasbourg], you a small boy, dressing . that one day you would be helping me, working for me in the United States? ittle brocade Who could have told us that a day sees would come when we should both be costume known in America?" you through Charles Munch wrote in introducing the book, Music in the Life of Albert cocktails, dinner Albert Schweitzer: "The name of and theatre Schweitzer is linked with my childhood. It brings back recollections of wonderful with perfect evenings when I heard him passionately aplomb . • discussing with my father every little detail in a score by Bach after they had our collection worked together performing it. At that time Albert Schweitzer played the organ priced from for concerts my father conducted at the 69.95 to 245.00 Church of St. William in Strasbourg. He had studied previously with my uncle, Eugene Munch." -H/ve n-hy new burb Charles Munch has brought something 7 of Alsatian musical tradition to Boston, nor is he forgotten in his native city. [451] The concert given by the Boston Sym- phony Orchestra at the Palais des Fetes in Strasbourg on May 17, 1952, is still remembered there as well as Dr. Munch's subsequent visits when he has conducted. THE TROUSSEAU HOUSE OF BOSTON EXHIBITION Pictures by members of the Boston Society of Water Color Painters are now on view in the Gallery. BILL, CARROLL Church in Mexico, Spanish Profile COBB, RUTH Fruitfulness COLEMAN, LORING Back Yards, Cockade Alley DEMETROPOULOS, CHARLES Fishing Boats, T Wharf, Downtown Los Angeles HARE, JOHN Midwinter, Late October HICKEN, PHILIP Nantucket Unitarian, Landfall No. 4 JEWELL, W. M. Morning Light, Casco Bay, Morning Light on Notre Dame KUPFERMAN, LAWRENCE In the Heart of Summer, A Morning in Spring MacNUTT, GLENN Summertime, Gas Light MAHONEY, CHARLES A. Meditation, Beached Boat—Madaget McDANIELS, HENRY E. Main Street—Blue Rocks, The Salmon Fisherman ORR, FORREST CPltapi^f Blue Jays, The House Next Door PARKER, KAY PETERSON The Fan, Creative Force PETERSON, LESTER M. The White Hat, +Jor ^rutumnmn C*ven(^.veninad — Une Composition dans le jardin Our wool jersey teagown — simply PERRIN, C. ROBERT Scituate Storm, Sleepy Morning styled with a softly draped satin SANTORO, JOSEPH L. C. Angles, Bit of Maine collar and ascot. Sapphire, Emer- A SHEPLER, DWIGHT ald, Moss Green or Coral. Sizes On Monts Chevreuils, Pierced Spire of Senlis 10-20. $49.95 SISSON, LAWRENCE P. The Weirs, Granada 416 Boylston St. 54 Central St. WENTWORTH, MURRAY Boston 16, Mass. Wellesley, Mass. Frozen Meadow KEnmore 6-6238 CEdar 5-4530 WOODWARD, STANLEY W. Pounding Surf, Pulling Out [452] r •t-; A Monte-Sano coat is always new in shape, exciting in fabric, rich in color &• Prophetic pace setter from a magnificent winter collection . the stained glass plaid reefer dipped in glowing colors illuminated by the sun shining through cathedral windows ... in richly textured mohair tweed. The French Shop's coat collection, from $125. The Monte-Sano coat collection, from $250. To the executive highly skilled in delegating responsibility Why not make Old Colony Trust Company directly responsible for the strengthening of your own investment program? Old Colony offers you the experience, resources, specialists — and the time — that successful investing demands today. Just as important, Old Colony will relieve you of the mental and physical strain of investment worries and paperwork. We'd like to send you with our compli- ments a booklet called "Investment Management and Investment Consultation". It will help you make this important decision as to whom you should delegate your personal financial affairs. Enjoy Commuters' Concert on WCRB, 1330 AM or 702.5 FM, each morning at 8:30 Worthy Old Colony of your Trust Company Trust One Federal St., Boston 6, Mass. Allied with The First National Bank of Boston [454] SEVENTY-NINTH SEASON • NINETEEN HUNDRED FIFTY-NINE - SIXTY Eighth Program FRIDAY AFTERNOON, December 4, at 2:15 o'clock SATURDAY EVENING, December 5, at 8:30 o'clock Schubert *Symphony in B minor, "Unfinished" I. Allegro moderato II. Andante con moto Mahler Adagio and Allegretto moderato ("Purgatorio") from the Tenth Symphony (Posthumous) INTERMISSION - SALUTE TO STRASBOURG - Loeffler "A Pagan Poem" (After Virgil), Op. 14 Piano: Bernard Zighera English Horn: Louis Speyer These concerts will end about 3:50 o'clock on Friday Afternoon; 10:05 o'clock on Saturday Evening. BALDWIN PIANO *RCA VICTOR