DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 91, 1971-1972

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 91, 1971-1972 BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON VETERANS MEMORIAL AUDITORIUM, PROVIDENCE NINETY-FIRST SEASON 1971-1972 STEIN WAY The artist's choice... the piano for your home Most of the world's great artists choose the Steinway to enhance their performance. The Steinway's superior tone and long life also make it the ideal piano for the home. We invite you to select your piano as the artists do, from our large selection of beautiful Steinway Consoles and Grands. rfv&ttf "Ptcuta DIVISION OF GLADDINGS Exclusive Steinway Piano, Hammond Organ and Fisher Stereo for This Territory 256 Weybosset Street Open Monday and Thursday Evenings BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETY-FIRST SEASON 1971-1972 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President FRANCIS W. HATCH PHILIP K. ALLEN Vice-President HAROLD D. HODGKINSON ROBERT H. GARDINER Vice-President E. MORTON JENNINGS JR JOHN L. THORNDIKE Treasurer EDWARD M. KENNEDY ALLEN G. BARRY HENRY A. LAUGHLIN ERWIN D. CANHAM EDWARD G. MURRAY RICHARD P. CHAPMAN JOHN T. NOONAN ABRAM T. COLLIER MRS JAMES H. PERKINS MRS HARRIS FAHNESTOCK IRVING W. RABB THEODORE P. FERRIS PAUL C. REARDON SIDNEY STONEMAN TRUSTEES EMERITUS HENRY B. CABOT PALFREY PERKINS EDWARD A. TAFT ADMINISTRATION OF THE BOSTON SYMPHONY ORCHESTRA THOMAS D. PERRY JR Manager Assistant Managers THOMAS W. MORRIS DAVID ROCKEFELLER JR Business Affairs Audience and Public Affairs MARY H. SMITH Concerts and Artists FORRESTER C. SMITH DANIEL R. GUSTIN Director of Development Administrator of Educational Affairs DONALD W. MACKENZIE JAMES F. KILEY Operations Manager, Operations Manager, Symphony Hall Tanglewood RICHARD C WHITE Assistant to the Manager program copyright © 1971 by Boston Symphony Orchestra Inc. SYMPHONY HALL BOSTON MASSACHUSETTS 3 RHODE ISLAND PHILHARMONIC Francis Madeira, Music Director Saturday Concerts, Veterans Auditorium, 8:30 PM. 8 Saturday Eve Concerts October 23, 1971 March 4, 1972 Garrick Paul Ohlsson Vermel Pianist Guest Conductor November 20, 1971 April 8, 1972 Ronald LEONARD, cello La Norma AUZIN, violin BOhSITI© Brahms' puccini Double Concerto <Q Aprj | 2 t 1972 December 18,1971 Stephen Christmas Manes Pianist George Kent, conductor January 29, 1972 May 20 Chamber Pops Orchestra George Kent, conductor Phone 831-3123 Good seats still available Rhode Island Philharmonic for all concerts 39 The Arcade, Providence Tickets $4.50 - $3.00 also Axelrod, Avery, Ladd's Music JOIN THE PHILHARMONIC REGULARS NINETY- FIRST SEASON 1971-1972 THIRD PROGRAM Four hundred and eleventh concert in Providence Thursday evening December 16 1971 at 8.30 ALDO CECCATO conductor CORELLI Concerto grosso in G minor op. 6 no. 8 'Christmas' Vivace - grave - allegro Adagio - allegro - adagio Vivace Allegro Pastorale CONCERTINO JOSEPH SILVERSTEIN violin MAX HOBART violin JULES ESKIN cello CONTINUO ROBERT LEVIN harpsichord MENDELSSOHN Symphony no. 1 in C minor op. 11 Allegro di molto Andante Menuetto: allegro molto Allegro con fuoco first performance by the Boston Symphony Orchestra intermission *DVORAK Symphony no. 9 in E minor op. 95 'New World' Adagio - allegro molto Largo Scherzo: molto vivace Allegro con fuoco By order of the Chief of the Providence Fire Department, smoking is allowed only in the ticket lobby and lower lobby of the auditorium The Boston Symphony Orchestra is a member of Arts Rhode Island The Boston Symphony Orchestra records exclusively for Deutsche Grammophon BALDWIN PIANO DEUTSCHE GRAMMOPHON AND *RCA RECORDS ARCANGELO CORELLI Concerto grosso in G minor op. 6 no. 8 'Christmas' Program note by John N. Burk Corelli was born in Fusignano (Imola), Italy, on February 17 1653; he died in Rome on January 8 1713. The score of this Concerto grosso, which is super- scribed 'Fatto per la notte di natale' ('composed for the night of the nativity'), is one of a set of twelve published, according to Alfred Einstein, a year after the composer's death by Roger of Amsterdam. The first performance by the Boston Symphony Orchestra was given on October 16 1925, when Serge Koussevitzky conducted. The instrumentation: a concertino group of two violins and cello, a ripieno group of violins, violas, cellos and basses, with string and keyboard continuo. Corelli was a personage of widespread fame in his day. The particulars of his career are largely fabulous, and little is known of his early life. Various anecdotes about him have been handed down, each always quoted with an appendage of doubt as to its authenticity. Certain it is that he was the prime spirit in the development of music by bowed instruments when instrumental music found its first full flowering in seventeenth-century Italy. If his was not a profoundly original talent, he gave a great impetus to the art of violin playing by