DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 28,1908

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 28,1908 ENGLISH OPERA HOUSE . INDIANAPOLIS Twenty-eighth Season, 1908-1909 MAX FIEDLER, Conductor Programme of GRAND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE • THURSDAY EVENING, JANUARY 28 AT 8.15 PRECISELY COPYRIGHT, 1908, BY C. A". ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. CECILE CHAMINADE The World's Greatest Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE PlAHO. THE JOHN CHURCH CO., 37 West 3 2d Street New York City REPRESENTED BY THE JOHN CHURCH COMPANY, Cincinnati, New York, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-EIGHTH SEASON, 1908-1909 Mk MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. LoefHer, E. Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Mueller, E. Brooke, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz, O Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H, Librarian. Sauerquell, J. 3 Zhe Otfttttormg titaitD Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U. S. A. Represented in Indianapolis by THE WULSCHNER-STEWART MUSIC COMPANY Boston English Opera House, wmahapous. Symphony ft ^w Twenty-eighth Season, 1908-J909. l— 4. T V/l vIlCdLi d Fourth Concert in Indianapolis. MAX FIEDLER, Conductor. GRAND CONCERT, THURSDAY EVENING, JANUARY 28, AT 845 PRECISELY PROGRAMME. Beethoven .... Overture to Goethe's "Egmont," Op. 84 Tschaikowsky . Symphony No. 6, ''Pathetic," in B minor, Op. 74 Died November 6, J 893. I. Adagio; Allegro non troppo. II. Allegro con grazia. III. Allegro molto vivace. IV. Finale: Adagio lamentoso. Bruch .... Concerto for Violin, No. 1, in G minor, Op. 26 I. Allegro Moderato. II. Adagio. III. Finale: Allegro energico. Wagner ....... Overture to "Tannhauser" SOLOIST, Professor WILLY HESS. There will be an intermission of ten minutes after the symphony. 5 models, ART ROOMS, AN EXCELLENT ASSORTMENT OF GRAND AND UPRIGHT PIANOS In the principal historic art periods, such as Louis, XIV, XV, XVI, Empire, Early English, Chippendale, Colonial, Mission, Renaissance, Sheraton, Adams, Gothic, In Natural Woods, Enamels, Gold, Etc Special Designs and Estimates Furnished upon Application* w WM. KNABE & CO. BALTIMORE. NEW YORK WASHINGTON Represented in Indianapolis by CARLIN & LENNOX 6 Overture to "Egmont," Op. 84 .... Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) This overture was composed in 1810; it was published in 181 1. The music to Goethe's play—overture, four entr'actes, two songs sung by Clarchen, "Clarchen's Death," "Melodram," and "Triumph Symphony" (identical with the coda of the overture) for the end of the play, nine numbers in all—was performed for the first time with the tragedy at the Hofburg Theatre, Vienna, May 24, 18 10. Antonie Adamberger was the Clarchen. The first performance of the overture in Boston was at a concert of the Boston Academy of Music, November 16, 1844. All the music of "Egmont" was performed at the fourth and last Philharmonic concert, Mr. Zerrahn conductor, on March 26, 1859. This concert was in commemoration of the thirty-second anniversary of Beetho- ven's death. The programme included the "Egmont" music and the Ninth Symphony. The announcement was made that Mrs. Barrows had been engaged, "who, in order to more clearly explain the com- poser's meaning, will read those portions of the drama which the music especially illustrates." Mr. John S. Dwight did not approve her reading, which he characterized in his Journal 0} Music as "coarse, inflated, over-loud, and after all not clear." Mrs. Harwood sang Clarchen's solos. The programme stated: "The grand orchestra, perfectly complete in all its details, will consist of fifty of the best Boston musicians." All the music to "Egmont" was performed at a testimonial concert to Mr. Carl Zerrahn, April 10, 1872, when Professor Evans read the poem in place of Charlotte Cushman, who was prevented by sickness. This music was performed at a Symphony Concert, December 12, 1885, when the poem was read by Mr. Howard Malcolm Ticknor. When Hartl took the management of the two Vienna Court theatres, January 1, 1808, he produced plays by Schiller. He finally determined to produce plays by Goethe and Schiller with music, and he chose Schiller's "Tell" and Goethe's "Egmont." Beethoven and'Gyrowetz were asked to write the music. The former was anxious to compose NEW CYCLES OF SONG BIRD SONGS by Liza Lehmann. 