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THE PHILADELPHIA ORCHESTRA Fortieth Season, 1939-1940

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THE PHILADELPHIA ORCHESTRA Fortieth Season, 1939-1940 THE PHILADELPHIA ORCHESTRA Fortieth Season, 1939-1940 CARNEGIE HALL NEW YORK SEVENTH PROGRAM Tuesday Evening, February 13th. at 8:45 EUGENE ORMANDY Conducting ARTUR RUBINSTEIN, Pianist BEETHOVEN..............................................Grand Fugue, Op. 133 (Arranged for String Orchestra by Eugene Ormandy) SIBELIUS.......................... Symphony No. 7 (In One Movement) Adagio—Vivacissimo—Adagio Allegro molto moderato—Vivace Presto—Adagio—Largamento INTERMISSION CHOPIN . Concerto in F minor for Piano and Orchestra I. Maestoso II. Larghetto III, Allegro vivace DEBUSSY Symphonic Suite, “Printemps” Mr. Rubinstein uses the Steinway piano The STEINWAY is the Official Piano of the Philadelphia Orchestra VICTOR Records KKRL McDonald, Manager LOUIS A. MATTSON, NORRIS WEST, Assistant Manager« GIRARD TRUST COMPANY BUILDING, PHILADELPHIA NEW YORK DIVISION of the PHILADELPHIA ORCHESTRA ASSOCIATION ADVISORY BOARD Mrs. Kermit Roosevelt, Chairman Mrs. Sidney C. Borg Thomas I. Parkinson Mrs. Edward Eagan Adrian Van Sinderen Byrnes MacDonald Mme. Olga Samaroff Stokowski Mrs. Alexander H. McLanahan Mrs. Cornelius V. Whitney Mrs. Jean Walker, Secretary Bankers Trust Company, Treasurer Walter N. Thayer, 3rd, Counsel COMMITTEE Miss Julia A. Berwind Miss Alice Polk Mrs. Anthony J. Drexel Biddle, Jr. Mrs. T. Markoe Robertson Mrs. David Bruce Mrs. Nelson A. Rockefeller William Marshall Bullitt Archibald B. Roosevelt Robert Cresswell C. Alison Scully Mrs. Frederic Cromwell Mrs. George R. Siedenburg Franklin D’Olier Mrs. H. Nelson Slater Mrs. Livingston Farrand Theodore E. Steinway Mrs. Arthur A. Fowler Roger Straus Mrs. John Henry Hammond Mrs. Harold E. Talbott Mrs. Basil Harris Mrs. Walter N. Thayer, 3rd Mrs. Thomas Hitchcock, Jr. Edward M. M. Warburg Ernest Hutcheson Mrs. Harold H. Weekes George Le Boutillier Mrs. Henry J. Whigham Mrs. Paul D. Mills George D. Widener Mrs. George Eustis Paine Mrs. William Woodward Under the management of YOUR SECRETARY, INC. 29 East 69th Street Telephone: Regent 7-1704 NOTES ON THE PROGRAM By R. L. F. McCOMBS Grand Fugue in B flat, Opus 133 Ludwig van Beethoven Born in Bonn, December 16, 1770 Died in Vienna, March 26, 1827 (Arranged for string orchestra by Eugene Ormandy) HIS Fugue, which Sir Donald Tovey insists is “incomparably the most gigantic fugue in existence”, was written in 1825 as the last movement of Tthe String Quartet in B flat major, Opus 130. As the Quartet'was already long and complex, the Viennese musicians who heard its first performance agreed that so enormous a finale was more than either players or listeners could bear. Beethoven agreed to replace it with a new movement and his pub­ lisher promised to print the Grand Fugue as a separate work. Opus 130 was given its Finale two years later in what was to be Beethoven’s last completed composition. The composer made a four-hand piano arrangement of the Fugue, which is his Opus 134. There is, incidentally, a recent two-piano transcription of it by Harold Bauer. Comment on the Fugue has had a curious tendency to confine itself to vague formulas. We find references to its “somewhat strange” qualities, or its. “mysterious beauties”, to be revealed “only to those who can rise to the heights of the Beethoven spirit.” Even the editor of Grove’s Dictionary curtly calls it a Fugue “of immense length and still greater obscurity”, but later gives himself away by saying that “one has no opportunity of judging it, as it is never played.” It is possible to believe that the evidence of the apprecia­ tive ear may carry more weight than that of the analytical eye. The Fugue is a formidable task for any quartet of solo players, but Tovey maintains that the difficulties arise from the fact that Beethoven requires his quartet to emulate an orchestra in long forte passages. Since nowhere is the intimate quality of a quartet essential, it can do no violence to Beethoven’s intentions to augment the number of strings. Such a performance is on record as having been given in New York, April 3, 1888, at one of Theodore Thomas’s concerts. Bulow and Mahler are elder conductors, Muck, Wein- gartner and Furtwängler among our contemporaries, who have tried the experiment. In reference to the present arrangement, Mr. Ormandy says that he has been aware of the orchestral dimensions of the Fugue ever since his first ex­ perience with it as chamber-music. He once heard it played by all the strings of the Vienna Symphony Orchestra. He therefore took the time, in July, 1939, to expand it. He writes, “I have made no drastic changes, really done nothing but add the basses and simplify some of the more technically diffi­ cult passages by dividing the instruments.” BOXHOLDERS AND PATRONS Mr. Albert M. Bagby Mrs. Goodhue Livingston, Sr. Mrs. Walter C. Baker Mrs. Goodhue