DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 67, 1947-1948, Trip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 67, 1947-1948, Trip BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON IN fcs w X -jlMMMUf S # SIXTY-SEVENTH SEASON 1947-1948 Carnegie Hall, New York Boston Symphony Orchestra 8 [Sixty-seventh Season, 1947-194 ] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhape Ernst Panenka Masters Alfred Krips Georges Fourel Ralph Gaston Eugen Lehner Elcus Contra-Bassoon Rolland Tapley Albert Bernard Boaz Piller Norbert Lauga Emil Kornsand George Zazofsky George Humphrey Horns Paul Cherkassky Louis Artieres Willem ValkeniCT Harry Dubbs Charles Van Wynbergen James Stagliano Vladimir Resnikoff Hans Werner Principals Joseph Leibovici Jerome Lipson Walter Macdonald Einar Hansen Siegfried Gerhardt Harold Meek Daniel Eisler Paul Keaney Norman Carol Violoncellos Osbourne McConathy Carlos Pinfield Jean Bedetti Harrv Shapiro Gebhardt Paul Fedorovsky Alfred Zighera William Langendoen Harry Dickson Jacobus Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmans Frank Zecchino Roger Voisin Zeise Karl Principals Clarence Rnudson Josef Zimbler Pierre Mayer Bernard Parronchi Marcel Lafosse Harry Herforth Manuel Zung Enrico Fabrizio Rene Voisin Samuel Diamond Leon Marjollet Victor Manusevitch Trombones James Nagy Raichman Flutes Jacob Leon Gorodetzky Lucien Hansottc Laurent Raphael Del Sordc Georges John Coffey James Pappoutsakii Melvin Bryant Josef Orosz Phillip Kaplan John Murray Tuba Lloyd Stonestreet Piccolo Vinal Smith Henri Erkelens George Madsen Harps Saverio Messina Bernard Zighera Herman Silberman Oboes Elford Caughey Stanley Benson John Holmes Hubert Sauvlet Jean Devergie Timpani Joseph Lukatsky Roman Szulc Basses Max Polster Georges Moleux English Horn Willis Page Percussion Speyer Louis Sternburg Ludwig Juht Simon Charles Smith Irving Frankel Clarinets Emil Arcieri Henry Greenberg Victor Polatschek Henry Portnoi Manuel Valerio Piano Gaston Dufresne Pasquale Cardillo Lukas Foss Henri Girard Bass Clarinet Librarian i Tenry Freeman Rogers John Barwicki Rosario Mazzeo Leslie Carnegie Hall, New York Sixty-second Season in New York SIXTY-SEVENTH SEASON, 1947-1948 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Third Concert \\ EDNESDAY EVENING, February 18 AND THE Third Matinee SATURDAY AFTERNOON, February 21 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Lewis Perry N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager Out of the Red — In Black and White That is The Plan of The Employers' Group Man ... a complete pro- gram of fire and casualty insurance designed to keep you ' 'out of the red" come fire, burglary, accident and every other insurable hazard. And with the unique method in which this program is presented to you, every- thing is in black and white. You can see, at a glance, every detail of your protection . your coverages, limits, premiums, expiration dates . everything in neat business-like order. If you haven't got one of these plans, get one now. Call your Employers' Group agent for quick action. THE EMPLOYERS' GROUP One Liberty Square, Boston 7, Mass. The Employers' Group Man is The Man with the Plan [*] . Carnegie Hall . Sixty-second Season in New York Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director THIRD EVENING CONCERT WEDNESDAY^ February 18 Program RICHARD BURGIN Conducting Haydn Symphony in C minor, No. 95 I. Allegro II. Andante cantabile III. Menuetto: Trio IV. Finale: vivace Stravinsky Symphony in Three Movements 1. Allegro II. Andante III. Con moto INTERMISSION Sibelius Symphony No. 1 in E minor, Op. 39 I. Andante ma non troppo; allegro energico II. Andante ma non troppo lento III. Allegro IV. Finale (Quasi una Fantasia) : Andante; Allegro molto BALDWIN PIANO VICTOR RECORDS The music of these programs is available at the Music Library, 58th Street Branch, The New York Public Library. The concerts on Tuesday Evenings are broadcast (9:30 — 10:30 EST) on the network of the American Broadcasting Company. (WJZ) — ^ SYMPHONY IN C MINOR, NO. 95 By Franz Joseph Haydn Born at Rohrau, Lower Austria, March 31, 1732; died at Vienna, May 31, 1809 This symphony was listed as No. 5 in the catalogue of the London Philharmonic Society, and by Breitkopf and Hartel as No. 9 in their old numbering It is No. 95 in the new listing by Breitkopf and Hartel. The symphony was composed in 1791 and first performed probably in that year in London. The orchestration calls for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings. as the Fifth in order among the twelve Salomon symphonies, the XJL Symphony in C minor was among the first set of six which Haydn composed for his first visit to London in 1791. Except for the "Clock" Symphony, No. 11, in D minor, this is the only one of the twelve in a minor key. It is also the only "London" Symphony which