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Home , Albert Roussel, Ambroise Thomas, Arnold Volpe, Christian Ferras, Daniel Auber, Eileen Farrell

35th Season 1961-62

UNIVERSITY OF MIAMI

Fabien Sevitzky DIRECTOR AND CONDUCTOR

MODESTE ALLOO, associate conductor

March 11-12 ARTUR RUBINSTEIN

SUNDAY EVENING, MIAMI BEACH AUDITORIUM

MONDAY EVENING, DADE COUNTY AUDITORIUM

8:30 p.m. (FOUNDED BY ARNOLD VOLPE IN 1926) Thirty-Fifth Year The Symphony Orchestra FABIEN SEVITZKY Music Director and Conductor

473rd and 474th CONCERTS

SUNDAY EVENING, MARCH 11 MONDAY EVENING, MARCH 12

ARTUR RUBINSTEIN Pianist

PROGRAM I. to “” II. Symphony in (“Haffner”) a. Allegro con spirito b. Andante c. Menuetto d. Finale: Presto III. in A minor, for and Orchestra a. Allegro affettuoso b. : Andantino grazioso c. Allegro vivace ARTUR RUBINSTEIN

INTERMISSION

IV. *“Daphnis et Chloe” Symphonic Fragments a. Daybreak b. Pantomime c. General Dance V. Sergei Rhapsody on a Theme of Paganini ARTUR RUBINSTEIN

*First performance at these concerts

Vocal ensemble for “Daphnis et Chloe” prepared by Lina Maddaford Steinway Piano Courtesy Morgan Piano Company

THE STEINWAY IS THE OFFICIAL PIANO OF THE UNIVERSITY OF MIAMI SYMPHONY ORCHESTRA FABIEN SEVITZKY USES STEINWAY PIANO—RECORDINGS ON RCA VICTOR, CAPITOL Patrons will not be seated during the playing of a composition, and are requested not to leave while the orchestra is playing. Concerts start promptly at 8:30 o’clock. 3 PROGRAM NOTES Frances Hovey Bergh Overture to the Opera “Mignon” Ambroise Thomas Born at , , August 5, 1811; died at , February 12, 1896 Thomas entered the Paris Conservatoire in 1828 and won the in 1832. Upon the death of , Thomas was called upon to succeed him as director of the Paris Conservatoire. The ’s operatic career began in 1837. He wrote many works for the stage but he is known today chiefly for his two , “Mignon” and “.” The Overture, somewhat in the form of an Italian pot­ pourri, is based upon the most popular arias of the opera. It begins with the woodwinds followed by a short passage for harp. This leads to the first aria, “Dost thou that sweet land” sung by Mignon in act one. The French horn plays this in the Overture. The melody is taken up later by woodwinds and strings. The brilliant aria for coloratura , “I am Titania so bright and gay,” sung by Titania in the second act, contributes dash and gaiety to the Overture. The of “Mignon” is based upon Goethe’s play, “Wilhelm Meister.” Its premiere took place at the Opera Comique in Paris, in 1866. Symphony in D major, No. 35 (“Haffner”) Wolfgang Amadeus Mozart Born at , , January 27, 1756; died at , December 5, 1791 Mozart’s works include over six hundred opuses, some of them extended and complicated compositions—an amazing accomplishment for a life span of a little less than thirty-six years. Of these works there were more than 50 . In 1776, Burgomeister Sigmund Haffner, a prosperous merchant of Salzburg, Austria, commissioned Mozart to write music for the celebration of the marriage of his daughter. Evidently pleased with the results, Herr Haffner again turned to Mozart for a composition to celebrate another festivity during the summer of 1782, when he was raised to the nobility. This request was relayed to the composer, who was at the time (Continued on Page 13)