RECORDS [455] holiday opulence —gowns to light the night, dazzlements of every description— everywhere you turn at lt%M. BOSTON • CHESTNUT HILL " SYMPHONY IN B MINOR, "UNFINISHED" By Franz Schubert Born in Lichtenthal, near Vienna, January 31, 1797; died in Vienna, November 19, 1828 This Symphony, sometimes listed as No. 8,* was composed in 1822 (it was begun October 30), and first performed thirty-seven years after the composer's death. It was conducted by Herbeck at a concert of the Gesellschaft der Musikfreunde in Vienna, December 17, 1865. The most recent performances in this series of the Boston Symphony Orchestra were on January 24-25, 1958, Robert Shaw conducting. The orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and strings. "That incomparable song of sorrow which we wrong every time we call it 'Unfinished.' —Alfred Einstein. he bare facts of Schubert's " Unfinished" Symphony are soon told. T It was on April 10, 1823, some months after he had composed the * This on the basis that it was the last to be found although it was composed before the great C major Symphony. The posthumous C major has been variously numbered 7, 8, 9, or 10 by those who have variously accepted or rejected the so-called "Gastein Symphony," which has been believed by some to be a lost symphony, and the fragmentary sections for a symphony in E (1821) , which Felix Weingartner filled out into a full score. Fortunately the "Unfinished" Symphony, easily identified by its name and key, can be left numberless. A conductor and 103 musicians interpret a delicate passage with expert finesse. But quietly, so that each note can speak for itself. Here at Rockland-Atlas, every officer in our Trust Department is a specialist in his particular field, be it investments, admin- istration, or operations. Their harmonious cooperation with testators, beneficiaries and attorneys marks the Rockland-Atlas trust relationship. «_-^ ESTABLISHED 1833 A Kockland-Atlas NATIONAL BANK of BOSTON Trust Department Main Office: 30 Congress Street, Boston 6, Mass. Telephone: Richmond 2-2100 MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION [457] , two movements, that his friend Johann Baptist Jenger put up his name for honorary membership of the Styrian Music Society at Graz on the grounds that "although still young, he has already proved by his compositions that he will some day rank high as a composer." Schubert gratefully accepted his election to the Styrian Music Society with the following communication: May it be the reward for my devotion to the art of music that I shall one day be fully worthy of this signal honor.
Load more

Recommended publications
  • The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty.
    [Show full text]
  • Toscanini VII, 1937-1942
    Toscanini VII, 1937-1942: NBC, London, Netherlands, Lucerne, Buenos Aires, Philadelphia We now return to our regularly scheduled program, and with it will come my first detailed analyses of Toscanini’s style in various music because, for once, we have a number of complete performances by alternate orchestras to compare. This is paramount because it shows quite clear- ly that, although he had a uniform approach to music and insisted on both technical perfection and emotional commitment from his orchestras, he did not, as Stokowski or Furtwängler did, impose a specific sound on his orchestras. Although he insisted on uniform bowing in the case of the Philadelphia Orchestra, for instance, one can still discern the classic Philadelphia Orchestra sound, despite its being “neatened up” to meet his standards. In the case of the BBC Symphony, for instance, the sound he elicited from them was not far removed from the sound that Adrian Boult got out of them, in part because Boult himself preferred a lean, clean sound as did Tosca- nini. We shall also see that, for better or worse, the various guest conductors of the NBC Sym- phony Orchestra did not get vastly improved sound result out of them, not even that wizard of orchestral sound, Leopold Stokowki, because the sound profile of the orchestra was neither warm in timbre nor fluid in phrasing. Toscanini’s agreement to come back to New York to head an orchestra created (pretty much) for him is still shrouded in mystery. All we know for certain is that Samuel Chotzinoff, representing David Sarnoff and RCA, went to see him in Italy and made him the offer, and that he first turned it down.
