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Founded in 1872, the School of Music Combines the Intimacy and Intensity of Conservatory Train

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Founded in 1872, the School of Music combines the intimacy and intensity of conservatory train- ing with a broadly based, traditional liberal arts education at the undergraduate level and intense coursework at the graduate level. The school offers degrees in performance, composition and theory, musicology, music education, collaborative piano, historical performance, as well as a certificate program in its Opera Institute, and artist and performance diplomas. Founded in 1839, Boston University is an internationally recognized private research university with more than 32,000 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multidisciplinary cen- ters and institutes which are central to the school’s research and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a com- munity of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for under- graduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intellectual activity. Boston University College of Fine Arts School of Music Boston University Symphony Orchestra and Symphonic Chorus David Hoose, conductor Monday, April 2, 2012, 8pm Symphony Hall The 160th concert in the 2011-12 season Pre-concert lecture with Dr. Patrick Wood Uribe, Professor of Musicology Sergei Rachmaninoff The Bells, op. 35 (1873–1943) Allegro ma non tanto Lento Presto Lento lugubre Janna Baty, soprano Yeghishe Manucharyan, tenor Anton Belov, baritone ~Intermission~ Dmitri Shostakovich Symphony No. 11 in G minor, The Year 1905, op. 103 (1906–1975) The Palace Square: Adagio The 9th of January: Allegro Eternal Memory: Adagio Tocsin: Allegro non troppo This concert is being webcast live on the School of Music website and will be rebroadcast on the School of Music’s Virtual Concert Hall www.bu.edu/cfa/music/virtual-concert-hall Symphony Hall rules prohibit the use of all cell phones, pagers, cameras and recording devices. Thank you for your cooperation. 1 Texts and Translations Sergei Rachmaninoff The Bells, op. 35 Russian Poem by Konstantin Balmont Adapted from The Bells by Edgar Allen Poe I. Слышишь, сани мчатся в ряд, Hear the sleighs rush along in line, Мчатся в ряд! They rush along in line! Колокольчики звенят, The little bells tinkle, Серебристым легким звоном слух наш With their light, silvery ringing сладостно томят, they sweetly tire our hearing, Этим пеньем и гуденьем With their singing and jingling о забвенье говорят. they tell of oblivion. О, как звонко, звонко, звонко, Oh, how clearly, clearly, clearly, Точно звучный смех ребенка, Like the rining laughter of a child, В ясном воздухе ночном In the clear night air Говорят они о том, They tell the tale of how, Что за днями заблужденья After days of delusion Наступает возрожденье, Rebirth will follow, Что волшебно наслажденье - Magical delight – наслажденье нежным сном. the delight of their tender sleep. Сани мчатся, мчатся в ряд, The sleighs rush along in line, Колокольчики звенят, The little bells tinkle, Звезды слушают, как сани, убегая, The stars listen as the sleighs, fleeing, говорят, speak, И, внимая им, горят, And heeding them, they shine, И мечтая, и блистая, And dreaming, and twinkling, в небе духами парят; they hover in the sky like spirits; И изменчивым сияньем, And with their flickering radiance, Молчаливым обаяньем, With their silent enchantment, Вместе с звоном, вместе Together with the ringing, together with с пеньем, о забвенье говорят the singing, they tell of oblivion. II. Слышишь к свадьбе зов святой, Золотой! Hear the holy golden call to the wedding! Сколько нежного блаженства How much tender bliss there is в этой песне молодой! in this youthful song! Сквозь спокойный воздух ночи Through the calm night air, Словно смотрят чьи-то очи It’s as if someone’s eyes are watching И блестят, And shining, Из волны певучих звуков Out of the wave of melodious sounds на луну они глядят. they gaze at the moon. Из призывных дивных келий, Out of their inviting, wondrous cells, Полны сказочных веселий, Full of fairytale delights, Нарастая, упадая, брызги светлые летят. Rising, falling, the bright sparks fly. Вновь потухнут, вновь блестят They go out again, they shine again, 2 И роняют светлый взгляд And they cast their bright gaze На грядущее, где дремлет On the future, where slumbers безмятежность нежных снов, the serenity of sweet dreams, Возвещаемых согласьем Proclaimed by the harmony золотых колоколов! of the golden bells! III. Слышишь, воющий набат, Hear the howling alarm bell, Точно стонет медный ад! Like the groaning of a brazen hell! Эти звуки, в дикой муке, These sounds in their savage torment сказку ужасов твердят. repeat a tale of horror. Точно молят им помочь, As though begging for help, Крик кидают прямо в ночь, They hurl their cry into the night, Прямо в уши темной ночи Straight into the ears of the dark night. Каждый звук, Each sound, То длиннее, то короче, Now longer, now shorter, Выкликает свой испуг, - Calls out its fright, – И испуг их так велик, And their fright is so great, Так безумен каждый крик, So mad is each shout, Что разорванные звоны, That the tormented bells, неспособные звучать, unable to sound, Могут только биться, виться, Can only batter, writhe, и кричать, кричать, кричать! and shout, shout, shout! Только плакать о пощаде They can only weep for mercy, И к пылающей громаде And to the mass of flames Вопли скорби обращать! Address their wails of grief! А меж тем огонь безумный, And meanwhile the frantic fire, И глухой и многошумный, Both deaf and full of noises, Все горит, Keeps burning, То из окон, то по крыше, Now from the windows, now along the roof, Мчится выше, выше, выше, It rushes higher, higher, higher, И как будто говорит: And seems to say: Я хочу I want Выше мчаться, разгораться To rush higher, to flare up встречу лунному лучу, towards the moonbeam, Иль умру, иль тотчас-тотчас вплоть I’ll either die out or immediately до месяца взлечу! fly right up to the moon! О, набат, набат, набат, Oh, alarm bell, alarm bell, alarm bell, Если б ты вернул назад If you had only turned away Этот ужас, это пламя, эту искру, This horrow, this flame, this spark, этот взгляд, this glance, Этот первый взгляд огня, This first glance of the fire, О котором ты вещаешь, с плачем, About which you prophesy, with weeping, с воплем и звеня! with wailing and ringing! А теперь нам нет спасенья, And now there is no salvation for us, Всюду пламя и кипенье, The flames seethe everywhere, Всюду страх и возмущенье! Everywhere is fear and turmoil! Твой призыв, Your call, 3 Диких звуков несогласность The discord of wild sounds Возвещает нам опасность, Proclaims to us the danger, То растет беда глухая, то спадает, The hollow sound of misfortune rises and как прилив! falls like the tide. Слух наш чутко ловит волны Our hearing distinctly catches the waves в перемене звуковой, of changing sounds, Вновь спадает, вновь рыдает It falls again, it sobs again, медно-стонущий прибой. the brazen, groaning surf. IV. Похоронный слышен звон, The funeral knell can be heard, Долгий звон! The long knell! Горькой скорби слышны звуки, The sounds of bitter grief can be heard, горькой жизни кончен сон. the dream of bitter life has ended. Звук железный возвещает The iron sound proclaims о печали похорон! the sorrow of the funeral! И невольно мы дрожим, And we involuntarily shudder, От забав своих спешим We hurry away from our pastimes, И рыдаем, вспоминаем, And we sob, and recall что и мы глаза смежим. that we too shall close our eyes. Неизменно-монотонный, Invariably monotonous, Этот возглас отдаленный, This distant cry, Похоронный тяжкий звон, The heavy funeral knell, Точно стон, Like a gron, Скорбный, гневный Doleful, wrathful, И плачевный, And mournful, Вырастает в долгий гул, It grows into a long rumbling, Возвещает, что страдалец It proclaims that the sufferer непробудным сном уснул. has fallen into eternal sleep. В колокольных кельях ржавых In the belfry’s rusty cells, Он для правых и неправых For the righteous and unrighteous Грозно вторит об одном: It menacingly repeats a single thing: Что на сердце будет камень, That there will be a stone on your heart, что глаза сомкнутся сном. that your eyes will close in sleep. Факел траурный горит, The funeral torch burns, С колокольни кто-то крикнул, From the belfry someone has shouted, кто-то громко говорит, someone is speaking loudly, Кто-то черный там стоит, A dark figure stands there, И хохочет, и гремит, He laughs and tolls, И гудит, гудит, гудит, And roars, roars, roars, К колокольне припадает, He presses against the belfry, Гулкий колокол качает - And swings the booming bell, Гулкий колокол рыдает, The booming bell sobs, Стонет в воздухе немом It groans in the mute air, И протяжно возвещает о покое And proclaims at length the peace of the гробом. grave. —Prepared by Dr. Keith Langston, University of Georgia Department of Germanic and Slavic Lanugaes 4 The Bells Edgar Allen Poe I. Hear the sledges with the bells- Silver bells! What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle, In the icy air of night! While the stars that oversprinkle All the heavens, seem to twinkle With a crystalline delight; Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells, Bells, bells, bells- From the jingling and the tinkling of the bells.
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  • Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006