5 Conductor’s IF Column In this column 1 am going to talk to you about a very interesting story which I heard IT’S many years ago. It is a very lovely and poetic story which has a message, I think, for all people who are artistically inclined. OUTSTANDING Naturally all people all over the world are in some way, somehow and at some time artistically inclined, not only in music, but in other things in the world which make IN people think of the arts. 1 heard this story while 1 was in St. Petersburg, . I had a friend at the PRECIOUS University there, a very prominent Russian poet named Arceny Alving who devoted his life to studying languages. He spoke 11 languages, including the Asiatic languages, JEWELRY, Hindu, Chinese, Burmese, Hebrew, Arabic and Aramaic, and all the European languages. The following fable which he told me was IT’S found by him while he was studying in India: In the High Himalayas in India, there was PRORARLY a Temple. In that Temple lived a Brahman (old priest). No one in the vicinity remem­ bered how old he was. Near the Temple was an enormous rock on which the old FROM priest performed sacrifices. served as a religious altar. Every noontime, when the sun was at its zenith, a little insect with many legs jumped upon the rock and danc­ BALOGH’S ed. This little ballerina danced so beautifully and so artistically that the sun stopped moving, the birds stopped singing, and all the animals came nearer to watch the pro­ ceedings. Even the Brahman came out of the Temple to watch, too. Under the rock lived an old, ugly frog who was very jealous and very envious of everyone who paid attention to the little ballerina insect. This frog had lived for centuries under this large boulder and no one had paid any attention to him. Once, when the beautiful little ballerina made her noontime appearance, the old frog jumped to the rock to watch her dance, too. During the dance the frog addressed the ALL DESIGNING AND MANUFACTURING little ballerina, saying, “How beautifully you DONE ON THE PREMISES dance, how pretty you look and how won­ derful it is to see you every noontime, but dearest, could you tell me how do you know when to raise your twelfth leg and put down the twentieth leg, when to put up the first leg and put down the tenth leg?” The little ballerina stopped for a moment, 242 MIRACLE MILE, CORAL GABLES and never danced again. HI 5-2644 I leave it to you, ladies and gentlemen, 447 ARTHUR GODFREY RD., M. B. to imagine the moral of the story. I find it JE 1-0087 very interesting and very poetic. Thank you DIPLOMAT HOTEL for reading it. ANTWERP, FABIEN SEVITZKY 6 Corning . . . April 15-16 UNIVERSITY OF MIAMI SYMPHONY ORCHESTRA FABIEN SEVITZKY, conductor

RUDOLF SERKIN PROGRAM Arcady Dubensky for 18 No. 5 , pianist “Symphonie Fantastique” * * * TICKETS NOW ON SALE U.M. Symphony Office, MO 1-4960; M. B. Auditorium, JE 1-0477; Dade County Auditorium, HI 6-9230; Cordelia’s, FR 3-5123; Amidon’s, HI 6-2114. UNIVERSITY OF MIAMI presents Second Festival of Contemporary International Music FABIEN SEVITZKY, Director Beaumont Hall, University of Miami, Main Campus, 8:30 P.M.

PROGRAMS Thursday, March 15, 1962— Holland, France, England, Hungary Karel Mengelberg Trio for Flute, Oboe and Bassoon EUGENE JOHNSON, flute; julien balogh, oboe; john lenox, bassoon Albert Roussel . Serenade EUGENE JOHNSON, flute; EUGENE DUBOIS, ; VICTOR STERN, viola; HERMAN BUSCH, ; MARY SPALDING SEVITZKY, harp Sir Eugene Goossens Suite for Flute, Violin and Harp EUGENE JOHNSON, flute; EUGENE DUBOIS, violin; MARY SPALDING SEVITZKY, harp Bela Bartók for Two and Percussions MILDRED SNYDER and GERALD E. SNYDER, duo piano FRED A. WICKSTROM, JR., DOUGLAS IGELSRUD, F. DIXON WITHERS, percussion John Bitter, * * * Friday, March 16, 1962—ORCHESTRA PROGRAM Juan Mateucci, Guest Conductor Patricio Salvatierra, Soloist Chile, Argentina Juan Orrego-Salas Concertó for Chamber Orchestra Pablo Garrido “Aurora and Dance Ritual” for Violin and Orchestra PATRICIO SALVATIERRA, violin Dances from “Estancia” * * * Saturday, March 17, 1962—CONCERTI Fabien Sevitzky, conducting Russia, , France, England Dmitri Kabalevsky Concerto for Violin and Orchestra EUGENE DUBOIS, soloist Jean Absil Concerto for Piano and Orchestra TIBOR YUSTI, soloist Concerto for Percussion and Small Orchestra FRED A. WICKSTROM, JR., DOUGLAS IGELSRUD, F. DIXON WITHERS, percussion Sir Facade An entertainment with poems of Edith Sitwell Narrator, John McElhaney PROGRAMS OPEN TO THE PUBLIC WITHOUT CHARGE

