DOCSLIB.ORG

ALBAN BERG WOZZECK Opera in 3 Acts (15 Scenes) Opus 7

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ALBAN BERG WOZZECK Opera in 3 Acts (15 Scenes) Opus 7 HI h Season 198()-87 ISeS BENEPKrriNE S A . eO proof imported from FRANCE, JULIUS WILE SONS A CO , LAKE SUCCESS NY TO SEND A GIFT OF B&B LIQUEUR ANYWHERE IN THE U S CALL 1-800-238-4373 VOID WHERE PROHIBITED Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Sixth Season, 1986-87 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Honorary Chairman George H. Kidder, President Nelson J. Darling, Jr., Chairman J. P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman William J. Pooi'vu, Vice-Chaintian and Treasurer Mrs. George L. Sargent, Vice-Chairman Vernon R. Alden Archie C. Epps Roderick M. MacDougall David B. Arnold, Jr. Mrs. John H. Fitzpatrick Mrs. August R. Meyer Mrs. Norman L. Cahners Avram J. Goldberg E. James Morton George H.A. Clowes, Jr. Mrs. John L. Grandin David G. Mugar William M. Crozier, Jr. Francis W Hatch, Jr. Mrs. George R. Rowland Mrs. Lewis S. Dabney Harvey Chet Krentzman Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. Thomas D. Perry, Jr. Allen G. Barry Edward M. Kennedy Irving W Rabb Richard P. Chapman Albert L. Nickerson Paul C. Reardon Abram T. Collier John T. Noonan Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director Anne H. Parsons, Orchestra Manager Costa Pilavaehi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Robert Bell, Data Processing Manager Steven Ledbetter, Musicologist <& Helen P. Bridge, Director of Volunteers Program Annofator MadehTie Codola Cuddeback, Director Marc Mandel, Publications Coordinator of Corporate Development Richard Ortner, Administrator of Vera Gold, Assistant Director of Tanglewood Music Center Promotion Nancy E. Phillips, Media and Patricia Halligan, Personnel Administrator Production Manager, Nancy A. Kay, Director of Sales Boston Symphony Orchestra John M. Keenum, Director of Charles Rawson, Manager of Box Office Foundation Support Joyce M. Serwitz, Assistant Director Anita R. Kurland, Administrator of of Development Youth Activities Susan E. Tomlin, Director of Annual Giving Programs copyright ®1987 Boston Symphony Orchestra, Inc. Cover photo by Christian Steiner/Design by Wondriska Associates Inc. Board of Overseers of the Boston Symphony Orchestra, Inc. Avrain J. Goldberg Chairman Mrs. Carl Koch Ray Stata Mrs. Gordon F. Kingsley Vice-Chairman Vice-Chairman Secretary John Q. Adams Gerhard M. Freche Richard P. Morse Mrs. Weston W. Adams Dean Freed Mrs. Thomas 8. Morse Martin Allen Mrs. Thomas J. Galligan Mrs. Robert B. Newman Mrs. David Bakalar Mrs. Thomas Gardiner Mrs. Hiroshi Nishino Bniee A. Beal Mrs. James G. Garivaltis Vincent M. O'Reilly Mrs. Richard Bennink Mrs. Ray A. Goldberg Stephen Paine, Sr. Peter A. Brooke Jordan L. Golding John A. Perkins William M. Bulger Haskell R. Gordon Daphne Brooks Prout Mary Louise Cabot Mrs. R. Douglas Hall HI Robert E. Remis Mrs. C. Thomas Clagett, Jr. Joseph M. Henson Mrs. Peter van S. Rice James F. Cleary Arnold Hiatt David Rockefeller, Jr. John F. Cogan, Jr. Mrs. Richard D. Hill John Ex Rodgers Julian Cohen Glen H. Hiner Mrs. Jerome Rosenfeld William H. Congleton Mrs. Marilyn B. Hoffman Mrs. William C. Rousseau Walter J. Connolly, Jr. Ronald A. Homer Mrs. William H. Ryan Mrs. A. Werk Cook H. Eugene Jones Mrs. Raymond H. Schneider Albert C. Cornelio Howard Kaufman Gene Shalit Phyllis Curtin Richard L. Kaye Mark L. Selkowitz A.V. d'Arbeloff Robert D. King Malcolm L. Sherman Mrs. Michael H. Davis Robert K. Kraft W. Davies Sohier, Jr. Mrs. Eugene B. Doggett John P. LaWare Ralph Z. Sorenson Ms. Phyllis Dohanian Mrs. Hart D. Leavitt William F. Thompson Harriett Eckstein Laurence Lesser Mark Tishler, Jr. Mrs. Alexander Ellis R. Willis Leith, Jr. Mrs. An Wang Edward