DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 24,1904-1905, Trip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 24,1904-1905, Trip ACADEMY OF MUSIC, PHILADELPHIA. Boston SgmpfionyOrcfiestra Mr. WILHELM GERICKE, Conductor. Twentieth Season in Philadelphia, PROGRAMME ' OF THE FIRST CONCERT FIRST SERIES, 1 MONDAY EVENING, OCTOBER 31, AT 8.15 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. l Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY JOHN WANAM AKER, Philadelphia, Pa. BOStOn , ACADEMY OF MUSIC, Philadelphia. Symphony* M I A Twenty-fourth Season, J904-J905. Twentieth Season in Philadelphia. J ff* Vl ^ C f" 1*f\ Mr. WILHELM GERICKE, Conductor, FIRST CONCERT, FIRST SERIES, MONDAY EVENING, OCTOBER 31, AT 8.15 PRECISELY. PROGRAMME. Beethoven .... Symphony No. 4, in B-flat major, Op. 60 I. Adagio ; allegro vivace. II. Adagio. III. Allegro vivace. Trio : Un poco meno allegro. IV. Finale : Allegro ma non troppo. Joachim . Concerto (in the Hungarian manner) for Violin and Orchestra, Op. 11 I. Allegro un poco maestoso. II. Romanze : Andante; piu moto, poco allegretto ; allegretto. III. Finale alia zingara : Allegro con spirito, presto. Dukas ..... Scherzo, " The Sorcerer's Apprentice " (After a ballad by Goethe.) (First time at these concerts.) " Wagner ....... Overture to " Tannhauser SOLOIST: Professor WILLY HESS. There will be an intermission of ten minutes after the symphony. 3 ; w -fc • -w 1 : CI All Lovers of Music SHOULD NEVER FAIL TO BUY EACH SUCCEEDING ISSUE OF THE Musicians Library This library consists of a series of volumes which, when complete, will contain all of the masterpieces of song and piano music. Every volume is edited by the highest authority, and contains an elaborate biographical and critical introduction, together with the best obtainable portrait of the composer. The vocal numbers are adapted for high and low voices, and the songs by foreign composers are poetic and singable translations. The " Musicians Library " will be published in uniform size and bind- ing, representing the highest excellence in music, printing, and typography. Already four vocal and three pianoforte numbers have appeared, and within the next few days there will be issued the following : — '« Songs by Thirty Americans," edited by Rupert Hughes; Wagner — «« Lyrics for Soprano," edited by Carl Armbruster; Wagner — '« Lyrics for Tenor," edited by Carl Armbruster; " Modern French Songs," in two volumes, edited by Philip Hale Liszt — " Ten Hungarian Rhapsodies," edited by August Spanuth and John Orth. Price, in paper, £1.50; cloth, £2.50, each. "LESSONS IN MUSIC FORM" By Percy Goetschius, Mus. Doc. A manual and analysis of all the structural factors and designs neard in musical composition, explaining each design, from the smallest to the largest, with numerous illustrations, accompanied by frequent reference to classic literature. This book is especially designed for the general music lover or student rather than for those studying composition, and is intend- ed to give increased enjoyment and understanding, as well as the power to interpret with intelligence and authority, for music lovers. Price, cloth, post-paid, $1.25. "EAR TRAINING FOR TEACHER AND PUPIL" By C, A. Alchin This work does not aim to take the place of the text-book and har- mony, but is designed rather for the training of the sense of hearing, to teach the reader to think in tones, so that he may sing, write, and play what he hears. This book is the direct outcome of the author's practical experience in teaching, and embodies in a concise and lucid form those principles which have demonstrated their value through repeated experi- ments The book is convenient in form, neat in appearance, and of admirable typography. Price, post-paid, $1 .00. OLIVER DITSON COMPANY C. H. DITSON & CO. BOSTON J. E. DITSON & CO. New York Philadelphia Order of your home dealer or any of the above houses eiucnuu UOTj&jwunigusn*3>w*vNH(ftBnemHHnnmnaiZ8ia3asaiaa — Symphony in B-flat major, No. 4, Op. 60 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) This symphony was written during the summer of 1 806, published in 1809, and dedicated to the Count von Oppersdorf. Before working on this symphony Beethoven had spent considerable time on the Sym- phony in C minor, which he put aside. The first performance of the one in B-flat was at a private concert given for Beethoven's benefit in March, 1807, at Vienna. The Journal des Luxus und der Moden published this review early in April of that year : "Beethoven gave in the dwelling-house of Prince L. two concerts in which only his own compositions were performed: the first four symphonies, an overture to the tragedy 'Coriolanus,' a pianoforte concerto, and some arias from 'Fidelio.' Wealth of ideas, bold origi- nality, and fulness of strength, the peculiar characteristics