THE MUSICAL ARTS ASSOCIATION SUPPORTING THE CLEVELAND ORCHESTRA

Thomas L. Sidlo, President

Honorary Vice Presidents Mrs. D. S. Blossom Mrs. Francis F. Prentiss

Lewis B. Williams Vice President Grover Higgins Vice President E. J. Kulas Vice President Adella Prentiss Hughes Honorary Vice President and Secretary A. A. Brewster Treasurer C. J. Vosburgh Assistant Treasurer

EXECUTIVE COMMITTEE

Mrs. D. S. Blossom E. W. Garfield Charles B. Merrill A. A. Brewster Edgar A. Hahn Mrs. Francis F. Prentiss Percy W. Brown Grover Higgins H. Chapman Rose Mrs. Henry Hunt Clark Adella Prentiss Hughes Thomas L. Sidlo Henry S. Curtiss Jay Iglauer M. L. Sloan A. C. Ernst Frank G. James C. J. Vosburgh Paul L. Feiss E. J. Kulas Lewis B. Williams

TRUSTEES

Kenneth L. Allen Mrs. Peter Hallaran William M. Milliken Mrs. George P. Bickford Samuel H. Halle Dr. Russell V. Morgan Allen L. Billingsley Grover Higgins Victor B. Phillips Mrs. D. S. Blossom Mrs. Allan C. House Mrs. Francis F. Prentiss Charles Bingham Bolton Adella Prentiss Hughes H. Chapman Rose Mrs. Henry Thayer Bourne Jay Iglauer Ralph S. Schmitt A. A. Brewster Mrs. R. Livingston Ireland Thomas L. Sidlo Percy W. Brown Frank G. James M. L. Sloan Mrs. Henry Hunt Clark I. L. Jennings Mrs. Abraham Strauss Henry S. Curtiss E. J. Kulas Mrs. Charles H. Strong A. C. Ernst Mrs. E. J. Kulas Mrs. Frank H. Teagle Paul L. Feiss Dr. W. G. Leutner C. J. Vosburgh E. W. Garfield W. G. Mather Chief Justice C. V. Weygandt Msgr. John R. Hagan Mrs. Malcolm L. McBride Mrs. Fred R. White Edgar A. Hahn Charles B. Merrill Lewis B. Williams

A. A. Brewster, General Manager C. J. Vosburgh, Manager The Musical Arts Association The Cleveland Orchestra and Severance Hall G. H. L. Smith, Program Editor 11001 EUCLID AVENUE, CLEVELAND, OHIO 315 cAn Outstanding d^ecordin^

r7~h HE RECORDING of Alban Berg’s Violin Con- certo by The Cleveland Orchestra, Artur Rodzinski, conductor, Louis Krasner, soloist, has been singled out as the outstanding contemporary recording of 1941 by Howard Taubman, record reviewer of The New York Times. Mr. Taubman wrote as follows about the con­ certo in his paper on January 4, 1942: “Here is a work of outstanding originality and searching power, written by one of the most sensitive composers of the twentieth century. It is not music that scores an easy and immediate success, and the decision on the part of Columbia to record it was bold.” Noting that the other record companies have been “equally alive to the need to do something for the com­ posers of our time,” Mr. Taubman states that he men­ tions the Berg concerto first “because it happens to stand out, in my opinion, as the most memorable contempo­ rary work that came to records in 1941.” Earlier in the year, Mr. Taubman had written thus in reviewing the records: “The Violin Concerto is a work that has something to say. It was written just before Berg’s death as a sort of requiem for a young friend, Manon Gropius, daughter of the widow of Mahler; it turned out to be his own requiem. Mr. Krasner had been urging Berg to write a work for violin, but the composer made no progress for months until Manon Gropius’ death moved him to swift action. Then he wrote the concerto in six weeks. “It is a work of subtle organization, but as you listen to it several times its fundamental moving simplicity emerges. The interest shifts from concern over the methods used by the composer to the feeling he wishes to convey. He writes with passion and strength and searing tenderness. “The performance is worthy of the work. Mr. Krasner, who knows it thoroughly and has played it ex­ tensively, gives the violin part a sensitive and lofty per­ formance. Dr. Rodzinski and his orchestra enter into the spirit of the composer’s world, and this is no common orchestral landscape.” ORCHESTRA PERSONNEL

