DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, March 2, at 8.00 •Vvs^. ^. \X, mw BOSTON SYMPHONY ORCHESTRA INCORPORATED FORTY-FIRST SEASON J92M922 ILL,* PRSGRSttAE Steinway Jewett PIANOS Steinert Woodbury M. Steinert &- Sons Victrolas and Duo Art and Victor Records Pianola Pianos STEINEKT HALL 162 BOYLSTON ST. SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-FIRST SEASON, 1921-1922 INCORPORATED PIERRE MONTEUX, Conductor SEASON 1921-1922 THURSDAY EVENING, MARCH 2, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1922, BY BOSTON SYMPHONY ORCHE8TRA, INCORPORATED THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD. Assistant Manager 'CHE INSTRUMENT OF THE IMMORTALS UPON hearing a Steinway for the be divinely played and truly loved by first time, Richard Wagner Franz Liszt. Happily, too, it is still here wrote: "Our early tone masters, to voice the art of that most gifted and in writing the grandest of their creations brilliant of pianists, Paderewski, and to for the pianoforte, seem to have had a bless the playing of Rachmaninoff and presentiment of this, the ideal piano." Hofmann. And happily again, it will live on Happily, the Steinway was born in time to be played by future masters and tojmin- to inspire the immortal Richard, and to ister to all people"who love great music. 107-109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE . Forty-first Season, 1921-1922 PIERRE MONTEUX, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Berger, H. Kassman, N. Barozzi, S. Leveen, P. Siegl, F. Thillois, F. Gorodetzky, L. Kurth, R. Murray, J. Riedlinger, H. Goldstein, S. Bryant, M. Knudsen, C. Stonestreet, L. Deane, C. Erkelens, H. Seiniger, S. Diamond, S. Tapley, R. Del Sordo, R. Messina, S. Violas. Fourel, G. Werner, H Grover, H. Fiedler, A. Artieres, L. Van Wynbergen, C. Shirley, P. Mullaly, J. Gerhardt, S. Kluge, M. Welti, 0. Zahn, F. Violoncellos. Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendcen, J Schroeder, A. Barth, C. Fabrizio, E. Stockbridge. C. Marjollet, L. Basses Kunze, M. Seydel, T. Ludwig, Kelley, A. Girard, H. Keller, K. Gerhardt, G. Frankel, I Demetrides, L. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Arcieri, E. Mueller, E. Amerena, P. Stanislaus, H. Vannini, A. Bettoney, F. Piccolo. English Horns. Bass Clarinet. Contra-Bassoon Battles, A. Mueller, F. Mimart, P. Piller, B. Speyer, L. Horns. Horns. Trumpets. Trombones. Wendler, G. Van Den Berg, C. Mager, G. Hampe, C. Lorbeer, H. Hess, M. Mann, J. Adam, E. Hain, F. Perret, G. Mausebach, A. Gebhardt, W. Kloepfel, L. Kenfield, L. Tuba. Harps. Timpani. Percussion. Adam, E. Holy, A. Neumann, S. Rettberg, A Zahn, F. Delcourt, L. Kandler, F. Ludwig, C. Organ. CelestaL. Librarian. Snow, A. Fiedler, A. Rogers, L. UJJJM ^ The highest excellence in every detail of its con- struction, and the lasting beauty of its musical voice, have caused the CHICKERING PIANO to sought after THE be by OLDEST true music lovers for IN AMERICA nearly a Hundred Years. THE BEST To-day it is finer in- IN THE a | I WORLD strument than at any 1 time in its long and 4| illustrious career, coo With the AMP1CO it is endowed with playing of the greatest Pianists in the World .u^> • oo^ SANDERS THEATRE CAMBRIDGE HARVARD UNIVERSITY Forty-first Season, 1921-1922 PIERRE MONTEUX, Conductor SIXTH CONCERT THURSDAY EVENING, MARCH 2 AT 8.00 PROGRAMME Schubert Symphony in C major, No. 7 I. Andante; Allegro ma non troppo. II. Andante con moto. III. Scherzo : Allegro vivace. Trio. IV. Finale: Allegro vivace. Hill Waltzes for Orchestra Songs with Orchestra Rimsky-Korsakov . Air from "The Tsar's Bride'' Prokofiev Song (without words) Moussorgsky Revery and Dance from u The Fair of Sorotchinsk" Wagner . Overture to "The Flying Dutchman" SOLOIST NINA KOSHETZ There will be an intermission of ten minutes after the symphony The Raymond-Whitcomb Cruise to the The exclusively chartered Raymond- North Cape in June 1922 has the most Whitcomb Cruise Ship will be the great comprehensive Scandinavian itinerary S.S. "Osterley" (19,000 tons displace- ever devised for a cruise in this field. ment) of the Orient Line. The accom- With a schedule so arranged as to in- modations range from fine single rooms sure visits to notable ports in Iceland, to luxurious suites with bath. The vary- Norway, Denmark and Sweden, it will ing rates all include picturesque shore also include the North Cape, Hammer- excursions at the ports of call. Optional fest, Merok, Trondhjem, Bergen, Chris- Excursions