of Beetho- ven's Muse, were here plainly in evidence. Yet many took exception to the neglect of noble simplicity, to the excessive amassing thoughts, which on account of their number are not always sufiiciently blended and elaborated, and therefore often produce the effect of uncut dia- monds." Was this "Prince L." Lobkowitz or Lichnowsky? Thayer decided in favor of the former. The symphony was also played in public at a charity concert at the To Artists and Teachers of Singing The task of getting the latest English Songs can no longer be a difficult one, since we publish here all the new compositions of leading composers exactly on the same date they appear on the European market. Ask for BOOSEY & COMPANY'S Novelties It you cannot get them, write to Boosey & Company, 9 East 17th Street, /New York HIPP1 The " Heppe," ", Marcellus," and " Edouard Jules," made by us, are the only pianos in the world with 3 Sounding-boards (Patented, October, 1902) All of them are Certified Pianos, too, with the certificates of a Hugh A. Clark, Mus. Doc, W. W. Gilchrist, Mus. Doc. Jury Thomas a'Becket /• >w* w-«v \ Samuel L. Hermann Of lOI\e JtXpertS/ Henry Gordon Thunder William Stoll, Jr. Rudolph Hennig sealed to the back of every high-grade piano we sell. Not high in price either, as they go direct from our factories to your home at one profit. One price — the lowest — or money back. GglpThe large volume of our business brings us many pianos of other makes in exchange. Write for bargain list and terms. ( Three ^ 1115-1117 Chestnut C. J. HEPPE & SON (2=) 6th and Thompson Everything Musical PHILADELPHIA, PA. Burg Theatre, Vienna, on November 15, 1807, when it was conducted by the composer. The correspondent of Kotzebue's Freimuthige (Jan- uary 14, 1808) wrote: "Beethoven has composed a new symphony, which has pleased at least his furious admirers, and ah overture to Collin's ' Coriolanus, ' which has pleased everybody." The first performance in Boston was probably at a concert of the Musical Fund Society on December 8, 1849. Some now try to account for the postponement of the Fifth Sym- phony, begun before the Fourth, "by the fact that in May, 1806, Beethoven became engaged to the Countess Theresa. , . The B-flat symphony has been mentioned as 'the most tenderly classical' of all works of its kind; its keynote is 'happiness' —a contentment which could have come to the master only through such an incident as the one above set forth—his betrothal." I do not see the force of this reasoning. No one has written more acutely, discriminatively, and with more poetic appreciation of the symphonies of Beethoven than Hector Berlioz, still the prince of critics. * "Here Beethoven abandons wholly the ode and the elegy,"—a ref- erence to the "Eroica" Symphony, —"to return to the less lofty and sombre but perhaps no less difficult style of the Second Symphony. Dry cleaning women's gowns By the improved French process in- sures thoroughness in freshening up the colors without shrinking or fading the fabric. No powerful chemicals used to rot the texture. We also clean carpets, upholstered furniture, blankets, lace curtains, men's clothing, etc. We dye goods in all the fashionable colors. 17th St. and Fairmount Ave. 1535 Chestnut St. A. F. Bornot & Bro. N. B. Corner 12th and Walnut Sts. 1714 North Broad St. I K3 ml I es ml I BS3 ml iKsmllEsmllsaml I B3 ml I S3 ml I B3 ml KsmllKMRamirii^ UNNINGHAM CORNER, I | Eleventh and Chestnut Streets p I c i I THE HOME OF MUSIC I I There you may hear the I I 1 I Matchless I | I CUNNINGHAM I • I I | P lano 1 whose tone quality is not surpassed i by that of any other instrument made* m | We are the manufacturers of this peerless piano, and we sell it at FAC- I I TORY PRICES, $425 and upwards. We also manufacture and sell at I I factory prices, $275 and upwards, the • GERARD, a piano which has no I I equal at its price. | I Cash or easy terms to suit the purchaser* | I I The Cunningham Piano Company | 1101 Chestnut Street m )^sm^Mmm\^MmMmm\ :^Mmm^Mm^Mm The character of this score is generally lively, nimble, joyous, or of a heavenly sweetness. If we except the meditative adagio, which serves as an introduction, the first movement is almost entirely given up to joyfulness. The motive in detached notes, with which the al- legro begins, is only a canvas, on which the composer spreads the other more real melodies, which thus render the apparently chief idea of the beginning an accessory. This artifice, although it is fertile in curious and interesting results, had already been employed by Mozart and Haydn with equal success. But we find in the second section of this same allegro an idea that is truly new, the first measures of which captivate the attention; this idea, after leading the hearer's mind through mysterious developments, astonishes it by its unexpected ending.
