DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 33,1913

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 33,1913 AUDITORIUM SPRINGFIELD lymphon; Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor Pr©gir< WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, FEBRUARY 24 AT 8.00 COPYRIGHT, 1914, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER since 1823 No Piano of American make has been so favored by the musical pub- lic as this famous old Boston make. The world's greatest musicians have demanded it and discriminating people have purchased it. THE CHICKERING PIANO enjoys the distinction of being the recipient of 129 First Medals and Awards for Superiority Its wonderful tone and action call it to the studio to stimulate and encourage the pupil, and it is sought by teachers and musical people when the best is desired. ^r AUDITORIUM . SPRINGFIELD Twenty-first Concert in Springfield Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor TUESDAY EVENING, FEBRUARY 24 AT 8.00 PROGRAMME Glazounofl .... Symphony in B-flat major, No. 5, Op. 55 I. Mod ra to maestoso; Allegro. II. Scherzo: Moderato; Pochissimo meno mosso. III. Andante. IV. Allegro maestoso. " Weber . Recitative, Wie nahte mir der Schlummer," and Aria, "Leise, leise," from "Der Freischutz" " Strauss . Tone Poem, Tod und Verklarung" ("Death and Transfiguration"), Op. 24 Songs with orchestra: Humperdinck . "Es schaukeln die Winde" ("The Winds Rock") d'Albert Mediaeval Hymn to Venus Liszt . Symphonic Poem, No. 3, "The Preludes" (after Lamartine) SOLOIST ELISABETH van ENDERT There will be an intermission of ten minutes after the symphony 3 MEASURED BY THE SEVEREST STANDARDS OF THE GREATEST MUSICIANS, THE WMMMjk Wffil&M c 5 171 IS THE ACKNOWLEDGED . %^?, FRED A. HOSCHKE, Proprietor SPRINGFIELD NORTHAMPTON STEARNS SQUARE 60 PLEASANT ST. i Symphony in B-fxat major, No. 5, Op. 55. Alexander Glazounoff (Born at St. Petersburg, August 10, 1865; now living there.) Glazounoff's fifth symphony was composed at St. Petersburg in 1895. It was published in 1896. It was performed for the first time in March, 1896, at one of the concerts of the New Russian School, organized by the publisher Belaieff in St. Petersburg. The scherzo was then repeated in response to compelling applause. The first performance of the symphony in the United States was at a concert of the Philharmonic Society of New York, Anton Seidl conductor, March 5, 1898. The first performance in Boston was at a concert of the Boston Symphony Orchestra, November 24, 1906, Dr. Muck conductor. The symphony, dedicated to Serge Tan&'eff,* is scored for three flutes (one interchangeable with piccolo), two oboes, three clarinets, one bass clarinet, two bassoons, four horns, three trumpets, three trom- bones, one bass tuba, kettledrums, bass drum, triangle, cymbals, little bells, harp, and strings. I. Moderato maestoso, B-flat, 4-4. In this introductory section the sturdy chief theme of the allegro which follows is hinted at forcibly, and it is given to clarinets, bassoons, horns, tuba, and lower strings. There is preluding. The Allegro is in 2-2 and then 3-4. The first theme, which has been likened to the Sword motive in the "Ring," is announced by bassoon and violoncellos, while clarinets sustain. It • Serge Tanlleff was born in the government Vladimir, Russia, November 25, 1856. He is now living at Moscow. He studied the pianoforte with Nicholas Rubinstein and composition with Tschaikowsky at the Moscow Conservatory, of which he was afterward for some time (1885-80) the director, and was also teacher of theory in the school, a position that he still holds, or, at least, did hold a short time ago. (The Russian music schools have seen troublous times during the last year and a half, and resignations and dismissals have been frequent.) Tan6leff made his first appearance as a pianist at Moscow in January, 1875, when he played Brahms's Concerto in D minor, and was loudly praised by critics and the general public, although the con- certo was dismissed as an "unthankful" work. Tschaikowsky, as critic, wrote a glowing eulogy of the per- formance. It had been said, and without contradiction until the appearance of Modest Tschaikowsky's Life of his brother, that Tan&eff was the first to play Peter's Concerto in B-flat minor in Russia. But the first performance in Russia was at St. Petersburg, November 1, 1875, when Kross was the pianist. Tan&eff was the first to play the^ concerto at Moscow, November 12 of the same year, and he was the first to play Tschai- kowsky's Concerto in C minor, Pianoforte Fantasia, Trio in A minor, and the posthumous