his example as virtu- oso, and to solo and concerted music by his compositions, published and widely circulated in his time. Of his earlier years little is known, save that he studied violin with Giovanni Benvenuti at Bologna, composition with Matteo Simonelli at Rome. He became a player in the Capranica Theatre Orchestra in Rome as a youth of eighteen. It is said that in the ensuing years he exhibited his skill before the Elector of Bavaria at Munich, the Elector George at Hanover; the tale is told that when he visited Paris the jealous Lully stirred up so much talk against him that he was obliged to leave (this was denied by Fetis). In 1682 he settled at Rome, and as first musician to the Cardinal Ottoboni became forthwith the shining light of musical culture in that capital. A celebrity who held a similar position at the court of Naples was the elder Scarlatti. Dr Burney relates an anecdote which he learned from 'a very particular and intelligent friend', who had it from Geminiani, who many years before had been Corelli's pupil. Burney's roundabout information is to the effect that Corelli, visiting the Neapolitan court, made a glaring error in performance in which Ales- sandro Scarlatti had to set him straight. That, in the midst of a perform- ance of one of his last adagios, 'the king, being tired, quitted the room to the great mortification of Corelli'. Returning to Rome, he found his fame somewhat supplanted by an upstart musician by the name of Valentini, and was thrown into 'such a state of melancholy and chagrin as was thought,' said Geminiani, 'to have hastened his death'. Dying a wealthy man, Corelli made the grand gesture of bequeathing his entire fortune, which has been variously named as the equivalent of thirty thousand dollars and three hundred thousand dollars, together with a fine collection of paintings, to his patron. The Cardinal saw his Christian duty, and handed the 'saint-seducing gold' to Corelli's poor relatives. The pictures his conscience permitted him to retain. Corelli has been described as 'modest, amiable, simple in his ways of life, almost shabbily dressed, always going on foot instead of taking a carriage'. But there is no lack of extravagant praise from his contem- poraries. One of his countrymen called him '// virtuosissimo di violino e vero Orfeo di nostri tempi', and Johann Mattheson, in Germany, named him 'the prince of all musicians'. His pupil, Geminiani, issued a more considered judgment: 'His merit was not depth of learning like that of Alessandro Scarlatti, nor great fancy or rich invention in melody or harmony, but a nice ear and most delicate taste which led him to select the most pleasing harmonies and melodies, and to construct the parts so as to produce the most delightful effect upon the ear.' Even though Corelli's Concerti grossi were published posthumously, there can be no doubt that he composed them, or some of them, far earlier, in the full prime of his career. We have the statement of Georg Muffat in his preface to his own collection of Concerti grossi published at the end of the century, that he had experienced 'great pleasure and wonder in hearing a Concerto grosso of Corelli for the first time'. Muffat heard Corelli conduct them in Rome, so he reports, in 1682. Corelli neither originated the form, nor was he alone in developing it in his day, but he gave the Concerto grosso its first great impulse by the coherence, power, and fine workmanship he brought to it. His pupil Geminiani carried the gospel of the Concerto grosso to England. Another pupil, Locatelli, did the same in Holland. Corelli offered an inspiring pattern for his younger compatriot Vivaldi. Handel, who heard and admired his playing, was to write his own twelve Concerti grossi for a similar group and with a similar succession of short movements. Even Bach surely owed something to Corelli in his Brandenburg concertos, however much he refined and altered the Corellian model. The plan of the Concerto grosso is first found in vocal music with con- certed instrumental accompaniment and so derives from the operas of an earlier period where the main group of instrumentalists, called 'Ripieno' ('full'), is contrasted and alternated with a small group set apart, called the 'Concertino', thjs group supporting the singer. The operas of Alessandro Scarlatti are outstanding in this usage. Sonatas such as Corelli's Opus 5 were to become a pattern for the later solo virtuoso type of concerto. But at this period of instrumental develop- ment even those composers who wrote primarily for the violin, of which Corelli was one, inclined toward music for balanced groups. The first use of the term 'Concerto grosso' is traced to Malvezzi's 'Inter- medii et Concerti' in 1591. The Concerti 'per voci e stromenti' of the still earlier Venetian masters Andrea and Giovanni Gabrieli favored a balanced division of choral and instrumental groups.
