DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 12, 1892-1893

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 12, 1892-1893 Boston Music Hall, Boston. Symphony TWELFTH SEASON, Orchestra 1892-93. ARTHUR NIKISCH, Conductor. PROGRAMME OF THE Nineteentli Rehearsal and Concert WITH HISTORICAL AND; DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. Friday Afternoon, March 24, At 2.30 o'clock. Saturday Evening, March 25, At 8 o'clock. PUBLISHED BT C. A. ELLIS, MANAQBR. (653) ...THE MASON & HAMLIN PIANOS represent that same Highest Standard of excellence which has achieved a repu- tation for their Organs as the Standard of the World. MASON k HAMLIN ORGAN and PIANO CO. 154 & 155 Tremont St., BOSTON. BRANCH HOUSES, NEW YORK AND CHICAGO. \ C654) Nineteenth Rehearsal and Concert. Friday Afternoon, March 24, at 2.30. Saturday Evening, March 25, at 8.00. PROGRAMME. Richard Wagner ----- Overture, " Tannhaeuser " / Joachim Raff - "La Fee d' Amour," Characteristic Concert piece for V Violin and Orchestra, Op. 67 (First time at these Concerts.) Paul Gilson - - - - - "La Mer," Symphonic Sketches I. Lever de Soleil : Allegretto (F major) - - 6-8 / II. Chants et Danses de Matelots : Allegro (A major) 3-4 and 2-4 N III. Crepuscule : Allegro moderato, poco a poco piu moderato (D -flat major) - - - - 4-4 and 5-4 (First time in Boston.) Karl Goldmark - - " Laendllche Hochzeit," Symphony, Op. 23 / ^ I. Hochzeitsmarsch : Moderato molto (E-flat major) 2-4 II. Brautlied : Allegretto (B-flat major) - - 3-4 III. Im Garten : Andante (G minor and G-flat major) 4-4 and 12-8 - IV. Tanz : Allegro molto (B-flat major) 2-2 Soloist, Mr. OTTO ROTH. NOTE.— Next week's Public Rehearsal will be held on Thursday after- noon, to allow time to arrange the stage for the Handel and Haydn Society's Concert, on Good Friday Evening. , The Programme for the next Public Rehearsal and Concert will be found on page 68i. \ SHORE LINE BOSTON Tr\ NEW YORK NEW YORK TO1\J BOSTON Trains leave either city, week-days, except as noted : DAY EXPRESS at 10.00 A.M. Arrive at 4.30 P.M. BUFFET DRAWING-ROOM CARS. AFTERNOON SERVICE at 1.00 P.M. Arrive 7.30 P.M. BUFFET CARS THROUGH. ** SHORE LINE FLYER" at 2.00 P.M. Arrive at 7.^0 P.M. Limited Vestibule Train. Drawlng-roonn and Parlor Buffet Smoking Car. GILT EDGE EXPRESS at 5.00 P.M. Dally, Sundays Included. Arrive at 1 l.OO P.M. DRAWING-ROOM and PARLOR SMOKING CARS THROUGH, and DINING CAR BETWEEN BOSTON and NEW LONDON. The last trains between the two cities to leave and arrive at terminal the same day. MIDNIGHT EXPRESS at 12 O'CLOCK. Daily, Sundays Included, and arrive at 7.00 A.M. The last train from either city. Wagner Drawlng-roonn Cars on Day Trains. Compartment Sleeping Cars on Night Trains. Open for occupation at 9. 1 5 P.M. TRAINS LEAVE BOSTON PROM P^'.RK SQUARE STATION. TRAINS LEAVE NEW YORK FROM GRAND CENTRAL STATION. *' TftT HNIiT li'YPRli'^^ ^' "^^^^ ^^ ^^^ route of the Celebrated Pullman Vestibuled VVliiUlUaU DAliluOU. Through Day Train Service between Boston and Washington. KENDRICK, General Manager. OffilftWV PUlRniin J ^ VjULUIU liiilLrllUiil/. GEO. L. CONNOR, Gen'l Pass'r Agent. "THE WHITE TRAIN" BETWEEN BOSTON AND NEW YORK. 3 P.fl. The shortest line— only two hundred and thirteen miles, five hours and forty minutes. A delightful ride of eighty=six miles without a stop. New Parlor Cars, Royal Buffet Smokers, Coaches and Dining Cars, lighted by Gas and heated by Steam. ROYAL BLUE LINE Finest and Safest Trains in the World, between New • YorK • apd • Va^biDSitop VIA JERSEY CENTRAL, PHILADELPHIA & READING AND BALTIMORE & OHIO RAILROADS. All trains vestibuled, heated by steam, lighted by the Pintsch Gas System, and protected by Pullman's Anti-telescoping Device. PULLAVAN DAY COACHES, P/\RLOR CARS, SLEEPING CARS, DINING CARS. NEW YORK TO WASHINGTON IN FIVE HOURS. Tickets on Sale at all Railroad Offices. Boston Office, 211 \f/z.shw%ioT) Street. (656) Overture to " Tannliaeuser." Richard Wagner. This, for a long time the most popular of all Wagner's orchestral com- positions, is now to be regarded as a concert overture rather than as the prelude to the opera of " Tannhauser." When Wagner remodelled