Load more

Recommended publications
  • Musical Landmarks in New York
    MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere.
    [Show full text]
  • Biannual Report
    Biannual Report Department of Mathematics 2007 and 2008 Contents 1 The Department of Mathematics 6 2 Research 8 2.1 Research Groups . 8 2.1.1 Algebra, Geometry and Functional Analysis . 8 2.1.2 Analysis . 16 2.1.3 Applied Geometry . 29 2.1.4 Didactics and Pedagogics of Mathematics . 32 2.1.5 Logic . 44 2.1.6 Numerics and Scientific Computing . 56 2.1.7 Optimization . 64 2.1.8 Stochastics . 85 2.2 Memberships in Scientific Boards and Committees . 92 2.3 Awards and Offers . 93 3 Teaching and Learning 95 3.1 Study Programs in Mathematics . 95 3.2 Service Teaching . 96 3.3 Characteristics in Teaching . 97 3.4 E-Learning/E-Teaching in Academic Training . 98 3.5 Student Body of the Department . 99 4 Publications 101 4.1 Co-Editors of Publications . 101 4.1.1 Editors of Journals . 101 4.1.2 Editors of Proceedings . 103 4.1.3 Editors of a Festschrift . 103 4.2 Monographs and Books . 103 4.3 Publications in Journals and Proceedings . 104 4.3.1 Journals . 104 4.3.2 Proceedings and Chapters in Collections . 118 4.4 Preprints . 125 4.5 Reviewing and Refereeing . 130 4.5.1 Reviewing Articles and Books . 130 4.5.2 Refereeing for Journals, Proceedings, and Publishers . 130 4.6 Software . 134 4.7 Postdoctoral lecture qualification (Habilitationen) . 135 4.8 Dissertations . 135 4.9 Master Theses and Theses for the State Board Examinations . 137 5 Presentations 146 5.1 Talks and Visits . 146 5.1.1 Invited Talks and Addresses .
    [Show full text]
  • La Recepción Temprana De Wagner En Estados Unidos: Wagner En La Kleindeutschland De Nueva York, 1854-1874
    Resonancias vol. 19, n°35, junio-noviembre 2014, pp. 11-24 La recepción temprana de Wagner en Estados Unidos: Wagner en la Kleindeutschland de Nueva York, 1854-1874 F. Javier Albo Georgia State University, Atlanta, USA. [email protected] Resumen Este trabajo se centra en la recepción de la música de Richard Wagner, limitado a un marco geográfico específico, el de la ciudad de Nueva York –en concreto el distrito alemán de la ciudad, conocido como Kleindeutschland– y temporal, el comprendido entre la primera ejecución documentada de una obra de Wagner en la ciudad, en 1854, y la definitiva entronización del compositor como legítimo representante de la tradición musical alemana a partir del estreno de Lohengrin en la Academy of Music, en 1874. Se destaca la labor de promoción a cargo de los emigrantes alemanes, en su papel de mediadores, en los años 50 y 60 del siglo XIX, una labor fundamental ya que gracias a ella germinó la semilla del culto a Wagner que eclosionaría durante la Gilded Age, la “Edad dorada” del desarrollo económico y artístico finisecular, que afectó a todo el país pero de manera especial a Nueva York. Asimismo, se incluye una aproximación a la recepción en la crítica periodística neoyorquina durante el periodo en cuestión. Palabras clave: Wagner; Recepción temprana en Nueva York; Músicos alemanes y emigración, 1850-1875; Crítica periodística. Abstract This study discusses the early reception of Richard Wagner’s music in New York, starting with the first documented performance of a work by Wagner in the city, in 1854, and the momentous production of Lohengrin at the Academy of Music, in 1874.
