DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip ' CARNEGIE HALL - - NEW YORK Twenty-sixth Season in New York MAX FIEDLER, Conductor •programmes of % Fifth and Last Concert THURSDAY EVENING, MARCH 21 AT 8.15 AND THE Fifth and Last Matinee SATURDAY AFTERNOON, MARCH 23 AT 230 WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER m6*s MIGNONETTE GRAND In Fancy $700 Mahogany 5 feet 2 inches Where others have failed to build a Small and Perfect Grand Piano meeting with present-day requirements, the House of Knabe, after years of research and experiment, has succeeded in producing The World's Best Grand Piano as attested by many of the World's best musicians, grand opera artists, stars, composers, etc. The Knabe Mignonette Grand is indispensable where space is limited— desirable in the highest degree where an abundance of space exists. Wm. KNABE & Co. Division—American Piano Co. 5th Avenue and 39th Street - - NEW YORK CITY Established 1837 Boston Symphony Orchestra PERSONNEL Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Violins. Witek, A., Roth, O. Hoffmann, J. Theodorowicz, J, Concert-master. Kuntz, D. Krafft, F. W. Mahn, F. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Eichheim, H. Bak, A. Mullaly, J. Goldstein, H. Barleben, K+ Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kurth, R. Fabrizio, C. Goldstein. S. Werner, H. Griinberg, M. Violas. Ferir, E. Spoor, S. Pauer, O. H. Kolster, A. VanWynbergen, C. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W. Violoncellos, Schroeder, A. Keller, J. Barth, C. Belinski, M. Warnke, J. Warnke, H. Nagel, R. Nast, L. Hadley, A. Smalley, R. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, O. Lorbeer, H. Gebhardt, W. Mann, J. Alloo, M. Hain, F. Hackebarth, A. Heim, G. Mausebach, A. Phair, J. Schumann, C. Merrill, C. Kenfield, L. Harp. Tympani. Percussion. Schuecker, H. Neumann, S. Rettberg, A. Senia, T. Kandler F. Zahn, F. Burkhardt, H. Organ. Librarian. Marshall, J. P. Sauerquell, J. : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. • With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says: "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann 's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. SfofAam Company 8 EAST 34th STREET, NEW YORK 1912 March 21 -- Carnegie Hall Program changed because of illness of soloist Louise Homer See New York clippings, BSO Scrapbook, vol.30, pp. 172-173 Beethoven -- "Leonore" Overture No. 3 Brahms -- Symphony No. 1 in C minor Wagner -- "Tannhauser" Overture Wagner -- "Lohengrin" Prelude Wagner- "Meistersinger" Prelude 2010 May 17 -J.W. HMU> *1vv mU NKobS 1obSw£$. Ml *&?->j mi VSmm CARNEGIE HALL .... NEW YORK Twenty-sixth Season in New York Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor FIFTH AND LAST CONCERT THURSDAY EVENING, MARCH 21 AT 8.15 MAX FIEDLER'S FAREWELL APPEARANCES PROGRAMME Beethoven Overture, "Leonora," No. 3, Op. 72 Brahms ..... Symphony No. 1, in C minor, Op. 68 I. Un poco sostenuto; Allegro. II. Andante sostenuto. III. Un poco allegretto e grazioso. • IV. Adagio; Allegro non troppo, ma con brio. Liszt "TheLoreley" Wagner Prelude to "Lohengrin" Debussy . Recitative and Aria of Lia, from "L'Enfant Prodigue" Wagner Overture, "Tannhauser" SOLOIST Mme. LOUISE HOMER There will be an intermission of ten minutes after the symphony 5 Overture to "Leonora" No. 3, Op. 72. Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) Beethoven's opera, "Fidelio, oder die eheliche Liebe," with text adapted freely by Joseph Sonnleithner from the French of Bouilly ("Le*onore; ou, TAniour Conjugal," a "fait historique" in two acts and in prose, music by Gaveaux, Opera-Comique, Paris, February 19, 1798), was first performed at Vienna, November 20, 1805, with Anna Pauline Milder, * afterward Mrs. Hauptmann, as the heroine. The first performance in Boston was on April 1, 1857, with Mrs. Johannsen, Miss Berkiel, Beutler, f Neumann, Oehlin, and Weinlich as the chief singers. "I,eonore" No. 