the first two scenes of Act I. for the performances at the Academic de Musique in Paris in 1861, he found that the form of the overture no longer satisfied him. He had developed his theories of the music-drama during his exile " " at Zurich (some time after the opera of Tannhauser was written) ; and the overture, in its original shape, did not tally with these theories. The glow- ing peroration made it too much of a complete composition in itself instead of the merely suggestive prelude to a dramatic action which he now desired. Another consideration, too, may have had some weight with him : the last return of the Pilgrims' Chant in E major, with its whirling accompaniment on the violins, was so immensely brilliant in its effectiveness that it might well make this same chant seem tame and ineffective by comparison, as it appears in E-flat, and with a less tumultuous accompaniment, in the third L V. HOLLANDER S- CO. Opening of a New Department. LADIES' UNDERWEAR. To include all the necessities of a lady's wardrobe and specially se- lected goods for Wedding Trousseaus, also Silk Neglige Gowns, Matinees, Dressing Sacks, and Colored Skirts. Sole Agents of FASSO CORSETS. 202-212 BOYLSTON ST. and PARK SQUARE. (657) V. BALIARD & SONS' Dress-making Department, We are exhibiting a large line of DRESS GOODS in FOULARD SILKS, INDIA SILKS, WOOL AND SILK MIXTURES. CREPONS, Etc., Etc. Plain and Changeable Effects. Novelties by Last Steamers. Our artists have had years' experience with the notable houses of Paris, and we have every facility for the production of gowns equal to the highest European art. While our styles are of the highest orders, our PRICES WILL BE FOUND VERY REASONABLE. 256 BOYLSTON STREET, BOSTON. OYSTERS AND SALADS A SPECIALTY. GENUINE VIENNA ICES. S5 Temple PI. and 33 West St. JACOB THOMA, YIOLIN MAKER, FROM VIENNA. (Awarded a Prize Medal at the Vienna Exposition.) Old Violins, Violas, 'Cellos, Artist Italian Strings, Silver G's, Artist Bows, Paris Rosin, etc. INSTRUMENTS TAKEN IN EXCHANGE. ARTISTIC REPAIRS A SPECIALTY. BOWS REHAIRED. Music Hall Building, Room 7, - BOSTON. 159 Tremont St., Boston. Repairer for the Boston Symphony Orchestra. (668) ; act of the opera itself. So he cut this glowing return of the Pilgrims' Chant from his overture, connecting the Venus Mountain music of the middle of the piece immediately with the new Bacchanale he had written for the first theme of the opera. He was so well satisfied with the changes he had made for the Paris performances that he declared the Paris " ver- sion " of " Tannhauser " the only authentic one, so that the overture in its original shape lapsed henceforth from the theatre to the concert-room, where it still remains in the repertory of all fine orchestras. Looking upon it as an independent composition, a sort of symphonic poem in itself, and no longer as a prelude to the opera, Wagner wrote an explanatory, de- scriptive programme to it, such as has been written to more than one purely orchestral composition. Unluckily, this explanatory programme of Wagner's, an exceedingly flamboyant piece of poetic writing, is not of a character to make its reproduction here wholly desirable. The main gist of it is, however, as follows : — The overture begins with the chant of the returning pilgrims, as the pious procession passes before the mind's eye of the listener,— first heard faintly, as in the dim distance, then swelling louder and louder, as the pil- grims draw- nearer, and theii losing itself again, as the procession little by little passes out of hearing. It is evening twilight; rosy clouds arise, laden with intoxicating perfumes ; the air is filled with all the seductions of the Venus the love-singer, appears, and sings his glow- Mountain ; Tannhauser, ing song of love. He sees Venus herself lying on a couch before him sweet siren songs resound on every hand ; he is drawn on into the interior of the mountain, where the love-goddess holds her bacchanalian court. Then comes the dawn, and the chant of the pilgrims again sounds from afar ; the sun rises in his unclouded splendor ; the rustling and whirring that filled the enchanted air of the mountain