    [Show full text]
  • Ferruccio Busoni Biography
    Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso.
    [Show full text]
  • L'age D'or of the Chamber Wind Ensemble
    L’Age d’or of the Chamber Wind Ensemble A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2013 by Danielle D. Gaudry BM, McGill University, 2000 BE, University of Toronto, 2001 MM, The Pennsylvania State University, 2009 Committee Chair: Terence Milligan, DMA ABSTRACT This document presents a narrative history of the chamber wind ensembles led by Paul Taffanel, Georges Barrère and Georges Longy in the late nineteenth and early twentieth centuries. Using different historical approaches, this study examines contemporaneous musical society and the chamber wind ensemble genre to explore the context and setting for the genesis of the Société de musique de chambre pour instruments à vents, the Société moderne des instruments à vents, the Longy Club and the Barrère Ensemble of Wind Instruments. A summary of each ensemble leader’s life and description of the activities of the ensemble, selected repertoire and press reactions towards their performances provide essential insights on each ensemble. In demonstrating their shared origins, ideologies, and similarities in programming philosophies, this document reveals why these chamber wind ensembles created a musical movement, a golden age or age d’or of wind chamber music, affecting the local music scene and continuing to hold influence on today’s performers of wind music. ""!! ! Copyright 2013, Danielle D. Gaudry """! ! ! ACKNOWLEDGMENTS I would like to extend my deepest gratitude to all those who have been a part of my journey, both in the completion of this document and over the course of this degree.
    [Show full text]
  • 22 November 2013 Page 1 of 10
    Radio 3 Listings for 16 – 22 November 2013 Page 1 of 10 SATURDAY 16 NOVEMBER 2013 Benjamin, Arthur (1893-1960) SAT 16:00 Sound of Cinema (b03hk1yf) Overture to an Italian Comedy The Films of Ridley Scott SAT 01:00 Through the Night (b03h3xdz) Sydney Symphony Orchestra, Joseph Post (conductor) Beethoven's 6th (Pastoral) and Nielsen's 4th Symphony from Matthew Sweet looks back at scores from the films of the Copenhagen with the Danish National Symphony Orchestra 5:27 AM distinguished British director Sir Ridley Scott whose new film conducted by Rafael Frühbeck de Burgos. Jonathan Swain Beethoven, Ludwig van [1770 -1827] "The Counsellor" is released this week. presents. 2 Sonatinas for mandonlin: C minor WoO 43/1 and C major WoW 44/1 Ridley Scott's wide ranging output includes The Duellists, 1:01 AM Avi Avital (mandolin) Shalev Ad-El (harpsichord) Alien, Bladerunner, Legend, Thelma and Louise, 1492 - Olesen, Thomas Agerfeldt [b.1969] Conquest of Paradise, Heaven of Heaven, Hannibal, GI Jane, Fanfare for brass and percussion (Premiere) 5:34 AM Prometheus, Robin Hood, Gladiator and he's collaborated with Saint-Saëns, Camille (1835-1921) some of the greatest film composers of our time, including 1:03 AM Havanaise Jerry Goldsmith, Vangelis, Michael Kamen, Hans Zimmer and Beethoven, Ludwig van [1770 -1827] Vilmos Szabadi (violin), Marta Gulyas (piano) Harry Gregson Williams. His latest project, The Counsellor, Symphony no. 6 (Op.68) in F major "Pastoral"; arrives in cinemas this week with a score by rising British star, 5:43 AM Daniel Pemberton. 1:48 AM Mozart, Wolfgang Amadeus (1756-1791) Nielsen, Carl [1865-1931] 12 Variations for piano in B flat (K.500) Symphony no.