2 was the overture played at the first performance in Vienna. The opera was withdrawn, revised, and produced again on March 29, 1806, when "Leonore" No. 3, a remodelled form of No. 2, was played as the overture. The opera was performed twice, and then withdrawn. There was talk of a performance at Prague in 1807, and Beethoven wrote for it a new overture, in which he retained the theme drawn from Florestan's air, "In des Lebens Friihlingstagen," but none of the other material used in Nos. 2 and 3. The opera was not performed, and the autograph of the overture disappeared. "Fi- • Pauline Anna Milder was born at Constantinople, December 13, 1785. She died at Berlin, May 20» 1838. The daughter of an Austrian courier, or, as some say, a pastry cook to the Austrian embassador at Constantinople, and afterward interpreter to Prince Maurojeni, she had a most adventurous childhood. (The story is told at length in von Ledebur's "Tonkunstler-Lexicon Berlin's.") Back in Austria, she studied three years with Sigismund Neukomm. Schikaneder heard her and brought her out in Vienna in 1803, as Juno in Susmayer's "Der Spiegel von Arkadien."^ She soon became famous, and she was engaged at the court opera, where she created the part of Leonora in "Fidelio." In 1810 she married a jeweller, Hauptmann. She sang as guest at many opera-houses and was offered brilliant engagements, and in 1816 she became a member of the Berlin Royal Opera House at a yearly salary of four thousand thalers and a vacation of three months. She retired with a pension in 1831, after having sung in three hundred and eighty operatic performances. She was also famous in Berlin as an oratorio singer. She appeared again in Berlin in 1834, but her voice was sadly worn, yet she sang as a guest in Copenhagen and St. Petersburg. Her funeral was conducted with pomp and ceremony, and it is said that the "Iphigenia in Tauris," "Alceste," and "Armide," her favorite operas, were put into her coffin,—a favor she asked shortly before her death. t Mr. Beutler sang that night for the last time. He had a cold, and the physician warned him against singing, but the audience filled the theatre, and he was persuaded. He became hoarse immediately after the performance, and, as his vocal chords were paralyzed, he never sang again. Mendelssohn, who had given him musical instruction, praised his voice, but urged him not to use it in opera, as it would not stand the wear and tear. Beutler them gave up the ambition of his life, but in the Revolution of 1848 he and other students at Heidelberg were obliged to leave the country. He came to the United States, and yielded to the temptation of a good offer from an opera manager. He became an understudy of Mario, then the misfortune befell him. I am indebted for these facts to Beutler's daughter, Mrs. Clara Tippett, of Boston. G. SCHIRMER (Inc.), 3 East 43d Street, NEW YORK JUST PUBLISHED OLD ENGLISH COMPOSERS for the VIOLIN Arranged for Violin and Piano by ALFRED MOFFAT (Schirmer's Library, No. 1088). Price $1.50 John Collet. Largo cantabile Richard Jones. Corrente Matthew Dubourg. Jigg and Menuet James Oswald. Lento affettuoso and Giga Henry Eccles. Adagio and Corrente John Ravenscroft. Two Hornpipes a l'lnglese John George Freake. Intermedio John Stanley. Gavot and Menuet Joseph Jackson. Tambourin Robert Valentine. Allegro vivace This group of ten arrangements from the figured basses of olden manuscripts covers a period extend- ing from 1670 to 1786, and comprises some of the most characteristic pieces written by the 17th and 18th century English composers of fiddle music. The numbers selected show much variety of form, style, and interest in the handling of their ingenuous yet none the less pleasing themes. Violinists will find them all well adapted for performance. For sale in Boston by THE BOSTON MUSIC COMPANY — delio" was revived at Vienna in 1814, and for this performance Beet- hoven wrote the "Fidelio" overture.