now swell to a billowing tor- rent of sound, as of the ecstasy of new-born Nature. The pilgrims' song of redemption rises louder and louder. It is the jubilation of the mountain itself, now redeemed from the curse of unholiness. Thus beat all the pulses of life to the song of redemption ; and both severed elements, soul and senses, God and Nature, embrace in the holy, reuniting kiss of love. Nbw Engiaivi Gonservatoiu o! music (Founded by Dr. Eben Tourj^e.) RICHARD H. DANA, President. CARL FABLTBN, Director. THE COURSES of STUDY are arraaeed with a view to iriviag a broad aad comprehea- sive musical educatioa. THE FACULTY have beea chotea with refereace aot oaly to their itaadiac aa artiatt, but alto with regard to their ability at teachert of the highett excellence. THE ASSOCIATED DEPARTMENTS of Mutic, Blocutioa, Fiae Artt, aad Modera Laa- guaget provide the mott ample meaat for acquiriag a thorough aad complete kaowledge of one or all of thete tubjectt at comparatively amall cott. THE FREE COLLATERAL ADVANTAGES, coatitting of the Faculty Concertt, Pupilt' Recitals, Lecturet, Chorut Clattet, Orchettral Practice, etc., are of iaettimable value to the ttudent. Special clattet in the Art of Coaductiag*, the traiaing of Boy Cholra aad a Normal Course for advaaced pupilt who are prepariag to teach, are aow made prom- iaeat featurea of the work.
Load more

Recommended publications
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects
    [Show full text]
  • Download Article
    International Conference on Arts, Design and Contemporary Education (ICADCE 2016) N.P. Troubetskoy—an Outstanding Leader of the Moscow Branch of the Russian Musical Society Olga Glushkova State Institute of art studies Moscow, Russia E-mail: [email protected] Abstract—The article is devoted to one of the leaders of the The Society existed during the reigns of Emperors Moscow branch of the Imperial Russian musical society, Alexander II, Alexander III, and Nicholas II. Ever since its Prince Nikolai P.Troubetskoy, who participated, along with foundation, the RMS has always been under the auspices of many outstanding representatives of Russian musical culture, Grand Princes and Duchesses: Elena Pavlovna, Nikolai the August patrons of the Society and well-known Konstantinovich, Alexandra Iosifovna, Konstantin philanthropists in the creation of concert and educational Konstantinovich, Sergei Aleksandrovich, and Princess Elena traditions of musical life of Moscow and the Moscow of Sachsen-Altenburg. Conservatory. The main figures of the IRMS were the princes V.F. Keywords—Prince N.P. Troubetskoy; Russian Musical Odoyevsky, N.P. Troubetskoy, D.A. Obolensky and A.A. Society; Moscow conservatory; Ahturka Obolensky, who were philanthropists; the Rubinstein brothers, the pianists; the composers A.S. Dargomyzhsky I. INTRODUCTION and P.I. Tchaikovsky. Many town governors, important industrialists, merchants, and landlords contributed to the The 19th century saw dramatic changes in the history of very existence and elaboration of the Society’s endeavours: Russian musical culture. Undoubtedly, the establishment of M.P. Aznachevsky, S.M. Tretyakov, N.A. Alexeyeva and the Russian Musical Society in 1859 (that also existed under K.S.
    [Show full text]
  • Recomposing National Identity: Four Transcultural Readings of Liszt’S Marche Hongroise D’Après Schubert
    City Research Online City, University of London Institutional Repository Citation: Loya, S. (2016). Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert. Journal of the American Musicological Society, 69(2), pp. 409-476. doi: 10.1525/jams.2016.69.2.409 This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/15059/ Link to published version: http://dx.doi.org/10.1525/jams.2016.69.2.409 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert SHAY LOYA A Curious Attachment Sometime in 1882, past his seventieth year, Liszt decided that an old piece of his deserved another revision. This resulted in the last of many arrange- ments of the Marche hongroise d’après Schubert, a work that originally took form as the second movement of the Mélodies hongroises d’après Schubert of 1838–39 (S.
