DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SEVENTY-NI NT H 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 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 S. Shirk Norman James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [t] 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 7 Notes uMvi*loh— Bach (Suite No. 3) 9 BROS. Piston (Symphony No. 6) . .14 Entr'actes A Pampered Age? (Howard Taubman) ... 18 Ballades in General and Faur6's in Particular (Klaus G. Roy) . ,. .30 More Views on Serialism (Walter Piston) .... 34 Reminiscences of Maurice Ravel (Eva Gauthier) 44 Notes Faure (Ballade, for Piano and Orchestra) 50 Ravel (Concerto for Piano and Orchestra) . .53 Symphoniana EXHIBITION The exhibition which opens in the Gallery this week will consist of paint- ings loaned by the Gallery of Tyring- ham, Massachusetts. take a long look at spring THE FAR EASTERN TOUR A tentative itinerary is announced for starting with the Boston Symphony Orchestra's eight- this new long- week tour of Far Eastern countries. The jacketed suit . costs of the tour will be met by the perfect exponent United States Government as part of of spring's new the President's Special International breezy feeling Program for Cultural Presentations ad- . the great ministered by the American National sleeve, stand- Theatre and Academy. offish collar, and Charles Munch as conductor will share the concerts with Richard Burgin and tailored chic Aaron Copland. The entire Orchestra which distinguish will depart from Boston on April 25 by H.B.'s latest chartered flight. After a change of collection. planes on the West Coast, the Orchestra will fly to Korea where they arrive on +w n+y new bur April 27. 7 Two concerts will be given in Korea, [Sl in Seoul and probably Pusan, before the Orchestra flies to Tokyo on May 1. Ap- 9T(a(Laimafac. proximately 22 concerts will be given in 16 Japanese cities during May. Six <Fbc3rojtsstauSCoust of33 ojfo* of these concerts will be held in Tokyo and two in Osaka. Three concerts are scheduled for Ma. nila in early June before the Orchestra flies to Australia for seven concerts in Sydney, Brisbane, Melbourne and Ade- laide. From Australia the Orchestra will fly to New Zealand for two concerts in Auckland and Wellington before its return to the United States. The Or- chestra will arrive by plane in Boston on June 19 to prepare for the Berkshire Festival which opens on July 8 at Tanglewood. Charles Munch and his two associates plan to perform 22 compositions by 19 composers on the tour. Included in the tentative list are eight works by seven American composers: Samuel Barber, "Medea's Meditation and Dance of Vengeance"; Easley Blackwood, Sym- phony No. 1 ; Aaron Copland, Symphony No. 1 and the Suite from "The Tender Land" ; Norman dello Joio, "Variations, Chaconne and Finale"; Leon Kirchner, "Toccata"; Walter Piston, Symphony No. 6; and William Schuman, "New England Triptych." • • NICOLE HENRIOT-SCHWEITZER Nicole Henriot- Schweitzer, born in Paris, studied with Marguerite Long and entered the Paris Conservatory at the age of twelve, taking a first prize in a year and a half. During the war she played with the principal orchestras of Paris and Belgium. She was active in the French resistance together with her ^rd ^fredh ^r& Spring. two brothers. Since the war she has played in numerous European cities. Our striped Arne'l shirtmaker its — She made her American debut January bodice tucked; its sash a solid- 29, 1948, then playing the first of many colored contrast. Green or Blue. concerts in this country, including sev- 10-16 $39.95 eral appearances with this Orchestra. 416 Boylston St. 54 Central St. She is the wife of Dr. Munch's nephew, Boston 16 Wellesley Jean-Jacques Schweitzer, who is also a KEnmore 6-6238 CEdar 5-3430 nephew of Dr. Albert Schweitzer. They were married in Boston in January, 1958. [4] BoMton Belmont Chestnut Hill Wellesley Winchester filene's Hyannis Northshore, Peabody Young Bostonian Shop oull feel new spirit, new verve, new graceful animation with the dramatic endowment of fashion on your sleeves . Kimono sleeves gather wide-spread momentum on a silhouette divine. A shape to fulfill the promise of femi- ninity making the most of your waistline . expressing the mastery of line and cut in sheer wool. Gendarme navy, sizes 12- 18, fifth floor. $49.95 On sale at Filene's Boston only To the lawyer who stands convicted by his family of overwork " "I understand, Dad, but how about next Saturday?" . "That's all right, dear, Til just tell the Browns that something came up." Is "something" always coming up when you'd like to spend some time with your youngsters or take your wife out for an evening? If that " something' ' involves personal problems or paperwork regarding your investments, we hope you will let Old Colony give you a helping hand. Next time you're in the Bank, pick up a copy of" Investment Management." Better yet, let us send you one: It explains how Old Colony can relieve you of this personal burden at most modest fees. Enjoy Commuters' Concert on WCRB, 1330 AM or 102.5 FM, each morning at 8:15 Worthy Old Colony of your Trust Company Trust One Federal St., Boston 6, Mass. Allied with The First National Bank of Boston [6] SEVENTY-NINTH SEASON • NINETEEN HUNDRED FlfTY-NINE-SIXTY Sixth Program SUNDAY AFTERNOON, April 3, at 3:00 o'clock Bach Suite No. 3, in D major, for Orchestra I. Overture II. Air III. Gavotte I; Gavotte II IV. Bourree V. Gigue Piston *Symphony No. 6 I. Fluendo espressivo II. Leggerissimo vivace III. Adagio sereno IV. Allegro energico INTERMISSION Faure Ballade, for Piano and Orchestra, Op. 19 Ravel. *Concerto for Piano and Orchestra I. Allegramente II. Adagio assai III. Presto SOLOIST NICOLE HENRIOT-SCHWEITZER Mme. Henriot-Schweitzer uses the Baldwin Piano BALDWIN PIANO *RCA VICTOR RECORDS [7] scene-stealing small fur . from a collection fresh this spring at Boston Chestnut Hill [8] OVERTURE (SUITE) NO. 3 in D major for Orchestra By Johann Sebastian Bach Born in Eisenach, March 21, 1685; died in Leipzig, July 27, 1750 This "Overture" calls for 2 oboes, 3 trumpets, timpani, first and second violins, violas and basso continuo. Philip Hale found a record of a performance in Boston under Theodore Thomas, October 30, 1869, and another by the Harvard Musical Association, January 20, 1870. Bach's "overtures," as he called them, of which there are four, have generally been attributed to the five-year period (1717-23) in which he was Kapellmeister to the young Prince Leopold of Anhalt-Cothen. Albert Schweitzer conjectures that they may belong to the subsequent Leipzig years, for Bach included them in the performances of the Telemann Musical Society, which he conducted from the years 1729 to 1736. But the larger part of his instrumental music belongs to the years at Cothen where the Prince not only patronized but practised this department of the art — it is said that he could acquit himself more than acceptably upon the violin, the viola da gamba, and the clavier. It was for the pleasure of his Prince that Bach composed most sotto uece A conductor and 103 musicians interpret a delicate passage with expert finesse. But quietly, so that each note can speak for / itself. Ov Here at Rockland-Atlas, every officer in 5\ Xj-^^our Trust Department is a specialist in his w '* "particular field, be it investments, admin- istration, or operations. Their harmonious » cooperation with testators, beneficiaries and attorneys marks the Rockland-Atlas trust relationship. *y^ ESTABLISHED 1833 A iCOCKLAND-ATLAS NATIONAL BANK of BOSTON Trust Department Main Office: 30 Congress Street, Boston 6, Mass. Telephone: Richmond 2-2100 MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION [91 of his chamber music, half of the "Well-tempered Clavichord," the "Inventions." Composing the six concertos for the Margraf of Bran- denburg at this time, he very likely made copies of his manuscripts and performed them at Cothen. The first suite, in C major, adds two oboes and bassoon to the strings. The second, in B minor, is for solo flute and strings. The last two suites, which are each in D major, include timpani and a larger wind group; in the third suite, two oboes and three trumpets; in the fourth suite, three oboes, bassoon and three trumpets.
Recommended publications
  • The Eclectic Careers of Eva and Juliette Gauthier Anita Slominska