First Violins Clarinets Hugo Kolberg Robert McGinnis Concertmaster George Rowe Carl Kuhlmann Felix Eyle Second Concertmaster E Flat Clarinet Paul Gershman George Rowe Ben Sil verberg Bass Clarinet Samuel Carmell Albert Edelman Carl Kuhlmann Homer Schmitt Bassoons Eugene Bergen Frank Ruggieri Ernest Kardos August Rickert Jac Gorodetzky Marcello Bucci Bernard Goodman ARTUR RODZINSKI Morris Morovitsky Conductor Contrabassoon Samuel Salkin Marcello Bucci David Klinger RUDOLPH RINGWALL Associate Conductor French Horns Second Violins Philip Farkas Martin Morris Hyman Schandler Principal Basses William Namen Edward Matyi Jacques Posell Ernani Angelucci Willis Reinhardt Principal Erwin Miersch Joseph Koch William Dosch Michael Lamagna Trumpets Louis Berman Thomas Pivonka Olin Trogdon Louis Davidson Salvatore Fiore Alois Hruby James Ceasar Hyman Goldin Theron McClure William Hruby Erwin King Alfred Käufer Irving Fink Frank May Vincent Greicius Ferdinand Maresh Trombones Alfred Käufer Merritt Dittert Emil Sholle Harp Warren Burkhart Alice Chalifoux Valdemar Lilleback Violas Tuba David Schwartz Flutes Adolf Moser Principal Maurice Sharp Tympani Tom Brennand Martin Heylman Ian Kerr Frederick Funkhouser Emil Pagano Samuel Goldblum Percussion Milton Thomas Piccolos Constant Omers Ben Selcer Frank Sholle LeRoy Collins Emil Pagano David Klinger Fred Rosenberg Martin Heylman Emil Sholle Stanley Harris Joseph Senyak Oboes Piano Leon Machan Philip Kirchner Violoncellos Ernest Serpentini Celesta Leonard Rose Bert Gassman Leon Machan Principal Organ Charles McBride English Horns Vincent Percy Harry Fuchs Bert Gassman Robert Swenson Ernest Serpentini Librarians Isadore Gordon Constant Omers David Greenbaum William Dosch Seymour Barab Frank Grant Personnel Manager Baggage Master Nathan Gershman William Dosch George Higgins 317 THE WOMEN’S COMMITTEE o£ THE CLEVELAND ORCHESTRA