offer journeys to inland Nor- tiania and Copenhagen, as well as a way and Stockholm—"Venice of the dozen of the most famous fjords. North." Write for our new booklet Sailing June 28 S.S. "Osterley" Rates $675 and up Rates include return passage on the magnificent Cunarders " Mauretania," " Laconia," " Aquitania" (sailing August 5,9 & 12 respectively) or on ships sailing at later dates The Cruise sails on a date ideal for a summer's sojourn Abroad. In connection with it we have prepared numerous European Extension-Tours, to include the Oberammergau "Passion Play", the Battlefields and motor trips in England. Raymond & Whitcomb Co. 17 Temple Place, Boston Telephone, Beach 6964 ; Symphony in C major, No. 7 Franz Schubert (Born at Lichtenthal,Vienna, January 31, 1797; died at Vienna, November 19, 1828.) The manuscript of this symphony, numbered 7 in the Breitkopf & Hartel list and sometimes known as No. 10, bears the date March, 1828. In 1828 he composed besides this symphony the songs "Die " Sterne." and " Der Winterabend " ; the oratorio, "Miriams Siegesgesang the song "Auf dem Strom"; the " Schwanengesang " cycle; the string quintet Op. 163 and the Mass in E-flat. On November 14 he took to his bed. It is said that Schubert gave the work to the Musikverein of Vienna for performance; that the parts were distributed; that it was even tried in rehearsal; that its length and difficulty were against it, and it was withdrawn on Schubert's own advice in favor of his earlier Symphony in C, No. 6 (written in 1817). All this has been doubted; but the symphony is entered in the catalogue of the society under the year 1828, and the statements just quoted have been fully substantiated. Schubert said, when he gave the work to the Musikverein, that he was through with songs, and should henceforth confine himself to opera and symphony. It has been said that the first performance of the symphony was at Leipsic in 1839. Is this statement true? Schubert himself never heard the work; but was it performed at a concert of the Gesellchaft der Musikfreunde, Vienna, December 14, 1828, and repeated March 12, 1829?* It was then forgotten, until Schumann visited Vienna in 1838, and looked over the mass of manuscripts then in the possession of Schubert's brother Ferdinand. Schumann sent a transcript of the sym- phony to Mendelssohn for the Gewandhaus concerts, Leipsic. It was produced at the concert of March 21, 1839, under Mendelssohn's direc- tion, and repeated three times during the following season,—December 12, 1839, March 12 and April 3, 1840. Mendelssohn made some cuts in the work for these performances. The score and parts were pub- lished in January, 1850. The first performance in Boston was at a concert, October 6, 1852, when the small orchestra was led by Mr. Suck. We are told that on this occasion the first violins were increased to four, two extra violoncellos took the place of the bassoons, and a second oboe was added. The Germania Orchestra played the symphony in 1853 and 1854. The first performance at a Philharmonic concert was on March 14, 1857. The manuscript is full of alterations, and as a rule Schubert made few changes or corrections in his score. In this symphony alterations are found at the very beginning. Only the Finale seems to have satis- *Hanslick says in "Geschichte des Concertwesens in Wicn" (Vienna, 1869) that the sixth, not the ninth, symphony was performed at the concert in Vienna, December 14, 1828; that the ninth was first heard in Vienna in 1839, when only the first and second movements were played, and separated by an aria of Donizetti; that the first complete performance at Vienna was in 1850. Grove makes the same statement. But see Richard Heuberger's "Franz Schubert" (Berlin, 1902), p. 87. fied him as originally conceived, and this Finale is written as though at headlong speed. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, kettledrums, strings. There is a story that Schubert was afraid he had made too free use of trombones, and asked the advice of Franz Lachner. The second theme of the first movement has a decidedly Slav-Hun- garian character, and this character colors other portions of the sym- phony both in melody and general mood. The rhythm of the scherzo theme had been used by Schubert as early as 1814 in his quartet in B-flat. It may also be remarked that the scherzo is not based on the old minuet form, and that there is more thematic development than was customary in such movements at that period.
