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Letter Book Guide
TENDENCIES AND CONTRASTS IN MUSIC OF HENRY BARRAUD 35 it is not the music which is stretched out taut but rather the subject of the drama which is reduced to its fundamental tragic elements. Numance was originally per- formed at the Paris Opera and in view of its success has already been revived there. and final concert was a pot-pourri of twentieth- century English traditionalists, together with LETTER the Suite from Lulu by Berg. THE EDITOR, TEMPO lSthJune, 19S7- Everyone thinks that he can compile an DEAR SIR, anthology better than the next man, and it An event of great importance in the world would be churlish to criticise the L.P.O. for of modern music took place in the early having omitted works that happen to be months of this year with a series of concerts particular favourites of particular people. It entitled " Music of a Century " given in the was clearly never the intention of this series Royal Festival Hall by the London Phil- to be more avant than the avant-garde. harmonic Orchestra. Nevertheless, the total omission (barring the I attended all nine of these concerts, puerile Ballet Mecaniaue by Antheil) of works which, to quote from the handbook issued by native American composers was startling. to cover the series, were "cast in the form 1 would suggest that if concerts of con- of an anthology, with each programme temporary music are to be given to a wide pursuing some particular line of musical public in the Festival Hall, and that if the thought." idea of an anthology is to be persisted with, The first concert, entitled " Retreat from a wider range of works should be considered Wagner," was one of the most rewarding for performance. -
Current Review
Current Review Christian Ferras plays Beethoven and Berg Violin Concertos aud 95.590 EAN: 4022143955906 4022143955906 Fanfare (Robert Maxham - 2012.05.01) Audite’s program of violin concertos by Ludwig van Beethoven and Alban Berg captures two moments in the life of Christian Ferras, the first a studio recording from November 19, 1951, made in the Jesus-Christus-Kirche after the 18-year-old violinist had given a live performance of the work at the Titania Palast and more than a decade before he would record the work with Herbert von Karajan and the same orchestra. The young Ferras sounds both flexible and sprightly in the first movement’s passagework, producing a suave tone that might be described as almost gustatory in its effect as he soars above the orchestra. That tone lacks the sharp edge of Zino Francescatti’s and even the slightly reedy quality of Arthur Grumiaux’s, and he never seems to be deploying it simply for the sheer beauty of it: As sumptuous as it might sound, it always serves his high-minded concept of the work itself. And his playing of Fritz Kreisler’s famous cadenza similarly subordinates virtuosity to musical effect. Karl Böhm sets the mood for a probing exploration of the slow movement, in which Ferras sounds similarly committed; he never allows himself to be diverted into mannerism or eccentricity, as Anne-Sophie Mutter does in her performance with Kurt Masur and the New York Philharmonic (Deutsche Grammophon 289 471 349, Fanfare 26:5 and 26:6). What the young Michael Rabin achieved in the showpieces of Wieniawski and Paganini, Ferras arguably exceeded in the music of Beethoven. -
100 Years of Extraordinary Historical Highlights from the Baltimore Symphony Orchestra Archives