    [Show full text]
  • TCHAIKOVSKY EDITION Liner Notes and Sung Texts
    TCHAIKOVSKY EDITION Liner notes and sung texts Liner notes A RICH, HUMANE LEGACY: THE MUSIC OF PYOTR ILYICH of Mozart’s spirit that he later paid homage in so many works TCHAIKOVSKY which turned out to be neo‐Classical avant la lettre. As Julian Barnes so elegantly demonstrated in his novel Flaubert’s Parrot, you can provide a number of selective, conflicting Even this is to limit the sheer encyclopaedic breadth of biographies around a great creative artist’s life, and any one of Tchaikovsky’s composing genius. He wrote in every medium them will be true. By those standards, one could counter Harold conceivable at the time, and if not every opus can possibly be at C. Schonberg’s thumbnail sketch of Pyotr Ilyich Tchaikovsky as ‘a his highest level of inspiration, there are masterpieces in each nervous, hypochondriacal, unhappy man – unhappy at home, genre: opera, song, symphonic music, occasion‐pieces (which unhappy away from home’, with a portrait of the composer as an includes the ‘1812 Overture’ – much‐maligned, but does what it older man: confident, healthy, a keen traveller, a generous spirit says on the tin), chamber works and choral settings of the who had come to terms with his demons even if they occasionally Russian Orthodox service, which it was then regarded as popped up to haunt him, and a lover of the Russian landscape pioneering to even attempt to promote. who was very much at peace with the natural beauty of the country surroundings he had chosen as his dwelling. His first fully fledged steps in composition contradict one perceived dichotomy: between his association with the Neither image is, of course, the whole story, and it is only slowly Germanically motivated founder‐brothers of Russia’s two that the public is learning, thanks to a wider retrospective on academic institutions – the St Petersburg Conservatoire founded Tchaikovsky’s genius in the round, to balance the tabloidised first by Anton Rubinstein in 1862, and its Moscow counterpart portrait with the less sensationalised second.
    [Show full text]
  • The Influence of Violin Schools on Prominent Violinists/Teachers in the United States Christian Matthew Baker
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 The Influence of Violin Schools on Prominent Violinists/Teachers in the United States Christian Matthew Baker Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE INFLUENCE OF VIOLIN SCHOOLS ON PROMINENT VIOLINISTS/TEACHERS IN THE UNITED STATES By Christian M. Baker A treatise submitted to the College of Music In partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2005 The members of the Committee approve the treatise of Christian M. Baker defended on October 11, 2005. __________________________________ Eliot Chapo Professor Directing Treatise __________________________________ Carolyn Bridger Outside Committee Member __________________________________ Beth Newdome Committee Member __________________________________ Melanie Punter Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii Music resembles poetry; in each Are nameless graces, which no methods teach, And which a master hand alone may reach. —Alexander Pope iii ACKNOWLEDGEMENTS I would like to express appreciation to the violin teachers who were so kind to respond to my questions via written questionnaire and telephone interview. Their responses are the most essential component of this treatise. I would also like to thank my committee members for their time and attention to this project, including Lubomir Georgiev, who passed away before its completion, but who first recommended the topic to me. I am particularly indebted to my wife, Michelle, and to Dr. Carolyn Bridger, for their extensive help with the revisions.
