Boston Symphony Orchestra Concert Programs, Season 30,1910-1911, Trip
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Dance Audition
Bak Middle School of the Arts Basic Guidelines for Virtual Audition SY21-22 All auditions will be held using a Google Meet and may include the use of a Google Classroom. If you are not a public-school student, please create a Gmail account (Gmail email) for the audition. “Bak Middle School of the Arts will not be recording and does not provide consent to being recorded.” No person, including parent/guardian, is permitted in the room or in the Google Meet during the audition process. No professional studios may be used. If connection is lost during the audition, re-join the Google Meet and wait for further instructions. Communication Arts Audition The Bak MSOA Communication curriculum includes: creative writing, journalism, newspaper and yearbook publications, radio and television broadcasting, video production, marketing/advertising/public relations, digital media, and speech & debate. At the Virtual Audition, on Google Meet, students will complete the following tasks: 1. Writing- Students will have fifteen minutes to compose a front-page article, in the style of a newspaper, based on the content of a photo that will be provided during the audition. Paper and pencil(s) will be needed. Note: Adjudicators will assess the Writing Prompt based on creativity, fiction writing techniques, narrative content, focus, organization, vivid vocabulary, and supporting details. 2. Public Speaking- Students will verbally present a memorized one-minute, original speech, using the topic, “Describe a time when you learned a valuable lesson.” Note: Adjudicators will assess the prepared speech/public speaking based on organization; vocal expression- including speech clarity, volume and well-defined delivery style; gestures; facial expression; body language; enthusiasm; and recovery. -
München, [30. Mai] 1. – 5. Juni 1908
415 Tonkünstlerfest (44. Jahresversammlung) München, [30. Mai] 1. – 5. Juni 1908 Festdirigenten: Felix Mottl, Alois Obrist, Ludwig Hess Festchor: Konzertgesellschaft für Chorgesang zu München Ens.: Kgl. Bayr. Hoforchester, Kgl. Württemberg. Hofkapelle 1. Aufführung: Opernvorstellung München, Künstlertheater der Ausstellung, Samstag, 30. Mai, 18:30 Uhr 1. Christoph Willibald Gluck: Die Maienkönigin, Schäferspiel 2. Hermann Bischoff: Das Tanzlegendchen, Tanzgedicht 2. Aufführung: Opernvorstellung München, Prinzregententheater, Montag, 1. Juni, 18:00 Uhr Friedrich Klose: Ilsebill, dramatische Sinfonie Text: Hugo Hofmann 3. Aufführung: Erstes Orchesterkonzert München, Kgl. Odeon, Dienstag, 2. Juni, 19:30 Uhr Ltg.: Alois Obrist Ens.: Kgl. Würtemberg. Hofkapelle Konzertflügel: Steinway & Sons, New York- Hamburg 1. Paul August von Klenau: Sinfonie für großes Orchester f- Moll (UA) 1. Adagio, Allegro maestoso 2. Adagio expressivo 3. Allegro scherzando, Allegro molto, Adagio 2. Ernest Schelling: Suite fantastique für Klavier und Sol.: Ernest Schelling (Kl.) Orchester 1. Allegro marziale 2. Scherzo 3. Intermezzo (Adagio) 4. Molto vivace 3. Max von Schillings: Glockenlieder, 4 Gesänge für Tenor Ltg.: Max von Schillings und Orchester op. 22 Sol.: Ludwig Hess (T) Text: Carl Spitteler: Glockenlieder ( ≡) Motto: Carl Spitteler ( ≡) 1. Die Frühglocke 2. Ein Bildchen 3. Die Nachzügler. Der Fein. Der Findig. Der Kündig 4. Mittagskönig und Glockenherzog 416 4. Jan Pieter Hendrik van Gilse: Erhebung, Sinfonie Nr. 3 für Sol.: Mientje van Lammen (S) eine hohe Sopranstimme und großes Orchester (UA) Text: aus dem Hohelied ( ≡) Motto: aus dem Hohelied ( ≡) 1. Langsam. Elegisch 2. Leidenschaftlich und heftig bewegt 3. Sehr langsam und schwermütig. Langsam, ruhig und ausdrucksvoll. Eine Sopranstimme: „Halt ein!“ 4. Lebhaft und sehr kräftig, stellenweise im Ausdruck eines übermütigen Walzers 5. -