100 Years of Extraordinary Historical Highlights from the Baltimore Symphony Orchestra Archives 1910s 1915 – Through a $6,000 grant from the city of Baltimore, the Baltimore Symphony Orchestra is founded as a branch of the city’s Department of Municipal Music, making it the only major American orchestra to be fully funded as a municipal agency. 1916 – On February 11, the Baltimore Symphony Orchestra performs its inaugural concerts to a standing- room-only crowd at The Lyric, under the direction of Music Director Gustav Strube. All three concerts comprising the first season at the Lyric are sold out. 1920s 1924 – On February 16, the BSO hosts its first children’s concert. The Baltimore Symphony youth concert series is the first to be established by an American orchestra. 1926 – The Baltimore Symphony makes its initial broadcast performance on WBAL Radio. 1930s 1930 - George Siemonn becomes the second music director of the orchestra. He conducts his opening concert, with the musicians now numbering 83, on November 23. 1935 - In late February, George Siemonn reluctantly resigns as music director and is replaced by Ernest Schelling. Forty-four musicians apply for the position. Schelling is well-known for his children’s concert series at Carnegie Hall. 1937 - Sara Feldman and Vivienne Cohn become the first women to join the Baltimore Symphony. The older members of the orchestra are supportive, but union members picket the hall with signs saying, “Unfair to Men,” which is reported in the New York Times. 1937 - Ernest Schelling becomes ill and is replaced by Werner Janssen. The dynamic young conductor and his wife, the celebrated film star Ann Harding, receive an enthusiastic response when they arrive in Baltimore. -
70806 for PDF 11/05
Nadia Reisenberg The Acclaimed Haydn Recordings (2 CD Set) Haydn’s Piano Works “I acknowledge with pleasure the desire of many music lovers to own a complete edition of my piano compositions,” wrote Franz Joseph Haydn in 1799, “and I shall see to it that in this collection no work which wrongly bears my name will be included.” The collection he referred to was subsequently pub- lished in twelve volumes, between 1800 and 1806 under the enticing, if erroneous title “Oeuvres com- pletes.” Actually, Haydn was the chief culprit in that misnomer, since by his own admission, he not only removed spurious compositions, but deleted as well “those works of my early youth which are not worth preserving.” Later generations, of course, were not at all ready to discard any of the master’s works so cavalierly, and Franz Joseph Haydn the number of Sonatas which indeed comprise Haydn’s “complete works” has been revised upwards on several occasions. The original 1800-06 edition contained thirty-four piano sonatas. A collec- tion edited by Hugo Riemann, and published in London in 1895, added five more. In 1918, the now standard Karl Päsler edition listed fifty-two sonatas. Nor is the accounting yet complete: in 1966, a newly published Vienna Urtext edition has upped the total again to sixty-two (including a fragment of a sonata previously considered lost, and several scores freshly discovered in Viennese and Moravian archives). The miscellaneous pieces by Haydn did not fare as well. Many were lost and less than twenty works are extant. Of these, Nadia Reisenberg’s recital assembles four sets of variations and two superb miniatures – the Fantasia and the Capriccio – on which alone Haydn’s reputation as a piano composer could safely rest. -
PROGRAMS on the AIR the on PROGRAMS EVENING AFTERNOON HRH Station
1111.i 4W dial 0-4 Eir4prit §PAH HRH The New York Times NEWS BULLETIN mUt4r4 hour the how 7 :A., PROGRAMSswruitixtvy, AUG,ON 7, 1948. THE AIR every ase midnight to over WQXR RADIO (1560 dial) on your X R--F1h1 1:55-5Baseball: Yankees at ClevelandWINS; Dodgers vg. MORNING L.W Q (Mg Pie. (Channel Ebbets FieldWHN (To 4:45); 2:25-5Giants vs Pittsblirgh, 242) and 46,9 WCBSThis Is New York. 13111 I,ebhad Polo GroundsMICA. WHNRecorded Music 9:30-WNBCPAL Show. Drama TELEVISION 3-3:45Folk Opera: "Down in the Valley," From University of Miohi- WONIt's a Living ganWINTBC. WAWAThe Music BOX WINSMorning Matinee WCBS-TV-Channel 3:304:30Colorado College Concert; Roy Harris, ConductorW5. WNEWNews; Recorded Music 1:30-Music: Weather 1:95-Snorts Minn-Dennis 4:30-5Golf: Tam O'Shanter Tournament, ChicagoWM. WHNFun at Breakfast, Ward Wilson Jarahs 0:45-1VN3CStamp Club. Harry L. r,irielquist 1:50-Baseball: Dodgers-CincihnISEI WNBT--Channel 5-5:30Racing: The Whitney, at SaratogaWJZ (WCBS at 5:1).. WCBSHousewives Protective League 4 WNEWCalling All Girls 2:10-Al Show 6:30-7:30NBC Symphony; Massimo Freccia, ConductorWNE0, Schacht 9: SS-WNYCNews Reports 2:20-Baseball: Glants-PittataWr 7-7:30St. Louis Municipal Opera ConcertWCBS. 