2 keys Price, #1.50 net PAGODA OF FLOWERS, a Burmese Story in Song, by A. Woodforde-Finden Price, $2.00 net EIGHT NURSERY RHYMES for Quartette of Solo Voices, by Walford Davies Price, 75 cents Also published for Ladies' Voices, 3 parts ..... Price, 75 cents SONGS OF FAITH. Set 1, words by Tennyson. Set 2, words by Whitman. Music by C. V. Stanford Price, $1.00 SIX POEMS by Joan Trevalsa Price, $1.00 2 BOOSEY & COMPANY, Publishers, 9 East Seventeenth Street NEW YORK CITY 7 : ADAME TETRAZZINI Uses exclusively the ROMAN PIA In both her American and European homes To my Friends Hardman, Peck 6° Co. The Hardman Piano is my choice. I therefore use it exclusively. r^^r^ London, May 2g, igo8. ^^^^x /T~} HARDMAN, PECK & COMPANY Established 1842 FIFTH AVENUE, NEW YORK the music for ' 'Tell but, " ; as Czemy tells the story, there were intrigues, and, as "Egmont" was thought to be less suggestive to a composer! the music for that play was assigned to Beethoven. Gyrowetz's music to "Tell" was performed June 14, 1810, and it was described by a correspondent of a Leipsic journal of music as "characteristic and written with intelligence." No allusion was made at the time anywhere to Beethoven's "Egmont." Long and curious commentaries have been written in explanation of his overture. As though the masterpiece needed an explanation! We remember one in which a subtle meaning was given to at least every half-dozen measures: the Netherlanders are under the crushing weight of Spanish oppression; Egmont is melancholy, his blood is stagnant, but at last he shakes off his melancholy (violins), answers the cries of his country-people, rouses himself for action; his death is portrayed by a descent of the violins from C to G; but his country- men triumph. Spain is 'typified by the sarabande movement; the heavy, recurring chords portray the lean-bodied, lean-visaged Duke of Alva; "the violin theme in D-flat, to which the clarinet brings the under-third, is a picture of Clarchen," etc. One might as well illustrate word for word the solemn ending of Thomas Fuller's life of Alva in "The Profane State" : "But as his life was a mirror of cruelty, so was his death of God's patience. It was admirable that his tragical acts should have a comical end; that he that sent so many to the grave should go to his own, and die in peace. But God's justice on offenders goes not always in the same path, nor the same pace: and he is not pardoned for the fault who is for a while reprieved from the punishment; yea, sometimes the guest in the inn goes quietly to bed before the reckoning for his supper is brought to him to discharge." The overture is at first a mighty lamentation. There are the voices of an aroused and angry people, and there is at the last tumultuous rejoicing. The "Triumph Symphony" at the end of the play forms the end of the overture. * * The overture has a short, slow introduction, sostenuto ma non troppo, F minor, 3-2. The main body of the overture is an allegro, HOTEL ROCHESTER ROCHESTER, N.Y. WM. D. HORSTMANN Manager ; F minor, 3-4. The first theme is in the strings; each phrase is a descending arpeggio in the 'cellos, closing with a sigh in the first violins the antithesis begins with a "sort of sigh" in the wood-wind, then in the strings, then there is a development into passage-work. The second theme has for its thesis a version of the first two measures of the sarabande theme of the introduction, fortissimo (strings), in A-flat major, and the antithesis is a triplet in the wood-wind.