    The Eclectic Careers of Eva and Juliette Gauthier Anita Slominska

    Interpreting success and failure: The eclectic careers of Eva and Juliette Gauthier Anita Slominska Art History and Communication Studies McGill University, Montreal April 2009 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy ©2009 Anita Slominska Abstract My dissertation explores the eclectic singing careers of sisters Eva and Juliette Gauthier. Born in Ottawa, Eva and Juliettte were aided in their musical aspirations by the patronage of Prime Minister Wilfred Laurier and his wife Lady Zoë. They both received classical vocal training in Europe. Eva spent four years in Java. She studied the local music, which later became incorporated into her concert repertoire in North America. She went on to become a leading interpreter of modern art song. Juliette became a performer of Canadian folk music in Canada, the United States and Europe, aiming to reproduce folk music “realistically” in a concert setting. My dissertation is the result of examining archival materials pertaining to their careers, combined with research into the various social and cultural worlds they traversed. Eva and Juliette’s careers are revealing of a period of transition in the arts and in social experience more generally. These transitions are related to the exploitation of non-Western people, uses of the “folk,” and the emergence of a cultural marketplace that was defined by a mixture of highbrow institutions and mass culture industries. My methodology draws from the sociology of art and cultural history, transposing Eva and Juliette Gauthier against the backdrop of the social, cultural and economic conditions that shaped their career trajectories and made them possible.
  • Pathetique Symphony New York Philharmonic/Bernstein Columbia

