Philip Hale's Boston Symphony Programme Notes

audiobook

Philip Hale's Boston Symphony Programme Notes

by Philip Hale

EN·~14 hours·176 chapters

Chapters

176 total
1

PHILIP HALE’S BOSTON SYMPHONY PROGRAMME NOTES

0:25
2

EDITOR’S NOTE

6:22
3

INTRODUCTION

4:50
4

JOHANN SEBASTIAN BACH

1:40
5

THE BRANDENBURG CONCERTOS

3:51
6

THE CONCERTOS FOR PIANOFORTE

2:57
7

THE ORCHESTRAL SUITES

2:05
8

SYMPHONY NO. 1, IN C MAJOR, OP. 21

6:51
9

SYMPHONY NO. 2, IN D MAJOR, OP. 36

7:31
10

SYMPHONY NO. 3, IN E FLAT MAJOR “EROICA,” OP. 55

11:13

Description

A curated collection of thirty‑two years of programme notes, this volume offers listeners the same concise, vivid commentary that guided Boston Symphony audiences from the early twentieth century through the 1930s. Philip Hale’s writing balances plain‑spoken description with insightful historical context, inviting you to hear each work with a clearer sense of its origins, structure and the atmosphere of its first performances. The notes are deliberately free of heavy editorializing, allowing the music itself to speak while still pointing out the moments that made each piece memorable.

Complementing the programme material, the editor weaves in excerpts from Hale’s contemporary newspaper reviews, revealing the critic’s candid humor, strong preferences, and occasional gentle ribbing of the musical establishment of his day. Together, the descriptive passages and the sharper critical observations create a layered listening guide that enriches any concert experience without spoiling the unfolding story of the music itself.

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Details

Language

en

Duration

~14 hours (822K characters)

Publisher of text edition

Project Gutenberg

Credits

Produced by Stephen Hutcheson, Dave Morgan and the Online Distributed Proofreading Team at http://www.pgdp.net

Release date

2017-12-20

Rights

Public domain in the USA.

About the author

PH

Philip Hale

1854–1934

Best remembered as one of Boston’s leading music critics, this sharp-eared writer helped generations of concertgoers hear classical music with more understanding and curiosity. His lively program notes and newspaper criticism made serious music feel approachable without watering it down.

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