Load more

Recommended publications
  • Biannual Report
    Biannual Report Department of Mathematics 2007 and 2008 Contents 1 The Department of Mathematics 6 2 Research 8 2.1 Research Groups . 8 2.1.1 Algebra, Geometry and Functional Analysis . 8 2.1.2 Analysis . 16 2.1.3 Applied Geometry . 29 2.1.4 Didactics and Pedagogics of Mathematics . 32 2.1.5 Logic . 44 2.1.6 Numerics and Scientific Computing . 56 2.1.7 Optimization . 64 2.1.8 Stochastics . 85 2.2 Memberships in Scientific Boards and Committees . 92 2.3 Awards and Offers . 93 3 Teaching and Learning 95 3.1 Study Programs in Mathematics . 95 3.2 Service Teaching . 96 3.3 Characteristics in Teaching . 97 3.4 E-Learning/E-Teaching in Academic Training . 98 3.5 Student Body of the Department . 99 4 Publications 101 4.1 Co-Editors of Publications . 101 4.1.1 Editors of Journals . 101 4.1.2 Editors of Proceedings . 103 4.1.3 Editors of a Festschrift . 103 4.2 Monographs and Books . 103 4.3 Publications in Journals and Proceedings . 104 4.3.1 Journals . 104 4.3.2 Proceedings and Chapters in Collections . 118 4.4 Preprints . 125 4.5 Reviewing and Refereeing . 130 4.5.1 Reviewing Articles and Books . 130 4.5.2 Refereeing for Journals, Proceedings, and Publishers . 130 4.6 Software . 134 4.7 Postdoctoral lecture qualification (Habilitationen) . 135 4.8 Dissertations . 135 4.9 Master Theses and Theses for the State Board Examinations . 137 5 Presentations 146 5.1 Talks and Visits . 146 5.1.1 Invited Talks and Addresses .
    [Show full text]
  • Symposium Records Cd 1109 Adolf Busch
    SYMPOSIUM RECORDS CD 1109 The Great Violinists – Volume 4 ADOLF BUSCH (1891-1952) This compact disc documents the early instrumental records of the greatest German-born musician of this century. Adolf Busch was a legendary violinist as well as a composer, organiser of chamber orchestras, founder of festivals, talented amateur painter and moving spirit of three ensembles: the Busch Quartet, the Busch Trio and the Busch/Serkin Duo. He was also a great man, who almost alone among German gentile musicians stood out against Hitler. His concerts between the wars inspired a generation of music-lovers and musicians; and his influence continued after his death through the Marlboro Festival in Vermont, which he founded in 1950. His associate and son-in-law, Rudolf Serkin (1903-1991) maintained it until his own death, and it is still going strong. Busch's importance as a fiddler was all the greater, because he was the last glory of the short-lived German school; Georg Kulenkampff predeceased him and Hitler's decade smashed the edifice built up by men like Joseph Joachim and Carl Flesch. Adolf Busch's career was interrupted by two wars; and his decision to boycott his native country in 1933, when he could have stayed and prospered as others did, further fractured the continuity of his life. That one action made him an exile, cost him the precious cultural nourishment of his native land and deprived him of his most devoted audience. Five years later, he renounced all his concerts in Italy in protest at Mussolini's anti-semitic laws.
    [Show full text]
  • Max Bruch Violin Concerto No
    BIS-2069 MAX BRUCH VIOLIN CONCERTO NO. 2 IN MEMORIAM KONZERTSTÜCK Ulf Wallin Deutsches Symphonie-Orchester Berlin Eine Co-Produktion mit Deutschlandradio Kultur Okko Kamu BIS-2069_f-b.indd 1 2015-03-23 14:09 BRUCH, Max (1838–1920) Violin Concerto No. 2 in D minor, Op. 44 (1877) 26'30 1 I. Adagio ma non troppo 12'08 2 II. Recitative. Allegro moderato 4'23 3 III. Finale. Allegro molto 9'55 4 In Memoriam for violin and orchestra, Op. 65 (1893) 13'40 Adagio Konzertstück for violin and orchestra, Op. 84 (1910) 18'21 5 I. Allegro appassionato – attacca 10'09 6 II. Adagio, ma non troppo lento 8'12 TT: 59'41 Ulf Wallin violin Deutsches Symphonie-Orchester Berlin Okko Kamu conductor Instrumentarium: Violin: Domenico Montagnana, Venice Bows: Grand Adam 1850; Peccatte 3 ne might think that a text about Max Bruch and his music would be rather superfluous. We all think we know plenty about the composer of the Ofamous G minor Violin Concerto. All the more surprising, then, that in fact we know very little about the composer’s life, as very little has actually been written about him. The first biography of Max Bruch did not appear until the 1980s! Max Bruch was born in Cologne in 1838, and died in Berlin-Friedenau in 1920. In the course of a long life, he witnessed more major upheavals in the history of music than most other composers. When Bruch was a child, musical life was dom in ated by the works of Felix Mendelssohn Bartholdy, Frédéric Chopin, Gioacchino Rossini and Ludwig van Beethoven.