Load more

Recommended publications
  • Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
    Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 45,1925-1926
    PRoGRJWYE 124.1 M>/ ITS HERE! It is the world's first electrical reproducing instrument. There is no other like it. It is the result of a joint effort of the Radio Corpo- ration of America, the General Electric "Company, the Westinghouse Electric and Mfg. Co., and Brunswick. See and hear it before you purchase any musical instrument for your home. Convenient Terms CCHarvey® 144Boylston Street Boston SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 INC. SERGE KOUSSEVITZKY, Conductor FORTY-FIFTH SEASON, 1925-1926 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1926, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT ...... President GALEN L. STONE Vice-President ERNEST B. DANE ....... Treasurer FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN FREDERICK E. LOWELL E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1933 After more than half a century on Fourteenth Street, Steinway Hall is now located at 1-09 West 57th Street. The new Steinway Hall is one of the handsomest buildings in New York on a street noted for finely designed business structures. As a center of music, it will extend the Steinway tradition to the new generations of music lovers. \t THE INST%U<ZMENT OF THE IMMORTALS 1934 Bostoi Forty-fifth Season, 1925-1926 SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Gundersen, R.
    [Show full text]
  • Orchestra Repertoire by Composer
    Concord Orchestra (1969-2019 seasons) –– Richard Pittman, 50th season as conductor by Composer Compiled by Grant Anderson, June 2019 1 Concord Orchestra Repertoire by Composer (1969-2019 seasons) — Richard Pittman, conductor Composer Composition Composed Soloists Groups Concert Adams John (1947 – ) Nixon in China: The Chairman Dances 1985 May 2000 Adams John (1947 – ) ShortA Short Ride in a Fast Machine (Fanfare for 1986 December 1990 Great Woods) Adams John (1947 – ) AShort Short Ride in a Fast Machine (Fanfare for 1986 December 2000 Great Woods) Adler Samuel (1928 – ) TheFlames Flames of Freedom: Ma’oz Tzur (Rock 1982 Lexington High School December 2015 of Ages), Mi y’mallel (Who Can Retell?) Women’s Chorus (Jason Iannuzzi) Albéniz Isaac (1860 – 1909) Suite española, Op. 47: Granada & Sevilla 1886 May 2016 Albert Stephen (1941 – 1992) River-Run: Rain Music, River's End 1984 October 1986 Alford, born Kenneth, born (1881 – 1945) Colonel Bogey March 1914 May 1994 Ricketts Frederick Anderson Leroy (1908 – 1975) Belle of the Ball 1951 May 1998 Anderson Leroy (1908 – 1975) Belle of the Ball 1951 July 1998 Anderson Leroy (1908 – 1975) Belle of the Ball 1951 May 2003 Anderson Leroy (1908 – 1975) Blue Tango 1951 May 1998 Anderson Leroy (1908 – 1975) Blue Tango 1951 May 2007 Anderson Leroy (1908 – 1975) Blue Tango 1951 May 2011 Anderson Leroy (1908 – 1975) BuglerA Bugler's Holiday 1954 Norman Plummer, April 1971 Thomas Taylor, Stanley Schultz trumpet Anderson Leroy (1908 – 1975) BuglerA Bugler's Holiday 1954f John Ossi, James May 1979 Dolham,
    [Show full text]
  • Piotr Ilich Chaikovski - Música