The Interest of These Performances Lies First and Foremost
The interest of these performances lies first and foremost - not to mention finally and most importantly- in the tempos: in the way they are chosen, establi shed, and shrewdly modified by Fiedler in the course of performances which so interestingly live, move and have their being. There are other points of interest. The nature of the use of string portamentos: in the case of Fiedler and the Berlin Philharmonic, the selective and highly discriminating use of it. But it is tempo which is of paramount interest ... Richard Osborne, Gramophone, November 2000 (excetpt) Producer's Note Max Fiedler (1859 - 1939) is one of only two conductors with a direct link to Brahms to have recorded hi s works; the other is Felix Weingartner. Yet, as Christopher D yment pointed out in a pair of articl es published in Classical Record Collector a decade ago (Summer and Autumn, 2002), it would be an overstatement to call him a protCgC of the composer. Fiedler knew Brahms personally, and likely heard him conduct on a few occasions; however, it was as a follower of Hans von Bulow that Fiedler learned what he believed to be the authentic Brahms style, a highly subjective, rhythmically free approach that was at odds with the more restrained Classicism of Fritz Steinbach, who provided a model for the young Weingartner. Nevertheless, by early in the last century, Fiedler had earned the reputation in Germany as a Brahms specialist, and it was in that capacity that he made his only commercial records for Grammophon/ Polydor, all of which are presented here. -
528 Tonkünstler-Fest (56. Jahresversammlung) Chemnitz, [24
528 Tonkünstler-Fest (56. Jahresversammlung) Chemnitz, [24.] 25. – 29. Mai 1926 Festdirigent: Oscar Malata Festchöre: Chemnitzer Beamten-Gesangverein, Chemnitzer Bürger-Gesangverein und Geilsdorfscher Frauenchor, Chemnitzer Lehrer-Gesangverein, Chemnitzer Madrigalvereinigung, Mayerhoffsche Chorvereinigung und Kirchenchor zu St. Jakobi, Chemnitzer Orpheus, Chemnitzer Singakademie, Chemnitzer Volkschor Festorchester: verstärkte städtische Kapelle 1. Aufführung: Festvorstellung, dargeboten von der Generalintendanz der städtischen Bühnen Chemnitz, Opernhaus, Montag, 24. Mai, 14:30 – gegen 17:15 Uhr Richard Strauss: Intermezzo, bürgerliche Komödie mit Ltg.: Oscar Malata sinfonischen Zwischenspielen in 2 Aufzügen Spielltg: Fritz Diener I. Aufzug Spielwart: Max Fiedler Dekorationen: Felix Koch größere Pause techn. Einr. und Ltg.: Adalbert Freygang Sol.: Eva Graf (Christine), Kl. Neuberger II. Aufzug (kleiner Franzl, 8jährig, ihr Sohn), Karl Ludwig Richard Tannert (Hofkapellmeister Robert Storch, ihr Mann), Milly Stephan (Anna, ihre Kammerjungfer), Maximilian Willimsky (Baron Lummer), Albert Herrmanns (Notar), Margarete Gerwin (seine Frau), Lars- Erik Larsson (Kapellmeister), Walter Capell (Kommerzienrat, Roberts Skat-Partner), Hans van de Winkel (Justizrat, Roberts Skat- Partner), Hermann Schorr (Kammersänger), Nessa Bengson (junges Mädchen), Ella Joachim (Stubenmädchen bei Storch), Josefine Musseleck (Köchin bei Storch) 2. Aufführung: I. Orchesterkonzert Chemnitz, Kaufmännisches Vereinshaus, großer Saal, Dienstag, 25. Mai, 19:00 Uhr 1. Friedrich -
Percussion Syllabus