    Pathetique Symphony New York Philharmonic/Bernstein Columbia

    Title Artist Label Tchaikovsky: Pathetique Symphony New York Philharmonic/Bernstein Columbia MS 6689 Prokofiev: Two Sonatas for Violin and Piano Wilkomirska and Schein Connoiseur CS 2016 Acadie and Flood by Oliver and Allbritton Monroe Symphony/Worthington United Sound 6290 Everything You Always Wanted to Hear on the Moog Kazdin and Shepard Columbia M 30383 Avant Garde Piano various Candide CE 31015 Dance Music of the Renaissance and Baroque various MHS OR 352 Dance Music of the Renaissance and Baroque various MHS OR 353 Claude Debussy Melodies Gerard Souzay/Dalton Baldwin EMI C 065 12049 Honegger: Le Roi David (2 records) various Vanguard VSD 2117/18 Beginnings: A Praise Concert by Buryl Red & Ragan Courtney various Triangle TR 107 Ravel: Quartet in F Major/ Debussy: Quartet in G minor Budapest String Quartet Columbia MS 6015 Jazz Guitar Bach Andre Benichou Nonsuch H 71069 Mozart: Four Sonatas for Piano and Violin George Szell/Rafael Druian Columbia MS 7064 MOZART: Symphony #34 / SCHUBERT: Symphony #3 Berlin Philharmonic/Markevitch Dacca DL 9810 Mozart's Greatest Hits various Columbia MS 7507 Mozart: The 2 Cassations Collegium Musicum, Zurich Turnabout TV-S 34373 Mozart: The Four Horn Concertos Philadelphia Orchestra/Ormandy Mason Jones Columbia MS 6785 Footlifters - A Century of American Marches Gunther Schuller Columbia M 33513 William Schuman Symphony No. 3 / Symphony for Strings New York Philharmonic/Bernstein Columbia MS 7442 Beethoven: Symphony No. 9 in D minor Westminster Choir/various artists Columbia ML 5200 Tchaikovsky: Symphony No. 6 (Pathetique) Philadelphia Orchestra/Ormandy Columbia ML 4544 Tchaikovsky: Symphony No. 5 Cleveland Orchestra/Rodzinski Columbia ML 4052 Haydn: Symphony No 104 / Mendelssohn: Symphony No 4 New York Philharmonic/Bernstein Columbia ML 5349 Porgy and Bess Symphonic Picture / Spirituals Minneapolis Symphony/Dorati Mercury MG 50016 Beethoven: Symphony No 4 and Symphony No.
  • A Study of Ravel's Le Tombeau De Couperin

    A Study of Ravel's Le Tombeau De Couperin

    SYNTHESIS OF TRADITION AND INNOVATION: A STUDY OF RAVEL’S LE TOMBEAU DE COUPERIN BY CHIH-YI CHEN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University MAY, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music ______________________________________________ Luba-Edlina Dubinsky, Research Director and Chair ____________________________________________ Jean-Louis Haguenauer ____________________________________________ Karen Shaw ii ACKNOWLEDGEMENTS I would like to express my tremendous gratitude to several individuals without whose support I would not have been able to complete this essay and conclude my long pursuit of the Doctor of Music degree. Firstly, I would like to thank my committee chair, Professor Luba Edlina-Dubinsky, for her musical inspirations, artistry, and devotion in teaching. Her passion for music and her belief in me are what motivated me to begin this journey. I would like to thank my committee members, Professor Jean-Louis Haguenauer and Dr. Karen Shaw, for their continuous supervision and never-ending encouragement that helped me along the way. I also would like to thank Professor Evelyne Brancart, who was on my committee in the earlier part of my study, for her unceasing support and wisdom. I have learned so much from each one of you. Additionally, I would like to thank Professor Mimi Zweig and the entire Indiana University String Academy, for their unconditional friendship and love. They have become my family and home away from home, and without them I would not have been where I am today.
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present

    FRENCH SYMPHONIES from the Nineteenth Century to the Present

    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
  • Philharmonic Au Dito R 1 U M

