DOCSLIB.ORG

TENORS- SOPRANOS- TEN FAMOUS TEN FAMOUS Nietzschian Philosophy That Inspired Him

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TENORS- SOPRANOS- TEN FAMOUS TEN FAMOUS Nietzschian Philosophy That Inspired Him earlier stage. Concerning the next stage, I can only .conjecture. As someone once pointed out( and this is particularly true inregard to Stockhausen), "the future lies ahead." R.P.M. STRAUSS, R.: Also sprach Zarathustra, Op. 30. Royal Philharmonic Orchestra, Henry Lewis, cond. London Phase 4 SPC 21053, $5.98. Tape: ill L 75053, 712 ips,$7.95; N M 95053, $6.95; M 94053, $6.95. This scoreis a house specialty of the Bach: Now on MASS IN London . ChicagoSymphonyOrchestra,which B MINOR gave the first American performance in Wagne-: Elly Ameling, 1897 and has recordeditfour times- THE FLYING Yvonne Minton, DUTCHMAN the last two with Fritz Reiner. But the Helen Watts, final Reiner version. now eight years old, George _ondon, Werner Krsnn, Leonie Fysanek, can no longer be taken to stand for the Tom Krause - G.orgio Tozzi- state of the art in matters of recording. The Chorus of O-chesua of The The phenomenal musical strength of the The Singakademie Royal Opera performance has kept it abreast of com- Vienna - The House, Covent petition,butitseems to me thatthis Stuttgart Chamber Garden- new Lewis edition has become the obvi- Orchestra-Karl Antal Dorati MUnchinger OSA-1399 ous choice for those who want the best OSA-1287 possibleunion of engineering achieve- ment and artistic substance. Rv1: DAPHNIS ET CHLOE hid Suit The first of these conclusions is easily LA VALSE; MOTHER GOOSE SUITE TheLos Angeles Philharmonic OrcO.estra- reached. Take the score and you quickly Zubin Mehta find that in the London sound you hear CS -6698 things you can't hear, or hear only in- DIETRICH FISCHER-DIESKAU- HAYDN AND MOZART ARIAS distinctly, in the Chicago album. These The Vienna Haydn Orchesp range from clarifiedlines of counter- Reinhard Peters point to organ pedals. 0S-26182 LEONIE RYSANEK SINGS RICHARD For those who have followed Henry STRAUSS Lewis' career as a conductor, this album Excerpts from Die Frau ohne Schatten and is wonderfully satisfying, an affirmation Ariadne auf Naxos-with other soloists-The Vienna Psilharmonic Orchestra-Karl Bbhm of maturing talent that will surely secure and Erich Leinsdorl a full measure of international recogni- OS 26205 Kodly: PSALMUS HUNOARIC US; tion. That he can challenge his elders PEACOCK VARIATIONS; and best them at their own game is seen THE PEACOCK in the Dance -Song section. where Lewis Lams Koama-The Brighton Festival Chorus -The Wandsworth School Boys' Choir --The (and his solo violin. Neville Taweel) of- London Symphony Orchestra-Istyiin Kertesz fers phrases with a more positive shape os 26186 and rhythmic thrustthan Reiner, who DvolM: STRING QUINTET IN MAJOR (Op.77) permits some overly ripe playing to pass Spohr: QUINTET IN C MINOR FOR in this section. PIANO AND WINDS (0p.52) Members of The Vienna Octet But elsewhere, where Reiner is in top CS 6673 form, Lewis counters with performance Wgnr: DAS RHEINGOLD-H',ghlight achievements that are equally forceful. Kirsten Flagstad. George London. Set Svanholm-The Vienna Philharmonic He knowsthescoreinsideand out Orchestra-Georg Solti and manipulatesitsbig dramatic con- OS 26194 trasts, its wildly soaring themes, its para- noid rhetoric with splendid insight into TEN FAMOUS TEN FAMOUS bothStrauss'smusicalintentand the TENORS- SOPRANOS- TEN FAMOUS TEN FAMOUS Nietzschian philosophy that inspired him. ARIAS At the same time he is a fine orchestral ARIAS Sung by technician,keepinglinesclear,voices Sung by It Del Monaco, Tebaldi, balanced, and dynamics well scaled. di Stefano, Sutherland, adds up to success. R.C.M. Bergonzi, Price, Bjoerling Pavarotti, Crespki, STRAUSS, R.: Brentano Lieder, Op. 68. Domingo, Lorengar, RHODES: The Lament of Michal. Rita McCracken, Milanov, Shane, soprano (in theStrauss); Prevedl, Souliotis, PhyllisBryn-Julson,soprano(inthe King, Horne, Rhodes);LouisvilleOrchestra,Jorge Corelli OS -213207 Jones OS -26208 Mester, cond. Louisville LS 704, $5.98. The six Brentano settings represent some- thing of a high point in Strauss's variable Lieder output. Written in 1918 (although thecomposer waiteduntil 1933and 1940 before completing the orchestra- tion), the songs are roughly contempo- CIRCLE 25 ON READER-SERN. ICE CARD MAY 1971.