Table of Contents Message from the President . .4 RCM Examinations at Preface . .5 www.rcmexaminations.org . .5 SECTION 1 — GENERAL INFORMATION Application Forms . .6 ARCT Examinations . .9 Application Procedure and Deadlines . .6 Credits for Musicianship . .10 Examination Schedules . .6 Certificates and Diplomas . .10 Examination Centres . .7 Secondary School Music Credits . .11 Fee Extensions and Refunds . .7 Registered Education Savings Plan (RESP) Examination Results . .8 Eligibility . .11 The Examiner’s Evaluation . .8 Gold and Silver Medals . .12 Theory Examinations: Prerequisites and Co-requisites . .8 SECTION 2 — EXAMINATION REQUIREMENTS Examination Repertoire . .13 Examination Procedures . .15 Da capo Signs and Repeats . .13 Instruments, Sticks, and Mallets . .15 Memory . .13 Music . .15 Syllabus Repertoire Lists . .13 Accompanists . .16 Editions . .13 Candidates with Special Needs . .16 Availability . .14 Table of Marks . .16 Anthologies and Collections . .14 Classification of Marks . .17 Orchestral Excerpts . .14 Supplemental Examinations . .17 Copyright and Photocopying . .14 Abbreviations . .19 Repertoire Substitutions . .14 Names of Publishers . .19 Substitutions from the Percussion Syllabus . .14 Other Abbreviations and Symbols . .20 Substitutions Requiring Approval . .15 Own Choice Substitutions . .15 SECTION 3 — PRACTICAL EXAMINATIONS Technical Requirements . .21 Grade 6 . .38 Rudiments . .22 Grade 8 . .43 Table of Rudiments by Grade . .25 Grade 9 . .49 Grade 1 . .26 Grade 10 . .55 Grade 2 . .29 Performer’s ARCT . .61 Grade 4 . .34 Teacher’s ARCT . .65 SECTION 4 — THEORY EXAMINATIONS Rudiments . .69 Music History . .70 Harmony, Keyboard Harmony, Musicianship . .70 Counterpoint, and Analysis . .69 Classification of Theory Marks . .70 SECTION 5 — BIBLIOGRAPHY General Resources . .71 Orchestral Excerpts . .74 Sight Reading and Ear Training . .71 Rudiments and Rhythm Dictionaries . .74 Official Examination Papers . -
CHARLES MUNCH Musical Director
'or..er goat ea 7tav • Excellent Food, Gracious Service in the Hendrick Hudson Candlelight Room • Your Favorite Cocktail or Highball in our New Hudson Room COMPLETE FACILITIES for WEDDING FESTIVITIES BANQUETS, PARTIES and All SOCIAL FUNCTIONS 712;05rrik, SOUVERIR PROGRflifi . IN WHICH is carried pertinent information on the event of the evening; insight in- to coming events, and a suggestion of the past More than three-quarters of a million dollars has been poured into the RPI Field House in order to make it the versatile structure it is today. The original shell was a former Navy warehouse in Davisville, Rhode Island. (Cover photo by Airs. George H. Lee) NOLO • MILLER • OFFSET • ROTARY • LETTERPRESS Printers of your Field House Program 7 GRAND ST. TROY, N.-Y. *-ta.t 9 AS 2-6650 LIVINGSTON W. HOUSTON President Rensselaer Polytechnic Institute The RPI FIELD HOUSE has in the last seven years of operation become a unique forum for thought and ex- pression in the Capital District. This is partially the result of great words and ideas voiced from the FIELD HOUSE stage by outstanding leaders in many diverse fields — ed- ucation, politics, religion, drama, and many more. It is also the result of cultural expression — enduring music performed by the major symphony orchestras of America and Europe, choral groups and artists. As such, the audi- torium has fulfilled the major objective laid down by the college, Rensselaer Polytechnic Institute, which brought it into being and operates it today to enrich the lives of the college family and the people of the large surrounding community. -
Boston Symphony Orchestra Archives