Eskandarian Frederick H. Lovejoy, Jr. Roger D. Wellington Katherine Fanning Mrs. Charles P. Lyman Mrs. Thomas H.P Whitney John A. Fibiger Mrs. Harry L. Marks Mrs. Donald B. Wilson Kenneth G. Fisher C. Charles Marran Brunetta Wolfman Peter M. Flanigan Nicholas T. Zervas Overseers Emeriti Mrs. Frank G. Allen Mrs. Louis L Kane Mrs. Stephen VC. Morris Hazen H. Ayer Leonard Kaplan David R. Pokross Paul Fromm Benjamin H. Lacy Mrs. Richard H. Thompson Symphony Hall Operations Cheryl Silvia, Function Manager James E. Whitaker, House Manager Earl G. Buker, Chief Engineer Cleveland Morrison, Stage Manager Franklin Smith, Supervisor of House Crew Wilmoth A. Griffiths, Assistant Supervisor of House Crew William D. McDonnell, Chief Steward Officers of the Boston Symphony Association of Volunteers Mrs. Michael H. Davis President Mrs. R. Douglas Hall III Mrs. Harry F. Sweitzer, Jr. Executive Vice-Presidi nt Secretary Mr. Goetz Eaton Mrs. Seabiiry T. Short. Jr. Treasun r Soniinating Chairman Vice-Presidents Mrs. Eugene B. Doggett, Development Services Mrs. James T. Jensen, Hall Services Ms. Phyllis Dohanian, Membership Mrs. BelaT. Kalman, Youth Activities Mrs. Eugene Leibowitz, Tangle wood and Adult Education ]\Irs. Robert L. Singleton, Tangleivood Mrs. Hart D. Leavitt. Regions Mrs. Ray A. Goldberg, Fundraising Projects Ms. Ellen M. Massev, Public Relations Chairmen of Regions Mrs. Thomas M. Berger ]\Is. Prudence A. Law Mrs. F. T. Whitney Mrs. John T. Boatwright Mrs. Alfred F. Parisi Mrs. Thomas H.R Whitney Mrs. Charles A. Hubbard Mrs. Thomas Walker Mrs. Richard W. Young THE London Harness COMPANY xyfPORTE/fj Guardians of Craftsmanship. Since in what is the finest selection of busi- 1776. London Harness products have ness cases in New England. Corporate been distinguished by superior crafts- accounts invited, e^^ MAIX STORE: manship, classic styling and endurance. 60 Fmukliu Street, Dowutoicn Cross- iONDO»* (^§5 Schlesinger attaches are crafted ing. Boston, MA 02110, 542-9234. in the same tradition. As hand- ^^BHiXCH LOCATfOXS: some as they are strong. 51 Central Street, Wellesley, Schlesinger cases are s\Tn- MA, 237-5950. e^^ e^ bolic of success. (?^ We North Shore Shopping Ctr., are proud to include them Peabodv,MA,531-6l80.5^ SheWantedToRent AVilla In Spain. Nothing could have been more And when she needs to finance a appealing to the woman in this college education, Shawmut will be ad than two weeks on the Costa there with a wide range of invest- del Sol. Until she decided that a ment management services to give down payment on a second home her the edee she needs in preparing on the Cape had more long-lived for her children's education. advantages. We know what you're thinking She would earn a tax deduction right now A Shawmut banker is the for both the interest she paid on her one to talk to when it comes to mortgage and the property taxes. meeting your financial objectives. Plus, she would be building equity So, stop into your nearest Shaw- With the help of her Shawmut mut office. Or if you prefer, call us banker, she was able to structure a at 1-800-SHAWMUT for your free plan that fit perfectly into her over- Shawmut Personal Investment Funds all financial picture. performance report. This is the same kind of help weVe been giving to all our cus- Shawmut tomers for more than 150 years. LookTo Us For Directioa She Decided To Bi^^A House QnlheC^ BSO Guests on WGBH-FM-89.7 The featured ^est with Ron Delia Chiesa dur- ing the intermissions of the season's final live broadcasts on 24 and 25 April will be BSO BSO violinist Valeria Vilker Kuehment. "Opening Night at Pops" 1987 Art Exhibits in the Cabot-Cahners Room Conductor John Williams launches the 102nd The Boston S^^nphony Orchestra is pleased season of the Boston Pops when he leads the that, for the thirteenth season, various