dispenses with an introduction. The symphony opens with a theme concise and dramatic. After several pages of expository development, a second theme effectually dispels any ominous suggestion in a bright and lilting E-flat major. The tune might well have dropped from an opera of Mozart, Haydn's revered colleague, the news of whose death was destined to sadden him in London before the year had ended. The working out begins with a return of the initial subject, passing through several minor keys, but the brighter subject soon dominates the scene, and the rather brief movement closes in C major. The slow movement is a melody in E-flat major, 6-8 time, with variations. The strings give out the simple theme and dominate until the exceedingly beautiful variation in E-flat minor has ended. In the final variation the woodwinds and horns at last assert themselves, while BOUND VOLUMES of the ^Boston Symphony Orchestra CONCERT BULLETINS CONTAINING: Analytical and descriptive notes by Mr. JOHN N. BURK, on all works performed during the season. ti ^A sSftCusical Education in One "Volume" "TSoston's Remarkable 'Book of Knowledge" Lawrence Gilman in the N. Y. Herald and Tribune Price $6.00 per volume Address: SYMPHONY HALL . BOSTON, MASS. Ul the violins weave an ornamental figure in thirty-second notes. A grace- ful coda, almost Beethovenesque, ends the movement, which once brought the remark from H. T. Parker that here "sentiment joins fingertips with elegance." The minuet, in C minor, is brilliant and fully scored. Its trio, in the tonic major, presents a graceful and undulating discourse in running eighth notes from the solo 'cello over a light accompaniment of plucked strings. The finale, vivace, is an engaging movement with contrapuntal interplay. Its C major takes possession for once and all — indeed, when all is said, the minor mode has played no more than an episodic part. The symphony is more concise than most of the composer's later ones. "The total effect," wrote Tovey, "is so spacious that you would never guess that it is one of Haydn's tersest works." [copyrighted] SYMPHONY IN THREE MOVEMENTS By Igor Stravinsky Born at Oranienbaum, near St. Petersburg, on June 17, 1882 This symphony had its first performance by the Philharmonic-Symphony Society of New York, to which it is dedicated, on January 24, 1946. The composer con- ducted, and introduced it to Boston in a program of his own music by the Boston Symphony Orchestra, February 22, 1946. The orchestration is as follows: two flutes and piccolo, two oboes, two clarinets and bass clarinet, two bassoons and contra-bassoon, four horns, three trumpets, three trombones and tuba, timpani, bass drum, piano, harp and strings. While he was studying with Rimsky-Korsakov in 1905-07 Stravin- sky wrote a Symphony in E-flat major and dedicated it to his teacher. Stravinsky's "Symphonies pour Instruments a vent" and his "Symphonie de Psaumes/' despite their title, were not symphonies in any formal sense of the word. But his Symphony in C major, com- pleted in 1940, and performed at these concerts January 17, 1941, and January 14, 1944, (the composer conducting in each case) could be called his closest approach to the traditional symphony. The new Symphony in Three Movements is less symphonic in construction. Ingolf Dahl described it in the programmes of the New York Phil- harmonic-Symphony : "The musical world, which has hardly taken cognizance of the fact that in Stravinsky's Symphony in C (1940) it was given a mas- terful example of classical symphonic procedure, already will have to take notice that with his new Symphony (1945) Stravinsky has moved on to the exact opposite of traditional symphonic form. In this [5] new work there is no sonata form to be expounded, there is no 'de- velopment' of closely denned themes, which would be stated, restated, interlocked, combined and metamorphosized, as symphonic themes are wont to be. Here, on the contrary, we have another example of that additive construction, for the invention of which Stravinsky is justly famous and which has proved so influential on the younger composer. It is a formal principle which conceives of music as the succession of clearly outlined blocks, or planes, which are unified and related through the continuity of a steadily and logically evolv- ing organic force. This, of course, is the exact opposite of classic and romantic symphonic thought, just as the comparable additive principle of romanesque architecture is differentiated from the in- terlacing connectivity of the gothic or baroque. "Harmonically, too, the new Symphony speaks a language which its composer has not spoken for a long time. His immediately pre- ceding diatonicism is widened immensely, and an integral part is played by many of the intervals which gave the period from 'Sacre' to the 'Symphonies pour instruments a vent' its character.