    [Show full text]
  • VS Dissertation Viola
    ABSTRACT Title of Dissertation: VOCAL LYRICISM IN THE VOICE OF THE VIOLA Valentina Alaaeldin Shohdy, Doctor of Musical Arts, 2018 Dissertation directed by: Katherine Murdock, Associate Professor of Viola, School of Music This dissertation performance project explores how the interpretation of instrumental music can be influenced and informed by the vocal repertoire of various composers throughout music history. The first recital draws comparisons in compositional style by pairing an instrumental work with a piece of vocal chamber music by the same composer. The first pairing includes two pieces by Johannes Brahms; Zwei Gesänge for Alto Voice, Viola, and Piano, Op. 91 and Sonata in E flat Major for Viola and Piano, Op. 120, No. 2, while the second pairing features two pieces by Frank Bridge; Three Songs for Medium Voice, Viola, and Piano and Allegro appassionato and Pensiero for Viola and Piano. The second recital considers how text can inform phrasing and other aspects of interpretation with transcriptions for the viola that were originally written for voice. The first half of the recital features two songs by John Dowland, Flow My Tears and If My Complaints Could Passions Move, which influenced Benjamin Britten to write his Lachrymae, reflections on a song of Dowland for Viola and Piano, Op. 48. The second half of the recital introduces the music of Franz Schubert, first with his Sonata in A minor, “Arpeggione”, for Viola and Piano, D. 821, followed by four songs, Wanderers Nachtlied, D. 768, Die Forelle, D. 550, Der Tod und das Mädchen, D. 531, and Ständchen, D. 957, which later influenced him to write several of his instrumental works.
    [Show full text]
  • Boston Symphony Chamber Players 50Th Anniversary Season 2013-2014
    Boston Symphony Chamber Players 50th anniversary season 2013-2014 jordan hall at the new england conservatory october 13 january 12 february 9 april 6 BOSTON SYMPHONY CHAMBER PLAYERS Sunday, February 9, 2014, at Jordan Hall at New England Conservatory TABLE OF CONTENTS 3 Welcome 4 From the Players 8 Today’s Program Notes on the Program 10 Charles Martin Loeffler 12 Kati Agócs 13 Gunther Schuller 14 Hannah Lash 15 Yehudi Wyner 17 Amy Beach Artists 18 Boston Symphony Chamber Players 19 Randall Hodgkinson 19 Andris Poga 20 The Boston Symphony Chamber Players: Concert Repertoire, 1964 to Date COVER PHOTO (top) Founding members of the Boston Symphony Chamber Players, 1964: (seated, left to right) Joseph Silverstein, violin; Burton Fine, viola; Jules Eskin, cello; Doriot Anthony Dwyer, flute; Ralph Gomberg, oboe; Gino Cioffi, clarinet; Sherman Walt, bassoon; (standing, left to right) Georges Moleux, double bass; Everett Firth, timpani; Roger Voisin, trumpet; William Gibson, tombone; James Stagliano, horn (BSO Archives) COVER PHOTO (bottom) The Boston Symphony Chamber Players in 2012 at Jordan Hall: (seated in front, from left): Malcolm Lowe, violin; Haldan Martinson, violin; Jules Eskin, cello; Steven Ansell, viola; (rear, from left) Elizabeth Rowe, flute; John Ferrillo, oboe; William R. Hudgins, clarinet; Richard Svoboda, bassoon; James Sommerville, horn; Edwin Barker, bass (photo by Stu Rosner) ADDITIONAL PHOTO CREDITS Individual Chamber Players portraits pages 4, 5, 6, and 7 by Tom Kates, except Elizabeth Rowe (page 6) and Richard Svoboda (page 7) by Michael J. Lutch. Boston Symphony Chamber Players photos on page 8 by Stu Rosner and on page 18 by Michael J.
