Boston Symphony Orchestra Concert Programs, Summer, 1951-1953
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 North! Z eeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9130640 The influence of Leonard B. Smith on the heritage of the band in the United States Polce, Vincent John, Ph.D. -
CASADESUS the Complete French Columbia Recordings
THE FRENCH PIANO SCHOOL ROBERT CASADESUS The complete French Columbia recordings ROBERT CASADESUS The complete French Columbia recordings 1928–1939 including the first release of the 1931 Mozart ‘Coronation’ Concerto COMPACT DISC 1 (78.15) SCARLATTI 11 Sonatas 1. Sonata in D major, Kk430 (L463) .................................................................. (1.51) 2. Sonata in A major, Kk533 (L395) .................................................................. (2.23) 3. Sonata in D major, Kk23 (L411) ................................................................... (2.29) 4. Sonata in B minor, Kk377 (L263) .................................................................. (1.17) 5. Sonata in D major, Kk96 (L465) ................................................................... (4.10) 6. Sonata in D minor, Kk9 (L413) ..................................................................... (1.36) 7. Sonata in G major, Kk125 (L487) .................................................................. (2.00) 8. Sonata in B minor, Kk27 (L449) ................................................................... (1.54) 9. Sonata in G major, Kk14 (L387) ................................................................... (1.53) 10. Sonata in E minor, Kk198 (L22) ................................................................... (2.10) 11. Sonata in G major, Kk13 (L486) ................................................................... (1.58) Recorded on 15 June 1937; matrices CLX 1952-1Tracks 1,2, 1953-33,4, 1954-15, 1955-36,7, 1956-38,9, -
Sanibei Officials Want IWA Franchisee! with City ^Zontaganza .Razzle-Dazzles
•.• «^^«;^,^, ,,_. 5 new subscribers this week Since 1961 Still firslon Sanibei and Captiva islands VOL. 34, NO. 9 TUESDAY, FEB. 28, 1995 2 SECTIONS, 36 PAGES 50 CENTS Show Biz As It Wuz By Frank Wagner Leonard Sillman and 'New Faces of 1968' During the summer of 1967, Marsha and I had driven to the Goodspeed Opera House in Moodis, Conn., to see a summer stock package of Leonard Sillman's "New Faces" (scheduled for Broadway in 1968). Leonard was one of those well known Broadway names most always associated with revues, especially his New Faces series. The most famous edition and the one that launched the greatest number of new Broadway personali- ties was "New Faces of 1952." In the company Photo by Kathleen Blasa were such potential star-personalities as Alice Parade participants Ghostley, Eartha Kitt, Paul Lynde, Ronny Sanibei Mayor Waily Kain and his wife, Joan, were two of the special participants at the recent Edison Graham, Carol Lawrence and Robert Clary Pageant of UgbtParade In downtown Fort Myers. ' ,. It was always rumored that the profits from this production were used to buy his town house in the East 70s. This stylish edifice became his residence, production offices and an extra apart- ment for rental income. Sanibei officials want In the business it was a well known fact Leonard had for some time been trying to raise enough money to put on a 1968 edition. He had IWA franchisee! with city done literally hundreds of backers auditions that By Steve Ruediger expires this summer. It was a 30-year franchise. -
Philharmonic Au Dito R 1 U M
LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living. -
Carmel Music Society
Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna -
Press Info 40 Years
Press info 40 years In memoriam Claudio Abbado: LUCERNE FESTIVAL Historic Performances CLAUDIO ABBADO Schubert: Symphony No. 7 in B minor, D. 759 Unfinished Vienna Philharmonic Live recording: Lucerne, Kunsthaus, 5 September 1978 Beethoven: Symphony No. 2 in D major Wagner: Siegfried-Idyll Chamber Orchestra of Europe Live recording: Lucerne, Kunsthaus, 25 August 1988 In memory of Claudio Abbado, who died on 20 January 2014 and who was closely associated with LUCERNE FESTIVAL for nearly five decades, audite and LUCERNE FESTIVAL are issuing three previously unreleased live recordings, approved by the conductor himself. They have now become a musical legacy, uniting all elements of his art in exemplary fashion: the absolute dedication which in itself made every one of his concerts an almost existential experience; the moments of highest musical internalisation, but also of rousing vitality, which characterised his interpretations; his self-professed view of himself as a “primus inter pares” within the col- lective of the orchestra, nurturing that chamber music culture of performers listening and responding to one another. On 5 September 1978, Claudio Abbado and the Vienna Philharmonic performed Franz Schubert’s Unfinished in Lucerne – a moving interpretation, emphasising the lyrical character of the work and creating a single arc of suspense from the sombre opening to the concluding transfiguration of the second movement. This work closes a circle insofar as Claudio Abbado also conducted Schubert’s Unfinished at his final concert, given on 26 August 2013 in Lucerne. On 25 August 1988, on the occasion of the festival’s fiftieth anniversary, Abbado and the Chamber Orchestraof Europe performed exactly the same program with which Arturo Toscanini had opened the Luzerner Festspiele in 1938, including Ludwig van Beethoven’s Second Symphony and Richard Wagner’s Siegfried Idyll, the latter written in Lucerne. -