Load more

Recommended publications
  • The Tuning Fork: an Amazing Acoustics Apparatus
    FEATURED ARTICLE The Tuning Fork: An Amazing Acoustics Apparatus Daniel A. Russell It seems like such a simple device: a U-shaped piece of metal and Helmholtz resonators were two of the most impor- with a stem to hold it; a simple mechanical object that, when tant items of equipment in an acoustics laboratory. In 1834, struck lightly, produces a single-frequency pure tone. And Johann Scheibler, a silk manufacturer without a scientific yet, this simple appearance is deceptive because a tuning background, created a tonometer, a set of precisely tuned fork exhibits several complicated vibroacoustic phenomena. resonators (in this case tuning forks, although others used A tuning fork vibrates with several symmetrical and asym- Helmholtz resonators) used to determine the frequency of metrical flexural bending modes; it exhibits the nonlinear another sound, essentially a mechanical frequency ana- phenomenon of integer harmonics for large-amplitude lyzer. Scheibler’s tonometer consisted of 56 tuning forks, displacements; and the stem oscillates at the octave of the spanning the octave from A3 220 Hz to A4 440 Hz in steps fundamental frequency of the tines even though the tines of 4 Hz (Helmholtz, 1885, p. 441); he achieved this accu- have no octave component. A tuning fork radiates sound as racy by modifying each fork until it produced exactly 4 a linear quadrupole source, with a distinct transition from beats per second with the preceding fork in the set. At the a complicated near-field to a simpler far-field radiation pat- 1876 Philadelphia Centennial Exposition, Rudolph Koenig, tern. This transition from near field to far field can be seen the premier manufacturer of acoustics apparatus during in the directivity patterns, time-averaged vector intensity, the second half of the nineteenth century, displayed his and the phase relationship between pressure and particle Grand Tonometer with 692 precision tuning forks ranging velocity.
    [Show full text]
  • Apparatus Named After Our Academic Ancestors, III
    Digital Kenyon: Research, Scholarship, and Creative Exchange Faculty Publications Physics 2014 Apparatus Named After Our Academic Ancestors, III Tom Greenslade Kenyon College, [email protected] Follow this and additional works at: https://digital.kenyon.edu/physics_publications Part of the Physics Commons Recommended Citation “Apparatus Named After Our Academic Ancestors III”, The Physics Teacher, 52, 360-363 (2014) This Article is brought to you for free and open access by the Physics at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Apparatus Named After Our Academic Ancestors, III Thomas B. Greenslade Jr. Citation: The Physics Teacher 52, 360 (2014); doi: 10.1119/1.4893092 View online: http://dx.doi.org/10.1119/1.4893092 View Table of Contents: http://scitation.aip.org/content/aapt/journal/tpt/52/6?ver=pdfcov Published by the American Association of Physics Teachers Articles you may be interested in Crystal (Xal) radios for learning physics Phys. Teach. 53, 317 (2015); 10.1119/1.4917450 Apparatus Named After Our Academic Ancestors — II Phys. Teach. 49, 28 (2011); 10.1119/1.3527751 Apparatus Named After Our Academic Ancestors — I Phys. Teach. 48, 604 (2010); 10.1119/1.3517028 Physics Northwest: An Academic Alliance Phys. Teach. 45, 421 (2007); 10.1119/1.2783150 From Our Files Phys. Teach. 41, 123 (2003); 10.1119/1.1542054 This article is copyrighted as indicated in the article. Reuse of AAPT content is subject to the terms at: http://scitation.aip.org/termsconditions.