    [Show full text]
  • Ania -Dorfmann-"!11'
    Ania -Dorfmann-"!11' GRIEG Piano Concerto It is unfortunate that Ania Dorfmann is remembered today almost exclusively for being the soloist in Arturo Toscanini's only studio recording of a Beethoven piano concerto. Her career extended far beyond the Maestro' s orbit, as the present reissue demonstrates. Dorfmann was born in Odessa in 1899 to a merchant's family. Recognized early on as a prodigy, she played her first recital at the MENDELSSOHN age of eleven. Around this time, she also gave a joint concen with the even-younger Jascha Heifetz. Plans were made for her to go to Paris to study with lsidor Phillip at the Conservatoire, but the death of her father postponed the tri p for several years. She had Piano Concerto No. 1 been in Paris for less than a year when revolution broke out in Russia. After a visit home, she was only able to return to France with some difficulty. She made her dCbut at Liege in 1920, and concertized throughout Europe over the next fifteen years, appearing with such SCHUMANN conductors as Mengelberg, Beecham and Wood. During this period, she made a number of recordings for English Columbia, including the Mendelssohn First Piano Concerto with Walter Goehr. Carnaval In 1936, she made her American debut at Town Hall in New York, where critics praised the "rapidity and clarity" of her technique. Horowitz introduced her to his father-in-law, Toscanini, and she soon became an intimate of the family. (A letter written by Toscanini in Milan in April, 1937 mentions "Ania, that friend ofVolodya's (she' s a Russian pianist).
    [Show full text]
  • Loeffler, Durufle, Pierné
    Loeffler, Durufle, Pierné PIERNÉ SONATA DA CAMERA LOEFFLER TWO RHAPSODIES FIVE SONGS DURUFLÉ PRÉLUDE, RÉCITATIF ET VARIATIONS (world première recording) London Conchord Ensemble William Dazeley PIERNÉ: SONATA DA CAMERA, OP. 48 for flute, ‘cello & piano The London Conchord Ensemble is a flexible ensemble of internationally- 1 Prélude 4.50 recognised young soloists, chamber musicians and principals from the BBC 2 4.59 Sarabande Symphony Orchestra, the Royal Opera House Orchestra and Scottish Chamber 3 Finale 3.54 Orchestra. Based in London, the ensemble explores both the traditional and contemporary repertoire of chamber music written for combinations of strings, LOEFFLER: TWO RHAPSODIES for oboe, viola & piano wind and piano. 4 L’étang 9.25 Following their critically-acclaimed début at the Wigmore Hall in October 2000, 5 La cornemuse 11.54 the ensemble has continued to perform extensively throughout the UK, Europe and North America. Highlights of recent seasons include performances at LOEFFLER: FIVE SONGS for voice, viola & piano Schleswig Holstein Musik Festival, Düsseldorf Tonhalle, Amsterdam Concertgebouw, 6 Rêverie en sourdine 4.30 Palais des Beaux Arts, Niedersachsen Musik Festival and tours of Ireland, France 7 Le rossignol 3.29 and America. The ensemble enjoys regular collaborations with guest vocalists and recent concerts at Windsor Festival, Newbury Festival, Winchester Festival and 8 Harmonie du soir 3.34 Chelsea Festival have included Dame Felicity Lott, Sue Bickley, Andrew Kennedy, 9 La lune blanche 1.24 James Gilchrist and Katherine Broderick. Conchord is ensemble-in-residence at 10 La chanson des Ingénues 2.24 Champs Hill. 11 DURUFLÉ: PRÉLUDE, RÉCITATIF ET VARIATIONS, Op.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 113, 1993-1994, Subscription, Volume 01