9 OPERA GUILD OF GREATER MIAMI Announcing its 1903 Season, presents

MANON ( fri; Ma»senet )

with The Great of Metropolitan and La Scala

Supported by , , of La Scala and Metropolitan, Nicola Moscona, , of Metropolitan, , and other outstanding artists.

DADE COUNTY AUDITORIUM MIAMI BEACH AUDITORIUM Opening, Monday, Jan. 21, 1963 Wednesday, Jan. 23, 1963 Saturday, Jan. 26, 1963

MADAM BUTTERFLY (by Puccini)

with Irma Gonzalez The Internationally famous Itutterfly

Supported by All Metropolitan Stars

DADE COUNTY AUDITORIUM MIAMI BEACH AUDITORIUM Opening, Monday, Feb. 18, 1963 Wednesday, Feb. 20, 1963 Sat., February 23, 1963

Tickets and memberships now available for next season

FOR FURTHER INFORMATION CALL Opera Guild Of Greater Miami 625 S.W. 29th RD., MIAMI, FLORIDA — TELEPHONES: FR 3-5967, FR 1-5153 PROGRAM NOTES (continued from page 5) living with the Weber family in Vienna, through his father, Leopold. Mozart was in the midst of many things at the time—a complicated and harried existence. Orders were arriving constantly for more music. Plans for the premiere of his opera, “The Abduction from the Seraglio,” were being neld up because of intrigues and alterations. He was trying to obtain the consent of his father for his marriage to Constanza Weber. Frau' Weber, who was becoming more and more alcohohcally abusive,” expected the couple to hurry up about it and pay her for their board. He and Constanza had a stormy quarrel over a very trivial matter. In the midst of this confusion he received his father’s note containing the Burgomeister s request for a “Serenade” in a hurry. Mozart answered: “How is such a thing possible. You have no idea of the difficulty of arranging a work of this kind for an orchestra. Well all that I can do is to devote the night for the task, for it cannot be managed otherwise. You may count on having something from me by every post, and I will write as quickly as I can, and as well as haste will permit.” Someway he wrote the music for Haffner and sent it, piecemeal, to Salzburg. This music began and ended with a march. The andante was preceded and followed by a minuet. When the music was returned to him by his father, Mozart made some changes He added some instruments, dropped one minuet as well as the marches, and called it My New Symphony for the Haffner Festival.” The composition had its premiere as a completed symphony in Vienna, in March 1783, at a concert of an all Mozart series. Concerto for Piano in A minor, Opus 54 Robert Schumann Born at Zwickau, , June 8, 1810; died at Endenich, Germany, July 29, 1856 Schumann s Concerto in A minor, completed in 1845, is considered by many critics one of his most beautiful and mature works. This Concerto was not written as a com­ plete entity The first movement was finished in during the summer of 1841 and was called “Phantasie in A minor.” The composer sought to publish the work in that form, but without success. Four years later he added two more movements. On (Continued, on Page 15)