    [Show full text]
  • HN 785-791 Vorwort.Fm
    III Vorwort siehe Bemerkungen). Bruch selbst war Preface am Drucklegungsprozess intensiv als Korrekturleser beteiligt. Wie die erhalte- Max Bruchs (1823–1920) Romanze für nen autographen Stichvorlagen für Par- The F-major Romance for viola and or- Viola und Orchester F-dur op. 85 hat titur, Klavierauszug, Viola- und Violin- chestra, op. 85, by Max Bruch (1823– sich im Repertoire der Bratschisten als Solostimme belegen, erfuhr der Noten- 1920), long ago earned a firm place in eines der wenigen solistischen Werke der text in Folge dessen noch einige mehr the viola repertoire as one of the few solo „Romantik“ seit langem einen festen oder weniger weitreichende Änderungen. works for this instrument from the “ro- Platz erobert. Sie gehört zu einer Gruppe Wie eine den Stichvorlagen beigefügte mantic” period. It belongs to a group von Instrumentalwerken, die Bruch in Notiz zeigt, sandte Bruch im Juni 1911 of instrumental pieces that Bruch com- den Jahren 1909 bis 1911 gezielt für In- die 2. Korrektur der Druckfahnen an posed between 1909 and 1911 for spe- terpreten komponierte, die ihm auf un- den Verlag zurück. Ein genauer Vergleich cific performers who were close to him terschiedliche Weise nahe standen: 1909 der Stichvorlagen und der Erstausgabe in various ways. In 1909 he completed vollendete er die Acht Stücke für Klari- bringt trotz dieser Bemühungen des the Eight Pieces for clarinet, viola and nette, Viola und Klavier op. 83 für seinen Komponisten allerdings eine größere piano, op. 83, for his son Max Felix, who Sohn Max Felix, der sich als talentierter Anzahl von abweichenden Lesarten des was making a name for himself as a gift- Klarinettist einen Namen machte.
    [Show full text]
  • Season 2019-2020
    23 Season 2019-2020 Thursday, October 24, at 7:30 The Philadelphia Orchestra Friday, October 25, at 8:00 Saturday, October 26, at 8:00 Nathalie Stutzmann Conductor David Kim Violin Mendelssohn Hebrides Overture (“Fingal’s Cave”), Op. 26 Bruch Violin Concerto No. 1 in G minor, Op. 26 I. Vorspiel: Allegro moderato— II. Adagio III. Allegro energico Intermission Brahms Symphony No. 2 in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo—L’istesso tempo, ma grazioso III. Allegretto grazioso (quasi andantino)—Presto ma non assai—Tempo I—Presto ma non assai—Tempo I IV. Allegro con spirito This program runs approximately 1 hour, 50 minutes. The October 26 concert is sponsored by Allan Schimmel in memory of Reid Reames. These concerts are part of The Phildadelphia Orchestra’s WomenNOW celebration. 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. 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent orchestras. classrooms to hospitals, and the Orchestra is a global It strives to share the over the airwaves and online. ambassador. It performs transformative power of The Orchestra continues annually at Carnegie Hall, music with the widest to discover new and the Saratoga Performing possible audience, and to inventive ways to nurture its Arts Center, and the Bravo! create joy, connection, and relationship with loyal patrons.