    [Show full text]
  • Fire and Ice from Album the Unforgiving
    Fire and Ice From album The Unforgiving Originally composed by Within Temptation Arrangement for piano and voice by Tommaso Murgia = 72 Cm Voce 4 Piano 4 4 Fm CMaj 4 E very wordyou're say ing is a li e. Run a wa Cm Fm CMaj 7 y mydear but e very sign will say your heart is deaf All rights go to Within Temptation, songwriters Sharon den Adel, Robert Westerholt, Martijn Spierenburg, Producer Daniel Gibson and labels Dragnet/Sony (Europe) and Roadrunner (US and Japan) 10 Cm Cm Gm Bu ry all the me mories, cover themwithdirt 13 Fm D♯Maj where's thelove weonce had? Our de sti ny's un sure. Why Cm 15 Gm can't you see what we had? Let the fi re burn the ice. All rights go to Within Temptation, songwriters Sharon den Adel, Robert Westerholt, Martijn Spierenburg, Producer Daniel Gibson and labels Dragnet/Sony (Europe) and 2 Roadrunner (US and Japan) 17 Fm D♯Maj GMaj G♯Maj Where'sthelove weoncehad? Is it all a lie And I still won A♯Maj Cm Gm G♯Maj 20 der why ourhea ven has died theskiesare all fal ling
    [Show full text]
  • Director's Foreword Statement of the Board International Support ISGIES
    p. 4 Director’s Foreword p. 9 Statement of the Board p. 12 International Support p. 40 ISGIES p. 42 Visitors p. 54 International Residencies p. 62 Programme p. 65 p. Publications p. 69 Office for Contemporary Art Norway Annual Report 2015 Project: Staging Three. “Incidental Insurgents” p. 72 Project: Staging Two. “They Went Away to Stay” p. 76 Norway at the Venice Biennale p. 83 OCA in the Press p. 103 Key Figures 2015 p. 122 Organisation and the Board Office for Contemporary Art Norway 3 “Norway has always been a place in which the while reflecting upon the history of sound as a boundaries of the world have been questioned. force of repression, emancipation and excitation, Director’s Foreword As early as 1075, Bishop Adam of Bremen noted as well as contemporary concepts of consonance Norway’s position on the edge of the world thus: and dissonance, and the water, glass and light ‘Beyond Norway, which is the farthermost northern of Venice. Weaving together architectural and country, you will find no human habitation, nothing sculptural interventions in the space of the pavilion, but ocean, terrible to look upon and limitless, Norment developed a new composition for the glass encircling the whole world.’ Inevitably, a nation at armonica – a legendary 18th-century instrument the edge of the world is also one from which the that creates ethereal music from glass and water very frontiers of reason can be questioned. From – and a chorus of female voices, as well as the a historic perspective, it was along those northern resonances of the pavilion itself.
    [Show full text]
  • History of German Immigration in the United States and Successful
    w*r» . & <J> 1> t U *7* y"J, 7^ ^ ,/~ J i- ^ « *^ ^V ^VB *bVB * ^ <>••••<** CARL SCML'RZ. HISTORY OF V& GERMAN IMMIGRATION IN THE UNITED STATES AND Successful German-Americans and Their Descendants BY GEO. VON SKAL 1908 I of CuI\mRESS* I wo tAKiiei o SEP 17 laua UUtt LX_ AAC. > ) | a. S « 3 J f a. To the memory of the late (Earl ^rlutrz who, a steadfast and loyal American, remained true to German ideals, and devoted his life to the betterment of his adopted country, never forget- ting or belittling the gifts he had received from the land of his birth, this utnrk is iirMratrii COPYRIGHT, 1908, BY F. T. & J. C. SMILEY NEW YORK CITY — INTRODUCTION THIS work is intended to be a record of all that Germans have accomplished in the United States a record of honest endeavor, energy, perseverance, strength and achievement. It shall, in addition, show the part that the American citizen of German blood has taken in the making of these United States, in peace and war, on the battlefield as well as in the counting house, the workshop and laboratory, in the realm of science and education or in the long fight that was neces- sary to extend civilization and culture over a continent. It contains a history of German immigration in the United States from the first settlements to the present day, showing what the Germans were who left the fatherland, why they came, and what they did in their new country. Every incident throwing light upon the work done by the German element has been made use of to give a complete, though concise, and impartial re- cital of its activity, and a description of the influence it has exerted upon the development of the Union.