Load more

Recommended publications
  • Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
    METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 115, 1995-1996
    BOSTON • s, •<».^: SYMPHONY ORCHESTRA v SEIJIOZAWA MUSIC DIRECTOR 9 6 S E O N The security of a trust, Fidelity investment expertise. A Classic Composition '****? \*&T~~ Fidelity Just as a Beethoven score is at its JdfeJ^-best when performed by a world- ** Pergonal \* class symphony — so, too, should your trust assets be managed by Tru<tt *g£ a financial company recognized Servicer globally for its investment expertise. Fidelity Investments. Xhat's why Fidelity now offers a managed trust or personalized >»^~~i»vestment management account 5*foryour portfolio of $400,000 or more. For more "information, visit , a Fidelity Investor Center or call Fidelity Pergonal Triut Service** at ' 1-800-854-2829. Visit a Fidelity Investor Center Near You: Boston - Back Bay • Boston - Financial District Braintree, MA • Burlington, MA Fidelity investments" SERVICES OFFERED ONLY THROUGH AUTHORIZED TRUST COMPANIES. TRUST SERVICES VARY BY STATE. FIDELITY BROKERAGE SERVICES, INC., MEMBER NYSE, SIPC. Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Fifteenth Season, 1995-96 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice- Chairman Harvey Chet Krentzman, Vice-Chairman Mrs. Edith L. Dabney, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Edna S. Kalman Mrs. Robert B. Newman James F. Cleary Deborah B. Davis Allen Z. Kluchman Robert P. O'Block John E. Cogan, Jr. Nina L. Doggett George Krupp Peter C. Read Julian Cohen Avram J. Goldberg R. Willis Leith, Jr.
    [Show full text]
  • Richard Strauss Also Sprach Zarathustra Mp3, Flac, Wma
    Richard Strauss Also Sprach Zarathustra mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Also Sprach Zarathustra Country: UK Released: 1970 Style: Modern, Romantic MP3 version RAR size: 1378 mb FLAC version RAR size: 1275 mb WMA version RAR size: 1895 mb Rating: 4.8 Votes: 487 Other Formats: WMA MP1 VOX VQF APE DTS MOD Tracklist A Also Sprach Zarathustra 19:14 B Also Sprach Zarathustra 18:13 Companies, etc. Record Company – The Decca Record Company Limited Credits Composed By – Richard Strauss Conductor – Henry Lewis Design – John Kosh Engineer – Arthur Lilley Liner Notes – Gavin Barrett Orchestra – The Royal Philharmonic Orchestra Photography By – Ethan Russell Producer – Tony D'Amato Violin [Solo] – Neville Taweel Notes Phase 4 Stereo Concert Series --Disc-- Made in England --Sleeve-- London Records Inc., New York, NY Barcode and Other Identifiers Matrix / Runout (Side 1): ZAL 9871 Matrix / Runout (Side 2): ZAL 9872 Other versions Category Artist Title (Format) Label Category Country Year Richard Strauss - Henry Richard Strauss - Lewis, Royal Henry Lewis, Royal Philharmonic London SPC 21053 SPC 21053 US 1970 Philharmonic Orchestra* - Also Records Orchestra* Sprach Zarathustra (LP, Album) Richard Strauss / Henry Richard Strauss / Lewis, The Royal Henry Lewis, The Philharmonic Orchestra SAD 22105 Decca SAD 22105 Germany 1970 Royal Philharmonic - Also Sprach Orchestra Zarathustra (LP, Album) Richard Strauss - Henry Richard Strauss - Lewis, Royal Henry Lewis, Royal Philharmonic London SLLC-40030 SLLC-40030 Chile 1972 Philharmonic