Load more

Recommended publications
  • The Life and Solo Vocal Works of Margaret Allison Bonds (1913-1972) Alethea N
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 The Life and Solo Vocal Works of Margaret Allison Bonds (1913-1972) Alethea N. Kilgore Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE LIFE AND SOLO VOCAL WORKS OF MARGARET ALLISON BONDS (1913-1972) By ALETHEA N. KILGORE A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2013 Copyright © 2013 Alethea N. Kilgore All Rights Reserved Alethea N. Kilgore defended this treatise on September 20, 2013. The members of the supervisory committee were: Wanda Brister Rachwal Professor Directing Treatise Matthew Shaftel University Representative Timothy Hoekman Committee Member Marcía Porter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to the music and memory of Margaret Allison Bonds. iii ACKNOWLEDGEMENTS I would first like to acknowledge the faculty of the Florida State University College of Music, including the committee members who presided over this treatise: Dr. Wanda Brister Rachwal, Dr. Timothy Hoekman, Dr. Marcía Porter, and Dr. Matthew Shaftel. I would also like to thank Dr. Louise Toppin, Director of the Vocal Department of University of North Carolina at Chapel Hill for assisting me in this research by providing manuscripts of Bonds’s solo vocal works. She graciously invited me to serve as a lecturer and performer at A Symposium of Celebration: Margaret Allison Bonds (1913-1972) and the Women of Chicago on March 2-3, 2013.
    [Show full text]
  • Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre
    Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) James Cotton Living the Blues James Cotton; Larry McCray; John Primer; Johnny B. Gayden; Brian Jones; Dr. John; Lucky Peterson; Joe Louis Walker 1994 1121-105-242 19 Blues (music) Willie Dixon Willie Dixon; Andy McKaie; Don Snowden 1988 1121-105-249 01 Oversized case; 2 CD box set Blues (music) Cincinnati Blues (1928-1936) Bob Coleman's Cincinnati Jug Band and Associates; Walter Coleman; Bob Coleman no date 1121-105-242 17 Found with CD album in Box #10, Item #28; Case was found separately Blues (music) Willie Dixon, The Big Three Trio Willie Dixon; The Big Three Trio 1990 1121-105-242 18 Blues (music) The Best of Muddy Waters Muddy Waters 1987 1121-105-242 08 Blues (music) The Roots of Robert Johnson Robert Johnson 1990 1121-105-242 07 Blues (music) The Best of Mississippi John Hurt Mississippi John Hurt; Bob Scherl 1987 1121-105-242 06 Blues (music) Bud Powell: Blues for Bouffemont Bud Powell; Alan Bates 1989 1121-105-242 36 Friday, May 11, 2018 Page 1 of 89 Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) Big Bill Broonzy Good Time Tonight Big Bill Broonzy 1990 1121-105-242 04 Blues (music) Bessie Smith The Collection Bessie Smith; John Hammond; Frank Walker 1989 1121-105-242 38 Blues (music) Blind Willie Johnson Praise God I'm Satisfied Blind Willie Johnson 1989 1121-105-242 20 Post-it note was found on the back of this CD case, photocopy made and placed in envelope behind CD.