    [Show full text]
  • Early Use of the Scott-Koenig Phonautograph for Documenting Performance G
    Acoustics 08 Paris Early use of the Scott-Koenig phonautograph for documenting performance G. Brock-Nannestada and J.-M. Fontaineb aPatent Tactics, Resedavej 40, DK-2820 Gentofte, Denmark bUniversit´eUPMC - Minist`erede la Culture - CNRS - IJRA - LAM, 11, rue de Lourmel, F-75015 Paris, France [email protected] 6239 Acoustics 08 Paris Acoustics of phenomena in the air in the 1850s combined listening, observation and tabulation. This was "real-time", catching any phenomenon as it appeared. If it was repeatable, one could be prepared. Continuous, rather than tabular data enabled a very different analysis from observation plus notebooks. Édouard-Léon Scott's invention of the phonautograph enabled this. A surface moved below a stylus vibrated by sound in air. Originally the surface was a blackened glass plate, and it became a sheet of blackened paper. The scientific instrument maker Rudolph Koenig contributed his craftsmanship by building a very professional apparatus. A two-dimensional representation of the individual vibrations was obtained. Scott deposited a sealed letter with the Paris Academy of Sciences in January, 1857 and filed a patent application in April, 1857. Later he deposited a further sealed letter and in 1859 he filed an application for patent of addition. Analyzing the thoughts expressed and documented in his manuscripts and by Koenig's licensed production it is feasible to see how they were dependent on each other, although they had different purposes in mind. The paper concentrates on Scott's interests in performance vs. Koenig's in partials, and the structure of original tracings are discussed. the air". Phillips [7] provides a very lucid explanation for these observations.
    [Show full text]
  • Music and the Making of Modern Science
    Music and the Making of Modern Science Music and the Making of Modern Science Peter Pesic The MIT Press Cambridge, Massachusetts London, England © 2014 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected]. This book was set in Times by Toppan Best-set Premedia Limited, Hong Kong. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Pesic, Peter. Music and the making of modern science / Peter Pesic. pages cm Includes bibliographical references and index. ISBN 978-0-262-02727-4 (hardcover : alk. paper) 1. Science — History. 2. Music and science — History. I. Title. Q172.5.M87P47 2014 509 — dc23 2013041746 10 9 8 7 6 5 4 3 2 1 For Alexei and Andrei Contents Introduction 1 1 Music and the Origins of Ancient Science 9 2 The Dream of Oresme 21 3 Moving the Immovable 35 4 Hearing the Irrational 55 5 Kepler and the Song of the Earth 73 6 Descartes ’ s Musical Apprenticeship 89 7 Mersenne ’ s Universal Harmony 103 8 Newton and the Mystery of the Major Sixth 121 9 Euler: The Mathematics of Musical Sadness 133 10 Euler: From Sound to Light 151 11 Young ’ s Musical Optics 161 12 Electric Sounds 181 13 Hearing the Field 195 14 Helmholtz and the Sirens 217 15 Riemann and the Sound of Space 231 viii Contents 16 Tuning the Atoms 245 17 Planck ’ s Cosmic Harmonium 255 18 Unheard Harmonies 271 Notes 285 References 311 Sources and Illustration Credits 335 Acknowledgments 337 Index 339 Introduction Alfred North Whitehead once observed that omitting the role of mathematics in the story of modern science would be like performing Hamlet while “ cutting out the part of Ophelia.
    [Show full text]
  • SIS Bulletin Index Issues 1 to 80
    Scientific Instrument Society Bulletin of the Scientific Instrument Society Index No 1 to No 80 Scientific Instrument Society Bulletin of the Scientific Instrument Society Index No 1 to No 80 Contents Introduction Index of Topics 3 Index of Articles 37 Index of Book Reviews 51 The Scientific Instrument Society 61 Documents Associated with the Index 61 Introduction Development of the Index of the Bulletin of the Scientific Instrument Society The first 40 issues of the Bulletin were indexed successively, ten issues at a time. With the advent of No 50 it was decided to amalgamate the earlier work and create a single index for all 50 issues. The work involved was a vast undertaking requiring the use of optical character recognition and other computer techniques on the earlier work, and a good deal of careful proof reading. The final product was handsomely produced in A4 size uniform with the Bulletin, running to 64 index pages. Having reached 80 issues, a similar combining exercise has been done, but with fewer categories within the Index. However, whilst the main index of individual topics remains as comprehensive as previously it is presented in a smaller typeface and makes use of more columns. At the time of printing, consideration is being given to the use of this new Index as a facility on the Society's website and also in connection with CDROMs of the Bulletin. Notes for using the 3 sections of the Bulletin Index, Issue No 1 to Issue No 80 Index of Topics Topics are arranged alphabetically by subject. References are shown as 'Issue No : Page No' eg 2:15 or 45:7-11 Index of Articles Authors of articles are listed alphabetically with the titles of their articles following in issue order.