    [Show full text]
  • Two Hundred Years of Accounting Research
    Two Hundred Years of Accounting Research This book offers a rich survey of the efforts that accounting academics, and often enough theoretically inclined practitioners, have invested in accounting research during a 200-year period. Although there are several prominent histor- ical books and encyclopaedias on accounting history, an integrated work con- centrating on accounting research from an international point of view has long been overdue. Mattessich’s book is the first and only one to offer a comprehensive survey of accounting research on a broad international scale for the last two centuries. Its main emphasis is on accounting research in the English, German, Italian, French and Spanish language areas; it also contains chapters dealing with research in Finland, the Netherlands, Scandinavia, Russia, Poland and the Ukraine as well as Argentina and Japan. A separate chapter summarizes research activity in the rest of the globe from Eastern Europe to Israel, the Arab and African countries as well as India, China and other countries of the Far East. In a time of financial globalization, familiarity with accounting research in countries beyond the English language boundary is no less important than familiarity with the recent, comprehensive research activity in the English lan- guage area. This book fulfils both of those needs; it may serve practitioners and auditors all over the world, no less than students of accounting interested in the evolution of its research efforts. It also offers a survey of the present state of the art (from empirical to analytical accounting and from such esoteric subjects as gender issues to the archaeology of accounting); finally, it casts a glance into the future.
    [Show full text]
  • The Art of Henri Temianka” VIRTUOSO VIOLINIST, CONDUCTOR, AUTHOR and EDUCATOR
    ARSC New York Chapter December 2019 Meeting 7:00 P. M. Thursday, 12/19/2019 →At the CUNY Sonic Arts Center← West 140th Street & Convent Avenue, New York Or enter at 138th Street off Convent Avenue (N.B. not always open) Shepard Hall (the Gothic building) – Recital Hall (Room 95, ground floor) An elevator is located in the center of the building. “The Art of Henri Temianka” VIRTUOSO VIOLINIST, CONDUCTOR, AUTHOR AND EDUCATOR Presented by John Haley As demonstrated by his recordings, Henri (pronounced “Henry”) Temianka (1906-1992) was one of the finest violinists of the 20th Century. Born in Greenock, Scotland of immigrant Polish Jewish parents, he studied violin with Carol Blitz in Rotterdam, Willy Hess in Berlin, Jules Boucherit in Paris, and finally Carl Flesch at the Curtis Institute in Philadelphia. In 1930, Temianka was in the first Curtis graduating class, earning a double degree in violin and conducting, having studied the latter with Artur Rodzinski. As a violinist he was further influenced by Eugène Ysaӱe, Jacques Thibaud and Bronisław Huberman. Flesch referred to him as possessing “both musically and technically, … a model collection of talents.” After a brilliant debut in New York in 1928 (which Olin Downes described as “one of the finest accomplishments in years”), Temianka returned to Europe and rapidly established himself as one of that era’s foremost concert violinists, appearing with major orchestras in Europe and the U.S. under such conductors as Pierre Monteux, Sir John Barbirolli, Sir Adrian Boult, Fritz Reiner, Sir Henry Wood, George Szell, Otto Klemperer, Dimitri Mitropoulos and William Steinberg.
    [Show full text]
  • ANHANG '1Ti>F.Tib:I(9J!JJ( '1 (S.'I~E;Cs.T , ~:C:3~~~Jl ANHANG a JI :8>.~~~
    ANHANG '1ti>f.tiB:i(9J!JJ( '1 (S.'i~e;cs.t , ~:c:3~~~Jl ANHANG A JI :8>.~~~ BER DEN NAMEN '- 0 -~~~ ~ß~fEY..;;; r "FIEDEL" U. S. W.. ~... ~) bwohl sich die zwei Hauptformen oder -arten O von Bogeninstrumenten im Mittelalter ziemlich klar unterschieden, so sind doch die Namen, welche zu verschiedenen Zeiten von Schreibern und Chro­ nisten diesen und jenen Typen beider Arten gegeben wurden, recht irreführend. Es ist in der Tat schwierig, einen Weg durch das Labyrinth von scheinbar gleich­ bedeutenden Ausdrücken zu finden. Wir sehen die Bezeichnung Fiedel, Fiethel, Fidula, Vedel, fiddle, Viedel, Crowd, crWth, Geige, gigue, viol, vielle; selbst lira, rotta, crotta, rote etc. manchmal auf ein Instru­ ment der Rebec-, manchmal auf eins der Fiedel- oder frühen Violenart angewendet. In vielen Fällen lagen Jahrhunderte zwischen der wirklichen Existenz eines Instruments und der Zeit, wenn der Name von diesem oder jenem Schreiber einem anderen (ähn• lichen), zu derselben Familie gehörigen, beigelegt wurde. Daher die Verwirrung. Die· ersten wirk­ lichen Musikschriftsteller, Virdung, Judenkünig, Gerte und Agricola erscheinen erst mit dem Anfang des 16. Jahrhunderts. Einige modeme Musikhistoriker haben demzu­ folge ingeniöse Schlüsse aus der auffallenden Ähnlich­ keit des Wortes Fiedel mit dem lateinischen fides, fidula (?) und dem proven~a1ischen fideille gezogen, mit der Absicht, den Ursprung der Geige von der Lyra und dem Monochord (beides griechisch-römische Instrumente) abzuleiten. Der Verfasser in Sir George U@[ ZB" DEN NAMEN FIED;L d~ Groves Musical Dictionary bemerkt z. B. "giren the lyre and the monochord the violin was bound to be the result". Man wundert sich nur, warum das Re­ sultat nicht schon in den Zeiten der Griechen kam.