    [Show full text]
  • Music 5364 Songs, 12.6 Days, 21.90 GB
    Music 5364 songs, 12.6 days, 21.90 GB Name Album Artist Miseria Cantare- The Beginning Sing The Sorrow A.F.I. The Leaving Song Pt. 2 Sing The Sorrow A.F.I. Bleed Black Sing The Sorrow A.F.I. Silver and Cold Sing The Sorrow A.F.I. Dancing Through Sunday Sing The Sorrow A.F.I. Girl's Not Grey Sing The Sorrow A.F.I. Death of Seasons Sing The Sorrow A.F.I. The Great Disappointment Sing The Sorrow A.F.I. Paper Airplanes (Makeshift Wings) Sing The Sorrow A.F.I. This Celluloid Dream Sing The Sorrow A.F.I. The Leaving Song Sing The Sorrow A.F.I. But Home is Nowhere Sing The Sorrow A.F.I. Hurricane Of Pain Unknown A.L.F. The Weakness Of The Inn Unknown A.L.F. I In The Shadow Of A Thousa… Abigail Williams The World Beyond In The Shadow Of A Thousa… Abigail Williams Acolytes In The Shadow Of A Thousa… Abigail Williams A Thousand Suns In The Shadow Of A Thousa… Abigail Williams Into The Ashes In The Shadow Of A Thousa… Abigail Williams Smoke and Mirrors In The Shadow Of A Thousa… Abigail Williams A Semblance Of Life In The Shadow Of A Thousa… Abigail Williams Empyrean:Into The Cold Wastes In The Shadow Of A Thousa… Abigail Williams Floods In The Shadow Of A Thousa… Abigail Williams The Departure In The Shadow Of A Thousa… Abigail Williams From A Buried Heart Legend Abigail Williams Like Carrion Birds Legend Abigail Williams The Conqueror Wyrm Legend Abigail Williams Watchtower Legend Abigail Williams Procession Of The Aeons Legend Abigail Williams Evolution Of The Elohim Unknown Abigail Williams Forced Ingestion Of Binding Chemicals Unknown Abigail
    [Show full text]
  • Landmarks Preservation Commission November 17, 2009, Designation List 423 LP-2328
    Landmarks Preservation Commission November 17, 2009, Designation List 423 LP-2328 ASCHENBROEDEL VEREIN (later GESANGVEREIN SCHILLERBUND/ now LA MAMA EXPERIMENTAL THEATRE CLUB) BUILDING, 74 East 4th Street, Manhattan Built 1873, August H. Blankenstein, architect; facade altered 1892, [Frederick William] Kurtzer & [Richard O.L.] Rohl, architects Landmark Site: Borough of Manhattan Tax Map Block 459, Lot 23 On March 24, 2009, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Aschenbroedel Verein (later Gesangverein Schillerbund/ now La Mama Experimental Theatre Club) Building and the proposed designation of the related Landmark Site (Item No. 11). The hearing had been duly advertised in accordance with the provisions of law. Four people spoke in favor of designation, including representatives of the Municipal Art Society of New York, Greenwich Village Society for Historic Preservation, and Historic Districts Council. In addition, the Commission received a communication in support of designation from the Metropolitan Chapter of the Victorian Society in America. Summary The four-story, red brick-clad Aschenbroedel Verein Building, in today’s East Village neighborhood of Manhattan, was constructed in 1873 to the design of German-born architect August H. Blankenstein for this German-American professional orchestral musicians’ social and benevolent association. Founded informally in 1860, it had grown large enough by 1866 for the society to purchase this site and eventually construct the purpose-built structure. The Aschenbroedel Verein became one of the leading German organizations in Kleindeutschland on the Lower East Side. It counted as members many of the most important musicians in the city, at a time when German-Americans dominated the orchestral scene.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 31
    CONVENTION HALL . ROCHESTER Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Programme WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 29 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds.
    [Show full text]
  • Symposium Records Cd 1109 Adolf Busch
    SYMPOSIUM RECORDS CD 1109 The Great Violinists – Volume 4 ADOLF BUSCH (1891-1952) This compact disc documents the early instrumental records of the greatest German-born musician of this century. Adolf Busch was a legendary violinist as well as a composer, organiser of chamber orchestras, founder of festivals, talented amateur painter and moving spirit of three ensembles: the Busch Quartet, the Busch Trio and the Busch/Serkin Duo. He was also a great man, who almost alone among German gentile musicians stood out against Hitler. His concerts between the wars inspired a generation of music-lovers and musicians; and his influence continued after his death through the Marlboro Festival in Vermont, which he founded in 1950. His associate and son-in-law, Rudolf Serkin (1903-1991) maintained it until his own death, and it is still going strong. Busch's importance as a fiddler was all the greater, because he was the last glory of the short-lived German school; Georg Kulenkampff predeceased him and Hitler's decade smashed the edifice built up by men like Joseph Joachim and Carl Flesch. Adolf Busch's career was interrupted by two wars; and his decision to boycott his native country in 1933, when he could have stayed and prospered as others did, further fractured the continuity of his life. That one action made him an exile, cost him the precious cultural nourishment of his native land and deprived him of his most devoted audience. Five years later, he renounced all his concerts in Italy in protest at Mussolini's anti-semitic laws.