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13 PROGRAM NOTES (CONTINUED from page 13) December 4, 1845, Clara Wieck Schumann, as the foremost exponent and ardent champion of her husband’s work, played the complete concerto from manuscript at a concert in , with Ferdinand Hiller (to whom the score is dedicated) con­ ducting. A performance in Vienna on New Year’s Day, 1847, has been called the first really notable one, when Mme. Schumann was soloist and the composer himself conducted the orchestra. In his book on the romantic composer Daniel Gregory Mason speaks or the A minor Concerto in these terms: “Its fecundity of invention, its luxuriant richness of coloring, and its stoutness of structure.” He then continues: “The sincerity, tender­ ness, grace, and impetuous enthusiasm of the youthful romanticist are not in the least abated. What could be more contagious than the exuberant first movement, in which one hardly knows what to admire the more, the felicity of such details as the clarinet cantabile, the Andante espressivo for solo piano, and the nobly polyphonic , or the broadly climactic plan of the whole? “What could appeal more simply and directly to the heart than the delicate and yet ecstatic Andante grazioso, with its winding intermeshed , clustering about the violoncello phrases as a grapevine festoons itself upon a tree? Yet perfectly wedded with all this feminine suavity and grace is a masculine quality, a fine poise and restraint. Particularly manifest is this new mastery in the rhythmical treatment of the finale The here are as salient, as seizing, as ever, but they are far more various. To do justice to the plastic beauty of this movement would require nothing less than a measure-by-measure analysis of its charmingly varied phraseology. “Daphnis et Chloe” Ballet in one act— Orchestral excerpts: Second Suite: “Daybreak,” “Pantomime,” “General Dance” Maurice Ravel Born at Ciboura, Basses-Pyrenees, France, March 7, 1875; died at Paris, Dec. 28, 1937 Ravel’s Daphnis et Chloe, Suites No. 1 and No. 2, are orchestral excerpts from the music he wrote at the request of Diaghileff for the Russian Ballet. The ballet was IrmitinuM nn Pafe /Al

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15 THIRTY-SIXTH SEASON ■ 19 6 2 - 1 9 6 3 University of Miami Symphony Orchestra FABIEN SEVITZKY SUNDAY EVENINGS - 8:30 MUSIC DIRECTOR AND CONDUCTOR MONDAY EVENINGS-8:30 MIAMI BEACH AUDITORIUM MODESTE ALLOO, Associate Conductor DADE COUNTY AUDITORIUM Marie Volpe, Manager

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APRIL 21-22 Mme. Felicia Montealegre Zvi Zeitlin (MRS. ) Narrator Beethoven's Ninth Symphony in ’s Outstanding Israeli violinist "Jeanne d'Arc an Bucher" with four soloists (JOAN OF ARC AT THE STAKE| N I N E PAIRS O F S U B S C R P T I O N CONCERTS PROGRAM NOTES (CONTINUED from page 15) first performed in 1912 in Paris with Nijinski dancing the part of Daphnis and Karsavina that of Chloe. Adolph Bohm also took a leading part. The scenario, written by Fokine, was based upon a pastoral romance by the fourth-century Greek Sophist, Langus. Poses were taken from paintings and reliefs on Greek vases. Bakst designed the scenery and costumes. conducted. The following episodes were adapted by Fokine from the ancient story of the youthful lovers: Daphnis and Chloe are shepherd and shepherdess. Chloe is carried off by pirates but—unknown to Daphnis—is rescued by Pan in remembrance of Syrinx, whom he loved. Daphnis and Chloe are united and mime the story of Pan and Syrinx. A group of young girls and men surround the happy couple and join in a joyous, tumultous dance. The Second Suite consists of three episodes: Daybreak, Pantomime, General Dance, and are played without pauses. The following description of the action is printed in the score. The English translation is by Philip Hale. I. Daybreak (Lever de Jour). “No sound but the murmur of rivulets fed by the dew . . . Daphnis lies stretched before the grotto of the Nymphs. Little by little the day dawns. The songs of birds are heard. Afar off a shepherd leads his flock. Another shepherd crosses the back of the stage. Herdsmen enter, seeking Daphnis and Chloe. They find Daphnis and awaken him. In anguish he looks about for Chloe. She at last appars encircled by the shepherdesses. The two rush into each other’s arms. The old shepherd Lammon explains that Pan saved Chloe in remembrance of the nymph Syrinx, whom the god loved.” II. Pantomime. “Daphnis and Chloe mime the story of Pan and Syrinx. Chloe impersonates the young nymph wandering over the meadow. Daphnis, as Pan, appears and declares his love for her. The nymph repulses him; the god becomes more insistent. She disappears among the reeds. In desperation he plucks some stalks, fashions a flute and on it plays a melancholy tune. Chloe comes out and imitates by her dance the accents of the flute. The dance grows more and more animated. In mad whirlings, Chloe falls into the arms of Daphnis. Before the altar of the nymphs he (Continud on Page 27) Appreciate The Best •>