    Piotr Ilich Chaikovski - Música. 1 INTRODUCCIÓN Piotr Ilich Chaikovski En la obra de Piotr Ilich Chaikovski coexisten influencias rusas y centroeuropeas. Fue el primer compositor ruso que figuró en los programas de conciertos del resto de Europa. Hulton Deutsch - Música. Piotr Ilich Chaikovski (1840-1893), compositor ruso, uno de los músicos más destacados del siglo XIX. Nació el 7 de mayo de 1840 en Votkinsk, en la zona de los Urales, estudió derecho en San Petersburgo y recibió clases de música en el conservatorio de esta ciudad. Entre sus profesores se encontraban el compositor y pianista ruso Anton Grigórievich Rubinstein (1828-1894) del que Chaikovski recibió clases de orquestación. En 1866 fue nombrado profesor de armonía en el Conservatorio de Moscú por el pianista y compositor Nicholas Rubinstein, hermano de Anton. Allí el joven compositor conoció al dramaturgo Alexandr Nikoláievich Ostrovski, quien le escribió el libreto de su primera ópera, El voivoda (1868). De esta época también datan sus óperas Undina (1869) y Oprichnik (1872), el Concierto para piano nº 1 en si bemol menor (1875), las sinfonías nº1 (Sueños de invierno, 1868), nº 2 (1873, más tarde revisada y titulada Pequeña Rusia) y nº 3 (Polaca, 1875) y la obertura-fantasía Romeo y Julieta (1870; revisada en 1870 y 1880). En un principio el primer concierto para piano fue dedicado a Nicholas Rubinstein, pero éste lo calificó como 'imposible de tocar'. Fuertemente dolido, Chaikovski hizo múltiples cambios en la obra y esta vez se lo dedicó a Hans von Bülow, que contestó el favor tocando el concierto en su primera gira por Estados Unidos (1875-1876).
    [Show full text]
  • Schiller's Jungfrau, Euripides's Iphigenia Plays, and Joan of Arc on the Stage
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Sisters in Sublime Sanctity: Schiller's Jungfrau, Euripides's Iphigenia Plays, and Joan of Arc on the Stage John Martin Pendergast 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/1090 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] SISTERS IN SUBLIME SANCTITY: Schiller’s Jungfrau, Euripides’s Iphigenia Plays, and Joan of Arc on the Stage by John Pendergast A Dissertation Submitted to the Graduate Faculty in Comparative Literature in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The City University of New York 2015 ii © 2015 JOHN PENDERGAST All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature to satisfy the dissertation requirement for the degree of Doctor of Philosophy 21 May 2015 Dr. Paul Oppenheimer________________________ Date Chair of the Examining Committee 21 May 2015______________ Dr. Giancarlo Lombardi ______________________ Date Executive Officer Dr. Paul Oppenheimer Dr. Elizabeth Beaujour Dr. André Aciman Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Sisters in Sublime Sanctity: Schiller’s Jungfrau, Euripides’s Iphigenia Plays, and Joan of Arc on the Stage by John Pendergast Adviser: Professor Paul Oppenheimer At the dawn of the nineteenth century, Friedrich Schiller reinvented the image of Joan of Arc in his play, Die Jungfrau von Orleans, with consequences that affected theatrical representations of Joan for the rest of that century and well into the twentieth.