orchestra in a gala opening-night concert on Boston-area galleries, museums, schools, and Tuesday, 5 May at 8 p.m. The evening will non-profit artists' organizations have exhib- begin at 6:30 p.m. with a gourmet box dinner, ited their work in the Cabot-Cahners Room on and the concert will feature special guest art- the first-balcony level of Symphony Hall. On ist Tony Bennett. Sponsored by D^^latech, display through 4 May is an exhibit of textile "Opening Night 1987" is a project of the art from. Decor International of Boston, fea- Boston S^^nphony Association of Volunteers; turing a variety of tapestries, wall hangings, Barbara Steiner is chairman of this year's and New England hand-hooked rugs. On dis- Opening Night Committee. Remaining tickets play from 4 May through 1 June will be works are priced from $25 to $60 with dinner and from the Arnold Arboretum, to be followed wine included. For more information, contact through 12 July by works from the Gallery on the Volunteer Office at 266-1492, ext. 178. the Green. Friends Weekend at Tanglewood Endowed Chairs Friends of the BSO have the opportunity to The Boston Symphony Orchestra gratefully travel to Tanglewood by chartered bus for acknowledges the outstanding contributions three days of spectacular music the weekend of those who have fully endowed orchestra of Friday, July 24 through Sunday, July 26. chairs in perpetuity. Fully funded chairs Performances include Neville Marriner con- provide total and permanent orchestra com- ducting the Academy of St. Martin-in-the- pensation for the musicians who occupy these Fields and Charles Dutoit conducting the positions. No gift could be more valuable to Boston Symphony Orchestra in music of the BSO as it seeks to attract and retain the Roussel, Schubert, Wagner, and Stravinsky, most talented musicians. Gifts of this magni- with solo appearances by violinist Midori in tude enable the orchestra to direct additional the Paganini Violin Concerto No.
Load more

Recommended publications
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date: August 6th, 2007 I, __________________Julia K. Baker,__________ _____ hereby submit this work as part of the requirements for the degree of: Doctorate of Philosophy in: German Studies It is entitled: The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life-Writing and Documentary Film This work and its defense approved by: Chair: Dr. Katharina Gerstenberger Dr. Sara Friedrichsmeyer Dr. Todd Herzog The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life-Writing and Documentary Film A Dissertation submitted to the Division of Research and Advanced Studies University of Cincinnati In partial fulfillment of the Requirements for the degree of DOCTORATE OF PHILOSOPHY (Ph.D.) In the Department of German Studies Of the College of Arts and Sciences 2007 by Julia K. Baker M.A., Bowling Green State University, 2000 M.A., Karl Franzens University, Graz, Austria, 1998 Committee Chair: Katharina Gerstenberger ABSTRACT “The Return of the Child Exile: Re-enactment of Childhood Trauma in Jewish Life- Writing and Documentary Film” is a study of the literary responses of writers who were Jewish children in hiding and exile during World War II and of documentary films on the topic of refugee children and children in exile. The goal of this dissertation is to investigate the relationships between trauma, memory, fantasy and narrative in a close reading/viewing of different forms of Jewish life-writing and documentary film by means of a scientifically informed approach to childhood trauma. Chapter 1 discusses the reception of Binjamin Wilkomirski’s Fragments (1994), which was hailed as a paradigmatic traumatic narrative written by a child survivor before it was discovered to be a fictional text based on the author’s invented Jewish life-story.