Livingston, Jr. Mr. James Barney Mrs. James Long Mrs. Gordon K. Bell Mr. Henry R. Luce Mrs. Conrad Berens Mr. Charles W. McAlpin Mrs. Irving Berlin Mrs. Alexander H. McLanahan Miss Julia Berwind Mr. Byrnes MacDonald Mr. Gardner Boothe Mr. Frank S. MacGregor Mrs. Harold Brooks Miss E. L. Mackenzie Mr. and Mrs. David K. E. Bruce Mrs. H. R. Mallinson Mrs. Duncan Bulkley Mr. Herbert E. Mitler Mr. William Marshall Bullitt Mrs. Benjamin Moore Mrs. Andrew Carnegie Mrs. Lewis S. Morris Mme. Alma Clayburgh Mrs. George Eustis Paine Mrs. Sidney Colgate Mr. Thomas I. Parkinson Mrs. W. Murray Crane Miss Anne Paul Mr. Paul D. Cravath Miss Lily Pons Mr. Robert Cresswell Mrs. William Procter Mrs. W. Bayard Cutting Miss Nellie K. Pruyn Mrs. Fulton Cutting Mr. A. W. Robertson Mr. George W. Davison Miss Pauline Robinson Marchesa de Mohemando Mr. Archibald Roosevelt Mr. Franklin D’Olier Mrs. James Roosevelt Colonel William J. Donovan Mrs. Kermit Roosevelt Mrs. Barclay K. Douglas Mrs. Theodore Roosevelt Mrs. Edward Eagan Mr. Felix Rosen Mr. John Fenton Mr. Walter T. Rosen Mr. Edwin A. Fish Mr. Daniel E. Fitzpatrick Mrs. Moritz Rosenthal Mrs. Arthur A. Fowler Mr. C. Alison Scully Mrs. George Frankenthaler Mrs. Joseph Seaman Mrs. James Gerard Mrs. Arthur Seelig Mrs. Allan Gerdau Mrs. B. Sergievsky Mr. John H. P. Gould Mrs. George R. Siedenburg Mrs. John Henry Hammond Mrs. H. Nelson Slater Mrs. Jerome J. Hanauer Mrs. John Sloane Mrs. Basil Harris Mrs. Frederick Steinway Mrs. Clarence Hay Mme. Olga Samaroff Stokowski Mr. Barklie Henry Mrs. Harold E. Talbott Mrs. Albert Hoffman Mr. Walter N. Thayer, 3rd Mrs. O’Donnell Hoover Mrs. Cornelius Vanderbilt Mr. and Mrs. Ernest Hutcheson Mr. Adrian Van Sinderen The Juilliard School Mrs. Thomas Watson Dr. Foster Kennedy Mr. Milton M. Klein Mrs. Harold H. Weeks Mr. Herbert Klotz Mrs. Henry J. Whigham Mr. Andre Kostelanetz Mrs. Cornelius V. Whitney Mrs. Jonathan T. Lanman, Jr, Mrs. Joseph Willard Mr. Richard W. Lawrence Mr. Herschel Williams Mr. George LeBoutillier Mr. William Wister The published score identified the work as “Overtura: Grand Fugue, tantôt libre, tantôt recherchée”—the latter being technical terms that classify the fugal writing as being sometimes free, sometimes strictly according to rule. The “Overtura” is a brief prelude presenting the main theme in four slightly different disguises. The eight-note phrase is easy to recognize by its abrupt and unexpected intervals, no matter how its rhythm may be altered. The last of the four versions persists, after the Fugue itself opens, as constant compan­ ion to a vigorous, leaping theme. The two are inseparable, showing up first here, then there, in the tonal web, and making of the section a double fugue. This procedure goes on at some length, with two rhythmically different fig­ ures one after another accompanying the paired themes. In spite of a number of subtle transformations, the identity of these short themes may readily be kept in mind. There is a mysterious shift to the remote key of G flat, and a slower sec­ tion which briefly treats with the more serious of the themes as well as a new counterpoint. The mood is one of pervasive and exalted calm. The music then picks up a faster pace, and the (by now) familiar main theme, in an­ other rhythmic pattern, works its way through various keys and is presented in various fragments and alterations which only a close study of the score will easily reveal. Repeated trills in one voice, then two, then three, domi­ nate the end of the section for a climax that cannot fail to hold excitement. The great theme is eventually presented in its original form, and at the same time, in another voice, turned upside down. Other transmutations of previous material then lead inevitably and grandly toward the deeply impressive conclusion. Such an analysis, a necessary chart for a first hearing, makes the Fugue appear to be music of the head rather than the heart. Music of the head it indisputably is, but the two, in the hands of such a master, need not be mutu­ ally exclusive. There is no parallel, in the artistic achievements of any man, to the “last quartets” of Beethoven. They are six works (if this Fugue be included) as rare in the profound and penetrating things they have to say as in the con­ summate artistry with which those things are said. After his fiftieth year Beethoven was more than ever cut off from the world about him. His music had far outstripped the ability of the public to appreciate it; memories of earlier triumphs made present poverty the more bitter; his relatives had proved unworthy of his affections; he had recurring attacks of painful illness. And he was completely, obliviously, deaf. He sat staring during a rehearsal of the E flat major Quartet, forced to check and correct the tempos by the movements of the players’ bows. This isolation could not curb the creative energy of such a man and he directed its forces to the shaping of these highly personal documents.
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