    [Show full text]
  • Constantine Orbelian, Conductor DE 3517 with Asmik Grigorian, Soprano State Academic Symphony Orchestra of Russia
    Dmitri Hvorostovsky sings of War, Peace, Love and Sorrow Constantine orbelian, conductor DE 3517 with Asmik Grigorian, soprano State Academic Symphony Orchestra of Russia Helikon Opera Chorus 1 Dmitri Hvorostovsky Sings of War, Peace, Love and Sorrow PROKOFIEV: War and Peace (Scene 1) TCHAIKOVSKY: Mazeppa (Mazeppa’s Aria) Iolanta (Robert’s Aria) • Queen of Spades (Tomsky’s Ballad; Tomsky’s Song) RUBINSTEIN: The Demon (Scene 6) with Asmik Grigorian, soprano Irina Shishkova, mezzo-soprano • Mikhail Guzhov, bass Igor Morozov, tenor • Vadim Volkov, countertenor Constantine Orbelian, conductor Academic State Symphony Orchestra of Russia, “Evgeny Svetlanov” • Helikon Opera Chorus Total Playing Time: 53:51 Dmitri Hvorostovsky Sings of War, Peace, Love and Sorrow 1. Sergei Prokofiev: War and Peace, 4. Tchaikovsky: Queen of Spades, Scene 1 (11:47) Tomsky’s Ballad (5:42) "Svetlaje vesenneje nebo” "Odnazdy v Versale, au jeu de la Reine” (The radiance of the sky in spring) (One day at Versailles, at the Jeu de la Reine) with Asmik Grigorian (Natasha) with Mikhail Guzhov (Surin) and Irina Shishkova (Sonya) and Igor Morozov (Chekalinsky) 2. Pyotr Ilyich Tchaikovsky: Mazeppa, 5. Tchaikovsky: Queen of Spades, Mazeppa’s Aria (5:27) Tomsky’s Song (2:17) "O Mariya, Mariya!” "Yesli b milyye devitzy” (O Maria, Maria!) (If cute girls) 3. Tchaikovsky: Iolanta, Robert’s Aria (2:36) 6. Anton Rubinstein: The Demon, "Kto mozhet sravnitsja s Matildoj moej” Scene 6 (26:03) (Who can compare with my Mathilde) with Asmik Grigorian (Tamara) and Vadim Volkov (Angel) Constantine Orbelian, conductor State Academic Symphony Orchestra of Russia, “Evgeny Svetlanov” Helikon Opera Chorus Total Playing Time: 53:53 2 ussian is one of the most difficult languag- This studio recording, made in Moscow over es to sing: too many noisy consonants! five consecutive days in October of 2015, brings RNevertheless, some of the most beautiful this plan closer to reality.
    [Show full text]
  • Prokofiev, Sergey (Sergeyevich)
    Prokofiev, Sergey (Sergeyevich) (b Sontsovka, Bakhmutsk region, Yekaterinoslav district, Ukraine, 11/23 April 1891; d Moscow, 5 March 1953). Russian composer and pianist. He began his career as a composer while still a student, and so had a deep investment in Russian Romantic traditions – even if he was pushing those traditions to a point of exacerbation and caricature – before he began to encounter, and contribute to, various kinds of modernism in the second decade of the new century. Like many artists, he left his country directly after the October Revolution; he was the only composer to return, nearly 20 years later. His inner traditionalism, coupled with the neo-classicism he had helped invent, now made it possible for him to play a leading role in Soviet culture, to whose demands for political engagement, utility and simplicity he responded with prodigious creative energy. In his last years, however, official encouragement turned into persecution, and his musical voice understandably faltered. 1. Russia, 1891–1918. 2. USA, 1918–22. 3. Europe, 1922–36. 4. The USSR, 1936–53. WORKS BIBLIOGRAPHY DOROTHEA REDEPENNING © Oxford University Press 2005 How to cite Grove Music Online 1. Russia, 1891–1918. (i) Childhood and early works. (ii) Conservatory studies and first public appearances. (iii) The path to emigration. © Oxford University Press 2005 How to cite Grove Music Online Prokofiev, Sergey, §1: Russia: 1891–1918 (i) Childhood and early works. Prokofiev grew up in comfortable circumstances. His father Sergey Alekseyevich Prokofiev was an agronomist and managed the estate of Sontsovka, where he had gone to live in 1878 with his wife Mariya Zitkova, a well-educated woman with a feeling for the arts.