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18 TONIGHT’S ARTIST

ARTUR RUBINSTEIN, a romantic pianist who has con­ sistently avoided the showy elements of , recently presented a marathon series of ten recitals at , probably an unprecedented feat in New York musical annals. Rubinstein played nearly every piece in his vast repertoire without repeating a single composition in the six-week endurance record. The proceeds from the concerts were contributed by Rubinstein to various charities close to his heart: The beneficiaries were the Musicians Emergency Fund; Big Brothers; United Jewish Appeal; NAACP Legal De­ fense; United Hospital Fund; Musicians Foundation; ARTUR RUBINSTEIN Collegiate School and Nightingale Bamford School; Mannes College of Music; Mental Health; and Polish Mutual Assistance. At the conclusion of the series lauded the revered pianist in an editorial: “The recitals by Rubinstein were more than piano recitals. They were an attitude toward life—the expression of a civilized man who, in creating and recreating beauty throughout his life, has refused to grow old.” Rubinstein now is a sprightly and energetic 72. His appearance tonight with the University of Miami Symphony Orchestra is his third since 1952.

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21 Voice of America Celebrates Twentieth. A rmiversary

February 24, 1962, was the twentieth anniversary of the Voice of Ameri­ ca. As part of the Information Agency, the Voice of America’s worldwide radio broadcasts continue to inform people overseas of Ameri­ ca’s desires and aspirations for a peaceful, prosperous world under freedom. Performances of the University of Miami Symphony Orchestra have been broadcast annually for the past eight years to audiences in all parts of the world to further greater understanding of our way of life and our cultural progress. We are proud to participate again this year in a Musical Salute to . , with our concerts of March 25th and 26th. The management and trustees of the University of Miami are happy to have cooperated in this vital program and wish continued success to the Voice of America.

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23 The Symphony Club

OF THE University of Miami

FOUNDED, MARCH 1952 BY

Mrs. Arnold Volpe Mrs. Claude A. Renshaw Mr. Hank Meyer Mrs. Philip R. Mallory

HONORARY MEMBERS

Dr. Jay F. W. Pearson Honorary President Mrs. Bowman F. Ashe Mrs. Harold Bauer Mr. Edward Clarke Dr. Bertha Foster Madame Mana-Zucca

OFFICERS

Mr. Paul Hexter, Chairman oj Executive Committee Mrs. Howard P. Cummings, President Mrs. Charles Moon Mr. Milton J. Wallace Vice President Assistant Treasurer Mrs. Ralph Jones, Jr. Mrs. Claude A. Renshaw Vice President Founder President Mrs. G. David Schine Mrs. Albert Pick Fice President Past President Mrs. Wahl J. Snyder II Mrs. Mitchell Wolfson Vice President Past President Mrs. Arthur L. Gray Mrs. Warren C. Freeman Recording Secretary Past President Mrs. Henry E. Wolff Mrs. Arnold Volpe Corresponding Secretary Founder Mr. Robert L. Blue Mr. Hank Meyer Treasurer Founder

BOARD OF DIRECTORS

Mrs. Grace Bender Mr. Charles King, Jr. Mr. Herman Binder Mr. William T. Kruglak II Mrs. E. E. Bloom Miss Evelyn Lasarow Mrs. Paul D. Bromberg Mrs. Anna Brenner Meyers Mr. David Cotton Mrs. W. W. Mountcastle Mrs. Richard Clay Miss Evelyn Mitchell Mrs. Harold Davis Mrs. C. J. Muir Mrs. Eugene Dubois Mrs. Van Myers Mrs. Joseph Duntov Mr. E. L. Newton Mrs. Robert I. Ellis Miss Margaret O’Brien Mrs. Harry F. Friedman Mrs. William D. Pawley Mrs. Lee F. Gilbert Mrs. Robert A. Peterson Mrs. Robert Z. Greene Mrs. Earl F. Reed Mrs. Burt S. Haft Mrs. William M. Robertson Mrs. Paul Hexter Mr. Jack Sandler Mrs. Clyde Higgins Mr. Ernest A. Silverman Mrs. Leland Hyzer Mrs. Franz Stewart Mrs. Edith M. James Mrs. Lila Bellin Tinkler Mrs. C. S. Kellogg Mrs. H. 0. Vance Mrs. Harold Kendall Mrs. Sydney Weintraub