Load more

Recommended publications
  • Correspondences – Jean Sibelius in a Forest of Image and Myth // Anna-Maria Von Bonsdorff --- FNG Research Issue No
    Issue No. 6/20161/2017 CorrespondencesNordic Art History in – the Making: Carl Gustaf JeanEstlander Sibelius and in Tidskrift a Forest för of Bildande Image and Konst Myth och Konstindustri 1875–1876 Anna-Maria von Bonsdorff SusannaPhD, Chief Pettersson Curator, //Finnish PhD, NationalDirector, Gallery,Ateneum Ateneum Art Museum, Art Museum Finnish National Gallery First published in RenjaHanna-Leena Suominen-Kokkonen Paloposki (ed.), (ed.), Sibelius The Challenges and the World of Biographical of Art. Ateneum ResearchPublications in ArtVol. History 70. Helsinki: Today Finnish. Taidehistoriallisia National Gallery tutkimuksia / Ateneum (Studies Art inMuseum, Art History) 2014, 46. Helsinki:81–127. Taidehistorian seura (The Society for Art History in Finland), 64–73, 2013 __________ … “så länge vi på vår sida göra allt hvad i vår magt står – den mår vara hur ringa Thankssom to his helst friends – för in att the skapa arts the ett idea konstorgan, of a young värdigt Jean Sibeliusvårt lands who och was vår the tids composer- fordringar. genius Stockholmof his age developed i December rapidly. 1874. Redaktionen”The figure that. (‘… was as createdlong as wewas do emphatically everything we anguished, can reflective– however and profound. little that On maythe beother – to hand,create pictures an art bodyof Sibelius that is showworth us the a fashionable, claims of our 1 recklesscountries and modern and ofinternational our time. From bohemian, the Editorial whose staff, personality Stockholm, inspired December artists to1874.’) create cartoons and caricatures. Among his many portraitists were the young Akseli Gallen-Kallela1 and the more experienced Albert Edelfelt. They tended to emphasise Sibelius’s high forehead, assertiveThese words hair were and addressedpiercing eyes, to the as readersif calling of attention the first issue to ofhow the this brand charismatic new art journal person created compositionsTidskrift för bildande in his headkonst andoch thenkonstindustri wrote them (Journal down, of Finein their Arts entirety, and Arts andas the Crafts) score.
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • Musicweb International December 2020 NAXOS RELEASES: LATE
    NAXOS RELEASES: LATE 2020 By Brian Wilson It may be that I’ve been particularly somnolent recently, but a particularly fruitful series of Naxos releases in late 2020 has made me take notice of what I’ve been missing earlier this year, so I’ve included some of them, too. Index [page numbers in brackets] ALYABIEV Piano Trios (+ GLINKA, RUBINSTEIN: Russian Piano Trios 1) [5] Corelli’s Band: Violin Sonatas by Corelli and followers [2] FREDERICK II (Frederick The Great): Flute Sonatas [4] GERSHWIN Concerto in F (+ PISTON Symphony No.5, etc.) [11] GLINKA Trio pathétique (see ALYABIEV) [5] GOMPPER Cello Concerto, Double Bass Concerto, Moonburst [15] Michael HAYDN Missa Sancti Nicolai Tolentini; Vesperæ [5] HUMPERDINCK Music for the Stage [7] KORNGOLD Suite, Op.23; Piano Quintet [10] Laudario di Cortona excerpts (see PÄRT) [13] NOVÁK V Tatrách (In the Tatra Mountains); Lady Godiva; O věčné touze (Eternal Longing) [8] - Jihočeská suita (‘South Bohemian Suite’); Toman a lesní panna (‘Toman and the Wood Nymph’) [9] PÄRT And I heard a voice…, etc. ( … and … with SHAW, WOLFE, Laudario di Cortona) [13] PISTON Symphony No.5 (see GERSHWIN) [11] RUBINSTEIN Piano Trio (see ALYABIEV) [5] RUTTER Anthems, Hymns and Gloria for Brass Band [12] SCHMITT La Tragédie de Salomé, etc. [8] SCHUMANN Robert and Clara Music for violin and piano [6] VILLA-LOBOS Complete Symphonies [9] WALTON Piano Quintet and other Chamber Works with Violin and Piano [11] WEINBERG Clarinet Concerto; Clarinet Sonata; Chamber Symphony No.4 [12] WIDOR Organ Symphonies 4 (Nos. 8 and 10) [7] * The Art of Classical Guitar Transcription Christophe Dejour [15] Carmina predulcia (C15 Songbook) [1] Christmas Concertos [2] Heaven Full of Stars (contemporary choral) [13] Stille Nacht: Christmas Carols for Guitar [14] *** Carmina predulcia (‘very sweet songs’) is a recording of music from the fifteenth-century Schedelschen Liederbuch (Schedel Songbook).