    Philharmonic Au Dito R 1 U M

    LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living.
  • Marius Barbeau and Musical Performers Elaine Keillor

    Marius Barbeau and Musical Performers Elaine Keillor

    Marius Barbeau and Musical Performers Elaine Keillor Abstract: One of Marius Barbeau’s important contributions to heightening awareness of folk music traditions in Canada was his organization and promotion of concerts. These concerts took different forms and involved a range of performers. Concert presentations of folk music, such as those that Barbeau initiated called the Veillées du bon vieux temps, often and typically included a combination of performers. This article examines Barbeau’s “performers,” including classically educated musicians and some of his most prolific, talented informants. Barbeau and Juliette Gaultier Throughout Barbeau’s career as a folklorist, one of his goals was to use trained Canadian classical musicians as folk music performers, thereby introducing Canada’s rich folk music heritage to a broader public. This practice met with some mixed reviews. There are suggestions that he was criticized for depending on an American singer, Loraine Wyman,1 in his early presentations. Certainly, in his first Veillées du bon vieux temps, he used Sarah Fischer (1896-1975), a French-born singer who had made a highly praised operatic debut in 1918 at the Monument national in Montreal. But in 1919, she returned to Europe to pursue her career. Since she was no longer readily available for Barbeau’s efforts, he had to look elsewhere. One of Barbeau’s most prominent Canadian, classically trained singers was Juliette Gauthier de la Verendrye2 (1888-1972). Born in Ottawa, Juliette Gauthier attended McGill University, studied music in Europe, and made her debut with the Boston Opera in the United States. The younger sister of the singer Eva Gauthier,3 Juliette Gauthier made her professional career performing French, Inuit, and Native music.
  • CCMA Coleman Competition (1947-2015)

    CCMA Coleman Competition (1947-2015)

    THE COLEMAN COMPETITION The Coleman Board of Directors on April 8, 1946 approved a Los Angeles City College. Three winning groups performed at motion from the executive committee that Coleman should launch the Winners Concert. Alice Coleman Batchelder served as one of a contest for young ensemble players “for the purpose of fostering the judges of the inaugural competition, and wrote in the program: interest in chamber music playing among the young musicians of “The results of our first chamber music Southern California.” Mrs. William Arthur Clark, the chair of the competition have so far exceeded our most inaugural competition, noted that “So far as we are aware, this is sanguine plans that there seems little doubt the first effort that has been made in this country to stimulate, that we will make it an annual event each through public competition, small ensemble chamber music season. When we think that over fifty performance by young people.” players participated in the competition, that Notices for the First Annual Chamber Music Competition went out the groups to which they belonged came to local newspapers in October, announcing that it would be held from widely scattered areas of Southern in Culbertson Hall on the Caltech campus on April 19, 1947. A California and that each ensemble Winners Concert would take place on May 11 at the Pasadena participating gave untold hours to rehearsal Playhouse as part of Pasadena’s Twelfth Annual Spring Music we realize what a wonderful stimulus to Festival sponsored by the Civic Music Association, the Board of chamber music performance and interest it Education, and the Pasadena City Board of Directors.
  • The Great American Songbook in the Classical Voice Studio

    The Great American Songbook in the Classical Voice Studio

    THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been
  • LOS ANGELES PHILHARMONIC Discography

    LOS ANGELES PHILHARMONIC Discography

    LOS ANGELES PHILHARMONIC Discography SONY CLASSICAL Esa-Pekka Salonen, conductor BACH: Transcriptions (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos 1, 2, and 3 (Yefim Bronfman, piano) ** BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 ** MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos. 1 and 2; STRAVINSKY: Violin Concerto (Cho-Liang Lin, violin) REVUELTAS: Music of Silvestre Revueltas (including La noche de los mayas, Sensemayá) SALONEN:
  • ABSTRACT the Influence of Poetry on the Piano Music of Early Twentieth-Century France and England Meredith K. Rigby, M.M. Mentor

    ABSTRACT the Influence of Poetry on the Piano Music of Early Twentieth-Century France and England Meredith K. Rigby, M.M. Mentor