Concerto in E-flat major. Tan&eff spent some months at Paris, 1876-77. On his return he joined the faculty of the Moscow Conservatory. That Tschaikowsky admired Taneleff's talent, and was fond of him as a man, is shown by the correspondence published in Modest Tschaikowsky s Life. Tan&eff has composed a symphony (played here at a Symphony concert, November 23, igo2); an opera, "The Oresteia" (1895); a concert overture "The Oresteia" (played here at a Symphony concert, February 14, 1903); a cantata, "Johannes Damasce- nus"; a half-dozen quartets (the one m B-flat minor, Op. 4, was performed here at a Symphony Quartet concert, November 27, 1905), choruses. One of his part songs, "Sunrise, has been sung here two or three timet. H INTERIOR DECORATIONS DRAPERIES UPHOLSTERIES SPRINGFIELD, MASSACHUSETTS Telephone 1633 129 State Street — " iW/ZpiVSUIDP1 €i ter the Symphony Concert a prolonging of musical pleasure by home-firelight awaits the owner of a " Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. ifolfam Company 366 FIFTH AVENUE, NEW YORK CITY is then given to oboe and first violins, and at last is sounded by the whole orchestra. The second and suave theme is sung by flute and clarinet against wood-wind chords, with harp arpeggios and strings pizz. This theme is developed to a mighty fortissimo. The use of these themes is easily discernible. There is a stirring coda. II. Scherzo, moderato, G minor, 2-4. After a few measures of sportive preluding the first theme is given to flutes, oboe, clarinet. The second theme, of a little more decided character, is announced by flutes, clarinets, and violins. Pochissimo meno mosso. The flutes have a fresh theme, which, undergoing changes and appearing in various tonalities, is expressed finally by the full orchestra. III. Andante, E-flat, 6-8. The movement is in the nature of a Romance. The chief and expressive theme has been likened to the opening measures of Radames' famous air, "Celeste Aida." Heavy chords for the brass change the mood. There is a cantilena for violins and violoncellos. After preluding on the dominant there is a return of the leading motive. IV. Allegro maestoso, B-flat, 2-2. The movement begins at once, forte, with a martial theme (full orchestra). The other important themes used in this turbulent movement are a heavy motive, announced by bassoons, tuba, and lower strings, and, animato, one announced by clarinets, bassoons, violas, violoncellos, while double-classes and kettledrums maintain a pedal-point. * * * Alexander Constantinovitch Glazounoff is the son of a rich pub- lisher and bookseller of St. Petersburg, whose grandfather established the firm in 1782. Alexander was in the "Real" school until his eigh- teenth year, and he then attended lectures at the University of St. Petersburg as a "voluntary," or non-attached, student. He has devoted himself wholly to music. When he was nine years old, he began to take pianoforte lessons with Elenovsky, a pupil of Felix Dreyschock and a pianist of talent, and it is to him that Glazounoff owed a certain swiftness in performance, the habit of reading at sight, and the rudimentary ideas of harmony. Encouraged by his teacher, Glazounoff ventured to compose, and in 1879 Balakireff Miss M. E. BRYANT GOWNS and LADIES' TAILORING 389 MAIN ST., BOOKSTORE BUILDING SPRINGFIELD, MASSACHUSETTS mnTn MELBA KUBELIK These world famous artists prefer and use exclusively The PIANO Everywhere acknowledged to be, musically, the most beautiful piano the world has ever known. Send for a description of the MASON & HAM- LIN TENSION RESONATOR, the greatest discovery in pianoforte construction in the last fifty years. Springfield Representative COURT SQUARE THEATRE BUILDING — ; advised him to continue his general studies and at the same time ground himself in classical music. A year later Balakireff recom- mended him to study privately with Rimsky-Korsakoff. GlazounofT studied composition and theory with Rimsky-Korsakoff for nearly two years. He himself has said: "We had a great deal of music at home, and everything we played remained fixed in my memory, so that, if I waked in the night, I could reconstruct even in the slightest details all I had heard earlier in the evening." Following the advice of his teacher, he decided to write a sym- phony. It was finished in 1881, and performed for the first time with great success, at St. Petersburg, March 29, 1882, at one of the concerts conducted by Balakireff. Later this symphony (in E major) was reorchestrated by the composer four times, and it finally appeared as Op. 5. To the same epoch belong his first string quartet (Op.