    [Show full text]
  • Of Frogs and Men: the Origins of Psychophysiological Time Experiments, 1850–1865 Henning Schmidgen
    Of frogs and men: the origins of psychophysiological time experiments, 1850–1865 Henning Schmidgen Towards the end of the 1840s, Hermann von Helmholtz began to investigate experimentally the propagation of stimuli within nerves. Helmholtz’s experiments on animals and human subjects opened a research field that in the following decades was intensively explored by neurophysiologists and experimental psychologists. Helmholtz’s pioneering investigations justify the central place he occupies in accounts of the history of modern psychophysiology. Studying the concrete experimental settings and their local contexts shows how deeply the work of scholars such as Helmholtz is embedded in the history of culture and technology. In particular, the rapidly growing technologies of electromagnetism, which gave rise to telegraphy and electric clocks, facilitated the time measurements of 19th-century physiologists and psychologists. On 15 January 1850, Hermann von Helmholtz (1821–1894) technology and the military were closely interrelated. signed a short report and sent it off to the Physical Three years before publishing the first volume of his Society and the Academy of Sciences in Berlin. Its first path-breaking Investigations on Animal Electricity paragraph read: (1848), Emil Du Bois-Reymond (a friend and colleague of Helmholtz) had made concrete suggestions for meas- I have found that a measurable time passes when the stimu- uring ‘the speed of the muscle and nerve activity’ at a lus exerted by a momentary electric current on the hip plexus meeting of the Physical Society3. Then in 1847, the jour- (Hüftgeflecht) of a frog propagates itself to the nerves of the nal of this society, Advances of Physics, printed the report thigh and enters the calf muscle.
    [Show full text]
  • Altered Sensations Archimedes NEW STUDIES in the HISTORY of SCIENCE and TECHNOLOGY
    Altered Sensations Archimedes NEW STUDIES IN THE HISTORY OF SCIENCE AND TECHNOLOGY VOLUME 24 EDITOR Jed Z. Buchwald, Dreyfuss Professor of History, California Institute of Technology, Pasadena, CA, USA. ASSOCIATE EDITORS Jeremy Gray, The Faculty of Mathematics and Computing, The Open University, Buckinghamshire, UK. Sharon Kingsland, Department of History of Science and Technology, Johns Hopkins University, Baltimore, MD, USA. ADVISORY BOARD Henk Bos, University of Utrecht Mordechai Feingold, California Institute of Technology Allan D. Franklin, University of Colorado at Boulder Kostas Gavroglu, National Technical University of Athens Anthony Grafton, Princeton University Trevor Levere, University of Toronto Jesper Lützen, Copenhagen University William Newman, Indian University, Bloomington Lawrence Principe, The Johns Hopkins University Jürgen Renn, Max-Planck-Institut für Wissenschaftsgeschichte Alex Roland, Duke University Alan Shapiro, University of Minnesota Nancy Siraisi, Hunter College of the City University of New York Noel Swerdlow, University of Chicago Archimedes has three fundamental goals; to further the integration of the histories of science and technology with one another: to investigate the technical, social and practical histories of specific developments in science and technology; and finally, where possible and desirable, to bring the histories of science and technology into closer contact with the philosophy of science. To these ends, each volume will have its own theme and title and will be planned by one or more members of the Advisory Board in consultation with the editor. Although the volumes have specific themes, the series itself will not be limited to one or even to a few particular areas. Its subjects include any of the sciences, ranging from biology through physics, all aspects of technology, broadly construed, as well as historically-engaged philosophy of science or technology.