    [Show full text]
  • Death and Transformation in Romantic Song Cycles Journeys in Interpretation
    Death and Transformation in Romantic Song Cycles: Journeys in Interpretation Author Court, Sarah Kathleen Mary Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/3782 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/365450 Griffith Research Online https://research-repository.griffith.edu.au Queensland Conservatorium Death and Transformation in Romantic Song Cycles Journeys in Interpretation Sarah Kathleen Mary Court BMus (Hons), MMus, MBA Queensland Conservatorium Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Musical Arts June, 2014 ACKNOWLEDGEMENTS For my wife, Sue Court, and my classmate, Gary Holley – my constant companions throughout this journey – and my dear friend, Leanne Swanson, who came to my aid when I was in need. Also, with thanks to staff at the Queensland Conservatorium Griffith University: Professor Scott Harrison, Professor Lisa Gasteen AO, Dr. Stephen Emmerson, Professor Paul Draper, Dr. Dan Bendrups, and Ms. Olga Lipsky. Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. The referencing and citing system used in this dissertation follows the procedures as per the Publication Manual of the American Psychological Association (APA) Fifth Edition. I give permission for this copy, after being deposited in the Queensland Conservatorium library, to be available for photocopy and loan.
    [Show full text]
  • "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
    Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
    [Show full text]
  • I 1 Y N- H O R N E GRAN TEATRE DEL LICEU
    M a r i 1 Y n- H o r n e GRAN TEATRE DEL LICEU Temporada 90-91 CONSORCI DEL GRAN TEATRE DEL LICEU Generalitat de Ajuntament de cat4unyaBarcelona Ministerio de Cultura Diputació de Barcelona Societat del Gran Teatre del Liceu Ebrisa/ Franco Maria Ricci MARILYN HORNE mezzo-soprano DAN SAUNDERS piano Dissabte, 9 de febrer, 21 h., funció núm. 54, torn e Marilyn H o r n e Marilyn Home neix a Bradford, a l'Estat de Pennsilvània. A la seva hi ha família orígens suecs, holandesos i alemanys, i el seu pare és un cantant afeccionat amb veu de tenor. Cas especialment pre­ coç, als quatre anys ja pren part, per la seva disposició per a can­ tar, en un «meeting" a favor del President dels Estats Units Fran­ klin Delano Roosevelt. Sense gaire temps per a poder saber si es tracta de vocació, disposició, imposició paterna a joc, l'any següent ja rep la primera lliçó de cant, per part del seu pare. De petita ja canta àries de coloratura amb moltes vocalitzacions j el seu pare li dóna un bon consell: «Si pots cantar això, podràs cantar-ho tot" i, a més, quan la lliçó ha estat ben aprofitada, el premi que rep li agrada d'allò més: hom li permet escoltar l'ària de les campanetes de Lakmé en la molt virtuosista interpretació de Lily Pons. L'any 1945 la família se'n va a Califòrnia, a Lang Beach (ciutat de l'àrea metropolitana de Los Angeles), on no li manquen les opor­ tunitats per a poder cantar.
    [Show full text]
  • The Concerts at Lewisohn Stadium, 1922-1964
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more.