Load more

Recommended publications
  • Courier Gazette : January 3, 1925
    Issued Tuesday Saturday Thursday Issue Saturday The Courier-Gazette By Rockland Publimini C.. 465 Main St, Established January, 1846. EatarM aa Saeantf Claaa Mall Mattar. Rockland, Maine, Saturday, January 3, 1925. THREE CENTS A COPY Volume 80............... Number 2. The Courier-Gazette RECALLS TRAGEDY ROUND’S NEW HICO SCHOOL BUILDING OLD TIMERS THERE THREE-TIMEt-A-WEEK Capt. Sidney G. Hupper Seventy-Five Members of STOP LOOK LISTEN ALL THE HOME NEWS Gives Full Details of the' the New Legislature Have Subacrlptlon 53 06 par year payable to Georges River Accident. Seen Previous Service idrance; single copies thru cents. Advertising rates baaed upon clrculatloa Editor of The Courier-Gazette:— There. snd very reaaonable. I have read with much interest the PREVENT BEING NEWSPAPER HISTORY » Frank Holley of North Anson, The Rockland Gazette was established in items in recent issues of The Cour- Blaine Morrison of Phillips. Percy 1846. In 1874 the Courier was established. w ,, and consolidated wlrth the Gazette in 1882. cier-GazeMe, concerning 'the Georges Sargent of Sedgwick. Judge Maher The Free Press was established in 1855, and River Accident. Although it small in 1891 changed its name to the Tribune of Augusta, Mark Barwlse of Ban­ These papers consolidated March 17. 1897. boy at the time I remember the in­ gor and a dozen or so other mem- KILLED cident because of a certain event in I^.*. IK, bers-elect of the 82d Maine Legisla­ ••• ••• my own family. The date I would ture which convenes Wednesday ••• A people who can understand and ••• — | place as the second, of July, 1858.
    [Show full text]
  • Toscanini IV – La Scala and the Metropolitan Opera
    Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write.
    [Show full text]
  • Conference Program Book
    2 CONFERENCE SPONSORS PLATINUM Travel Grants from the Savada Family in memory of Morton J. and Lila Savada GOLD The MediaPreserve Nauck’s Vintage Records Texas Tech University Libraries SILVER CPS1 iZotope Memnon, a Sony Company NOA Archive Packburn Electronics Prism Sound SUPPORTING Millennia Media EXHIBITORS Alexander Street, A ProQuest Company Archeophone ATR Magnetics Council on Library and Information Resources CPS1 The MediaPreserve Memnon, a Sony Company Nauck’s Vintage Records NOA Archive Northeast Document Conservation Center Packburn Electronics Prism Sound Texas Tech Libraries and Texas Tech Press Timestep 3 ASSOCIATION FOR RECORDED SOUND COLLECTIONS ARSC Board of Directors Matthew Barton, President Patrick Feaster, Immediate Past President Will Chase, 2nd Vice President/Program Chair Danielle Cordovez, Secretary Steven Ramm, Treasurer Jenny Doctor, Member-at-Large Martin Fisher, Member-At-Large Nathan Georgitis, Executive Director 50th Annual Conference Planning Brenda Nelson-Strauss, Conference Manager Curtis Peoples, Assistant Conference Manager Timothy R. Williams, Conference Registrar Anna-Maria Manuel, Bill Klinger, Outreach Kimberly Peach, Web Editor Patrick Feaster, Conference Audio Coordinator Danielle Cordovez, Mentor Program Coordinator Local Arrangements Rich Markow, Brenda Nelson-Strauss, Curtis Peoples Program Committee Will Chase, Chair Sarah Cunningham, Jenny Doctor, Richard Markow, Curtis Peoples Education & Training Committee Curtis Peoples, Interim Chair Awards For Excellence Committee Roberta Freund Schwartz,
    [Show full text]
  • VOICE, RACE, and NATION in US MUSIC, 1890-1924 by Scott A
    VOX AMERICANA: VOICE, RACE, AND NATION IN U.S. MUSIC, 1890-1924 by Scott A. Carter A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2014 Date of final oral examination: 05/15/2014 This dissertation is approved by the following members of the Final Oral Committee Ronald M. Radano, Professor, School of Music Jerome Camal, Assistant Professor, Anthropology Susan C. Cook, Professor, School of Music R. Anderson Sutton, Professor, School of Pacific and Asian Studies, University of Hawaii at Manoa Amanda Weidman, Associate Professor, Anthropology, Bryn Mawr College i For Katie ii The more I hear, the less I know. — "Music is a Better Noise," Essential Logic iii Table of Contents Acknowledgements v List of Figures ix A Note on Transcriptions and Direct Quotations x Chapter One 1 Introduction Chapter Two 28 Anthropology, Vocal Science, and the Ordering of World Song Chapter Three 73 Forging a Sound Citizenry: Voice Culture and the Embodiment of the Nation Chapter Four 122 Bert Williams's Vocal Challenge Chapter Five 167 The Vocal Economy of Vernon Dalhart Epilogue 205 Bibliography 211 iv v Acknowledgements Like any major project, my dissertation has benefitted from the insights, critiques, and generous advice of friends and colleagues. I want to begin my acknowledgements by thanking the community of scholars in the School of Music at UW-Madison for creating programs that challenge students to produce scholarship of the highest caliber while allowing them the freedom to pursue avenues of innovative musical inquiry. I am particularly grateful for the interdisciplinary approach to scholarship afforded by the department, which allowed me to seek out and work with scholars in anthropology, history, communication arts, and Afro-American studies.