    [Show full text]
  • Old Violins and VIOLIN LORE
    CORNELL UNIVERSITY LIBRARY From the library of Dr. Ernest Bueding MUSIC II Hill mil nil 3 1924 063 24 46^ Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924063241461 OLD VIOLINS PAGANINI. From the worlt of IJie aiiist, Ingres. Old Violins AND VIOLIN LORE BY Rev. H. R. HAWEIS. WITH 13 PLATES. LONDON WILLIAM REEVES Published by William Reeves Bookseller Ltd., la Norbury Crescent, London, S.W.16. Copyright. All Rights Reserved. Printed in England by Lowe &• Brydone (Printers) Ltd., London, N.W.IO. CONTENTS CHAP. FAQB PRELUDE 7 I. VIOLIN GENESIS 15 IL VIOLIN CONSTITUTION .... 22 III. VIOLINS AT BRESCIA 30 IV. VIOLINS AT CREMONA .... 42 V. VIOLINS AT CREMONA {eontinned) . 60 VI. VIOLINS IN GERMANY .... 91 Vn. VIOLINS IN FRANCE 104 VIIL VIOLINS IN ENGLAND 118 IX. VIOLIN VARNISH 146 X. VIOLIN STRINGS 153 XI. VIOLIN BOWS 161 XII. VIOLIN TARISIO 171 XIIL VIOLINS AT MIRECOURT, MITTEN- WALD, AND MARKNEUKIRCHEN . 186 XIV. VIOLIN TREATMENT 198 XV. VIOLIN DEALERS, COLLECTORS, AND AMATEURS 214 POSTLUDE 241 DICTIONARY OF VIOLIN MAKERS . .243 BIBLIOGRAPHY 285 DESCRIPTION OF PLATES 237 V — OLD VIOLINS PRELUDE What is the secret of the violin? Why is it that when a gi'eat violinist appears all the other soloists have to take a back seat ? The answer is : the fascination of the violin is the fascination of the soul unveiled. No instrument—the human voice hai'dly excepted provides such a rare vehicle for the emotions—is in such close touch with the molecular vibrations of thought and with the psychic waves of feeling.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 29,1909
    ACADEMY OF MUSIC . BROOKLYN Twenty-ninth Season, J909-I9J0 MAX FIEDLER, Conductor programme of % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, MARCH 25 AT 8.15 COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively PlSNO. THE JOHN CHURCH CO., 37 West 3 ad Street New York City » '-.— >* .- ?» . Boston Symphony Orchestra PERSONNEL Twenty-1tiinth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J Noack, S. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Goldstein, H. Goldstein, S Kurth, R. Werner, H. Violas. Fenr, E. Heindl, H. Rennert, B. Kolster, A. Zahn, F. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W Violoncellos. Warnke, H. Nagel, R. Barth, C. Belinski, M. Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, P Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones Tuba. Hess, M. Wendler, G. Kloepfel, L.