TRUSTEES

Mr. & Mrs. Robert L. Blue Mr. & Mrs. E. L. Newton Mrs. Svend P. Broby Mr. & Mrs. Max Orovitz Mr. & Mrs. Shepard Broad Mrs. Earl F. Reed Mr. & Mrs. Howard P. Cummings Mr. & Mrs. J. Myer Schine Mr. & Mrs. E. E. Dale Shaffer Metro Commissioner & Mrs. Chuck Hall Mr. & Mrs. Edward F. Swenson, Jr. Mr. Marcie Liberman Mrs. Thurman A. Whiteside Mr. Philip R. Mallory Mr. & Mrs. Mitchell Wolfson

?4 OUR CHRISTIAN FERRAS, the young French violinist, was received with unqualified praise when he made his WHO HAVE APPEARED SINCE 1926 Artists NEXT American debut in March, 1959. The Christian Science Monitor commented on his debut: “There are few who WITH THE UNIVERSITY OF MIAMI SYMPHONY ORCHESTRA ARTIST can match this Frenchman in the fire he ignites . . . here is artistry that is not only technically astonishing, but emotionally exciting.” He has won fame on four SINGERS Oscar Levant continents and has appeared as soloist under the batons Joan Field Josef Lhevinne Josephine Antoine of such eminent maestros as Monteux, von Karajan, Rose Bampton Zino Francescatti Eugene List Ara Berberian Carroll Glenn Pierre Lubos'hutz Munch, Boehm, Cluytens and Krips. Mr. Ferras has Frances Bible Szymon Goldberg Witold Malcuzynski toured throughout Europe regularly for more than a Jacques Gordon Mana-Zucca decade. He has made annual visits to South America Jon Crain Genia Nemenoff and has filled extensive itineraries in South Africa, Albert DaCosta Johanna Martzy Guiomar Novaes Australia and New Zealand. He recently performed Victoria de at the celebrated Casals Festival , at in Rafael Diaz the personal request of Mr. Casals. Eileen Farrell Erica Morini Artur Rubinstein Ruth Posselt Gyorgy Sandor Barbara Gibson Michael Rabin Jesus Maria Sanroma Program Dedicated to the City of Stockholm, Sweden Donald Gramm Ruggiero Ricci Maxim Schapiro Rondo Overture Coe Glade Max Rosen Andre Tchaikovsky Howard Hanson Sinfonia Sacra Igor Gorin Berl Senofsky Ernst von Dohnanyi Peter Ilyitch Tchaikovsky Concerto in D Major Tossy Spivakovsky Dusolina Giannini Vronsky and Babin CHRISTIAN FERRAS CHRISTIAN FERRAS, violinist Irene Jordan Isaac Stern Hilding Rosenberg Dances from Orpheus in Town Robert Kirkham Albert Spalding Sir Edward Ei.gar Variations on an Original Theme HARPISTS Dorothy Kirsten (CONTINUED FROM PAGE 18) Patricia Travers Carlos Salzedo PROGRAM NOTES Efrem Zimbalist Mary Spalding Sevitzky Lea Karina swears on two sheep his fidelity. Young girls enter; are dressed as Bachantes Alexander Kipnis Nicanor Zabaleta they and Heidi Krall VIOLIST shake their tambourines. Daphnis and Chloe embrace tenderly. A group of young men come on the stage.” Maria Kurenko William Primrose CONDUCTORS William Lewis III. General Dance (Danse Generale). “Joyous tumult. A general dance.” Mary Mackenzie ’CELLISTS Modeste Alloo Philip Hale wrote: “Ravel’s cunningly and gorgeously orchestrated ballet bears Sir separation from the stage and stage effects, the dancers and the mimes. Nor is it Arda Mandikian Jean Bedetti John Bitter Emanuel Feuerman Carlos Chavez necessary for one’s enjoyment to be concerned with the adventures of Daphnis and Nino Martini Chloe. Here is something more than purple patches of instrumental color and dex­ Lauritz Melchior Pierre Fournier Arthur Fiedler James Melton Raya Garbousova Dr. Howard Hanson trous juggling with surprising combinations of . There is form, there is melody, Nan Merriman there are ravishing harmonic devices; there is, above all, poetic imagination.” Celeste Moon Patrice Munsel Pierre Monteux Rhapsody on a Theme of Paganini James’ Christian Pfohl for Piano and Orchestra, Op. 43 Izler Solomon Isidor Achron Born at Novgorod, Russia, April 1, 1873; died at Beverly Hills, Calif., March 28, 1943 Julia Peters After a long and tiring concert tour of Europe in 1931, Rachmaninoff bought a Benjamin Rayson Oscar Straus Gertrude Ribla Gina Bachauer beautiful home on in . It was an interesting place, not only Harold Bauer Heitor Villa-Lobos because of its beauty, but also historically, since it was located opposite Triebschen, Bidu Sayao Lady Betty H. Beecham Arnold Volpe Wagner’s abode from 1866 to 1872. It was in these lovely surroundings that Rach­ maninoff began work on the Paganini Rhapsody. It was begun on July 3, 1934 and Alexander Borovsky Irmgard Seefried BALLETS completed on August 24 of the same year. Its first performance was given, with the Simon Barere Abram Chasins Alonso and Youskevitch composer at the piano, in , November 7, 1934, at a concert of the Phila­ delphia Orchestra, conducted by Leopold Stokowski. Carol Smith Joos Ballet Kenneth Smith Gaby Casadesus Dancers of Bali The theme upon which Rachmaninoff based his “Rhapsody” is taken from the last Rise Stevens Ballet Theatre of Paganini’s caprices for violin. This caprice has not only been a favorite of violinists, Grete Stuckgold Mary Hughes Call Sadler’s Wells Ballet but there have been other variations written upon its theme, probably the most out­ Gladys Swarthout Lya de Barberiis Markova and Dolin standing being Brahms’ “Variations on a Theme by Paganini” for piano. In a set of Rudolf Firkusny Ballet Russe de Monte Carlo Svet Svanholm variations it is reasonable to expect to hear the theme upon which they are based set Blanche Thebom forth clearly in the beginning. Rachmaninoff had other plans. He prefaced the theme Jennie Tourel STRING QUARTETS by an introduction which uses the little recurrent note group which gives to the theme Helen Träubel Maggie Teyte Boris Goldovsky Budapest String Quartet its springy lilt and establishes the key. The composer introduced an unexpected mel­ Margaret Truman Eugenia Honeywell Gordon String Quartet ody in the seventh, the tenth, and the final variations, the “,” a sequence Ernest Hutcheson Fine Arts String Quartet which has had a prominent place in the since the time of the early The Roth Quartet Leonard Warren Josef Hofman medieval church. In the following quotation from a letter written by Rachmaninoff, Ljuba Welitch Eugene Istomin Boston Pops Orchestra— Jose Iturbi concerning the “Rhapsody,” to the Russian choreographer Fokine, the composer Arthur Fiedler, conductor gives a hint of the direction of his imagination: “Why not resurrect the legend about Byron Janis The Trapp Family Singers VIOLINISTS Muriel Kerr Amahl and the Night Visitors Paganini, who for perfection in his art and for a woman sold his soul to an evil Eugene Dubois William Kappell —Menotti spirit?” 26 27 Who's who in the Symphony Orchestra (Last in a series of Biographical Sketches)