    [Show full text]
  • Jewish Influence: an Introduction
    NOTE: "The list below is available on the internet. A random sampling of the names were found to be generally accurate. Since the source is the internet, the reader is advised to also authenticate. The link is: http://www.subvertednation.net/jew-lists/ The below link from the Jewish Virtual Library contains many of the names identified on pages 36 – 38. http://www.jewishvirtuallibrary.org/jsource/US- Israel/obamajews.html Jewish Influence: An Introduction We have been accused of having “Jew on the brain”; of being negatively obsessed with the Jews, and of being “anti-Semitic.” Yet Jewish influence over the affairs of the world are undeniably powerful, far out of proportion to their numbers. Their role in shaping public opinion through their media interests, and their mastering of the world of business and trade is pivotal to the world economy. As a group they are the most successful in terms of income and wealth and they have reached the highest echelons or the pinnacle of power in every field. Jews are the masters of Hollywood, they are the masters of all forms of media, radio, and television. They are masters of trade and commerce and banking, medicine, and law. The following lists we believe prove this reality. Jewish Lists The lists below are available on the internet. A spot check of several of the names found it to be generally accurate, though we cannot vouch for ALL of the names, and some titles may be out of date. The second list claims to be updated in 2012. They are followed by quotes on Jewish control.
    [Show full text]
  • CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
    CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. ROBERT BLASS [bs]. New York City, 1867-Berlin, 1930. Born of German parents, Blass studied first as a violinist and then voice in Frankfurt with Julius Stockhau- sen. His debut was in Weimar, 1892, as King Henry in Lohengrin and he was soon heard in many of Germany’s leading houses. Covent Garden and the Metropolitan Opera first heard him in 1900 and he sang in New York through 1910 and again the seasons of 1920-22. From 1913 to 1920 he was with Berlin’s Deutsche Opera and he taught in Berlin until his death. Blass made few recordings, these for Victor in 1903 and Edison in 1905. 9165. 2M Wax Edison B-48. MAGIC FLUTE: In diesen heil’gen Hallen (Mozart). Announced by Blass. OBT. Just about 1-2. $75.00. ALOIS BURGSTALLER [t]. Holzkirchen, Germany, 1872-1945. Trained as a watchmaker, Burgstaller was heard by chance and encouraged by Cosima Wagner. He made his stage debut at Bayreuth in 1894 in a small role, and from 1896 to 1903 he appeared there in various principal parts such as Siegmund, Parsifal, and Siegfried. In addition he sang at Covent Garden, in Paris and Moscow, as well as in other major Euro- ROBERT BLASS pean operatic sites.
    [Show full text]
  • VOCAL CYLINDERS 2M WA = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
    VOCAL CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction orange box and printed top. All others in clean, used box. Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. “Direct recording” means recorded directly to cylinder, rather than dubbed from a Diamond-Disc master. This is used for cylinders in the lower 28200 series where there might be a question. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her native Italy and was on the roster of the Hammerstein Manhattan Opera, 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Man- hattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career contin- ued into the mid-1920s, when she retired to Buenos Aires and taught. 9269. 4M Edison BA 28137. TOSCA: Vissi d’arte (Puccini). Repro B/T. Cons. 2. $25.00. BLANCHE ARRAL [s]. 9270. 4M Edison BA 28116. MIGNON: Je suis Titania (Thomas).