OFFICERS Mrs. Henry Hunt Clark, President Vice Presidents Mrs. George P. Bickford Mrs. Richard P. Nash Mrs. Frank M. Roby Recording Secretary Treasurer Corresponding Secretary Mrs. Sterling Newell Mrs. James S. Abbott, II Mrs. Charles E. Bodurtha TRUSTEES Mrs. James S. Abbott, II Mrs. Frank K. Griesinger Mrs. William C. McCally Mrs. George P. Bickford Mrs. Joseph M. Hayman Mrs. Richard P. Nash Mrs. Charles E. Bodurtha Mrs. Siegmund Herzog Mrs. Sterling Newell Mrs. Henry T. Bourne Mrs. Frank Hovorka Mrs. Victor B. Phillips Mrs. Percy W. Brown Mrs. Walter B. Johnston Mrs. Frank M. Roby Mrs. Howard F. Burns Mrs. Frank E. Joseph Mrs. Alfred R. Willard Mrs. Henry Hunt Clark Mrs. Walter T. Kinder Mrs. Herman Wolf SUBCOMMITTEES Children s Concerts Mrs. Henry T. Bourne, Chairman Mrs. Robert M. Clements Mrs. Patrick C. O’Brien Mrs. Nathan Van Stone Mrs. Robert B. Denison Miss Annette Osborne Mrs. L. C. Wykoff Mrs. Frank K. Griesinger Mrs. Ralph S. Schmitt Mrs. Edward H. Yost Membership Mrs. Richard C. Findley, Chairman Mrs. Charles E. Bodurtha, Vice-chairman Mrs. William C. Blackmore Mrs. Wilfred P. Jennings Mrs. Simon Olson Mrs. Frank J. Doran Mrs. Frank E. Joseph Miss Phyllis Peckham Mrs. Carl A. Hamann Mrs. Walter T. Kinder Mrs. Edmund Rogers Mrs. Siegmund Herzog Mrs. Donald A. MacCornack Mrs. Avery L. Sterner Mrs. Robert H. Horsburgh Mrs. Robert G. McCreary Mrs. Clifton L. Wyman Music Memory and Appreciation Mrs. Walter B. Johnston, Chairman Miss Lillian L. Baldwin, ¿¿v&or Miss Alma Lorena Bake Mrs. Tell Berna Mrs. Louis S. Peirce Mrs. Cleon M. Bell Mrs. Clark Bole Mrs. Charles E. Scanlon Mrs. Robert L. Bender Miss Olive Gibson Mrs. Avery L. Sterner Mrs. Arthur W. Huning Program Interpretation Mrs. Alfred R. Willard, Chairman Miss Lillian L. Baldwin Miss Celeste Beckwith . Mrs. Joseph M. Hayman, Jr. Mrs. Edward S. Bassett Mrs. F. W. Eisele Mrs. Sterling Newell Speakers’ Division Miss Celeste Beckwith, Chairman Miss Katherine M. Halle Mrs. Leon Machan Mrs. Jacques Posell Mrs. Philip Kirchner Miss Phyllis Peckham Miss Louise Palmer Walker Record Lending Library Mrs. Arthur W. Huning, Director Mrs. Dudley S. Blossom Mrs. Arthur Shepherd Music for Young Children Mrs. William C. McCally, Chairman Miss Marie M. Martin, Program Director Mrs. Claude S. Beck Mrs. Alexander T. Bunts Mrs. Alfred Kelley Mrs. Carl L. Breithaupt Mrs. William Chisholm, II Mrs. John S. Lucas Mrs. Leonard H. Bruce Mrs. George Crile, Jr. Mrs. Thomas L. Sidlo Mrs. G. Richard Hunter 319 THE CLEVELAND ORCHESTRA

ARTUR RODZINSKI, CONDUCTOR

FOURTEENTH PROGRAM Thursday Evening, January 29, 1942, at Eight-thirty Saturday Evening, January 31, 1942, at Eight-thirty

ARTUR RUBINSTEIN Piano

Overture, “The Hebrides” (“Fingal’s Cave”), Op. 26 Mendelssohn

Concerto for Piano No. 1 in E minor, Op. 11 Chopin Allegro maestoso Romanze: Larghetto Rondo : Vivace INTERMISSION

Symphonie Concertante for Piano and Orchestra, Qp. 60 Szymanowski Moderato Andante molto sostenuto Allegro non troppo

Spanish Capriccio, Op. 34 Rimsky-Korsakoff

The STEINWA Y is the official piano of The Cleveland Orchestra and is used by Artur Rubinstein The Cleveland Orchestra records exclusively for COLUMBIA

321 OVERTURE, “THE HEBRIDES” ("FINGAL’S CAVE”), OP. 26

By Felix Mendelssohn-Bartholdy Born February 3, 1809 in Hamburg; died November 4, 1847 in Leipsic

Mendelssohn began the overture immediately after visiting Fingal’s Cave on August 7, 1829 and completed it at Rome on December 16, 1830. It was first performed on May 14, 1832 by the London Philharmonic Society at Covent Garden. The first American perform­ ance was given by the New York Philharmonic Society on November 16, 1844. The overture is scored for pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, tympani and the usual strings.

isiting the Hebrides in 1829, Mendelssohn saw Staffa and Fingal’s Cave on August 7. The overture came to him in its full form and color while Vhe was tossing in a small boat within the cave, and before that memorable day was over he had written to his sister Fanny: “That you may understand how extraordinarily the Hebrides affected me, the following came into my mind”; and he noted down twenty-one measures in alle breve, which were to form the opening of the overture. He continued to work on the sketches as he travelled. Some of the overture written at Coed Du, near Chester, and some at London, but the larger part of the score was composed at Rome in the Autumn of 1830, and it was in the Eternal City that the overture was completed.