Albert Einstein: the Violinist
Albert Einstein: The Violinist By Peregrine White* o the press of his time Albert Einstein was two parts renowned scientist, one jigger pacifist and TZionist fundraiser, and a dash amateur musician. These proportions persisted during 1979, the 100th an- niversary of his birth, as writers in all media jostled each other as they recounted his achievements. Relativity tended to hog the show. Relatively little space was given to Einstein the musician. This report, an attempt to redress the balance, is based on conversations with several people who used to play chamber music with him. Einstein was given violin lessons at an early age. By his own testimony he first became really interested in music when he was 13 and made the acquaintance of the Mo- zart sonatas. When Einstein was an adult, a well-worn fiddle case accompanied him wherever he went. In 1921, when Einstein arrived in the United States for the first time, reporters saw a kindly man with undis- ciplined hair, somewhat wayward black trousers—a man of no particular style, fiddle case in hand. He looked for all the world like a professional musician on tour. Einstein spent many years of his life in Berlin, deeply involved in the scientific and cultural life there. He hob- (Photo courtesy of the Southold Historical Society and the Family of Reginald Donahue.) nobbed with musical greats like Fritz Kreisler and the philosopher-artist Artur Schnabel. He used to play violin sonatas with Max Planck, the father of quantum theory. At the time, Schnabel was the greatest living per- Beethoven that troubled Einstein, according to one former of piano works of Beethoven. -
French Violin Performance from Franck to Ravel A
UNIVERSITY OF CALIFORNIA Los Angeles In Search of a Style: French Violin Performance from Franck to Ravel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Ji Young An 2013 © Copyright by Ji Young An 2013 ABSTRACT OF THE DISSERTATION In Search of a Style: French Violin Performance from Franck to Ravel by Ji Young An Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert Winter, Chair My dissertation focuses on issues of French sound and style in late nineteenth and early twentieth-century French violin repertoire. As a violinist who studied at the Paris Conservatory, I have long been puzzled as to why so little had been written about something that everyone seems to take for granted—so called French style. I attacked this elusive issue from three perspectives: 1) a detailed look at performance directions; 2) comparisons among recordings by artists close to this period (Jacques Thibaud, Zino Francescatti, as well as contemporary French artists such as Philippe Graffin and Guillaume Sutre); and 3) interviews with three living French violinists (Olivier Charlier, Régis Pasquier, and Gérard Poulet) with strong ties to this tradition. After listening to countless historical recordings, I settled on three pivotal works that illustrate the emergence and full flowering of the French style: César Franck’s Violin Sonata (1886), Claude Debussy’s Violin Sonata (1917), and ii Maurice Ravel’s Tzigane: Rapsodie de Concert pour Violon et Piano (1924). Each of them presents specific challenges: notational and stylistic issues in Franck’s Violin Sonata, Debussy’s performance directions in his Violin Sonata, and notational and interpretive issues in Ravel’s Tzigane that led to a separate, orally-transmitted French tradition. -
06 – Spinning the Record