    [Show full text]
  • ARSC Journal, Spring 1991 35 Operatic Vitaphone Shorts
    THE OPERATIC VITAPHONE SHORTS By William Shaman On 6 August 1926 "Vitaphone," the latest commercial sound-on-disc motion picture system, made its debut at the Warners' Theater in New York City. The feature film that evening, "Don Juan," with John Barrymore and Mary Astor, was a lavish costume picture with a pre-recorded soundtrack consisting of synchronized sound effects and a Spanish-flavored score written by Major Edward Bowes, David Mendoza, and Dr. William Axt, played by the New York Philharmonic Orchestra under Henry Hadley. There was no spoken dialogue. Eight short subjects preceded "Don Juan:" Will H. Hays, president of the Motion Picture Producers Association, welcoming the Vitaphone in a spoken address; the Overture to Tannhauser played by the New York Philharmonic, again with Hadley conducting; violinist Mischa Elman, accompanied by pianist Josef Bonime, playing Dvorak's "Humoresque" and Gossec's "Gavotte;" Roy Smeck, "Wizard of the Strings," in a medley of Hawaiian guitar, ukulele, and banjo solos; violinist Efrem Zimbalist and pianist Harold Bauer playing the theme and variations from Beethoven's "Kreutzer" Sonata, and three solos by singers Marion Talley, Giovanni Martinelli and Anna Case. By all accounts, the show was a resounding success. A steady flow of shorts and part-talking features would follow, beginning with the second Vitaphone show on 7 October 1926. On 6 October 1927 "The Jazz Singer" premiered in New York. The other major Hollywood studios, anticipating a favorable public response to sound films, had been involved in clandestine negotiations since 1926 and now were scrambling to secure a share of this lucrative new market.
    [Show full text]
  • EDISON DIAMOND-DISCS SS=Early “Smooth Surface” (Laminated, 1912-1915); RC= “Edison Re-Creation” Paper Label (1921- 1924); ER= “Edison Record” Paper Label (1924-1929)
    .CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction Edison orange box and printed top. All others in clean, used boxes. Any mold on wax cylinders is always described. All cylinders not described as in OB (original box with generic top) or OBT (original box and original top) are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. BESSIE ABOTT [s]. 9360. Edison 2-M Grand Opera B-23. FAUST: L’air des bijoux (Gounod). OBT. Just about 1-2. $40.00. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with suc- cess in South America, Russia, Spain, Eng- land and her native Italy and was on the roster of the Hammerstein Manhattan Opera, 1908-10. One New York press notice indi- cates that her rendering of the “Suicidio” from La Gioconda on a Manhattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career contin- ued into the mid-1920s, when she retired to Buenos Aires and taught. 9336. Edison BA 28159. LA TRAVIATA: Addio del passato (Verdi). Repro B/T. Just about 1-2.
    [Show full text]
  • Metropolitan Opera House Grand Opera Season 1918-1919 Program
    Barrientos Not since the days of Adelina Patti has a coloratura-soprano won such world-wide renown as Marie Barrientos. Milan, Paris, London, Petrograd, Buenos Ayres, Barcelona and New York have all acclaimed her splendid voice and artistic gifts. The intricate delicacies ofcolora- ture vocalization, the almost un- believable range of many operatic masterpieces, the intuitive gift of interpretation— all unite in the art of Barrientos. Barrientos makes records for Columbia exclusively. Her Columbia Records, played on the Columbia Grafonola give you every golden note, perfectly mirrored. COLUMBIA GRAPHOPHONE CO, ^«s«Ktn Barrientos as “Marta” SEASON 1918—1910 1 METROPOLITAN OPERA COMPANY LESSEE QIULIO G ATTI-C ASAZZ A GENERAL MANAGER PRINQ FUR Otto H.Kahn Chairman Edmund L. iajlies Shoulder Capes, Wraps Rawlins Li. Cottenet and Dolmans, also the Paul D. Cravath popular animal Scarfs T. DeWitt Cuylen in Russian and Hudson Robert Goelet Ray Sable, Fisher, Silver, Frank Gray Griswold Blue, Cross and other Alvin W Krech Foxes Clarence l i.k'Iackay Edvvcird T. W.K.Vander-Ijilt Harry Payne VVhitney Henry RogepsWintlpp Dry Cold Storage for 3SE Heavier Winter THE THEATRE MAGAZINE CO. 6 East 39th Street, New York Has the exclusive right and privilege to Furs at print and publish this programme 2 % 3M Fifth Avemume Between 35tli and 36tli Sts. Telephone, Gi:eeley — 2044. ; ' :: : METROPOLITAN OPERA HOUSE ANNOUNCEMENTS I SUNDAY EVENING, MARCH 30th AT 8.30 O’CLOCK GRAND SUNDAY NIGHT CONCEhT AT POPULAR PRICES soloists: PAULA PARDEE PIANISTE MARGUERITE NAMARA SOPRANO HIPOLITO LAZARO TENOR Together with the Entire Metropolitan Opera House Orchestra UNDER THE DIRECTION OF ADOLPH ROTHMEYER Programme 1.