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10622 EUCLID CHerry 3625 1310 HURON RD, 323 Mendelssohn took the score to Paris with the thought of a performance there, but he did not produce it then, because, as he wrote on January 12, 1832, it was not “quite right.’’ He felt that the whole working-out smelt “more of counterpoint than of train oil, sea-gulls, and salt fish, and must be altered.” When Thomas Attwood conducted it from manuscript at the sixth con­ cert of the London Philharmonic Society on May 14, 1832, Mendelssohn wrote: “It went splendidly, and sounded so droll amongst all the Rossini things.”

The island of Staffa, a solitary outpost of the Hebrides group, is some ten miles west of Mull. The vast cavern known as Fingal’s Cave, which has brought fame to Staffa, is thirty-three feet in width, about sixty feet high and penetrable for more than two hundred feet. The restless sea forms the floor. Mendelssohn’s travelling companion, Klingemann, described thus the visit of the two friends to the cave: “We were put out in boats, and lifted by the hissing sea up the pillar stumps to the celebrated Fingal’s Cave. A greener roar of waves surely never rushed into a stranger cavern — its many pillars making it look like the inside of an immense organ, black and resounding, and absolutely without purpose, and quite alone, the wide gray sea within and without.”

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324 CONCERTO FOR PIANO NO. 1 IN E MINOR, OP. 11 By Frederic Chopin Born February 22, 1810 in Zelazowa-Wola, near Warsaw; died October 17, 1849 in Paris

Chopin wrote this concerto in 1830 at Warsaw. It was played at a rehearsal on September 22, 1830 in Warsaw, and first performed publicly on October 11 in the same city. Chopin was the soloist on both occasions. The score is dedicated to Friedrich Kalkbrenner. It requires two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, bass trombone, tympani, strings and solo piano. The most recent performance of the concerto at these concerts was on November 17, 1938; Jan Smeterlin was the soloist. Margaret Hamilton, Beryl Rubinstein and Josef Hofmann have also played the concerto with The Cleveland Orchestra.

hopin’s few works for piano with orchestra were all composed in his early years. The two piano concertos, written within a year of each other, Cwere performed before their composer had reached the age of twenty-one. The E minor concerto, actually the second, acquired the designation of “No. 1” because it was the first in order of publication. Although Chopin’s development as an artist had already been phenom­ enal, he was still lacking in experience of the orchestra. He had played the piano with dexterity and understanding from his earliest years, and he could

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325 improvise the most sensitive and complicated piano pieces at will’to the sur­ prise of admiring circles in and about Warsaw. But his experiments with the concerto form showed him unable to cope with the larger architectural demands of symphonic form and the mysteries of the instruments themselves. In the two concertos, the interest is almost wholly in the treatment of the solo part. Carl Tausig rescored the E minor concerto and Carl Klindworth the F minor, each seeking to strengthen the orchestration and to make the works more brilliant in performance. Both of these editions have shown inequalities of balance, and it has been argued that Chopin intended the orchestration to be no heavier than it is in his original score. Chopin was at work on the E minor concerto in March, 1830. By May 25 he had made much progress: “The Rondo for my concerto is not yet finished because the right inspired mood has always been wanting. If I have only the Allegro and the Adagio completely finished I shall be without anxiety about the finale. The Adagio is in E major, and of a romantic, calm, and partly melancholy character. It is intended to convey the impression which one receives when the eye rests on a beloved landscape that calls up in one’s soul beautiful memories—for instance, on a fine moonlit spring night. I have written for violins with mutes as an accompaniment to it. I wonder if that will have a good effect. Well, time will show.” The score was finished in August, and rehearsals with quartet were held early in September. On September 18 he wrote: “Those who were present at the rehearsal say that the finale is the most successful movement (probably because it is easily intelligible). How it will sound with the orchestra I cannot tell you until next Wednesday, when I shall play the concerto for the first time in this form.” On the following Wednesday, September 22, the musical world of Warsaw was invited to hear the new score played through by Chopin and an orchestra complete except for trumpets and drums. Chopin wrote before the rehearsal: “Then I have also to provide the desks and mutes, which I had yesterday totally forgotten: without the latter the Adagio would be wholly insignificant and its success doubtful. The Rondo is effective, the first Allegro vigorous. Cursed self-love! And, if it is any one’s fault that I am conceited, it is yours, egoist: he who associates with such a person becomes like him.” The rehearsal must have been a success for Chopin determined to play it in public on October 11. The program, according to the custom of the day, was long and variously comprised. The first and second movements were separated by an aria with chorus. It is said that the Allegro was vociferously applauded and that Chopin’s friends crowded upon the stage during the intermission to congratulate him.