    [Show full text]
  • Orcncstrh INCORPORATED FORTY-FIRST SEASON I92I-I922
    BOSTON SYnpnorsY i ORCnCSTRH INCORPORATED FORTY-FIRST SEASON I92I-I922 PRoGRmnE Established 1833 WEBSTER AND CAPITAL: ATLAS SURPLUS: $1,000,000 $1,000,000 NATIONAL BANK A Well Managed, and an Old Established National Bank The well-established position of this bank in the community, the character of its Board of Directors, and its reputation as a solid, conservative institution recommend it as a particularly desirable depository for ACCOUNTS OF TRUSTEES, EXECUTORS AND INDIVIDUALS and for COMMERCIAL ACCOUNTS IT IS KNOWN AS "A STRONG BANK OF DEPENDABLE SERVICE'* DIRECTORS: CHARLES B. BARNES GRANVILLE E. FOSS JOSEPH S. BIGELOW ROBERT H. GARDINER FESSENDEN S. BLANCHARD GEORGE L. GILMORE THEODORE G. BREMER EDWARD W. GREW WILLIAM R. CORDINGLEY OLIVER HALL RAYMOND B. COX ARNOLD W. HUNNEWELL AMORY ELIOT DUDLEY P. ROGERS ROGER ERNST THOMAS W. THACHER JOHN W. FARWELL WALTER TUFTS OFFICERS: AMORY ELIOT, Chairman of the Board RAYMOND B. COX. President ROBERT E. HILL, Asst. Cashier JOSEPH L. FOSTER, Vice-President FRANK B. BUTTS, Asst. Cashier and Cashier ARTHUR W. LANE. Asst. Cashier EDWARD M. HOWLAND, Vice-President HAROLD A. YEAMES. Asst. Cashier The most dignified and inviting banking rooms in Boston CORNER WASHINGTON AND COURT STREETS 199 WASHINGTON ST.— 16 COURT ST. (OPPOSITE OLD STATE HOUSE) SYMPHONY HALL. BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 Eostoii Symplioey Orclii INCORPORATED PIERRE MONTEUX, Conductor FORTY-FIRST SEASON. 1921-1922 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1922, BY bOSTCN SYMPHONY ORCHESTRA, INCORPORATED THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc.
    [Show full text]
  • 95.3 FM 6:45 Pm HARVARD MEN’S HOCKEY WHRB Program Guide Harvard at Princeton
    N N December 2014 January/February 2015 Volume 43, No. 2 Winter Orgy® Period N 95.3 FM 6:45 pm HARVARD MEN’S HOCKEY WHRB Program Guide Harvard at Princeton. 10:00 pm VAPORWAVE ORGY Winter Orgy® Period, December, 2014 Vaporwave, an electronic genre that emerged early in this decade, in cyberspace, is often characterized by heavy with highlights for January and February, 2015 sampling and effect processing of 80’s lounge and smooth jazz. Consumerism and techno-corporatism is Vaporwave when it is Wednesday, December 2 one with mirroring ocean and Zen on a pseudo-neo Windows 95 screen. Often heard by Twitter users who used to collect 6:45 pm HARVARD WOMEN’S HOCKEY Digimon cards, the evolving underground genre reflects the Harvard vs. Dartmouth. nostalgia of the forever young. Macintosh Plus, Blank Banshee, PrismCorp Virtual Enterprises, and many others. Wednesday, December 3 Saturday, December 6 6:45 pm MEN’S BASKETBALL Harvard vs. Northeastern. 5:00 am THE FLIGHT OF THE CONDOR: 10:00 pm THE ONLY MAN THAT MATTERS MUSIC OF THE ANDES ORGY Ian MacKaye co-founded Dischord Records in 1980 at age The indigenous peoples of the Andes Mountains produced a 18 to release an album by his band The Teen Idles. Since 1980, style of music that is hauntingly beautiful, and lies in the grand MacKaye has transformed the punk-rock music scene through tradition of protest music along with punk, hip-hop, and outlaw his artistry and management of Dischord. His bands Minor country. After the Spanish conquest of South America, Andean Threat and Fugazi have gained critical acclaim in the hardcore folk music became a way of preserving an indigenous identity in and post-hardcore scenes respectively.