10: 00-WNBCFrank MerriweltDrama 5:00-Howdy Doody-Bob Smith WORNewsHenry Gladstdire 8:00-Feature Film w.12Yarlety Music wACD-channsl 7:80-8Saturday Night Serenade: Gustave Haensohen and Orchestra; WMCANews; Tommy Dorsey Show 5 Vio Damone, Baritone; Hollace Shaw, SopranoWOES. WNYCMusic America Loves 8:80-F1Ica Shorts 9:00-Filth: Streamline 8-8:30Twenty Questions Quiz: Ralph Kiner, GuestWOR. -
Universiv Micrcsilms International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
Intermountain Classics on KKRN 88.5 FM Program Notes for April 27 & May 2, 2013
Intermountain Classics on KKRN 88.5 FM Program Notes for April 27 & May 2, 2013 Beethoven-Egmont Overture Opus 84) Atlanta Symphony Orchestra/Yoel Levi Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. During the late 18th century, his hearing began to deteriorate significantly, yet he continued to compose, conduct, and perform after becoming completely deaf. Egmont, Op. 84, by Ludwig van Beethoven, is a set of incidental music pieces for the 1787 play of the same name by Johann Wolfgang von Goethe. It consists of an overture followed by a sequence of nine additional pieces for soprano, male narrator and full symphony orchestra. Beethoven wrote it between October 1809 and June 1810, and it was premiered on 15 June 1810. The subject of the music and dramatic narrative is the life and heroism of a 16th-century Dutch nobleman, the Count of Egmont. It was composed during the period of the Napoleonic Wars, at a time when the French Empire had extended its domination over most of Europe. Beethoven had famously expressed his great outrage over Napoleon Bonaparte's decision to crown himself Emperor in 1804, furiously scratching out his name in the dedication of the Eroica Symphony. In the music for Egmont, Beethoven expressed his own political concerns through the exaltation of the heroic sacrifice of a man condemned to death for having taken a valiant stand against oppression. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
William Schuman's Literature and Materials Approach: a Historical Precedent for Comprehensive Musicianship
WILLIAM SCHUMAN'S LITERATURE AND MATERIALS APPROACH: A HISTORICAL PRECEDENT FOR COMPREHENSIVE MUSICIANSHIP By JONATHAN STEELE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1988 ^p p LIBRARIES Copyright 1988 by Jonathan Edward Steele ACKNOWLEDGMENTS I would like to express my gratitude for the guidance and encouragement given by my major professor, Dr. John White, throughout my program of study at the University of Florida and particularly during the writing of this dissertation. I am also grateful for the helpful and precise assistance provided by my committee members in their review of my work. Their many hours of work are greatly appreciated. I owe a debt of gratitude to Clearwater Christian College for the substantial assistance and encouragement given to me in my doctoral studies. Most of all, I am thankful for my wife, Bea. Without her unending love, patience, and support, I would not have finished this task. iii TABLE OF CONTENTS page ABSTRACT vi CHAPTER ONE - INTRODUCTION 1 Statement of the Problem 1 Objectives 5 Background 6 The Juilliard School 6 The Literature and Materials Approach .... 8 History of the Comprehensive Musicianship Approach 11 The Young Composers Project . 11 The Contemporary Music Project and Comprehensive Musicianship 17 Background on William Schuman 22 Biography 22 Philosophy 38 Musical Output 41 CHAPTER TWO - REVIEW OF THE LITERATURE 45 Scholarly Research 46 Bibliographies 47 Periodical Literature 48 Biographies 52 CHAPTER THREE - METHODOLOGY 54 Preliminary Study 54 Interview With William Schuman 54 Interview With Michael White 56 Interview Protocol 58 Other Interviews 59 Follow-up Study 60 iv CHAPTER FOUR - COMPARISON OF APPROACHES 61 The Literature and Materials Approach (L and M) . -