    [Show full text]
  • Style in Singing
    ri ht 1 9 1 1 C opy g , SC H IRMER By G . 22670 PREFA TO R! NO TE F m an . making y books there is no end Surely , the weary observation of the sage must have an especial application to the literature of Song . — One could not number the books anatomical , physio — on . logical , philosophical the Voice A spacious library “ could easily be furnished with Methods of Singing. Works treating of the laws governing the effective interpretation of instrumental music exist . Some of them , by acknowledged and competent authorities , have thrown valuable light on a most important element of l musical art . Had I not be ieved that a similar need existed in connection with singing , this addition to vocal literature would not have been written . “ In a succeeding volume on Lyric Declamation : Reci ” tative c , Song and B allad Singing , will be dis ussed the practical application of these basic principles of Style to a G F the voc l music of the erman , rench , Italian and other national schools . E . LA W . HAS M . 2 i , rue Malev lle , P P arc Monceau , aris , 1 1 1 July , 9 . IN TRO DU C TIO N . " N P ! a Paderewski I listening to a atti , a ubelik , , the reflective hearer is struck by the absolute surenes s with which such artists arouse certain sensations in their auditors . Moreover , subsequent hearings will reveal ' the fact that this sensation is aroused always in the same the place , and in same manner . The beauty of the f voice may be temporarily a fected in the case of a singer , or an instrument of less aesthetic tone - quality be used b y the instrumentalist , but the result is always the same .
    [Show full text]
  • Andréas Hallén's Letters to Hans
    ”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.” ”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.”1 Andréas Hallén’s Letters to Hans Herrig. A Contribution to the Swedish-German Cultural Contacts in the Late Nineteenth Century Martin Knust It is beyond question that the composer Andréas Hallén (1846–1925) never stood in the front line of Swedish musical life. Nevertheless, the ways he composed and promoted his music have to be regarded as very advanced for his time. As this study reveals, Hallén’s work as a composer and music critic may have served as a model for the next generation of composers in Sweden. Moreover, his skills as an orchestra- tor as well as his cleverness in building up networks on the Continent can hardly be overestimated. Hallén turns out to have been quite a modern composer in that he took over the latest music technologies and adapted them to a certain music market. The study of Hallén and his work exposes certain musical and cultural developments that were characteristic for Sweden at the turn of the century. Documents that just recently became accessible to research indicate that it is time to re-evaluate Hallén’s role in Swedish musical life. Correspondence between opera composers and their librettists provides us with a wealth of details about the genesis of these interdisciplinary art works and sometimes even, like the correspondence Strauss–Hofmannsthal, about the essence of opera itself. In the case of the Swedish composer Andréas2 Hallén, his first opera Harald der Wiking was not only an interdisciplinary but also an international project because he worked together with the German dramatist Hans Herrig (1845–1892).