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    Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC.
  • Program Notes Hosted by the Score Board 7:00

    Program Notes Hosted by the Score Board 7:00

    DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 DOUBLE TROUBLE SATURDAY JANUARY 22, 2011 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Program Notes hosted by the Score Board 7:00 MICHAEL TIPPETT Concerto for Double String Orchestra HAROLD MELTZER Full Faith and Credit (2004) (1938–39) I. Rugged I. Allegro con brio II. Homespun II. Adagio cantabile III. Blistering III. Allegro molto – Poco allargando IV. Viscous V. Genteel VI. Hymn VII. Rugged MATHEW ROSENBLUM Double Concerto for Baritone Saxophone, Percussion, and Orchestra (2010) Ronald Haroutunian, bassoon World Premiere Adrian Morejon, bassoon I. II. III. STEPHEN PAULUs Concerto for Two Trumpets and Orchestra (2003) IV. I. Fantasy V. II. Elegy III. Dance Kenneth Coon, baritone saxophone Terry Everson, trumpet Lisa Pegher, percussion Eric Berlin, trumpet INTERMISSION GIL ROSE, CONDUCTOR * Commissioned by the Fromm Music Foundation for Kenneth Coon and the Boston Modern Orchestra Project (Gil Rose, conductor) 4 5 PROGRAM NOTES By Robert Kirzinger TONIGHT’s COLLECTION OF DOUBLE CONCERTOS demonstrates the modern range of a genre that developed beginning about the end of the 1600s, essentially parallel to the solo concerto. Double and other multiple concertos were quite common in the High Baroque, including lots of examples by Vivaldi and, under his influence, Bach, but the solo concerto dominates the Classical period and beyond, with relatively few notable exceptions—Mozart’s two-piano concerto and sinfonias concertante, Beethoven’s Triple, Brahms’s Double—remaining solidly in today’s orchestral repertoire. This concert’s variety of approaches has as its chronological and stylistic extremes Michael Tippett’s 1939 GER Concerto for Double String Orchestra—one of the composer’s first works of significance— N and the brand-new, up-to-the-moment world premiere of the Double Concerto for Baritone GRAI Saxophone, Percussion, and Orchestra written for BMOP by Pittsburgh-based Mathew CLIVE Rosenblum.