Rarely Heard Masterworks, December 11, 2012

This is the concert program of the Rarely Heard Masterworks performance on Tuesday, December 11, 2012 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Sonate Nr. 2 in e minor, Opus 108 by Gabriel Fauré, Sonata for Two Violins, Opus 56 by Sergei Prokofiev, and Impressions d'Enfance, Opus 28 by Georges Enesco. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Grieg Festival: The Continental Grieg: German and Danish Poetry, November 3, 2007

This is the concert program of the Grieg Festival: The Continental Grieg: German and Danish Poetry performance on Saturday, November 3, 2007 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were the following by Edward Grieg: Eingehüllt in graue Wolken / Closely wrapped in grey clouds, Opus 2 No. 2, Hör ich das Liedchen klingen / I heard a little song ring, Opus 2 No. 3, Abschied / Parting, Opus 4 No. 3, Das alte Lied / The old song, Opus 4 No.5, Wo sind sie hin? / Where have they gone, Opus 4 No. 4, Six German Songs, Opus 48, Forårsregn / Spring Showers, Opus 49 No. 6, Til min Dreng / To My Son, Opus 69 No. 2, Ved Moders Grav / At Mother's Grave, Opus 69 No. 3, Jule-Sne / Christmas Snow, Opus 49 No. 5, Snegl, Snegl! / Snail, Snail!, Opus 69 No. 4, Lys Nat / Light Night, Opus 70 No. 3, Se Dig for / Walk With Care, Opus 70 No. 4, Poesien / Poesy, Opus 18 No. 5, and Hjertets Melodier / Melodies of the Heart, Opus 5. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Boston University Chorus, April 16, 1970

This is the concert program of Boston University Chorus performance on Thursday, April 16, 1970 at 8:30 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Psaume 138 by Jan Pieters Sweelinck, Ave Maria by Josquin DesPres, What If I Never Speed by John Dowland, Dear, If You Change by J. Dowland, Trois Chansons by Claude Debussy, Heart Not So Heavy as Mine by Elliot Carter, Song HEard In Sleep by Gardner Read, Water Walk by Joyce McKeel, Harvest Home Chorale No. 3 by Charles Ives, and Missa in Tempore Belli (Mass in Time of War) by Franz Joseph Haydn. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Gardner-Webb Professor Shares Stage with Top Names in Music Industry

An Elvis Presley concert in 1976 introduced the trumpet to Tim Hudson, Gardner-Webb University Assistant Professor of Music. “The King” appeared on stage to a majestic trumpet fanfare. “That was the coolest thing I had ever heard,” Hudson recalled. WGWG: Interview with Tim Hudson, Performing Artist, Recording Artist and Teacher of Trumpet at GWUhttps://digitalcommons.gardner-webb.edu/gardner-webb-newscenter-archive/1697/thumbnail.jp

Letter Written by Katherine Trickey to Her Folks Dated October 23, 1945

[Transcription begins] 23 Oct 45 Dear Folks, The fall season has really started in Macon. Saturday night we went to see Noel Coward’s “Blythe Spirit” put on by the Wesleyan Drama Club. Very, very, enjoyable and well done. It was long but I was so glad that I had spunked up and gone. It seemed like quite a chore at suppertime but it was well worth it. Last night (Mon) we went to the first Community Concert which was a symphony orchestra concert and delightful. It poured all the evening and Marj decided not to go but some of us went in spite of the rain and we’re very glad we did so. I haven’t heard a symphony orchestra for years and believe me it was a treat. Mother, I’m sorry about the flat iron – I could have sent it home long ago as the Army finally bought some for the laundry room. I just didn’t think – I’ll try to get it packed and sent tomorrow if - I can find a box and packing material. – By the way, I haven’t a punctured ear – There is no trace of that mastoid at all. – I don’t believe that it makes any difference about ordinary flying anyway – just military pilots. Our new Major arrived today but I haven’t even caught a glimpse of him yet. Still wondering what he’ll be like. Hastily Kay P.S. I’m going (tomorrow night) to see the film of Agatha Christie’s “And then there were none.” – Hope it’s as good as the book. [Transcription ends