    [Show full text]
  • The Monthly Magazine of the Atlanta Memorial Arts
    AtlantaTHE MONTHLY MAGAZINE OF THE ATLANTA MEMORIALArts ARTS CENTER JANUARY 1973 American comfort, European handling. They meet in Monte Carlo. Monte Carlo S Coupe at Glen Haven, Michigan. Monte Carlo has always ment panel reflect Monte been a car unlike any other. Carlo's individuality. Yet, our 73 Monte Carlo S The new flow-through is even more unique. power ventilation system Chassis, frame and sus­ adds to its quietness. pension geometry were Power front disc brakes, extensively redesigned to power steering and a big V8 achieve special handling are standard of course. traits like those found in the A power-operated sky roof great road cars of Europe. can be added. Coach windows, molded Monte Carlo S. We think full foam seats, rich uphol­ you'll find it one of the best stery and a classic instru­ road cars you've ever driven. 1973 Chevrolet Building a better way to see the U.SA j’ Chevrolet Art for everyone's sake More than a repository, The Atlanta Memorial Arts Center continues its forward thrust, its dedicated presentation of the arts as a force in today's life, an inspiration for tomorrow's. Rich's salutes the gifted men and women who have made this so. r r I mH 1 . 1 ; ■s-S : JEWELRY COMPANY 195 Mitchell Street, S.W., Phone (404) 522-2150 and now our second location 107 Peachtree Street. N.E., Phone (404) 522-4786 Atlanta. Georgia 30303 Of Special interest AT THE CENTER ALLIANCE THEATRE COMPANY Don’t go "Jacques Brel" is 1973 through Season Opening Play Subscriptions to Alliance Theatre Com­ life pany's 1973 play season are now avail­ without able and can be purchased through Jan­ uary 27.
    [Show full text]
  • 20Th Anniversary Celebration
    THE AFRICAN AMERICAN ART SONG ALLIANCE CONFERENCE 20th Anniversary Celebration February 9 – 12, 2017 Claire Trevor School of the Arts – Music The University of California, Irvine In collaboration with Christ Our Redeemer AME Church 45 Tesla, Irvine, Rev. Mark E. Whitlock, Jr., Pastor Host Hotel Transportation provided by COR AME Church Radisson Hotel Newport Beach via DMCLS, Inc. a minority-owned VIP transportation co. 4545 MacArthur Boulevard Mathurin Daniel, CEO Newport Beach, CA 92660 37 Rincon Way, Aliso Viejo, CA 92656 The African American Art Song Alliance artsongalliance.org Funding for this conference generously provided by: UCI Office of Inclusive Excellence Spirit Award Program; Christ Our Redeemer AME Church, 45 Tesla, Irvine, Rev. Mark E. Whitlock., Pastor; UCI Illuminations, the Chancellor’s Art & Culture Initiative; Hampsong Foundation; UC Consortium for Black Studies in California; COR Community Development Corporation (CORCDC); Chair’s Endowment, UCI Music Department; UCI African American Studies Department CONFERENCE PARTICIPANTS COMPOSERS SINGERS (cont) H. Leslie Adams, Cleveland, OH Kisma Jordan Hunter, University of Michigan, Flint, MI Judith Baity, Los Angeles, CA Albert R. Lee, University of Nevada, Reno, NV Brittney Elizabeth Boykin, Spelman College, Atlanta, GA Marquita Lister, Morgan State University, Baltimore, MD Maria Thompson Corley, Franklin & Marshall Coll., Lancaster, PA Leberta Lorál, Los Angeles, CA Marquez L.A. Garrett, Florida State University, Tallahassee, FL Jennifer Lindsay, Long Beach, CA Adolphus C. Hailstork, Old Dominion University, Norfolk, VA Oral Moses, Kennesaw State University, Kennesaw, GA Lori Celeste Hicks, Claflin University, Orangeburg, SC Marlaina Owens, Los Angeles, CA Charles Ingram, Los Angeles Southwest College, Los Angeles, CA Miranda Paulos, University of California, Irvine, CA Roy Jennings, New York, NY Willis C.