    ABSTRACT The Influence of Poetry on the Piano Music of Early Twentieth-Century France and England Meredith K. Rigby, M.M. Mentor: Laurel E. Zeiss, Ph.D. The turn of the century in France saw an increased intensity of interest in equating the arts of poetry and music. England experienced a similar trend. Debussy and Ravel were influenced by the Symbolist poets and their aesthetic of abstract musical expression of ideas and outright rejection of Romanticism. John Ireland in England sought to express the sense of loss and longing in Victorian poetry through his music, while Joseph Holbrooke based his musical forms on direct representation of dramatic and mysterious Romantic poetry, especially that of Edgar Allan Poe, through text painting and similar techniques. Each of these composers’ music reflects formal aspects, emotional values, and rhythmic qualities of the poetry in which they were immersed, as analyses of Debussy’s Preludes, Ravel’s Jeux d’eau, Ireland’s Green Ways, and Holbrooke’s Nocturnes demonstrate. The Influence of Poetry on the Piano Music of Early Twentieth-Century France and England by Meredith K. Rigby, B.A. A Thesis Approved by the School of Music Gary C. Mortenson, D.M.A., Dean Laurel E. Zeiss, Ph.D., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee Laurel E. Zeiss, Ph.D., Chairperson Alfredo Colman, Ph.D. Terry Lynn Hudson, D.M.A. Accepted by the Graduate School May 2017 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School.
  • French Performance Practices in the Piano Works of Maurice Ravel

    French Performance Practices in the Piano Works of Maurice Ravel

    Studies in Pianistic Sonority, Nuance and Expression: French Performance Practices in the Piano Works of Maurice Ravel Iwan Llewelyn-Jones Submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy School of Music Cardiff University 2016 Abstract This thesis traces the development of Maurice Ravel’s pianism in relation to sonority, nuance and expression by addressing four main areas of research that have remained largely unexplored within Ravel scholarship: the origins of Ravel’s pianism and influences to which he was exposed during his formative training; his exploration of innovative pianistic techniques with particular reference to thumb deployment; his activities as performer and teacher, and role in defining a performance tradition for his piano works; his place in the French pianistic canon. Identifying the main research questions addressed in this study, an Introduction outlines the dissertation content, explains the criteria and objectives for the performance component (Public Recital) and concludes with a literature review. Chapter 1 explores the pianistic techniques Ravel acquired during his formative training, and considers how his study of specific works from the nineteenth-century piano repertory shaped and influenced his compositional style and pianism. Chapter 2 discusses Ravel’s implementation of his idiosyncratic ‘strangler’ thumbs as articulators of melodic, harmonic, rhythmic and textural material in selected piano works. Ravel’s role in defining a performance tradition for his piano works as disseminated to succeeding generations of pianists is addressed in Chapter 3, while Chapters 4 and 5 evaluate Ravel’s impact upon twentieth-century French pianism through considering how leading French piano pedagogues and performers responded to his trailblazing piano techniques.
  • G. Jean-Aubry (1882-1950)

    G. Jean-Aubry (1882-1950)

    1/15 Data G. Jean-Aubry (1882-1950) Pays : France Langue : Français Sexe : Masculin Naissance : Paris, 13-08-1882 Mort : Paris, 01-04-1950 Note : Homme de lettres. - Musicologue. - Traducteur des oeuvres de Joseph Conrad. - A toujours signé G. Jean-Aubry, mais certaines de ses publications apparaissent sous le prénom de plume Georges, celui d'un oncle proche, et qu'il a adopté en 1902. - Les prénoms Gabriel et Gérard sont des développements erronés mais figurant dans la correspondance d'André Gide à G. Jean-Aubry État-civil complet : Jean Frédéric Émile Aubry Domaines : Musique Littératures Autres formes du nom : G. Jean- Aubry (1882-1950) Gabriel Jean-Aubry (1882-1950) Georges Jean-Aubry (1882-1950) Gérard Jean-Aubry (1882-1950) G. J.-A. (1882-1950) ISNI : ISNI 0000 0001 1589 3428 (Informations sur l'ISNI) G. Jean-Aubry (1882-1950) : œuvres (287 ressources dans data.bnf.fr) Œuvres textuelles (231) Valery Larbaud (1949) "Lettres à André Gide" (1948) de Valery Larbaud avec G. Jean-Aubry (1882-1950) comme Préfacier Vie de Conrad "Giro dell'oca" (1947) (1947) de Valery Larbaud avec G. Jean-Aubry (1882-1950) comme Postfacier data.bnf.fr 2/15 Data Au tombeau de Julie Le Nain vert (1946) (1946) Le centenaire de Gabriel Fauré André Gide et la musique (1945) (1945) Versailles, songes et regrets "Cambridge et la tradition anglaise, des splendeurs d'un (1944) grand passé aux promesses d'un grand avenir" (1945) de Alfred Leroy avec G. Jean-Aubry (1882-1950) comme Préfacier Paris, âges et visages La Savoie (1943) (1943) Une amitié exemplaire.