    [Show full text]
  • Památník Zpěvačky Marty Procházkové, Manželky Ludevíta Procházky 3 a R T I C U L I
    1 »Má milá, přemilá – já jsem tulácký pták, který si nedá jakživ předpisovat notu své písničky – tíhnu jen, sama nevím kam – nejspíše tam kde není pro mne zimy... Ale A cosi přece jen má na mne vliv: tiše neodbytně mne po- R nouká, navádí a napomíná: ›Melodii milá holka – jen ať T to má melodii…‹« JANA VOJTĚŠKOVÁ 1 Gabriela Preissová: Z povídky Rozmaryja (Praha) I C méno zpěvačky Marty Procházkové, rozené Reisingero- U vé (1849-1903), upadlo po smrti jejího manžela Dr. Lu- devíta Procházky v roce 1888 téměř v zapomenutí. In- Památník zpěvačky Marty L Jtenzívní deset let trvající kariéra na prknech převážně I německých operních scén nestačila k tomu, aby se Mar- Procházkové, manželky ta Procházková trvale zapsala do dějin pěveckého umění. Ludevíta Procházky Dnes není její jméno uvedeno ani v několikasvazkovém slovníku zpěváků Großes Sängerlexikon2 ani v Hudebním divadle v českých zemích (Osobnosti 19. století).3 Motto, které je předesláno tomuto článku, vepsala ja- ko poslední zápis do památníku Marty Procházkové Ga- briela Preissová. A jistě se ptáte, co měly tyto dvě ženy The Album of Marta Procházková, the společného. Nevíme, zda spisovatelka Gabriela Preissová znala pěvkyni Martu Procházkovou za jejího života, spíše wife of Ludevít Procházka nikoli. Jistě jí ale o ní vyprávěla její snacha Milka Preis- The article is dedicated to singer Martha Procházková, sová, rozená Procházková, neteř Marty a Ludevíta Pro- born Reisinger (1849-1903), the wife of Ludevít Procház- cházkových. V roce 1932 – dvacet jedna let po smrti zpě- ka (1837-1888); her name is not mentioned in today’s vačky – jí Milka pravděpodobně ukázala památník Marty dictionaries of the 19th-century opera singers.
    [Show full text]
  • From Page to Stage: Wagner As Regisseur
    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
    [Show full text]
  • Carl Loewe's "Gregor Auf Dem Stein": a Precursor to Late German Romanticism
    Carl Loewe's "Gregor auf dem Stein": A Precursor to Late German Romanticism Item Type text; Electronic Dissertation Authors Witkowski, Brian Charles 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 04/10/2021 03:11:55 Link to Item http://hdl.handle.net/10150/217070 CARL LOEWE'S “GREGOR AUF DEM STEIN”: A PRECURSOR TO LATE GERMAN ROMANTICISM by Brian Charles Witkowski _____________________ Copyright © Brian Charles Witkowski 2011 A Document Submitted to the Faculty of the 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 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Brian Charles Witkowski entitled Carl Loewe's “Gregor auf dem Stein”: A Precursor to Late German Romanticism and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts ________________________________________________ Date: 11/14/11 Charles Roe ________________________________________________ Date: 11/14/11 Faye Robinson ________________________________________________ Date: 11/14/11 Kristin Dauphinais 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]
  • Boston Symphony Orchestra Concert Programs, Season 31
    CONVENTION HALL . ROCHESTER Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Programme WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 29 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds.