    [Show full text]
  • "Hungarian" in Works of Brahms: a Critical Study Nancy Handrigan
    McMaster University DigitalCommons@McMaster Open Access Dissertations and Theses Open Dissertations and Theses 9-1995 On the "Hungarian" in Works of Brahms: A Critical Study Nancy Handrigan Follow this and additional works at: http://digitalcommons.mcmaster.ca/opendissertations Part of the Music Commons Recommended Citation Handrigan, Nancy, "On the "Hungarian" in Works of Brahms: A Critical Study" (1995). Open Access Dissertations and Theses. Paper 6140. This Thesis is brought to you for free and open access by the Open Dissertations and Theses at DigitalCommons@McMaster. It has been accepted for inclusion in Open Access Dissertations and Theses by an authorized administrator of DigitalCommons@McMaster. For more information, please contact [email protected]. ON THE "HUNGARIAN" IN WORKS OF BRAHMS: A CRITICAL STUDY ON THE "HUNGARIAN" IN WORKS OF BRAHMS: A CRITICAL STUDY by NANCY CHERYL EILEEN HANDRIGAN, B.MUS. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Nancy Cheryl Eileen Handrigan, September 1995 MASTER OF ARTS (1995) MCMASTER UNIVERISITY (Music) Hamilton, Ontario TITLE: On the "Hungarian" in Works of Brahms: A Critical Study AUTHOR: Nancy Cheryl Eileen Handrigan, B. Mus. (Acadia University) SUPERVISOR: Dr. Alan Walker NUMBER OF PAGES: vi, 133 11 ABSTRACT This thesis explores the Hungarian influence on the German composer Johannes Brahms (1833-1897). His biographical details are sketched from his first concert tour to his last (Chapter 2). In 1853, he accompanied the Hungarian violinist Ede Remenyi, while travelling through Germany and Austria. In 1867 he concertized in Hungary for the first time.
    [Show full text]
  • AN AMERICAN ENCOUNTER with POLYSTYLISM: SCHNITTKE's CADENZAS to BEETHOVEN Aaron Rapaport a Thesis Submitted to the Faculty Of
    AN AMERICAN ENCOUNTER WITH POLYSTYLISM: SCHNITTKE’S CADENZAS TO BEETHOVEN Aaron Rapaport A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music. Chapel Hill 2012 Approved by: Advisor: Severine Neff Reader: Allen Anderson Reader: Lee Weisert ©2012 Aaron Rapaport ALL RIGHTS RESERVED ii ABSTRACT AARON RAPAPORT: An American Encounter with Polystylism: Schnittke’s Cadenzas to Beethoven (Under the direction of Severine Neff) This thesis explores the early reception of Alfred Schnittke in America. Writers on Schnittke’s music have continually focused on the most distinct development of his compositional practice: polystylism. However, considerations of polystylism as a method for obtaining compositional coherence have hitherto been few. This thesis examines Schnittke’s 1977 cadenzas to Beethoven’s Violin Concerto because they are some of the earliest pieces that brought Schnittke to American attention from critics who felt that the cadenzas were inappropriate to the Concerto. The importance of these cadenzas as America’s introduction to the composer has not yet been discussed. Furthermore, an analysis based on interpretations of the musical logic of Charles Ives’s quotations suggests that Schnittke’s motivic integration and compositional structure in the cadenzas demonstrate modern (nineteenth-century) musical concerns, resulting in a unified composition that adheres to the forms of traditional cadenzas. iii ACKNOWLEDGEMENTS I would like to thank my advisor, Severine Neff, as well as Professors Allen Anderson and Lee Weisert for dedicating their time and assistance to my research. I am extremely grateful to Carlos Porras for leading me to an incredibly valuable resource on the construction of Schnittke’s cadenzas, as well as Russian historian Oleg Timofeyev for generously lending me his time in translating the source.