“The boldest and proudest poetic spirit of the times!” wrote Schumann of Chopin in 1839, and verbal laurels have since been heaped upon the Polish master of the piano from all quarters. Particularly appropriate to this program is the estimate of Karol Szymanowski: “For us, Polish musicians, Chopin is an everlasting reality, an active power which exercises direct and spon­ taneous influence on the evolution of Polish music. It is evident that in all our musical past it is the work of Chopin which has the incontestable Polish style in the deepest and noblest meaning of the word. Under this aspect Chopin represents for us not only the symbol of the genuine greatness of Polish music, but, even more than that, he remains our master, who, by his wonderful art, solved the essential problem of every great art—how to attain in one’s own work the perfect expression of a profoundly and universally human dignity, without sacrificing one’s innate traits and national originality.” 827 SYMPHONIE CONCERTANTE FOR PIANO AND ORCHESTRA, OP. 60

By Karol Szymanowski Born September 21, 1883 near Elisawetgrad in the Ukraine; died March 28, 1937 in Lausanne, Switzerland

Szymanowski wrote the Symphonie Concertante in 1931 and 1932, and played the piano part in the first performance of his work, at a concert of the Warsaw Philharmonic Orchestra in May, 1933, Grzegorz Fitelberg, conducting. The composer also appeared in subsequent performances of the score in London, Paris and Brussels. The first American performance took place on November 2, 1933, at these concerts. Artur Rodzinski conducted; Severin Eisenberger was the soloist. The score, which is dedicated to Artur Rubinstein, calls for two flutes and piccolo, two oboes, two clarinets and E flat clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, tympani, cymbals, bass drum, side drum, triangle, tam-tam, harp and strings.

arol Syzmanowski, considered the foremost contemporary Polish com­ poser when he died on Easter Sunday, 1937, was born at Tymoszowka, Khis parents’ estate near Elisawetgrad in the Ukraine. His home was known as the cultural center of the vicinity and from his earliest days his life centered around artistic pursuits. The carefree days of his boyhood were interrupted by an illness resulting from a fall, which injured his leg, and he was forced to lead a sedentary life, studying at home, and devoting much time to music and books. He studied music with Gustav Neuhaus, the leading teacher of Elisawetgrad, and produced his Opus 1, nine preludes for piano, in 1901. These show the influence of his favorite composer, Chopin, and of Scriabin. In 1903 he went to Warsaw to study with Noskowski, a pupil of the composer Mohiuszko, who gave him a thorough knowledge of counterpoint and fugue. After two years work with Noskowski he moved to Berlin where he was active in forming the society known as “Young Poland in Music” for the production of music by young Polish composers. He soon became friendly with the eminent violinist, Paul Kochanski, and with Artur Rubinstein, who,, with the conductor Grzegorz Fitelberg, became energetic protagonists of his music. During the war he travelled in Russia and was impressed by the strong national character of Russian music. He also discovered the music of Debussy, which greatly affected his style, liberating him from subjective German influences and opening up new coloristic vistas and new descrip­ tive possibilities. At the end of 1919 he succeeded in leaving Russia, and went to Warsaw, where he established himself, and from which he made frequent trips, to London, Paris and the United States. Visiting Zakopane, a resort in the Polish Tatras, he was deeply impressed both by the majesty of the mountains and the folk music of the mountaineers, members of an ancient race. “This music is enlivened by its proximity to nature,” he wrote, “by its force and directness of feeling, by its undisturbed-racial purity.” In this music he saw “possibili­ ties of solving new musical problems because in its melody, its harmony and its instrumentation it was free from the influences of established systems.” It became a powerful influence on his work from this time forward. Appointed director of the Warsaw State Conservatory in 1926, he insti­ tuted reforms in teaching methods, combating academic routine. But this taxing activity did not prevent a rich flow of original music from his pen. 329 The ballet, Harnasie, and the Stabat Mater were completed at this time, as well as a number of smaller works. The Second Violin Concerto was written in 1930, and in 1931-32 the Symphonie Concertante was composed. The Symphonie Concertante “disclosed a new evolutionary stage in the ■composer’s work,” notes Felix Labunski. “The form is strictly classical, although the substance is romantic. The character of the whole is distinctly Polish, but it is more abstract, more general in feeling than his previous works. And as it is most typically Szymanowski, this music is another proof of the strength of the composer’s personality, which in these last years radiates from •every work he produces.”