V: THE GOLDEN AGE, Part 2 The LP-45 boom becomes an explosion As mentioned in the previous chapter, the years 1940-1956 were so rich culturally that it is virtually impossible to describe it all in one chapter, and Americans of all economic and educational backgrounds had free or inexpensive access to music that was once only the prov- ince of the very wealthy. One should note that, in addition to the various innovations men- tioned previously, radio too was part of this free dissemination of the arts. The crown jewel of its epistle may have been Toscanini, but there were also the weekly Metropolitan Opera broadcasts sponsored by Texaco Oil, a commercial-free venue that would continue uninter- rupted until the 2003-04 season, when the company—no longer interested in promoting music that few of their customers listened to—allowed their contract to expire. And then there were two programs, independently sponsored, that brought classical, semi-classical and quasi- classical vocal music to listeners on a weekly basis, the Bell Telephone Hour and The Voice of Firestone. Both had somewhat middlebrow programming, yet they still brought such great singers as Maggie Teyte and Jussi Björling to thousands who would otherwise be unaware of their greatness. During the early LP era, too, “new” conductors (or, at least, conductors previously not known by the general public) were suddenly brought to the fore. As inventor of the LP, Co- lumbia was first, producing records by the New York Philharmonic’s new music director, Artur Rodzinski, as well as his replacement, the great Dmitri Mitropoulos (though, since the New York musicians didn’t “like” Mitropoulos, they rarely played their best for him); a re- markable Polish conductor, Paul Kletzki, in his first EMI recordings with Walter Legge’s newly-formed Philharmonia Orchestra; and the draconian Hungarian, Fritz Reiner, then the music director of the Pittsburgh Symphony Orchestra. -
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. -
Verdi's La Forza Del Destino
Verdi’s La forza del destino - A survey of the studio and selected live recordings by Ralph Moore Despite its musical quality, variety and sophistication, La forza del destino is something of an Ugly Duckling among Verdi’s mature works, and it is for that reason that I did not survey it when I previously covered most of Verdi’s major and most popular operas. It suffers from a sprawling structure whereby succeeding scenes can seem disjointed, some peculiar motivation, an excess of disguise, an uncertain tone resulting from an uneasy admixture of the tragic and the would-be comical, and the presence of two characters with whom, for different reasons, it is difficult to empathise. Don Carlo suffers from a pathological obsession with revenge resulting in his stabbing his own sister as an “honour killing”; his implacable bloodlust is both bizarre and deeply repugnant, while Preziosilla must be one of the most vapid and irritating cheerleaders in opera. “Rataplan, rataplan” – rum-ti-tum on the drum, indeed; it takes a special singer to transcend the banality of her music but it can be done. Although it is just about possible to argue that guilt and shame are at the root of their behaviour, it is mostly inexplicable to modern audiences that Alvaro and Leonora separate after her father’s accidental death and never again try to reunite until they meet again by chance – or fate - in the last scene set five years later. Verdi attempts to lighten the relentlessly grim mood by the inclusion of a supposedly comic character in Fra Melitone who often isn’t very funny – and what is the point of Trabuco, a superfluous peddler? Finally, what the heck is an Incan prince doing in Seville, anyway? While fully aware of its failings, I have returned to La forza del destino because it contains some marvellous music and the kinds of emotional turmoil and dramatic confrontation which lie at the heart of opera. -
ARSC Journal
ELISABETH SCHU}~.NN ON THE ART OF SONG INTERPRETATION: MOZART: Das Veilchen; SCHLiF::rr: Lachen unc~ weinen; BRAHMS: Vergebliches Standchen; STRAUSS: Morgen; SCHUBERT: Die Forelle; WOLF: Mausfallen-Spruchlein; In dem Schetteil°meiner Locken (with Ernest Lush, piano) (1950). Pre ceded by MOZART: Il Re pastore--L'amero sero costante; Alleluia (with BBC Symphony; Sir Henry Wood, conductor, 8 September 1936). IGI 274 (Educational Media Association, P. 0. Box 921, Berkeley, California 94701) These lectures have been around before as EJS 328. Schumann opens with some general remarks on singing and teaching in rather quaint but perfectly clear and understandable English. She sings each song through, then offers a few points on interpretation. She places strong emphasis on the importance of the words. There are points about the art of coloring the voice, about breath control and vowel sounds. In Morgen, she says, the singer must be "singing" mentally from the beginning of the prelude, so that when she comes in she is already with it. One remembers her as one of the few singers who really did this. Also in this song, she speaks of the importance of counting the rests in the final lines. Her voice in 1950 was by no means what it had been, but some of the old sparkle was still there, even when the going was not easy. She concludes her talk with encouragement to the young singer - don't worry - have confidence. The lecture is preceded by the Re pastore aria and the Alleluia in a public performance, complete with tumultuous applause. L'amero is less fresh vocally than in her earlier commercial recording; the old radiance is there in the upper voice, but the bottom is rather weak.