    [Show full text]
  • Jesus De Monasterio (1836-1903): an Essential Figure In
    Graduate Theses, Dissertations, and Problem Reports 2017 Jesus de Monasterio (1836-1903): An Essential Figure in the Artistic and Technical Development of Violin Playing in the Second Half of the Nineteenth Century at the Madrid Royal Conservatory Diego Gabete-Rodriguez Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Gabete-Rodriguez, Diego, "Jesus de Monasterio (1836-1903): An Essential Figure in the Artistic and Technical Development of Violin Playing in the Second Half of the Nineteenth Century at the Madrid Royal Conservatory" (2017). Graduate Theses, Dissertations, and Problem Reports. 5632. https://researchrepository.wvu.edu/etd/5632 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Jesús de Monasterio (1836-1903): An essential figure in the artistic and technical development of violin
    [Show full text]
  • Musical Institutions and Czech Identity in Nineteenth
    Reclaiming a Golden Past: Musical Institutions and Czech Identity in Nineteenth-Century Prague By © 2019 Amelia Davidson PhD, Musicology, 2019 M.M., Missouri State University, 2008 B.M.E., Missouri State University, 2006 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Ketty Wong Roberta Freund Schwartz Paul Laird Alan Street Svetlana Vassileva-Karagyozova Date Defended: April 8, 2019 ii The dissertation committee for Amelia Davidson certifies that this is the approved version of the following dissertation: Reclaiming a Golden Past: Musical Institutions and Czech Identity in Nineteenth-Century Prague Chair: Ketty Wong Date Approved: iii Abstract This dissertation explores the relationship between nineteenth-century musical activity in the Czech lands and Czech identity. The objectives of this study are to examine the history of significant musical institutions and organizations established during the nineteenth century, to analyze performance repertories for these entities, and to explore how the activities of these institutions are related to other components of Czech identity. I begin by investigating significant Czech identity markers that existed prior to the nineteenth century. These include a sense of cosmopolitanism established during the reigns of the Holy Roman Emperors Charles I and Rudolf II, a priority on religious reform and tolerance linked to the Hussite period, and a sense of cultural deprivation stemming from the conclusion of the Thirty Years’ War and the Counter- Reformation period. These foundational elements of Czech cultural identity provided the framework for the national revival of the late eighteenth and early nineteenth century, which was based in Enlightenment ideals, and for the nationalist movement of the mid-nineteenth century.
    [Show full text]
  • Catalogue 83
    J & J LUBRANO MUSIC ANTIQUARIANS The Autograph Manuscript of Mozart's Contredanse for Orchestra K535, Item 54 CATALOGUE 83 Autograph Musical Manuscripts & Letters of Composers Rare Printed Music & Books on Music & Dance Original Drawings, Set & Costume Designs, Prints, &c. v 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full.
    [Show full text]
  • Leopold Auer: Violin Master Works and Their Interpretation Pdf, Epub, Ebook
    LEOPOLD AUER: VIOLIN MASTER WORKS AND THEIR INTERPRETATION PDF, EPUB, EBOOK Leopold Auer,Frederick H Martens | 166 pages | 01 Oct 2012 | Dover Publications Inc. | 9780486499116 | English | New York, United States Leopold Auer: Violin Master Works and Their Interpretation PDF Book Beethoven wrote two Romances for violin and orchestra, Romance No. What proved revelatory was exposure to the world of German music making—a world that stresses musical values over virtuoso glitter. After he arrived in the United States, he made some recordings which bear this out. He was in charge of the Russian Musical Society orchestral concerts intermittently in the s and 90s. During May and June , Auer was "engaged" to play a series of concerts in London. Neither was he inclined to pick up a bow to demonstrate a passage. In his memoirs, Auer wrote that Dont was the one who taught him the foundation for his violin technique. He also transcribed a great many works for the violin including some of Chopin's piano preludes. Among them are a wide variety of fables, legends of the gods, ghost stories, myths, and more. He liked virtuoso works by Henri Vieuxtemps , such as his three violin concertos, [39] and Heinrich Wilhelm Ernst , and used those works in his teaching. This was not because he regarded the work as "unplayable", as some sources say, but because he felt that "some of the passages were not suited to the character of the instrument, and that, however perfectly rendered, they would not sound as well as the composer had imagined". The Heroic Slave.
    [Show full text]
  • Liszt As Kapellmeister: the Development of the Symphonic Poems on the Weimar Stage
    LISZT AS KAPELLMEISTER: THE DEVELOPMENT OF THE SYMPHONIC POEMS ON THE WEIMAR STAGE by JOANNE CORMAC A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Music Department College of Arts and Law University of Birmingham September 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Little research has been carried out into Liszt’s work as Kapellmeister of the Weimar Court Theatre. The nature and extent of his duties, his involvement in productions, festivals and performances, and his relationships with others within the administration has yet to be examined in detail, let alone the implications of all of this for his music. This thesis draws on a wealth of primary source material to provide new insight into this area. It begins by drawing a general picture of Liszt’s work in Weimar. Then, it attempts a detailed ‘re-historicisation’ of four of Liszt’s Weimar symphonic poems. The thesis returns four of the symphonic poems (Tasso, Orpheus, Festklänge, and Hamlet) to their original dramatic performance contexts. In doing so, it reveals that the Weimar productions or festivals in which they were premiered had a significant impact on their conception and development in numerous, diverse, and sometimes surprising ways.
    [Show full text]