    [Show full text]
  • The Philosophical Significance of the Concept of Superposition in Quantum Field Theory
    The Philosophical Significance of the Concept of Superposition in Quantum Field Theory Douglas Scotohu Earl Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Philosophy, Religion and History of Science September 2020 The candidate confirms that the work submitted is his/her/their own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Douglas Scotohu Earl to be identified as Author of this work has been asserted by Douglas Scotohu Earl in accordance with the Copyright, Designs and Patents Act 1988 ii Acknowledgements I would like to thank my supervisors Juha Saatsi and Steven French for their patience, support and guidance. I am grateful to the Arts and Humanities Research Council for funding this work through the Realism and the Quantum project. iii Abstract I analyse the applicability of the concept of superposition within quantum field theory (QFT) in order to consider the physical interpretation of a simple interacting theory. First, I consider the significance of ‘superposition’ in classical physics motivated by the philosophical framework developed by Wilson (2006; 2017), via the analyses of ‘superposition’ developed by Volkmann (1896; 1910) and Simons (1987) in addition to a historical survey of its application with special reference to Fourier techniques. The concept has a patchwork or façade structure, with application subject to ‘prolongation’ and ‘semantic mimicry’.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1954-1956
    • *LONG PLAY (lM-1953) $3.96 **THREE LONG PLAY RECORDS (lm-611«) $11.98 • •LONG PLAY (LM-1900) $3.98 1 rcaVictor ^>-\ 1 TCHAIKOVSKY SYMPHONY NO. 4 m: m .".- hm0M . ] 7 k:t - m •LONG PLAY (LM-1907) $3,98 TWO LONG PLAY RECORDS (lm-6011) $7.98 • LONG PLAY (LM-1923) $3.98 ROMEO"? rcaVictorL^; JUUET Beethoven 5th Symphony Schubert "Unfinished" Symphony COM I'LE'I I DEBUSSY THE BLESSED DAMOZEL BERLIOZ SUMMER NIGHTS VICTORIA DE LOS ANGELES BOSTON SYMPHONY / MUNCH BOSTON SYMPH. MUNCH Boston Symphony Orchestra/Charles Munch • LONG PLAY (lM-1959/ $3.98 LONG PLAY (lM-1693) $3.98 LONG PLAY (lM-2Q1s) $3.98 rcaVictor BRAHMS SYMPHONY NO. 2 • TRAGIC OVERTORE BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH BOSTON SYMPHONY CHARLES MUNCH ORCHESTRA munch in person on rca Victor records To Charles Munch, conducting is not a profession but a THE sacred calling. And this dedication, combined with the WORLD'S magnificence of the Boston Symphony, brings you some GREATEST of the greatest performances of our time. You feel and ARTISTS hear this devotion whether he conducts Brahms, Berlioz ARE ON or Beethoven . whether the performance is in Tangle- wood, Symphony Hall or on RCA Victor Records! rcaVictor Nationally Advertised Prices—Optional **A "New Orlhophonic" High Fidelity recording BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH. Music Director Berkshire Festival, Season 1956 NINETEENTH SEASON) TANGLEWOOD, LENOX, MASSACH USETTS FIRST TWO WEEKS Concert Bulletin, tvith historical and descriptive notes by John N. Hlkk Copyright, 1956, lu Boston Symphony Orchestra, Inc. Trustees of the Boston Symphony Orchestra, Inc. Henri B. ('audi. President Jacob J.
    [Show full text]
  • Altered Sensations Rudolph Koenig’S Acoustical Workshop in Nineteenth-Century Paris
    D. Pantalony Altered Sensations Rudolph Koenig’s Acoustical Workshop in Nineteenth-Century Paris Series: Archimedes, Vol. 24 ▶ Presents a portrait of one of the more influential scientific workshops in the history of acoustics ▶ Uses artifacts as historical evidence ▶ Includes a biography of a scientific instrument maker ▶ Coverage combines histories of science, music, commerce, experiment, teaching, and artisanal culture Rudolph Koenig was one of the more prolific and colourful instrument makers in the renowned nineteenth-century precision instrument trade of Paris. Beginning his career as a violin maker, in 1858 the young Prussian immigrant shifted his talents towards the growing field of acoustics. Altered Sensations is a portrait of his vibrant atelier, a place 2009, XXXVI, 372 p. 60 illus. of construction, commerce and experiment. For over forty years it was also a popular meeting place for scientists, artisans, musicians and teachers. Using archival and collection research from across North American and Europe, David Pantalony has traced the material Printed book and social influences of this space on the development of modern acoustics. In particular, Hardcover he has detailed the manner in which Koenig modified, extended, spread and challenged Hermann von Helmholtz's Sensations of Tone. ▶ 169,99 € | £149.99 | $219.99 ▶ *181,89 € (D) | 186,99 € (A) | CHF 200.50 A large part of the research on Koenig comes from the actual products of his workshop which survive in museums and collections around the world. The second section of eBook Altered Sensations provides a Catalogue Raisonné of Koenig’s entire line of instruments, Available from your bookstore or including their history, details from specific examples, locations, and references in the literature.