MODESTE ALLOO, professor of brass instruments and associate conductor of our symphony orchestra, was born in Ghent, Belgium. He graduated from the Verviers Con­ servatory and the Royal Conservatory of Music in . He was professor of music of the Bruges Conservatory until he came to New York and began his career as trombonist, conductor and educator. For two years he was tympanist of the New York Symphony Orchestra under Walter Dam- rosch. From 1910-1918 he was solo trombonist of the Bos­ ton Symphony Orchestra, first under and later under Karl Muck. During the first World War, Dr. Alloo was engaged by the War Department as director of military music at Camp Devens, Mass. After the war, he went to as associate conductor of the Cincinnati Sym­ phony Orchestra under the direction of Eugene Ysaye. Dr. Alloo became a member of the faculty of the Cincinnati Conservatory of Music, was conductor of the Conservatory MODESTE ALLOO Orchestra, and organized and directed the Cincinnati Munic­ ipal Band. Later he appeared as guest conductor with several in this country. In 1942, at the invitation of Dr. Bowman F. Ashe, then president of the University of Miami, Dr. Alloo became conductor of our symphony orchestra and for nine years successfully carried the orchestra through its most critical period. In 1951, when John Bitter returned to the University as conductor of the symphony after a leave of absence spent in military duty, Dr. Alloo was appointed associate conductor and has remained in this posi­ tion since the appointment of Fabien Sevitzky as conductor of our Symphony in 1959.