    [Show full text]
  • Michael Gielen EDITION
    Michael Gielen 1927 Born in Dresden on 29 July 1940–1950 Family emigrates to Argentina. Tuition in piano and music theory, then studied music and philosophy; first compositions. Works as répetiteur at the Teatro Colón with Erich Kleiber 1950/51 Returns to Europe, to the Vienna State Opera; works as repetiteur and has first encounters with Karajan, Mitropoulos, Böhm and others 1952 First conducting appearance at the Vienna Konzerthaus; first recordings for American record labels 1954 First conducting appearance at the Vienna State Opera 1960–64 Principal Conductor at the Royal Opera, Stockholm 1964–1984 Collaboration with the Southern Radio Symphony Orchestra (which later became the Stuttgart Radio Symphony Orchestra); regular conductor for a while alongside Sergiu Celibidache 1965 World premiere of B. A. Zimmermann’s opera “Die Soldaten” in Cologne and world premiere of Ligeti’s “Requiem” at Swedish Radio, Stockholm 1966–1975 Regular collaboration with the Symphony Orchestra of Saarland Radio (which later became the Saarbrücken Radio Symphony Orchestra, then once more in 2008 with its successor organization, the German Radio Philharmonic) 1967 Start of regular collaboration with the Southwestern Radio Orchestra (which later became the Symphony Orchestra of Southwestern Radio). Before that, a record production for Vox around 1956/57 and a concert in 1961. 1968–1973 Principal Conductor of the Belgian National Orchestra 1973–1975/6 Principal Conductor at the Dutch Opera, Amsterdam 1977–1987 Head of Opera and General Music Director at the Frankfurt Opera 1978–1981 First Guest Conductor of the BBC Symphony Orchestra, London 1980–1986 Music Director of the Cincinnati Symphony Orchestra 1985 Hessian Culture Prize 1986 Theodor W.
    [Show full text]
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Eastman School of Music, Thrill Every Time I Enter Lowry Hall (For- Enterprise of Studying, Creating, and Loving 26 Gibbs Street, Merly the Main Hall)
    EASTMAN NOTESFALL 2015 @ EASTMAN Eastman Weekend is now a part of the University of Rochester’s annual, campus-wide Meliora Weekend celebration! Many of the signature Eastman Weekend programs will continue to be a part of this new tradition, including a Friday evening headlining performance in Kodak Hall and our gala dinner preceding the Philharmonia performance on Saturday night. Be sure to join us on Gibbs Street for concerts and lectures, as well as tours of new performance venues, the Sibley Music Library and the impressive Craighead-Saunders organ. We hope you will take advantage of the rest of the extensive Meliora Weekend programming too. This year’s Meliora Weekend @ Eastman festivities will include: BRASS CAVALCADE Eastman’s brass ensembles honor composer Eric Ewazen (BM ’76) PRESIDENTIAL SYMPOSIUM: THE CRISIS IN K-12 EDUCATION Discussion with President Joel Seligman and a panel of educational experts AN EVENING WITH KEYNOTE ADDRESS EASTMAN PHILHARMONIA KRISTIN CHENOWETH BY WALTER ISAACSON AND EASTMAN SCHOOL The Emmy and Tony President and CEO of SYMPHONY ORCHESTRA Award-winning singer the Aspen Institute and Music of Smetana, Nicolas Bacri, and actress in concert author of Steve Jobs and Brahms The Class of 1965 celebrates its 50th Reunion. A highlight will be the opening celebration on Friday, featuring a showcase of student performances in Lowry Hall modeled after Eastman’s longstanding tradition of the annual Holiday Sing. A special medallion ceremony will honor the 50th class to commemorate this milestone. The sisters of Sigma Alpha Iota celebrate 90 years at Eastman with a song and ritual get-together, musicale and special recognition at the Gala Dinner.