    [Show full text]
  • Early Auditory Studies Activities in the Psychology Laboratories of American Universities
    EARLY AUDITORY STUDIES ACTIVITIES IN THE PSYCHOLOGY LABORATORIES OF AMERICAN UNIVERSITIES Audrey B. Davis and Uta C. M.er%bach ^mitlisonian Ii^^titution SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY / NUMBER 31 Early Auditory Studies ACTIVITIES IN THE PSYCHOLOGY LABORATORIES OF AMERICAN UNIVERSITIES Audrey B. Davis and Uta C. Mer^bach ^mit/isonian Ii;istitution Ti^ss CITY OF WASHINGTON 1975 ABSTRACT Davis, Audrey B., and Uta C. Merzbach. Early Auditory Studies: Activities in the Psychology Laboratories of American Universities. Smithsonian Studies in History and Technology, number 31, 39 pages, 36 figures, 1975.—The last quarter of the nineteenth century was a formative period for experimental psychology. American pioneers in the field joined their Continental colleagues in basing the "new" psychology on the methods, apparatus, and experiments of physics and physiology. Hermann von Helmholtz, claimed by both fields, was a pilot in their new endeavors. Auditory studies reflect this general pattern. Specialized equipment used in the psychology acoustics laboratory ranged from models of the anatomy of the ear, mechanical models to explain the functions of the ear, sound producers, receivers and measurers, to analyzers and synthesizers. Discussion of the role of the instru­ ments in posing and answering subject-related questions of the psychologist leads to further questions on the development of the intellectual and physical institutions of psychological research. OFFICIAL PUBLICATION DATE is handstamped in a limited number of initial copies and is recorded in the Institution's annual report, Smithsonian Tear. SI PRESS NUMBER 5347. COVER DESIGN : Model of the human ear by Auzoux (USNMHT 21892.01). Library of Congress Cataloging in Publication Data Davis, Audrey B.
    [Show full text]
  • Conclusion – Beyond Sensations Increasingly Divergent Points of View in Acoustics – Analytic and Holistic
    Conclusion – Beyond Sensations Instruments constitute a large part of what we know about Rudolph Koenig. They chronicle scientific, artisanal, social and deeply personal dimensions of their maker. And they continue to speak. I have sounded hundreds of tuning forks around Europe and North America, which resonate with a distinctively even, colourless and pure sound, one that came into being under specific conditions in the workshop cul- ture of nineteenth-century Paris. For well over 150 years, thousands of students have been introduced to the science of sound through the influence of Koenig’s atelier. The following chapters presented a portrait of this space and its role in the estab- lishment of a radically altered novel material foundation for the scientific study of sound between the 1860s and 1900. In the workshop, Koenig transformed acous- tics into a wide-ranging line of precision instruments in the mould of other fields represented in the Parisian precision trade; in his private laboratory, he pushed the technical boundaries of the field, shaped practice, and created a visual element for studying sound; in the commercial sphere he facilitated the transmission of specific kinds of teaching and research instruments throughout Europe and North America; in the social and material realms, his atelier served as a vibrant mediating space for diverse people, skills, instruments and materials. It was “chez Koenig” that many of the world’s influential scientists learned about developments in acoustics; in turn, it was “chez Koenig” that these same people influenced the products and scope of acoustical practice. Above all, Koenig’s atelier served as a platform for modifying, extending, spreading and challenging Helmholtz’s Sensations of Tone.
    [Show full text]