FRED WICKSTROM, tympanist, was born in Chicago, Ill. He has been playing percussion instruments since he was four. A graduate of , Mr. Wick- strom received his M.A. degree in Music at the University of Illinois. During his Army service in World War II he played with the Springfield (Mo.) Civic Symphony Orchestra. He also was musical director of USO Camp Shows touring Japan, Alaska, Iceland and Greenland. His musical ex­ perience extends from symphonic to pops, performing on tympani, drums, xylophone, marimba and vibraphone. De­ velopment of a curriculum that will send forth percussionist­ musicians trained in all areas of music has been Mr. Wick- strom’s chief aim since joining the University of Miami faculty last fall.

A SALUTE TO FIRST FEDERAL SAVINGS&LOAN ASSN. OF MIAMI Attending this Sunday evening's concert are 100 Palmetto Senior High School students, through the courtesy and generosity of First Federal Savings & Loan Association of Miami, Dr. Willian H. Walker, founder and Chairman of the Board.

28 THE UNIVERSITY OF MIAMI SYMPHONY ORCHESTRA

FABIEN SEVITZKY, Conductor

MODESTE ALLOO, Associate Conductor

PERSONNEL FOR SEVENTH PAIR OF SYMPHONY CONCERTS

First 'Violins Arthur Silverman Piccolo French Horns Ronald Kickasola Lilburn Knowland Fred W. Bradford* Eugene Dubois* Sherman Conn Principal Concertmaster Anna Golden Fredric Marks Oboes William R. Powell Sonya Balogh Janet Silverman Elmer C. Crandell Asst. Concertmaster Virginia Bennie Julien Balogh* Leonard L. Hunter Principal Robert Staton Alexander Prilutchi Patricio Salvatierra Catherine Watts Edgar Krejci Violoncellos Andre Andraud Trumpets B. Warren Signor John V. Pinto* Stanley Biedron Herman Busch* Principal Philip Aaron Principal English Horn Jan Wolanek Carole Reinhart Ramon Gutierrez Philip Fink Andre Andraud John Branzer Melvin Michaels Alberta Murphy Paul Leonard Alan Jabbour Effim Rosanoff Frank Rascati Edwin Cornberg Clarinets Louis Podgorski Emil Maestre Robert Sudakow William Klinger* Louis Ricci Richard Woodworth Principal Principal Marilyn Samuels Second Violins Terry Maupin Leopold Feher Patricia Molodowitz Clayton Leist Robin Kelley Arthur Bodger Principal String Basses Tuba Vincent Allotta E Flat Clarinet Al Tempkins John Hood Lucas Drew* John Caputo Al Davis Samuel Epstein Catherine Ovenden Principals David Bendett Tympani Karl Nentwig Louis Zinn Fred A. Wickstrom, Jr.* Francisco Moria Kenneth Conklyn Clayton Leist Julius Martisak, Jr. Mary Marks Marie Pintar Everett Nichols Percussion William Spielberg Bassoons Schnaiter Betty Cole Alloo Alan Reskin John Lenox Douglas Igelsrud Loretta Reed Flutes Principal F. Dixon Withers Chruszcz Bohdan Eugene Johnson* Abraham Reines Principal Harp Violas Margherita Dougherty Contra Bassoon Mary Spalding August Grillo Sevitzky* Victor Stern* Principal Principal Lilburn Knowland Abraham Reines

Modeste Alloo*, Personnel Manager Betty Cole Alloo, Assistant Personnel Manager and Librarian ♦Faculty Member of the University of Miami School of Music 30