    Ioston Symphony Orchestra Twentieth Anniversary Season 19 9 3-94 €B€L th architects of ti m e beluga Soft and elegant. Hand sculpted in Switzerland exclusively in 18 karat gold. Water resistant. Five year international limited warranty. Intelligently priced. E.B. HORN Jewelers Since 1839 Positively The Best Value In Jewelry 429 WASHINGTON ST BOSTON 02108 ALL MAJOR CREDIT CARDS ACCEPTED • BUDGET TERMS MAIL OR PHONE ORDERS 542-3902 • OPEN MON. AND THURS. TIL 7 Seiji Ozawa, Music Director One Hundred and Thirteenth Season, 1993-94 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman andTreasurer David B. Arnold, Jr. Nina L. Doggett George Krupp Peter A. Brooke Dean Freed R. Willis Leith, Jr. James F. Cleary Avram J. Goldberg Mrs. August R. Meyer John F. Cogan, Jr. Thelma E. Goldberg Molly Beals Millman Julian Cohen Julian T. Houston Mrs. Robert B. Newman William F. Connell Mrs. BelaT. Kalman Peter C. Read William M. Crozier, Jr. Allen Z. Kluchman Richard A. Smith Deborah B. Davis Harvey Chet Krentzman Ray Stata Trustees Emeriti Vernon R. Alden Archie C. Epps Irving W. Rabb Philip K. Allen Mrs. Harris Fahnestock Mrs. George Lee Sargent Allen G. Barry Mrs. John L. Grandin Sidney Stoneman Leo L. Beranek Mrs. George I. Kaplan John Hoyt Stookey AbramT. Collier Albert L. Nickerson John L. Thorndike Nelson J. Darling, Jr. Thomas D. Perry, Jr. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G.
    [Show full text]
  • Isabella Stewart Gardner, Fenway Court, and a Life on Display: French Music in Turn-Of-The-Century Boston Brad A
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Isabella Stewart Gardner, Fenway Court, and a Life on Display: French Music in Turn-of-the-Century Boston Brad A. Rohrer Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ISABELLA STEWART GARDNER, FENWAY COURT, AND A LIFE ON DISPLAY: FRENCH MUSIC IN TURN-OF-THE-CENTURY BOSTON By BRAD A. ROHRER A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2014 Brad A. Rohrer defended this thesis on April 17, 2014. The members of the supervisory committee were: Michael Broyles Professor Directing Thesis Charles Brewer Committee Member Sarah Eyerly Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii To my wife and my daughter: Thank you for patience. Your love motivates me each day. To my mother: Thank you for always encouraging me to follow my heart. To my father: Thank you for everything, Dad. iii ACKNOWLEDGMENTS I would like to thank Michael Broyles for his input throughout the entire research and writing process, from beginning to end. His feedback on communication of ideas has been invaluable. I appreciate the guidance Sarah Eyerly and Charles Brewer provided and the interest that they took in my work. While not involved in this writing, the entire musicology faculty encourages constant critical thinking and dedication.
    [Show full text]
  • Draft 10 May 11
    UCLA UCLA Electronic Theses and Dissertations Title Piano Performance in Musical Symbolism: Interpretive Freedom through Understanding Symbolist Aesthetics Permalink https://escholarship.org/uc/item/5cg463h0 Author Wong, Wan Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Piano Performance in Musical Symbolism: Interpretive Freedom through Understanding Symbolist Aesthetics A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Music by Wan Wong 2017 ABSTRACT OF THE DISSERTATION Piano Performance in Musical Symbolism: Interpretive Freedom through Understanding Symbolist Aesthetics by Wan Wong Doctor of Musical Arts in Music Performance University of California, Los Angeles, 2017 Professor Inna Faliks, Chair Studies in musical symbolism are often interdisciplinary, with collaboration with areas to do with the literary and visual arts. My dissertation re-orients the focus to the non-representative function of symbols and engages with symbolist thought and the hermeneutics of Hans-Georg Gadamer in an effort to justify musical analysis of Symbolist music through identifying effects and atmospheres. In part one, I present a general overview of Symbolist aesthetics, drawing largely from Claude Debussy’s writing Monsieur Croche: the Dilettante Hater. In part two, I liken the total experience of piano performance to Gadamer’s concept of play and festival in or- der to explicate the mechanisms of symbols in musical symbolism. Part three features Symbolist piano pieces based on its effects—fluidity and stasis—and provides a closer look into interpreta- tion and performance. ii This dissertation of Wan Wong is approved.
    [Show full text]