When the Symphonie Concertante was introduced to these concerts on November 2, 1933, Herbert Elwell prepared the following interesting analysis ■of the score: “The tonal plan of the work is far from conventional, but with the ex­ ception of certain transitions where the sense of key is purposely dispensed with, it is not atonal, or without key. As with the majority of modern com­ positions, melodic and harmonic freedom disguises the sense of key, envelop­ ing it in an interesting, if sometimes mystifying camouflage, yet there is usually one tone, or tonic chord, about which the music revolves as a center, .and to which it gravitates for purposes of stability and unity. The first movement of the present work stabilizes itself in the tonic chord of F major. The second has less tonal definition, though a mode on A predominates, while A major is quite obviously the focal point of the last movement.

gljeQldwlattbJitstttutr of Qusic SONG RECITAL—by ELIZABETH STOECKLER and F.WALTER HUFFMAN Wednesday, February 4th, at 8:30 P. M. STUDENT RECITAL Wednesday, February 11th, at 8:30 P. M. PIANO RECITAL — by ARTHUR LOESSER Wednesday, February 18th, at 8:30 P. M. Beryl Bubinstein, Birector, 3411 Euclid Avenue, HEn. 4040

330 “The first movement begins at a moderate, commodious tempo, 3-4 time, with the piano announcing the theme against quietly syncopated chords in the strings. Clear and luminous, it is a theme that seems to reach confidently for the sky and then fall back in effusive warmth. After the piano has dis­ coursed at some length, the orchestra comes forth with emphasis on the principal motive, and the piano follows with insistence on certain features of the theme, particularly the interval of the minor third which is conspicuously stressed in several other portions of the work. Further development of the theme brings a mighty crescendo and a long pause over a diminishing tremolo in the lower register of the piano. At this point, the second theme is introduced in the flute over mysteri­ ously descending and rising chromatic scales in the strings. The rhythm of this plaintive, whimsical melody in 6-8 time is strikingly like that of the ancient .Venetian dance,, the forlana. It is taken up by the piano with fuller harmonization and subjected to some development of growing intensity, subsiding in a mysterious pianissimo of trills in the strings. Then comes the main theme again, this time in the strings and ostensibly in D major, with the piano supplying the chordal accompaniment. A series of embroidery passages follows in the solo instrument, and again we hear the forceful climax which ■originally led to the second subject. But this time it culminates in an ex­ tended cadenza for the piano,, delaying the second subject which, at a more animated tempo than before, is eventually heard in the horn. Constantly in­ creasing animation brings sharp ejaculations in the full orchestra, and after a. sudden fortissimo and pause, a swiftly rising line from the lowest to the highest register of the piano leads to a curt and vigorous conclusion. BANQUETS If you are planning a social affair, come to "Banquet Headquarters" in Wade Park Manor. For further in­ formation, telephone CEdar 3300 ... ask for:

331 “At the opening of the second movement, Andante molto sostenuto, 4-4 time, the flute carries a melody whose poetic charm is greatly enhanced by the strangely atmospheric background of piano and strings in vague figuration and tremolando. The violas join in with an expressive counter melody. While the piano continues its elaborate ornamentation, the violins take up the theme, and the counter melody is sung first by muted trumpet, and then by the English horn. A second theme of rare beauty is then heard in the muted horns, as from a distance. Its gently moving rhythm is passed on to the piano in which part it assumes ingeniously varied harmonic color in combina­ tion with strings. Presented soon in the violins, it grows to a sonorous climax, which dies away gradually and is followed by tenderly beseeching short phrases in the piano. “Amidst the peacefulness and quiet thus established comes a soft reminis­ cence of the principal theme of the first movement, first in the flute and then in the piano. And as though unable to sustain itself in the new environment, it seems to diffuse in an atmospheric change and disappear with a sleek down­ ward glissando in the piano, leading directly to the suppressed agitation and rhythmic tension of the last movement, Allegro non troppo. “The dance rhythm of the kettledrum tugs at its moorings as if impatient to be under way, and finally it generates a motive whose incisive staccato accents are at first dimly audible in the low notes of the piano. Increasing little by little in intensity, this almost savagely reiterated phrase works up to a highly dramatic pitch. From here on, much subordinate material is introduced, but with no surcease from the original rhythm which gains more and more definition as an enticing and glamorous waltz. “The waltz refrain is ultimately heard in a solo violin and is resumed by the piano in a form that suggests the half delirious joy of a tipsy peasant. This was, in fact, the idea the composer himself had in mind when he wrote it. The tune is sentimental, the harmony thick and heady. It is all delightfully satirical and gay, and it sweeps along at a steadily quickening tempo. The rhythm continues with a sort of relentless drive. The refrain returns again and again against glittering runs in the piano, the whole orchestra joining in the increasing excitement which is sustained to the very end, where a last mighty reiteration of the original motive and a brilliant flourish mark the conclusion.” BALDWIN-WALLACE CONSERVATORY OF MUSIC Tenth Annual Baldwin-Wallace Bach Festival—Friday and Saturday, May 22 and 23, 1942 Mozart Festival, December 12 and 13, 1942 • Tickets may be ordered from the Conservatory

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A D f* E* I CAI 7 I kJ P r D Formerly leading baritone MH R V C L □ AL£II1UCR of Vienna State Opera . . For 7 years head of Voice and Opera departments Cleveland Institute of Music STUDIO 10838 DEERING AVENUE • • GArfield 2066 Coffao Room „ LOUNGE and BAR .7. INFORMAL ENTERTAINMENT

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332 SPANISH CAPRICCIO, OP. 34 By Nicolas Andreievich Rimsky-Korsakoff Born May 18, 1844 in Tikhvin, Government of Novgorod; died June 21, 1908 in St. Petersburg

Rimsky-Korsakoff wrote the Spanish Capriccio in the summer of 1887. It was first performed at a concert of the Russian Symphony Orchestra in St. Petersburg on October 31, 1887, the composer conducting. These instruments are required by the score: two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, kettledrums, side drum, base drum, cymbals, triangle, tambourine, castanets, harp, and strings.

imsky-Korsakoff spent the summer of 1887 in a villa he had rented on u the shore of Lake Nelai. He had sketched a fantasia on Spanish themes Rfor violin and orchestra, but during the summer he gave up the idea of a virtuoso piece and employed his sketches to fashion an orchestral work. Pre­ sumably he finished his score at Lake Nelai for the first performance took place as early as October 31. Tchaikovsky wrote to him on November 11, mentioning the work: “I must add that your Spanish Capriccio is a colossal masterpiece of instrumentation, and you may regard yourself as the greatest master of the present day.” The composer discussed this opinion as well as other matters relating to his score in an informative page of his entertaining autobiography: “At the first rehearsal,” he wrote, “the first movement (in A major 2-4 time) had scarcely been finished when the whole orchestra began to applaud. Similar enthusiasm followed all the other sections and wherever the pauses permitted. I asked the orchestra for the privilege of dedicating the work to them. There was general delight at this. The capriccio went without hitch and sounded brilliant. At the concert itself it was performed with such per­ fection of execution and such enthusiasm as never was given to it later, even when Nikisch himself conducted it. Despite its length, the work called forth an insistent repetition. The opinion formed both by the critics and the public, SERGE NADEJDIN’S Instruction by SERGE NADEJDIN Art Director Former Impérial Théâtres Russian Ballet in Russia 1220 Huron Road Tel. CHerry 4588 714 Carnegie Hali

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333 THE CLEVELAND ORCHESTRA ARTUR RODZINSKI, CONDUCTOR

The Orchestra will be on tour during the next two weeks. Concerts will be given in Poughkeepsie, N. Y.; Saratoga Springs, N. Y.; Troy, N. Y.; Albany, N. Y.; Pittsfield, Mass.; White Plains, N. Y.; Northampton, Mass.; Spring­ field, Mass.; Newark, N. J.; Providence, R. I.; Worcester, Mass.; Hartford, Conn.; Lancaster, Pa., Scranton, Pa.; Allentown, Pa. The next concerts in this series will be given on February 19 and 21.