    [Show full text]
  • The Bartered Bride: Cably Controlled) and Szell (More Genial Not Quite As Good As I Had Hoped
    in these pieces, is far from accurate, but the difficult scene with Crown is and this defect makes the gay Scherzo quite convincing (in fact, the lead -in to capriccioso sound rather oafish and "What You Want wid Bess" is one of loose -limbed. (When Kertesz does at- the record's most compelling moments). tempt to be flexible -as in the central She also does well with Serena's lament. portion of that piece -the result is in- darkening her tone color somewhat; I variably contrived.) still find myself wishing though, that a London's engineering is ultravivid. but mezzo or contralto had been given the if you set your volume control to pro- song. duce even reasonable solidity for the Warfield doesn't have this sort of opening horn call of the Scherzo capric- vocal equipment: and if one were to cios() (which sounds disappointingly "off - analyze his actual sound, one would mike"), you will be literally annihilated conclude that it was rather limited by the barrage of decibels you will hear much of the time. But he is a genuine slightly later. artist, who goes straight to the music's I see that the beautiful Talich and message. "I Got Plenty o' Nuttin'" Silvestri editions of the Symphony have swings Szell: Bohemian music a special forte. along easily, unaffectedly. The both disappeared from the domestic lines, "What if there was no Crown? catalogue, and so has the beguiling Sejna What if there was only Porgy." sung DVORAK: Carnival Overture, Op. account of the Scherzo capriccioso. The over a chilling string tremolando, are Sejna and Talich discs, however, might full of pathos and premonition, 92; Slavonic Dances: in C, Op.
    [Show full text]
  • NEW YORK PHILHARMONIC 10,000Th CONCERT
    ' ■ w NEW YORK PHILHARMONIC 10,000th CONCERT NEW YORK PHILHARMONIC 10,000th CONCERT Sunday, March 7,1982, 5:00 pm Mahler Symphony No. 2 (Resurrection) Zubin Mehta, Music Director and Conductor Kathleen Battle, soprano Maureen Forrester, contralto Westminster Choir, Joseph Flummerfelt, director CONTENTS The First 9,999 Concerts.................................... 2 Bernstein, Boulez, Mehta By Herbert Kupferberg.................................................. 5 New York Philharmonic: The Tradition of Greatness Continues By Howard Shanet........................................................ 8 Gustav Mahler and the New York Philharmonic............................... 14 Contemporary Music and the New York Philharmonic............................... 15 AVERY FISHER HALL, LINCOLN CENTER THE FIRST 9,999 CONCERTS The population of New York City in NEW YORK PHILHARMONIC: 1982 is 20 times what it was in 1842; the each of them. To survey them is to Philharmonic’s listeners today are define the current richness of the 10,000 times as many as they were in that organization: THE TRADITION OF GREATNESS CONTINUES The Subscription Concerts au­ dience, though not the largest of the their diversity they reflect the varied en Battle, David Britton, Montserrat aballé, Jennifer Jones, Christa Lud- in Avery Fisher Hall. As for television, it ig, Jessye Norman, and Frederica von is estimated that six million people Stade. (Another whole category across the country saw and heard the like - the < iductors. those chosen Philharmonic in a single televised per­ formance when the celebrated come­ dian Danny Kaye conducted the Or­ chestra recently in a Pension Fund benefit concert; and in a season's quota who is Music Director, of "Live from Lincoln Center" and other telecasts by the Philharmonic 20 are presented elsewhere in this publi million watchers may enjoy the Or­ chestra's performances in their homes.