under the auspices of A GIFT FROM MICHAELS NEW HAVEN • HARTFORD • BRIDGEPORT MERIDEN • WATERBURY • BRISTOL MILFORD • NEW BRITAIN • MANCHESTER MIDDLETOWN • TORRINGTON PROVIDENCE • PAWTUCKET THE KNOWN NAME, THE KNOWN QUALITY SINCE 1900 Concert Calendar WOOLSEY HALL CONCERT SERIES Auspices School of Music - Yale University SEASON 1961-1962 Tuesday, October 10, 1961 GEORGE LONDON, Baritone EXHIBITION Tuesday, November 14, 1961 BOSTON SYMPHONY ORCHESTRA OF Charles Munch, Conductor PAINTINGS Wednesday, December 6, 1961 By JOHN DAY RUDOLF SERKIN Pianist November 10th through November 30th Tuesday, January 9, 1962 ZINO FRANCESCATTI Violinist MUNSON GALLERY EST. 1860 Tuesday, February 6, 1962 275 Orange Street New Haven CLEVELAND ORCHESTRA Free parking for customers George Szell, Conductor Grant Johannesen, Piano Soloist Tuesday, February 20, 1962 BOSTON SYMPHONY ORCHESTRA Charles Munch, Conductor WHEN Tuesday, March 13, 1962 DIVIDENDS LUBOSHUTZ AND NEMENOFF Duo-pianists are important You may wish TICKET OFFICE IN THE LOOMIS TEMPLE of MUSIC to consult 101 ORANGE STREET INCOME FUNDS, INC. Investments For Income 152 Temple St. UNiversity 5-0865 New Haven Page Three PROGRAM NOTES Historical and descriptive notes by 3584 WHITNEY AVE. JOHN N. BURK Mount Carmel COPYRIGHT BY BOSTON SYMPHONY ORCHESTRA, INC. 771telvitqaClwick4 Opp. Sleeping Giant Tel. CHestnut 8-2767 COHHTRY" ELEGY TO THE MEMORY OF MY CLOTHES FRIEND, SERGE KOUSSEVITZKY, Op. 44 Our Clothes are Country and Casual Classic and in Good Taste By HOWARD HANSON For ten years we have proved this Born in Wahoo, Nebraska, October 28, 1896 Howard Hanson composed this Elegy for the 75th L anniversary of the Boston Symphony Orchestra, and it was performed by this Orchestra January 20-21, 1956. -
Boston Symphony Orchestra Concert Programs, Season 75, 1955-1956, Trip
BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HI 1955 1956 SEASON Veterans Memorial Auditorium, Providence Boston Symphony Orchestra (Seventy-fifth Season, 1955-1956) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Contra-Bassoon Rolland Tapley George Humphrey Richard Plaster Norbert Lauga Jerome Lipson Robert Karol Vladimir Resnikoff Horns Harry Dickson Reuben Green James Stagliano Gottfried AVilfinger Bernard Kadinoff Charles Yancich Einar Hansen Vincent Mauricci Harry Shapiro Joseph Leibovici John Fiasca Harold Meek Emil Kornsand Violoncellos Paul Keaney Roger Shermont Osbourne McConathy Samuel Mayes Minot Beale Alfred Zighera Herman Silberman Trumpets Jacobus Langendoen Roger Voisin Stanley Benson Mischa Nieland Leo Panasevich Marcel Lafosse Karl Zeise Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Clarence Knudson Leon MarjoUet Trombones Pierre Mayer Martin Hoherman William Gibson Manuel Zung Louis Berger William Moyer Kauko Kabila Samuel Diamond Richard Kapuscinski Josef Orosz Victor Manusevitch Robert Ripley James Nagy Flutes Tuba Melvin Bryant Doriot Anthony Dwyer K. Vinal Smith Lloyd Stonestreet James Pappoutsakis Saverio Messina Phillip Kaplan Harps William Waterhouse Bernard Zighera Piccolo William Marshall Olivia Luetcke Leonard Moss George Madsen Jesse -
Journal of Primary Education Music Ensemble Learning in Extra
Journal of Primary Education 8 (1) (2019) : 24 – 29 https://journal.unnes.ac.id/sju/index.php/jpe/article/view/24953 Music Ensemble Learning in Extra-Curricular Activities by Using Counting Methods Hendy Mahardhika1 , Hartono2 & Udi Utomo3 1 Public Elementary School 4 Godong, Grobogan, Jawa Tengah, Indonesia 2 Universitas Negeri Semarang, Indonesia Article Info Abstract ________________ ___________________________________________________________________ History Articles The objectives of the study is to explain the functions of counting methods used Received: in music ensemble lessons as extracurricular activities in an elementary school. July 2018 Accepted: This study applied a qualitative approach. This study took place in SDN 4 August 2018 (Public Elementary School 4) Godong, Grobogan, Central Java. The data of Published: study was collected using observations, interviews, and documentation April 2019 techniques. The data of the study was validated using triangulation points of ________________ resource and technique. The data was analyzed using