    [Show full text]
  • Cds by Composer/Performer
    CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H.
    [Show full text]
  • Coa-Program-For-Web.Pdf
    HOUSTON GRAND OPERA AND SID MOORHEAD, CHAIRMAN WELCOME YOU TO THE TAMARA WILSON, LIVESTREAM HOST E. LOREN MEEKER, GUEST JUDGE FRIDAY, FEBRUARY 5, 2021 AT 7 P.M. BROADCAST LIVE FROM THE WORTHAM THEATER CENTER TEXT TO VOTE TEXT TO GIVE Text to vote for the Audience Choice Award. On page Support these remarkable artists who represent 9, you will see a number associated with each finalist. the future of opera. Text the number listed next to the finalist’s name to 713-538-2304 and your vote will be recorded. One Text HGO to 61094 to invest in the next generation vote per phone number will be registered. of soul-stirring inspiration on our stage! 2 WELCOME TO CONCERT OF ARIAS 2021 SID MOORHEAD Chairman A multi-generation Texan, Sid Moorhead is the owner of in HGO’s Overture group and Laureate Society, and he serves Moorhead’s Blueberry Farm, the first commercial blueberry on the company’s Special Events committee. farm in Texas. The farm, which has been in the Moorhead family for three generations, sits on 28 acres in Conroe and Sid was a computer analyst before taking over the family boasts over 9,000 blueberry plants. It is open seasonally, from business and embracing the art of berry farming. He loves to the end of May through mid-July, when people from far and travel—especially to Europe—and has joined the HGO Patrons wide (including many fellow opera-lovers and HGO staffers) visit on trips to Italy and Vienna. to pick berries. “It’s wonderful.
    [Show full text]
  • NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum
    Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • Leonard Bernstein
    chapter one Young American Bernstein at Harvard In 1982, at the age of sixty-four, Leonard Bernstein included in his col- lection of his writings, Findings, some essays from his younger days that prefi gured signifi cant elements of his later adult life and career. The fi rst, “Father’s Books,” written in 1935 when he was seventeen, is about his father and the Talmud. Throughout his life, Bernstein was ever mind- ful that he was a Jew; he composed music on Jewish themes and in later years referred to himself as a “rabbi,” a teacher with a penchant to pass on scholarly learning, wisdom, and lore to orchestral musicians.1 Moreover, Bernstein came to adopt an Old Testament prophetic voice for much of his music, including his fi rst symphony, Jeremiah, and his third, Kaddish. The second essay, “The Occult,” an assignment for a freshman composi- tion class at Harvard that he wrote in 1938 when he was twenty years old, was about meeting Dimitri Mitropoulos, who inspired him to take up conducting. The third, his senior thesis of April 1939, was a virtual man- ifesto calling for an organic, vernacular, rhythmically based, distinctly American music, a music that he later championed from the podium and realized in his compositions for the Broadway stage and operatic and concert halls.2 8 Copyrighted Material Seldes 1st pages.indd 8 9/15/2008 2:48:29 PM Young American / 9 EARLY YEARS: PROPHETIC VOICE Bernstein as an Old Testament prophet? Bernstein’s father, Sam, was born in 1892 in an ultraorthodox Jewish shtetl in Russia.