    [Show full text]
  • The Chairman, Mr
    THE OHIO STATE UNIVERSITY OFFICIAL PROCEEDINGS OF THE ONE THOUSAND THREE HUNDRED AND TENTH MEETING OF THE BOARD OF TRUSTEES Columbus, Ohio, March 3, 1995 The Board of Trustees met at its regular monthly meeting on Friday, March 3, 1995, at The Ohio State University Fawcett Center for Tomorrow, Columbus, Ohio, pursuant to adjournment. ** ** ** Minutes of the last meeting were approved. ** ** ** 601 March 3, 1995 meeting, Board of Trustees The Chairman, Mr. Kessler, called the meeting of the Board of Trustees to order on March 3, 1995, at 10:15 a.m. He requested the Secretary to call the roll. Present: John W. Kessler, Chairman, Milton A. Wolf, Alex Shumate, Theodore S. Celeste, Michael F. Colley, George A. Skestos, David L. Brennan, James F. Patterson, Amira N. Ailabouni, and Thomas C. Smith. --0-- PRESIDENT'S REPORT President Gee: As many of you are aware, 1995 is a special year as we mark the 125th anniversary of this university. One hundred and twenty-five years ago this week, the legislation creating the university was being hotly debated in the Ohio House. After much discussion, it passed the House on March 10. The proposal was passed by the Senate on the 17th of March, and the law establishing the Ohio Agricultural and Mechanical College was signed on March 22, 1870. The law called for trustees to be named, one from each congressional district. Former president Rutherford B. Hayes was governor at the time, and he appointed 19 trustees. The university history reports that, "most of them had filled public office and, although a considerable number of them were lawyers by profession, almost without exception, they were directly interested in practical agriculture." The trustees did not meet until May, and the first charge to the trustees was to find a place for the university to be located and set a curriculum.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing In this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Ifowell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI JANICE HARSANYI; PROFILE OF AN ARTISTATEACHER D.M.A.
    [Show full text]
  • THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Summer 2019
    THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Summer 2019 PROGRAM#: NYP 19‐40 RELEASE DATE: June 26, 2019 Nielsen and Tchaikovsky NIELSEN: Flute Concerto Robert Langevin, flute Alan Gilbert, conductor NIELSEN: Violin Concerto Nikolaj Znaider, violin Alan Gilbert, conductor TCHAIKOVSKY: Symphony No. 2, “Little Russian” Alan Gilbert, conductor PROGRAM#: NYP 19‐41 RELEASE DATE: July 3, 2019 America, the Beautiful IVES: Holidays Symphony Leonard Bernstein, conductor COPLAND: Lincoln Portrait William Warfield, narrator Leonard Bernstein, conductor BLITZTEIN: Airborne Symphony Orson Welles, narrator Andrea Velis, tenor David Watson, baritone Choral Arts Society PROGRAM#: NYP 19‐42 RELEASE DATE: July 10, 2019 Concertos by Copland, Barber, Bolcom, Adolphe, and Mozart COPLAND: Concerto for Clarinet, Strings, Harp, & Piano Anthony McGill, clarinet Jaap van Zweden, conductor BARBER: Violin Concerto, Op. 14 Frank Huang, violin Juraj Valcuha, conductor BOLCOM: Trombone Concerto Joseph Alessi, trombone Alan Gilbert, conductor ADOLPHE: Unearth, Release! Cynthia Phelps, viola Jaap van Zweden, conductor MOZART: Flute Concerto No. 2 in D Major, K. 314 Robert Langevin, flute Bernard Labadie, conductor PROGRAM#: NYP 19‐43 RELEASE DATE: July 17, 2019 Jaap van Zweden Conducts Shostakovich and Beethoven’s Eroica Symphony SHOSTAKOVICH/ BARSHAI: Chamber Symphony Jaap van Zweden, conductor BEETHOVEN: Symphony No. 3, “Eroica” Jaap van Zweden, conductor PROGRAM#: NYP 19‐44 RELEASE DATE: July 24, 2019 Jaap van Zweden Conducts Adams and Brahms ADAMS: The Wound-Dresser Matthias Goerne, baritone Jaap van Zweden, conductor BRAHMS: Tragic Overture, Op. 81 Jaap van Zweden, conductor BRAHMS: Symphony No. 1 in C Minor, Op. 68 Jaap van Zweden, conductor PROGRAM#: NYP 19‐45 RELEASE DATE: July 31, 2019 Phil the Hall! Program to include works by Very Young People’s Concerts (VYPC) composers and works conducted by Jaap van Zweden.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 91, 1971-1972
