AMS-NE: New England Chapter of the AMS

AMS-NE Chapter Meeting Saturday, February 2, 2013 Tufts University Louis Epstein, "Triple Threat: Ida Rubinstein as Patron, Impresario, and Director" Between 1928 and 1934, Ida Rubinstein and her Ballets Rubinstein presented four ambitious seasons of original works in Paris, filling a gap left by the demise of the Ballets Russes and defying the economic downturn that hobbled other cultural institutions. Like the Ballets Russes, whose opulet, exoticist performances of Cléopâtre and Schéhérezade in 1909 and 1910 had made Rubinstein a household name, the Ballets Rubinstein featured mainly foreign performers and visual artists in big budget spectacles that married dance, mime, music, and declamation. Rubinstein solicited musical scores almost exclusively from contemporary French composers. Rubinstein – who funded, managed, and directed her productions – offered exceptionally lucrative commissions to Ravel, Stravinsky, Auric, Milhaud, Honegger, Sauguet, and Ibert...

AMS-NE Fall Chapter Meeting Saturday, October 2, 2010 Amherst College Yu Jueng Dahn, "'Virgin Soil' for Bach's Music: The American Reception of Robert Franz"  In 1867 John Sullivan Dwight asserted in Dwight’s Journal of Music that Robert Franz and J. S. Bach “have grown to be almost inseparable.” Criticized in Germany for his editorial emendations to Bach’s vocal works, which were considered historically inaccurate, Franz curiously found many supporters in the United States as early as 1855. This eventually led to benefit concerts in Boston in 1867 and 1872, to assist Franz financially because of his deafness. Dwight praised Franz’s editions of Bach’s vocal works as being “almost Bach-like in its spirit” and so true to the composer’s style that they could be considered “Bach’s having done it himself.” This paper traces Franz’s positive American reception as an editor and composer, examines his opinion of the United States as “virgin soil” for promoting qu...