    [Show full text]
  • Beata Kornatowska Wspomnienia Głosem Pisane : O Autobiografiach Śpiewaków
    Beata Kornatowska Wspomnienia głosem pisane : o autobiografiach śpiewaków Acta Universitatis Lodziensis. Folia Litteraria Polonica 16, 140-154 2012 140 | FOLIA LITTERARIA POLONICA 2 (16) 2012 Beata Kornatowska Wspomnienia głosem pisane. O autobiografiach śpiewaków W literackim eseju Güntera de Bruyna poświęconym autobiografii czytamy: Opowiadający dokonuje pewnego okiełznania tego, co zamierza opowiedzieć, wtłacza to w formę, której wcześniej nie miało; decyduje o początku i zakończeniu, układa szczegóły [...] w wybranych przez siebie związkach, tak że nie są już tylko szczegółami, ale nabierają znaczenia, i określa punkty ciężkości1. Przy lekturze wspomnień znanych śpiewaków trudno oprzeć się wrażeniu, że przyszli na świat po to, żeby śpiewać. Już dobór wspomnień z dzieciństwa ma coś z myślenia magicznego: wydarzenia, sploty okoliczności, spotkania — wszystko to prowadzi do rozwoju kariery muzycznej. Dalsze powtarzalne elementy tych wspomnień to: odkrycie predyspozycji wokalnych i woli podję- cia zawodu śpiewaka, rola nauczycieli śpiewu i mentorów (najczęściej dyrygen- tów), największe sukcesy i zdobywanie kolejnych szczytów — scen kluczowych dla świata muzycznego, pamiętne wpadki, kryzysy wokalne, podszyte rywali- zacją relacje z kolegami, ciągłe podleganie ocenie publiczności, krytyków i dy- rygentów, myśli o konieczności zakończenia kariery, refleksje na temat doboru repertuaru, wykonawstwa i — generalnie — muzyki. W tle pojawiają się rów- nież wydarzenia z historii najnowszej, losy kraju i rodziny, kondycja instytucji muzycznych, uwarunkowania personalne. Te uogólnione na podstawie sporej liczby tekstów z niemieckiego kręgu ję- zykowego2 prawidłowości w organizowaniu wspomnień „głosem pisanych” chciałabym przedstawić na przykładzie wyróżniających się w mojej ocenie ja- kością autobiografii autorstwa ikon powojennej wokalistyki niemieckiej — Christy Ludwig ...und ich wäre so gern Primadonna gewesen. Erinnerungen („...a tak chciałam być primadonną. Wspomnienia”)3 i Dietricha Fischer-Dies- kaua Zeit eines Lebens.
    [Show full text]
  • GBFA Co-Founder Fenwick Smith Resigns from Boston Symphony Orchestra— Accomplished Flutist to Take More Active Role in GBFA
    Fenwick Smith to resign from BSO represented by RPR / CopyWriting & Creative Services For Immediate Release 54 Beach Street ™ Woburn, MA 01801 (781) 937-0389 [email protected] GBFA co-founder Fenwick Smith resigns from Boston Symphony Orchestra— Accomplished flutist to take more active role in GBFA Woburn, MA – Thursday, December 15, 2005 — Fenwick Smith, flute: Myra and Robert Kraft chair, endowed in perpetuity in 1981. Fenwick Smith took his first flute lessons in the public schools of Medford, Massachusetts. Largely self-taught until his senior year in high school, he was encouraged by Elinor Preble and Doriot Anthony Dwyer to apply to the Eastman School of Music, where he studied with Joseph Mariano, graduating in 1972. Smith showed an early interest in things mechanical. By the age of sixteen he was working as a part-time milling machine operator for a small manufacturing firm. The following summer, Verne Q. Powell Flutes Inc., the leading American flute maker, offered him employment, which continued, mostly on a part-time, work-at-home basis, for the next twelve years. During this time he built about one hundred Powell flutes, including the instrument he has played during his entire professional career. After a summer at the Tanglewood Music Center, Smith moved to West Berlin, where he promptly became an active free-lancer, taught at Schiller College, and came under the salutary influence of James Galway. He lived in Germany for three years, with forays to Greece and to Paris, where he auditioned for the French Ministry of Cultural Affairs. In 1975, soon after Smith had made plans to return to Boston, the Ministry offered him the position of principal flute in the Regional Orchestra of Toulouse.
    [Show full text]
  • 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 comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS The cassettes are not included in this original manuscript. This reproduction is the best copy available. _ UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction
    [Show full text]
  • BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi
    BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia.
    [Show full text]