    [Show full text]
  • AVS Viola Repertoire Guide: Bruch Romanze
    Viola Repertoire Guide Max Bruch (1838–1920) Romanze for Viola and Orchestra, op. 85 Date of Composition: 1911 Date of First Performance: April 25, 1911, Willy Hess (viola), Orchestergesellschaft, Leo Schrattenholz (conductor), Berlin, Germany (private concert) Duration: 9 minutes ASTACAP Level: 8 Dedication: Maurice Vieux Genre: Late Romantic (Twentieth Century) Instrumentation: Solo viola, 1 flute, 1 oboe, 2 clarinets, 2 bassoons, 3 French horns, 2 trumpets, timpani, strings Publisher: Viola and Piano: • Schott, Plate 29362, 1911 (available at: http://imslp.org/wiki/Romanze_for_Viola_and_Orchestra,_Op.85_(Bruch,_Max) • Henle Verlag, HN 785, ISMN M-2018-0785-0, 2004 • Summy-Birchard/Alfred Publishing, Suzuki Viola School, Volume 8, ISBN 978-1589513440, 2005 (William and Doris Preucil edition) Orchestral Version: • Schott, Plate 29361, 1911 (score and parts available at: http://imslp.org/wiki/Romanze_for_Viola_and_Orchestra,_Op.85_(Bruch,_Max) Select Recordings: • Maxim Rysanov (viola), Swedish Chamber Orchestra, Muhai Tang (conductor): BIS SACD-1843, 2011 • Yuri Bashmet (viola), London Symphony Orchestra, André Previn (conductor): RCA Red Seal 09026 63292 2, 1998 • Karen Dreyfus (viola) and Robert McDonald (piano): Bridge BCD 9016, 1989 • Rainer Moog (viola), Staatsorchester Rheinische Philharmonie, Wolfgang Balzer (conductor): RBM Records RBM 3030, 1973 Details: Romanze was written late in Bruch’s life during a period when he showed favor toward the viola, also composing Eight Pieces for Clarinet, Viola, and Piano, op. 83 (1910) and the Double Concerto for Clarinet, Viola, and Orchestra, op. 88 (1911). The work was dedicated to the great French violist Maurice Vieux, who at the time was principal violist of the Paris Opéra and would later go on to a renowned teaching career at the Conservatoire de Paris.
    [Show full text]
  • Journal of the American Viola Society Volume 13 No. 1, 1997
    JOURNAL ofthe AMERICAN ViOLA SOCIETY Section of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion ofViola Performance and Research FEATURES 13 Fifty Years in the Hot Seat: An Interview with joseph de Pasquale 27 Bow Strokes for a Rich Sound By Pamela Ryan 33 Beyond Brahms: Twentieth-Century Repertoire for Alto (Mezzo) with Viola By Sheila M. Allen 49 New Acquisitions in PIVA OFFICERS Thomas Tatton President 2705 Rutledge Way Stockton, CA 95207 (209) 952-9367 Pamela Goldsmith Vice-President 1!640 Amanda Drive Studio City, CA 91604 Donna Lively Clark Secretary jCFA, Butler University 4600 Sunset Indianapolis, IN 46208 Mary 1. Arlin Treasurer School ofMusic Ithaca College Ithaca, NY 14850 Alan de Veritch Past President School ofMusic Indiana University Bloomington, IN 47405 BOARD Atar Arad Victoria Chiang Ralph Fielding john Graham Lisa Hirschmugl jerzy Kosmala jeffery Irvine Patricia McCarty Paul Neubauer . Karen Ritscher Christine Rutledge Pamela Ryan William Schoen EDITOR, ]AVS David Dalton Brigham Young University Prot;o, UT 84602 PAST PRESIDENTS Myron Rosenblum (1971-81) Maurice W Riley (1981-86) David Dalton (1986-1991) HONORARY PRESIDENT William Primrose (deceased) c$9 Section of the Internationale Viola-Gesellschaft The journal ofthe American Viola Society is a peer-reviewed publication of that organization and is produced at Brigham Young University,© 1985, ISSN 0898-5987. JAVSwelcomes letters and articles from its readers. Editorial Office: School of Music Harris Fine Arts Center Brigham Young University Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 [email protected] Editor: David Dalton Associate Editor: David Day Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editor for Interviews: Thomas Tatton Production: Kristen Gough & Marcus Smith Advertising: Jeanette Anderson Advertising Office: Crandall House West (CRWH) Brigham Young University Provo, UT 84602 (801) 378-4455 [email protected] ]AVS appears three times yearly.
    [Show full text]