data collection, reduction, Keywords: counting method, presentation and conclusion techniques. The result of the study shows that extracurricular, counting method is a method that a teacher can use to make ensemble music learning, easier for pupils to learn. In this method, the teacher uses counting symbols to music ensemble make it easier for pupils to learn the materials. The steps used are determining ____________________ songs, which will be played to know the bars of the song, to write the counting DOI and the symbols, to explain the meaning of each symbol, and to play the https://doi.org/10.15294 instruments while counting individually or in a band. The evaluation of /jpe.v8i1.24953 ensemble music learning was taken in a simple performance of the pupils. -
Boston Symphony Orchestra Concert Programs, Season 28,1908-1909, Trip
MECHANICS HALL . WORCESTER Twenty-eighth Season, I908-J909 Ionian ^ptpfjmuj GDrdf^fra MAX FIEDLER, Conductor ffrogramm? of a?* Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, APRIL 20 AT 8. J 5 PRECISELY COPYRIGHT, 1908, BY C. A. ELLIS MANAGER PUBLISHED BY C. A. ELLIS, Mme. CECILE CHAMINADE The World's Greatest Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE ^^ Piano. THE JOHN CHURCH CO., 37 West 3*d Street New York City REPRESENTED BY THE JOHN CHURCH CO., 37 West 32d Street, New York City Boston Symphony Orchestra PERSONNEL TWENTY-EIOHTH SEASON, 1908-1909 MAX 1FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J, Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noach, S. Mahn, F. Eichheim, H, Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, K Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. -
Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962
I ! w>- I A| JjL, ill ^2y „, j V - -IvV % :>-. ^"; -""~^S> r BOSTON f % SYMPHONY if ORCHESTRA ' A / FOUNDED IN 1881 BY ,<# HENRY LEE HIGGINSON jf% / \M6r \W f - • -• 4 /rsL^i/Wlllwfi'r* ' "^ ///?£? Hinull _ & ws»~^ ^W^-^x ~ :" ~ '--'' '...<- '}/ - 41^.-.. C-- y - --. f — ^ . X. «8sS> J EIGHTY-FIRST SEASON 1961-1962 '$,.*» LENOX, MASSACHUSETTS TANGLEWOOD 1962 The Boston Symphony Orchestra CHARLES MUNCH, Music Director The Berkshire Festival Twenty-fifth Season CHARLES MUNCH, Conductor 8 Weeks, Beginning July 6 The Berkshire Music Center Twentieth Season CHARLES MUNCH, Director For full information, address T. D. Perry, Jr., Manager, Symphony Hall, Boston, Mass. EIGHTY-FIRST SEASON, 1961-1962 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 Talcott M. Banks Vice-President Richard C. Paine Treasurer Theodore P. Ferris John T. Noonan Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft Palfrey Perkins Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [3] Boston Symphony Orchestra (Eighty-first Season, 1961-1962) CHARLES -
Boston Symphony Orchestra Concert Programs, Season 28
ACADEMY OF MUSIC, PHILADELPHIA Twenty-fowth Season in Philadelphia MAX FIEDLER, Conductor ftrngHmune of tht FOURTH CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, FEBRUARY 15 AT 8.15 PRECISELY COPYRIGHT, 1908, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. CECILE CHAMINADE The 'World's Greatest Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest "Woman Singer USE THE JOHN CHURCH CO., 37 West 326 Street New York City REPRESENTED BY MUSICAL ECHO GO. 1217 Chestnut Street, Philadelphia Boston Symphony Orchestra PERSONNEL TWENTY-EIGHTH SEASON, 1908-1909 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W.[ Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Goldstein, H. Goldstein, S. Kurth; R. Werner, H. Violas. FeTir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, K Warnke. J.| Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Mueller, E. Brooke, A. Sautet, A. Vannini, A. Regestein, E.