    [Show full text]
  • NORTHERN STARS MUSIC from the NORDIC and BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars
    NORTHERN STARS MUSIC FROM THE NORDIC AND BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars Often inspired by folk tradition, nature, landscape and a potent spirit of independence, the music of Scandinavia, Finland and the Baltic states is distinctive and varied, with each country’s music influenced by its neighbours, yet shaped and coloured by its individual heritage. Traveling composers such as Sweden’s Joseph Kraus introduced 18th and early 19th century classical trends from Germany and Italy, but with national identity gaining increasing importance as Romantic ideals took hold, influential and distinctive creative lines were soon established. The muscular strength of Carl Nielsen’s symphonies grew out of the Danish nationalist vigor shown by Friedrich Kuhlau and Niels Gade, extending to names such as Per Nørgård today. Gade was a teacher of Edvard Grieg, who owes his position as Norway’s leading composer, at least in part, to the country’s traditional folk music and the poignant lyricism of the Hardanger fiddle. The music of Finland is dominated by the rugged symphonies of Jean Sibelius, and his Finlandia ensured his status as an enduring national symbol. Sibelius successfully combined the lessons of Viennese romanticism with a strong Nordic character, and this pragmatic approach has generated numerous contemporary giants such as Aus Sallinen, Einojuhani Rautavaara, Kalevi Aho and Kaija Saariaho. Turbulent history in the Baltic States partially explains a conspicuous individualism amongst the region’s composers, few more so than with Arvo Pärt, whose work distils the strong Estonian vocal tradition into music of striking intensity and crystalline beauty.
    [Show full text]
  • Albert Pinkham Ryder 1 S Two Wagnerian Paintings: the Flying Dutchman and Siegfried and the Rhine Maidens
    ABSTRACT Title of Thesis: Albert Pinkham Ryder 1 s Two Wagnerian Paintings: The Flying Dutchman and Siegfried and the Rhine Maidens Sharon Dale Carman, Master of Arts, 1988 Thesis directed by: John Peters-Campbell, Assistant Professor, Art History Albert Pinkham Ryder (1847-1917) has traditionally been regarded as an anomalous figure in the history of art. A small, but growing, body of scholarship has recently been devoted to correcting this view of the artist and to establishing his relationship to the aes- thetic currents of his time. This study explores the influence on his art of Ryder's environment, late nineteenth-century New York. Two of Ryder's paintings, each based on an incident in an opera by Richard Wagner, are examined: Siegfried and the Rhine Maidens, drawn from Gotterdammerung; and The Flying Dutchman, inspired by Der fliegende Hollander. The history of opera in nineteenth- century New York helps to explain how an American painter came to be influenced by such distinctly German operatic themes. German immigration patterns are linked with changes in operatic taste, and the interest of native intellectuals in Wagner's music and ideas is discussed. Wagnerian staging tradition is posited as a source for the compositions of both Siegfried and the Rhine Maidens and The Flying Dutchman. It is demonstrated that the set designed by Josef Hoffmann for the original Bayreuth pro­ duction of Gotterdammerung, Act III, Scene I, served as the specific compositional basis for Ryder's Siegfried and the Rhine Maidens. ALBERT PINKHAM RYDER'S TWO WAGNERIAN PAINTINGS: THE FLYING DUTCHMAN AND SIEGFRIED AND THE RHINE MAIDENS by Sharon Dale Carman 111 Thesis submitted to the Faculty of the Graduate School of The University of Maryland in partial fulfillment of the requirements for the degree of Master of Arts 1988 C-, ( \ I ~·1 '" I () ,,.
    [Show full text]
  • Volume 34, Number 07 (July 1916) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1916 Volume 34, Number 07 (July 1916) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 34, Number 07 (July 1916)." , (1916). https://digitalcommons.gardner-webb.edu/etude/626 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ----- Price 15 Cents 1 473 THE ETUDE PRESSER’S MUSICAL MAGAZINE CONTENTS FOR JULY 1916 World of Music . Success Guides.G. if. Grecnhalyh A Practice Hour of Pleasure.C. W. London Can You Pass This Examination .'. The Part the Piano Should Pla^. .J. K. MacDonald The Layman's Attitude T W.’ R. Bpaldint Teaching Use of Bass Clef.Russell Carter 482 The Effect of Mechanical Ins :s Upon Musical jojuucu Lion.(Symposium) Royal Performers on the Flute. The Real Meaning of Rhythm.. .Lerou B. Campbell A Useful Finger Exercise.Wilbur F. Unger Discouraging the Pupil.Edna J. Warren Can There Be Any Real New Music?... How Parents Can Help...Geo.
    [Show full text]