    BOSTON SYMPHONY UKLncj 1 IvA FOUNDED IN 1881 BY HENRY LEE HIGGINSON TUESDAY B 5 NINETY-FIRST SEASON 1971-1972 M ADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO., INC. Richard P. Nyquist, President Charles G. Carleton, Vice President 147 Milk Street Boston, Massachusetts 02109 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETY-FIRST SEASON 1971-1972 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President FRANCIS W. HATCH PHILIP K. ALLEN Vice-President HAROLD D. HODGKINSON ROBERT H. GARDINER Vice-President E. MORTON JENNINGS JR JOHN L. THORNDIKE Treasurer EDWARD M. KENNEDY ALLEN G. BARRY HENRY A. LAUGHLIN ERWIN D. CANHAM EDWARD G. MURRAY RICHARD P. CHAPMAN JOHN T. NOONAN ABRAM T. COLLIER MRS JAMES H. PERKINS MRS HARRIS FAHNESTOCK IRVING W. RABB THEODORE P. FERRIS PAUL C. REARDON SIDNEY STONEMAN TRUSTEES EMERITUS HENRY B.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1954-1956
    TANGLEWOOD — . This "New Orthophonic" High Fidelity Album won't be released until September BUT YOU MAY OWN IT NOW! Berlioz THE DAMNATION OF FAUST You may enjoy treasured "encores" of this masterful interpretation without waiting! A limited number of advance copies of this new album are available to Festival patrons only at the Tanglewood Music Shop on the Festival grounds. INVITE MR. MUNCH AND MR. MONTEUX INTO YOUR HOMES! Hear them conduct these *Romeo and Juliet tSymphonle Fantastique other Berlioz Cycle highlights Complete. Boston Symp. Orch. San Francisco Orchestra con- as often as you choose . conducted by Charles Munch. ducted by Pierre Monteux. Hear the RCA Victor Collector's re-issue of "Harold in Italy' Primrose, Viola; Boston Symp. Orch., Koussevitsky, cond. Other Munch Recordings Other Monteux Recordings * Richard Strauss: Don Quixote *Chausson: Poem of Love and with Piatigorsky, Cellist; Bur- the Sea with Gladys Swarthout, gin, Violinist; de Pasquale, Mezzo Soprano Violist. * Mozart: Concerto No. 12, in A, * Brahms: Piano Concerto No. 2 K. 414. Concerto No. 18, in B- with Artur Rubinstein, Pianist Flat, K. 456, with Lili Kraus, t Brahms: Symphony No. 4 Pianist Haydn: "London" Symphony * Liszt: Les Preludes t Munch conducts French Music Scriabin: Poeme d'Extase t Schubert: Symphony No. 2 t Stravinsky: The Rite of Spring t Schumann: "Spring" Symph. Rimsky-Korsakoff: * Tchaikovsky: Violin Concerto Scheherazade, Op. 35 in D Nathan Milstein, Violinist + Franck: Symphony in D Minor * A "New Orthophonic" High Fidelity Recording \ A High Fidelity Recording rca V^7011 FIRST IN RECORDED MUSIC 4 BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director ^Berkshire Festival Season ig; TANGLEWOOD, LENOX, MASSACHUSETTS 6 Concerts of Chamber Music in the Theatre-Concert Hall 6 Concerts by Members of the Boston Symphony Orchestra in the Theatre-Concert Hall 12 Concerts by the Boston Symphony Orchestra in the Music Shed SECOND WEEK Concert Bulletin, with historical and descriptive notes by John N.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 91, 1971-1972
    BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON FRIDAY -SATURDAY 10 NINETY-FIRST SEASON 1971-1972 ADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO., INC. Richard P. Nyquist, President Charles G. Carleton, Vice President 147 Milk Street Boston, Massachusetts 02109 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETY-FIRST SEASON 1971-1972 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President FRANCIS W. HATCH PHILIP K. ALLEN Vice-President HAROLD D. HODGKINSON ROBERT H. GARDINER Vice-President E. MORTON JENNINGS JR JOHN L. THORNDIKE Treasurer EDWARD M. KENNEDY ALLEN G. BARRY HENRY A. LAUGHLIN ERWIN D. CANHAM EDWARD G. MURRAY RICHARD P. CHAPMAN JOHN T. NOONAN ABRAM T. COLLIER MRS JAMES H. PERKINS MRS HARRIS FAHNESTOCK IRVING W. RABB THEODORE P. FERRIS PAUL C. REARDON SIDNEY STONEMAN TRUSTEES EMERITUS HENRY B.
    [Show full text]