Early Music Series: A Concert of 17th-Century English Music, November 23, 1985

This is the concert program of the Early Music Series: A Concert of 17th-Century English Music performance on Saturday, November 23, 1985 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue. Works performed were Voluntary in C by Thomas Tomkins, Voluntary in A by T. Tomkins, Verse in 3 parts by T. Tomkins, Fancy in A by T. Tomkins, "In darkness let me dwell" by John Dowland, "Come Again Sweet Love" by J. Dowland, "Dearest all faire" by William Lawes, "Amarillis" by W. Lawes, "Music for a while" by Henry Purcell, Fantasia a 5, "Luci beate" by John Coprario, Sett in C by Anthony Holborne, The Cries of London (for voices and viols) by Orlando Gibbons, Mass for Five Voices by William Byrd, Anthem, "This is the record of John" by O. Gibbons, Anthem, "When David heard" by T. Tomkins, and "Come Ye Sons of Art," Ode for Queen Mary by H. Purcell. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Silhouettes

Bright lights faded into the gloom of a dimmed theater, and the crowd stirred restlessly in their seats. The orchestra\u27s low drone came from behind the curtain, and strains of half forgotten melodies mingled with discord. The orchestra was ready. As the curtain rose, the stage lights flooded, revealing the conductor, famous musician of two continents, who was playing tonight a special concert for war relief. The light from the stage half revealed the first row, a set of faces with inscrutable eyes. The conductor, glancing briefly at this row, wondered fleetingly who these people were, what brought them to this concert, and what they thought as they listened to his music. As fast as the thought came, it disappeared. The conductor turned to the orchestra, raised his baton, and the strains of a familiar Strauss waltz were heard . . .

The Concordiensis, Volume 37, No 9

Advertisments; Resume Of The Cross-Country Season; English Club; twenty-Five Years Ago; Final Exam Schedule; Union Alumni Establish Two New Scholarship Funds; The Chatam Concert-Why?; Engineering Notes; The Dramatic Club; Freshman Defeat Juniors; 1915 Claims The Best Ever ; Idol has New Throne; Classical Club Play?; Black Cat Club; Heard At The Armory; The Allison-Foote Debate; Theta Lamda Phi To Be Known Under New Name; U.C.C.A. Notes; Freshman Physiology Class; Cosmopolitan Club; Angels-Male or Female?; Brunet To Run Soiree; Notice; Advertisementshttps://digitalworks.union.edu/concordiensis_1913/1051/thumbnail.jp

The Concordiensis, Volume 37, No 9

Advertisments; Resume Of The Cross-Country Season; English Club; twenty-Five Years Ago; Final Exam Schedule; Union Alumni Establish Two New Scholarship Funds; The Chatam Concert-Why?; Engineering Notes; The Dramatic Club; Freshman Defeat Juniors; 1915 Claims The Best Ever ; Idol has New Throne; Classical Club Play?; Black Cat Club; Heard At The Armory; The Allison-Foote Debate; Theta Lamda Phi To Be Known Under New Name; U.C.C.A. Notes; Freshman Physiology Class; Cosmopolitan Club; Angels-Male or Female?; Brunet To Run Soiree; Notice; Advertisementshttps://digitalworks.union.edu/concordiensis_1913/1025/thumbnail.jp

Utah Viola Society

After his early youth as a violinist and composition student in Rome, PIETRO LOCATELLI traveled through Italy and Germany from 1723 to 1728, composing most of his concert compositions during this period. A notice about one of Locatelli’s performances at court describes the musician’s self-assurance and his gorgeous, diamond-studded clothes. In 1729 Locatelli moved to Amsterdam, where he stayed until his death. His sparsely documented public and semi-public performances were open only to music lovers, not to professional musicians. An Englishman who heard him in 1741 wrote “he is so afraid of People Learning from him, that He won’t admit a Professed Musician into his Concert”. Some rich music lovers, who would play as amateurs with Locatelli, helped him to become affluent. In aristocratic circles he was a recognized, admired and supported virtuoso and composer. In 1741 he set up a business selling violin strings from his home, eventually earning the highest income of any musician from Amsterdam.https://digitalcommons.usu.edu/music_programs/1194/thumbnail.jp