    [Show full text]
  • Central Opera Service Bulletin Volume 29, Number A
    CENTRAL OPERA SERVICE BULLETIN VOLUME 29, NUMBER A CONTENTS NEW OPERAS AND PREMIERES 1 NEWS FMNQKRA COMPANIES 18 GOVERNMENT AND NATIONAL ORGANIZATIONS 24 27 ODNFERENOS H MEM AND REMWftTED THEATERS 29 FORECAST 31 ANNIVERSARIES 37 ARCHIVES AND EXHIBITIONS 39 ATTENTION C0MP0SH8. LIBRE11ISTS, FIAYWRHMTS 40 NUSIC PUBLISHERS 41 EDITIONS AND ADAPTATIONS 4t EOUCATION 44 AFPOINTMEMIS AND RESIGNATIONS 44 COS OPERA SURVEY USA 1988-89 OS INSIDE INFORMATION 57 COS SALUTES. O WINNERS (4 BOOK CORNER 66 OPERA HAS LOST. 73 PERFORMANCE LIST INC. 1969 90 SEASON (CONT.) 83 Sponsored by the Metropolitan Opera National Council CENTRAL OPERA SERVICE BULLETIN Volume 29, Number 4 Fall/Winter 1989-90 CONTENTS New Operas and Premieres 1 News from Opera Companies 18 Government and National Organizations 24 Copyright 27 Conferences 28 New and Renovated Theaters 29 Forecast 31 Anniversaries 37 Archives and Exhibitions 39 Attention Composers, Librettists, Playwrights 40 Music Publishers 41 Editions and Adaptations 42 Education 44 Appointments and Resignations 46 COS Opera Survey USA 1988-89 56 COS Inside Information 57 COS Salutes. 63 Winners 64 Book Corner 66 Opera Has Lost. 73 Performance Listing, 1989-90 Season (cont.) 83 CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT (1879-1979) Honorary National Chairman ROBERT L.B. TOBIN National Chairman MRS. MARGO H. BINDHARDT Please note page 56: COS Opera Survey USA 1988-89 Next issue: New Directions for the '90s The transcript of the COS National Conference In preparation: Directory of Contemporary Opera and Music Theater, 1980-89 (Including American Premieres) Central Opera Service Bulletin • Volume 29, Number 4 • Fall/Winter 1989-90 Editor: MARIA F.
    [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]
  • Horne-Part-Ii-A-L.Pdf
    J & J LUBRANO MUSIC ANTIQUARIANS Marilyn Horne in Norma by John Foote: National Portrait Gallery, Washington D.C. Autographs, Prints, & Memorabilia from the Collection of Marilyn Horne Part 2: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 88, 1968-1969
    EIGHTY-EIGHTH SEASON 1968-1969 H Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 PAIGE OBRION RUSSELL Insurance Since 1876 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor EIGHTY-EIGHTH SEASON 1968-1969 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC TALCOTT M. BANKS President HAROLD D. HODGKINSON PHILIP K. ALLEN Vice-President E. MORTON JENNINGS JR ROBERT H.GARDINER Vice-President EDWARD M. KENNEDY JOHN L THORNDIKE Treasurer HENRY A. LAUGHLIN ABRAM BERKOWITZ EDWARD G.
    [Show full text]
  • Rachmaninov (1873-1943)
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Sergei Rachmaninov (1873-1943) Born at Oneg, Novgorod Region. He had piano lessons from an early age but his serious training in composition began at the Moscow Conservatory where he studied counterpoint with Sergei Taneyev and harmony with Anton Arensky. He began to compose and for the rest of his life divided his musical time between composing, conducting and piano playing gaining great fame in all three. After leaving Russia permanently in 1917, the need to make a living made his role as a piano virtuoso predominant. His 4 Piano Concertos, Rhapsody on a Theme of Paganini and substantial solo piano works make him one of the world's most-performed composers. However, he also composed operas and liturgical choral works as well as other pieces for orchestra, chamber groups and voice. Piano Concerto No. 1 in F-sharp minor, Op. 1 (1892, rev. 1917) Leif Ove Andsnes (piano)/Antonio Pappano/Berlin Philharmonic Orchestra ( + Piano Concerto No. 2) EMI CLASSICS 74813-2 (2005) Agustin Anievas (piano)/Rafael Frühbeck de Burgos/New Philharmonia Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Prelude in C-sharp minor, 10 Preludes and 12 Preludes) EMI CLASSICS TRIPLE 5 00871-2 (2007) (original LP release: ANGEL SCB 3801 {3 LPs}) (1973) Vladimir Ashkenazy (piano)/Bernard Haitink/Royal Concertgebouw Orchestra (+ Rhapsody on a Theme of Paganini) DECCA 417613-2 (1987) Vladimir Ashkenazy (piano)/André Previn/London Symphony Orchestra ( + Piano Concertos Nos. 2, 3 and 4, Rhapsody on a Theme of Paganini, Variations on a Theme of Corelli and Piano Sonata No.
    [Show full text]