    [Show full text]
  • I Just Love This Orchestra! Berkeley Symphony Photo by David S
    My life here Bette Ferguson, joined in 2006 My Life Here Is INDEPENDENT The people who live here are well-traveled and engaged with life. Their independent lifestyle is enhanced with our Continuing Care and contract options so they have all levels of healthcare under one roof. Find out why our established reputation as one of the very best not-for-profit communities is just one more reason people like Bette Ferguson know a good thing when they live it. To learn more, or for your personal visit, please call 510.891.8542. stpaulstowers-esc.org Making you feel right, at home. A fully accredited, non-denominational, not-for-profit community owned and operated by Episcopal Senior Communities. Lic. No. 011400627 COA #92 EPSP1616-01CJ 100111 CLIENT ESC / St. Paul’s Towers PUBLICATION Berkeley Symphony AD NAME Bette Ferguson REFERENCE NUMBER EPSP616-01cj_Bette_01_mech TYPE Full Page Color - Inside Front Cover TRIM SIZE 4.75” x 7.25” ISSUE 2011/12 Season MAT’LS DUE 9.01.11 DATE 08.22.11 VERSION 01 mech AGENCY MUD WORLDWIDE 415 332 3350 Berkeley Symphony 2011-12 Season 5 Message from the Executive Director 7 Board of Directors & Advisory Council 9 Message from the Music Director 11 Joana Carneiro 13 Berkeley Symphony 16 January 26 Orchestra 19 January 26 Program 21 January 26 Program Notes 31 January 26 Guest Artists 41 April 26 Program 43 April 26 Program Notes 55 April 26 Guest Artists 60 Music in the Schools 63 Under Construction 65 Contributed Support 74 Advertiser Index Season Sponsors: Kathleen G. Henschel and Official Wine Sponsor of Berkeley Symphony: Presentation bouquets are graciously provided by Jutta’s Flowers, the Official Florist of Berkeley Symphony.
    [Show full text]
  • Max Bruch Violin Concerto No
    BIS-2069 MAX BRUCH VIOLIN CONCERTO NO. 2 IN MEMORIAM KONZERTSTÜCK Ulf Wallin Deutsches Symphonie-Orchester Berlin Eine Co-Produktion mit Deutschlandradio Kultur Okko Kamu BIS-2069_f-b.indd 1 2015-03-23 14:09 BRUCH, Max (1838–1920) Violin Concerto No. 2 in D minor, Op. 44 (1877) 26'30 1 I. Adagio ma non troppo 12'08 2 II. Recitative. Allegro moderato 4'23 3 III. Finale. Allegro molto 9'55 4 In Memoriam for violin and orchestra, Op. 65 (1893) 13'40 Adagio Konzertstück for violin and orchestra, Op. 84 (1910) 18'21 5 I. Allegro appassionato – attacca 10'09 6 II. Adagio, ma non troppo lento 8'12 TT: 59'41 Ulf Wallin violin Deutsches Symphonie-Orchester Berlin Okko Kamu conductor Instrumentarium: Violin: Domenico Montagnana, Venice Bows: Grand Adam 1850; Peccatte 3 ne might think that a text about Max Bruch and his music would be rather superfluous. We all think we know plenty about the composer of the Ofamous G minor Violin Concerto. All the more surprising, then, that in fact we know very little about the composer’s life, as very little has actually been written about him. The first biography of Max Bruch did not appear until the 1980s! Max Bruch was born in Cologne in 1838, and died in Berlin-Friedenau in 1920. In the course of a long life, he witnessed more major upheavals in the history of music than most other composers. When Bruch was a child, musical life was dom in ated by the works of Felix Mendelssohn Bartholdy, Frédéric Chopin, Gioacchino Rossini and Ludwig van Beethoven.
    [Show full text]