Word: beethovens
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...This Evening Introductory Remarks Jerome D. Greene '96 The Pierian Sodality Overture to "Iphigenia in Aulis" Gluck Glee Club Diffusa est gratia (Motet) Nanino Tutti Venite armati(Villanella) Gastoldi Address: "Harvard, Present and Future" President Conant Glee Club Harvard Hymn Paine The Pierian Sodality Menuetto: Allegro molte (Symphony I) Beethoven Turmmusik for Brass Instruments Johann Pezel Intrada-Allemande-Courante_Courante-Sarabande-Bal-Gigue Danse Espagnole, from "La Vida Breve" de Falla Glee Club Praestat hoc nobis Chadwick
...weekly concerts by the Symphony in Boston on Friday and Saturday give every evidence of being superb and among the most distinguished in the series. The First Symphony of Beethoven opens the program. Composed in 1800 when Beethoven was thirty years old, it acted more as a trial balloon for the great symphonies which followed it than as an original contribution to the literature. The style and the methods employed are very reminiscent of Haydn and Mozart, but even in this early work, a certain individuality is already present which was for a time to make Beethoven the black sheep...
Also on the program is Mendelssohn's Concerto in E minor for Violin in which Nathan Milstein, the young Russian virtuose is to be the soloist. The concert closes with Sibelius's First Symphony Like Beethoven, the great Finnish composer is orienting himself in this work and does not attain quite the characteristic breadth and scope which are so typical of his later symphonies, notably the Fifth...
...later years Beethoven referred to Fidelia as "the one of all my children that cost me the worst birth-pangs, the one that brought me the greatest sorrow, and for that very reason the one most dear to me." Records show that for Leonore's big aria, Komm Hoffnung, he tried 18 different attacks, ten for his concluding chorus. He wrote four overtures be fore he was satisfied, each seething with symphonic ideas. Handicaps were his lack of theatre technique, his stormy impatience with what seemed to be intrigue. In a revised version the opera had a more promising...
...Beethoven's Fidelia with sure-voiced Kirsten Flagstad jam-packed the Metropolitan Opera House last week. But the record crowd of the season turned out for a special performance of La Boheme in which the heroine was Grace Moore making her first Manhattan opera appearance since 1932. Since then, with One Night of Love and Love Me Forever, the blonde soprano had become a top-notch cinema success. She had sung in London's Covent Garden at the command of the Royal Family (TIME, June 24), returned to the U. S. to be greeted like a Jenny Lind...