    [Show full text]
  • Travels with an Opera: Prokofiev's War and Peace
    Travels with an opera: Prokofiev’s War and Peace This is the story of two musical journeys: the road travelled by Prokofiev’s late operatic masterpiece, from its initial composition in 1941/2 to the first performance of that original version – scheduled for 22 January 2010; and the present writer’s forty-year journey away from, and then back to, the Russian composer and his operas. My association with the music of Sergei Prokofiev began in 1966, when I had to choose a subject for my doctoral research at the University of Cambridge. I wanted to work on twentieth-century opera: Alban Berg was my first choice, but someone else (the musicologist Douglas Jarman) was already working on him. Martinu? Hindemith? – not really. Prokofiev? - now there was a composer about whose orchestral music I had mixed views, whose piano music I found fascinating but singularly awkward to play, and about whose operas I knew absolutely nothing. Zilch. Hasty research revealed that I was not alone: the March and Scherzo from Love for Three Oranges apart, Prokofiev’s operatic repertoire was largely unknown and certainly unstudied in Western Europe. It seemed an excellent choice; though it was not long before I discovered that there were clear, if not good, reasons for both of these facts. Throughout his life Prokofiev was captivated by opera as a medium: he wrote his first operatic work – The Giant – at the age of nine; and a fortnight before his death he was still trying to find the perfect middle section for Kutuzov’s grandiose aria in War and Peace.
    [Show full text]
  • PROKOFIEV Alexander Nevsky - Lieutenant Kijé Suite
    PROKOFIEV Alexander Nevsky - Lieutenant Kijé Suite Fresh ! ALISA KOLOSOVA, MEZZO-SOPRANO Utah Symphony Chorus University of Utah A Cappella Choir University of Utah Chamber Choir Barlow Bradford, Director If Prokofiev had written nothing else, he would be remembered for his film scores, especially those he wrote for the historical satire Lieutenant Kijé and for Eisenstein’s epics Alexander Nevsky and Ivan the Terrible . Lieutenant Kijé , made in 1933, was the first film he worked on, at a time when the technology of recording sound on film stock was still only a few years old. This was also his first Soviet project, from the period when he was going back to Russia periodically, before taking up full-time residence again in 1936. He seems to have been uncertain about the new medium at first, but to have come round partly because music for a film would re-establish him with the widest possible audience in the country he had left a decade and a half before. Also, the subject appealed. Satire had been a strong suit of his since his youth, and the film’s setting in 1800 would allow him to revive the spirit of his Classical Symphony. The film’s story, an old anecdote developed by Yuri Tynyanov, a noted literary theorist and novelist, concerns an officer who never existed, but who has to be brought into existence, and kept there, to cope with the erratic demands of Tsar Paul I, whose brief reign followed the much longer rule of his mother, Catherine the Great. One afternoon, the tsar is woken from his nap by a noise made by a couple canoodling.
    [Show full text]
  • Prokofiev [Prokof’Yev; Prokofieff], Sergey [Serge] (Sergeyevich)
    Prokofiev [Prokof’yev; Prokofieff], Sergey [Serge] (Sergeyevich) (b Sontsovka, Bakhmut district, Yekaterinoslav gubeniya [now Krasnoye, Selidovsky district, Donetsk region, Ukraine], 15/27 April 1891; d Moscow, 5 March 1953). Russian composer. 1. Pre-Soviet period. 2. The 1930s. 3. The 1940s. WORKS BIBLIOGRAPHY RICHARD TARUSKIN © Oxford University Press 2005 How to cite Grove Music Online Prokofiev, Sergey 1. Pre-Soviet period. Prokofiev‟s operatic career began at the age of eight (with Velikan, „The Giant‟, a 12-page opera in three acts), and he always saw himself first and foremost as a composer of music for the lyric stage. If this seems surprising, it is not only because of Prokofiev‟s great success in the realm of instrumental concert music but also because of the singularly unlucky fate of his operas. Of the seven he completed, he saw only four produced; of the four, only two survived their initial production; and of the two, only one really entered the repertory. As usual in such cases, the victim has been blamed: „Through all his writings about opera there runs a streak of loose thinking and naivety‟, wrote one critic, „and it runs through the works, too‟. That – plus a revolution, a world war and a repressive totalitarian regime whose unfathomable vagaries the composer could never second-guess – indeed made for a frustrating career. Yet time has begun to vindicate some of those long-suffering works, and we may be glad that despite everything (and unlike Shostakovich) Prokofiev persisted as an operatic composer practically to the end. The charge of „naivety‟ derives from Prokofiev‟s life-long commitment to what might be called the traditions of Russian operatic radicalism.
    [Show full text]