FIFTEENTH PROGRAM Thursday Evening, February 19, 1942, at Eight-thirty Saturday Evening, February 21, 1942, at Eight-thirty

NATHAN MILSTEIN Violin Symphony No. 3 in E flat major, Op. 55, “Eroica” Beethoven “Valley Forge” Koutzen Symphonie Espagnole for violin and orchestra, Op. 21 Lalo

RUDOLPH RINGWALL will discuss the music to be heard at these concerts on Thursday, February 19, at 3:00 o'clock over STATION WGAR in Cleveland. Drcruum CP A TC Thurs. Eve., $1.10, $1.38, $1.65, $2.20 and $2.75 (tax inc.) IlIjuIjII V JjU dLiixlu Satur. Eve., .55, $1.10, $1.38, $1.93 and $2.20 (tax inc.) 55 cent seats Saturday, 7:30 p. m., Severance Hall only LEA LUBOSHUTZ * BORIS GOLDOVSKY violinist pianist Mother and Son in a Joint Recital SEVERANCE HALL Sunday, February 15th, 8:30 P. M. Under the auspices of The Women’s City Club PROGRAMME Beethoven Sonata, Op. 3, B major Bruch Concerto in G minor A group of waltzes interspersed with comment - - Goldovsky Solo violin — works by Russian Composers - - - Luboshutz Tickets at Taylors, 50c, $1.00, $1.50 plus 10% Federal Tax.

334 that the capriccio is a magnificent piece of orchestration, is incorrect. The capriccio is a brilliant composition for the orchestra. The change of timbres, the happy selection of melodic designs and figuration, exactly adapted to each kind of instrument, the brief virtuoso cadenzas for solo instruments, the rhythm of the percussion instruments, etc., all constitute the very essence of the composition, and not its garb or orchestration. The Spanish themes of dance character supplied me with rich material for the use of variegated orchestral effects. Taking it as a whole, the capriccio is clearly a purely ex­ ternal work, but sparklingly brilliant, for all that. I was a little less successful in its third section, (Alborada, B flat major), where the brass instruments rather submerge the melodic design of the woodwinds; but it would be easy to remedy this if the conductor would moderate the indications of nuance in the brass instruments, by replacing the fortissimo by a simple forte.”

The composer directed that the five movements should be played without intervening pauses. I. Alborada (Vivo e strepitoso, A major, 2-4). This “morning serenade” is constructed upon the tempestuous main theme given out at once by the full orchestra. A solo clarinet repeats the theme. An exquisite cadenza for solo violin brings the close, pianissimo. II. Variations (Andante con moto, F major, 3-8). There are five variations of the lyric theme sung by horns over a rocking accompaniment for strings. A cadenza for solo flute brings the end. III. Alborada (Vivo e strepitoso, B flat major, 2-4). This movement is a repetition of the first with changed key and orchestration; clarinets and violins have exchanged their parts. There is a pedal point on B flat throughout. The cadenza played before by the solo violin is now given to the solo clarinet. . IV. Scene and Gypsy Song (Allegro, D minor, 6-8). The dramatic scene begins abruptly with a roll of the side drum and a fanfare in syncopated rhythm, gypsy fashion, for horns and trumpets. The drum roll continues, pianissimo. There is a cadenza for solo violin, introducing the chief theme; this is repeated by flute and clarinet. Then follow cadenzas for flute over a kettledrum roll, for clarinet over a cymbal roll, for harp with triangle. A harp glissando leads into the gypsy song, attacked savagely by violins punctuated by brass chords and cymbal strokes. The music grows more and more furious, and rushes headlong into the finale. V. Fandango of the Asturias (Animate, A major, 3-4). The chief theme is announced by the trombones, and a related theme for woodwind follows. There are episodes for solo violin and solo clarinet, and the chief theme is sounded again by the trombones. Suddenly the theme of the Alborada returns vivo, as a Coda. There is a closing presto. PROGRAM INTERPRETATION LECTURE Monday, February 16, at 11:00 A. M. in Severance Chamber Music Hall MISS ELEANOR GODDARD will be the Lecturer Program interpretation lectures are sponsored by the Women’s Committee of The Cleveland Orchestra, membership in which is open to all upon pay­ ment of annual dues of one dollar, which may be made at the door.

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