    [Show full text]
  • Slow Emotions La Expresividad Emocional De Las Imágenes En Movimiento Lento
    1 Slow Emotions La expresividad emocional de las imágenes en movimiento lento Doctorando Abel Hernández Pardo Directores María José de Córdoba – Dina Riccò Dpto. Dibujo UGR – Dipartimento di Design. Politecnico di Milano 2 Editor: Universidad de Granada. Tesis Doctorales Autor: Abel Hernández Pardo ISBN: 978-84-9163-894-0 URI: http://hdl.handle.net/10481/51874 AGRADECIMIENTOS. Quiero manifestar mi gratitud a las personas que me han acompañado y aconsejado en el trascurso de la investigación, en especial a mis tutoras María José de Córdoba, de la Universidad de Granada y Dina Riccò, del departamento de Design en el Politecnico di Milano, de las cuales tanto sigo aprendiendo y a las que les debo horas y horas de paciencia en la orientación de la investigación. A Irene Toca mi compañera y amiga, una persona amarilla que irradia luz, sin ti esto no hubiera sido posible, gracias eternas por alumbrar con una sonrisa los días grises, por inspirarme en las largas noches de conversaciones sobre sinestesia e ideaestesia, y por estar dispuesta a regalarme lo que más vale en tu vida, tu tiempo. Y por supuesto a Sean A. Day y Victor Parra por las indicaciones profesionales. 3 Introducción La creatividad no es propiedad de los artistas. Es un elemento básico del carácter humano, no importa en la cultura que te encuentres ni donde vivas. Bill Viola. (Utrera, 2011) Claude Chabrol1 sugiere que existen dos tipos de directores, los poetas y los narradores, los segundos son los que directamente se adscriben al término narrar, contar la historia, pero los primeros son denominados también, Poetas de la imagen, se adscriben a términos más cercanos a las sensaciones, las emociones y a la creación de transcripciones a través de imagen y sonido; utilizan o se basan en otros valores con los que expanden el campo perceptivo y comunicativo.
    [Show full text]
  • Of the Moon," by Cleaves Kinkead
    COMING ATTRACTIONS. AMUSEMENTS. AMUSEMENTS. AMUSEMENTS. "Going Up." Week Nights, 8:30 to 12 "Going Up," the Cohan and Harris musical comedy production, is to be- Kin a return encasement at the New National Theater next week, opening AmiLrcment^ next Sunday evening, with virtually ARCADE the same cast seen before, although 14th and Park Road strengthened in a few places. New AVusic and Drama settings and new costumes will lend freshness to 3 show which for more Our Biggest and Best Show than two has the Katherlne and . After years made rounds Pel rachlo. of American PERFECT PLACE lonp neglect, David Garrick made a ver¬ theaters, returning in al¬ sion of the comedy under the titl" of most every instance. TO Vaudeville's Sensation! "Katharine and Petruchio." but did not First Appearance F.ast of appear in it himself. Henry Woodward Golden Girl." and Mrs. Pritchard acted the chief char¬ "My The Most Extraordinary Puzzling and Thrilling Act in Vaudeville acters in Garrick's production. Oth» r Monday. January 12, another noted Knjr'ith players who have been operetta by the prolific Victor Her¬ A Production Which Will Interest You seen as Kitherine and Petruchio are bert, "My Golden Girl," will have its DANCE LCVETT'S Mrs. Sidd. s and John Philip Kemble, local premiere at the Shubert-Belasc-o Strict Prleea Helena Kaucit and f'harles Ivemble, Kl- Theater. The book and lyrics are Onaor.Popular len Tree and Charles Kemble. Kllen by Frederic Arnold Kummer, who Terry and Henry Irving. Mrs. Bernard- wrote the story and words to the Beer^ and Forbes-Robertson.
    [Show full text]