Department of Music Programs 1971 - 1972 Department of Music Olivet Nazarene University
Olivet Nazarene University Digital Commons @ Olivet School of Music: Performance Programs Music 1972 Department of Music Programs 1971 - 1972 Department of Music Olivet Nazarene University Follow this and additional works at: https://digitalcommons.olivet.edu/musi_prog Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Department of Music, "Department of Music Programs 1971 - 1972" (1972). School of Music: Performance Programs. 5. https://digitalcommons.olivet.edu/musi_prog/5 This Book is brought to you for free and open access by the Music at Digital Commons @ Olivet. It has been accepted for inclusion in School of Music: Performance Programs by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. PROGRAMS 1971 1972 DEPARTMENT OF MUSIC OLIVET NAZARElv _ LLEGE DEPARTMENT OF MUSIC , presents SENIOR RECITAL RONALD BURNETTE ELIZABETH GABURO, accompanist ca>t>U>te.d by Garen Milton, french horn / //_ /; Rodney Bushey, trombone Sonata Op. 10, No. 1 ................ Ludwig van Beethoven Allegro molto e con brio Valse (Posthumous) Op. 69, No. 1 . Frederic Chopin Valse (Posthumous) Op. 69, No. 2 . Frederic Chopin Mr. Burnette Sonata for Horn.............................. Luigi Cortese Movements I and II Mr. Milton Come raggio di sol Antonio Caldara J ’ai pleure un r^ve............................ Georges Htle "TannhHuser": 0 du mein holder Abenstern .Richard Wagner Yarmouth Fair................................. Peter Warlock Mr. Burnette Arioso from Cantata 156............ Johann Sebastian Bach arr. H. R. Kent Suite in F M a j o r ............................ Henry Purcell Nymphs and Shepherds Aria from "Dido and Aeneas" Passing By Country Dance M r . Bushey (bver) Olivet rene CoH Clair de Lune.............................. -
Journal of the American Viola Society Volume 32 No. 1, Spring 2016
Features: Bartolomeo Campagnoli and His 41 Capricci An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part I Volume 32 Number 1 Number 32 Volume Journal of the American ViolaSociety American the of Journal Viola V32 N1.indd 301 3/16/16 6:20 PM Viola V32 N1.indd 302 3/16/16 6:20 PM Journal of the American Viola Society A publication of the American Viola Society Spring 2016: Volume 32, Number 1 p. 3 From the Editor p. 5 From the President News & Notes p. 7 Announcements Feature Articles p. 9 Bartolomeo Campagnoli and His 41 Capricci: The Ever-Changing Role of the Virtuosic Viola and Its Technique: Dalton Competition prize-winner Alicia Marie Valoti explores a history of the Campagnoli 41 Capricci and its impact on the progression of the viola’s reputation as a virtuosic instrument. p. 19 An Afternoon at Skittles: On Playing Mozart’s “Kegelstatt” Trio Part I: A Trio for Signora Dinimininimi, Nàtschibinìtschibi, and Pùnkitititi: Edward Klorman gives readers an interesting look into background on the Mozart “Kegelstatt” Trio. Departments p. 29 New Music: Michael Hall presents a number of exciting new works for viola. p. 35 Outreach: Janet Anthony and Carolyn Desroisers give an account of the positive impact that BLUME is having on music education in Haiti. p. 39 Retrospective: JAVS Associate Editor David M. Bynog writes about the earliest established viola ensemble in the United States. p. 45 Student Life: Zhangyi Chen describes how one of his choral compositions became the basis of a new viola concerto. p.