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Home , Abram Chasins, Roy Harris

Third Season The Orchestra of America Richard Korn 1961-1962 Musical Director Carnegie Hall

Wednesday Evening, November 8, 1961, at 8:30 Broadcast over the WNYC Radio Network Beginning at 8:30 P.M. RICHARD KORN, Conductor Arthur Whittemore and Jack Lowe, Duo-Pianists

ERIC DELAMARTER ...... Suite from “The Betrothal" Overture The Veiled Sweetheart Dance of the Sweethearts

♦SPENCER NORTON ...... Partita for Two Solo Pianos and Orchestra Sinfonía Corrente Sarabande Gavotte Air Toccata ARTHUR WHITTEMORE and JACK LOWE intermission

♦JULIÁN ORBÓN...... Concerto Grosso for String Quartet and Orchestra Poco Allegro Lento Allegro Robert Rudie, First Violin Eugenie Dengel, Viola Peter Dimitriades, Second Violin Madeline Foley, Violoncello

ROY HARRIS ...... Variations on a Theme by Mr. Whittemore and Mr. Lowe use Baldwin Pianos

* First Performance

Baldwin Piano THE ORCHESTRA OF AMERICA PATRONS The Honorable Robert F. Wagner, National Association for American Mayor of the City of New York and Conductors Mrs. Robert F. Wagner National Federation of Music Clubs Mr. Clarence Adler National Guild of Community Music Schools American Performing Rights Society Honorable Richard C. Patterson, Jr. Blue Hill Foundation and Mrs. Patterson Mr. and Mrs. H. Alwyn Inness-Brown Powder River Foundation Mr. and Mrs. John Dozier Gordan Mr. and Mrs. Henry B. Rothblatt Mr. and Mrs. John Tasker Howard Mr. Theodore A. Seder, Curator, The Honorable Stanley M. Isaacs and Edwin A. Fleisher Music Collec­ Mrs. Isaacs tion, The Free Library of Phila­ Senator and Mrs. Jacob K. Javits delphia Mr. and Mrs. A. Walter Kramer Mr. and Mrs. Seymour N. Siegel Mme. Hulda Lashanska Society for the Publication of American Music Honorable Herbert H. Lehman and Mrs. Lehman Dr. and Mrs. Carleton Sprague Smith Mr. and Mrs. Archibald MacLeish Dr. Sigmund Spaeth Mrs. Junius S. Morgan Mr. Joseph Szigeti Music Library Association Dr. and Mrs. Harold Taylor Music Publishers* Protective Association The Edward MacDowell Association

RICHARD KORN, described by Donald Brook in his book, "Interna­ tional Gallery of Conductors/' as having "refreshing intellect, mastery of the orchestra, poise, a sensible, steady beat and remarkable vitality, is known throughout Europe, Japan, Israel and America for his inquisitive and courageous" (New York Times) approach to programming. Mr. Korn, who has conducted leading orchestras in this country and abroad, has always elected to include American music on his programs. His interest in "native composers" led inevitably to the musical direc­ tion of the Orchestra of America which is devoted solely to a re-discovery of our musical heritage of the past and present. In a recent broadcast, Abram Chasins, Musical Director of WQXR (the radio station of ), speaking of the Orchestra of America, said, "this remarkable organization's annual series of Carnegie Hall concerts has offered the composers of America the wid­ est opportunities that have ever been available to them. It has also offered the listener unique chances to appraise and re-appraise all of our music in all styles and periods of composition, ranging from the most experi­ mental music of today back to the earliest music to be found in our rich musical heritage." And The Christian Science Monitor hailed the Orches­ tra of America and its conductor as the AMERICAN MUSIC RESCUE OPERATION.

2 NOTES ON THE PROGRAM by JOHN EDMUNDS

Notes on the program may not be printed in their entirety without the written consent of The Orchestra of America; excerpts from the notes may be quoted if due acknowledge­ ment is given to the author and to the orchestra.

ERIC DELAMARTER...... Suite from "The Betrothal"

Eric Delamarter (1880-1953) played a lively part in the American midwest musical scene from his fifteenth year when he became choir di­ rector in Kalamazoo, Michigan. At 21 he went to Paris to study organ with Guilmant and Widor, and from his return to America in 1903 became active as teacher, conductor, music critic, and organist. In 1911 he succeeded Frederick Stock as director of the Musical Art Society of Chicago. He was for many years assistant conductor of the Chicago Symphony Orchestra and in 1918-19 acted as director in Stock's ab­ sence. He also served as conductor of the Chicago Civic Orchestra, and as music critic for the Chicago Record-Herald and Tribune. Besides the Betrothal Suite he wrote three symphonies, two organ concerti, a suite for ballet and several shorter orchestral works. The score of the Betrothal Suite bears the following information: "This suite is taken from the incidental music written for Winthrop Ames' production of Maeterlinck's "The Betrothal" (sequel to "The Blue Bird"), which was staged at the Schubert Theatre, New York on November 19, 1918. This concert version of three numbers from that incidental music was first presented at a concert of the Chicago Symphony Orchestra, Chicago, on March 21, 1919, the composer conducting." I. Overture — An animated opening subject is presented by the full or­ chestra. It gives place to a more subdued and contrasting subject scored predominantly for wind instruments. These elements are de­ veloped in alternation and gradually the short movement is brought to a vigorous close. II. The Veiled Sweetheart — A quiet introduction leads to the main sec­ tion based on a diatonic lyrical motive given out by the strings and developed in increasingly chromatic style by the full orchestra. The movement concludes with a return to the relaxed mood of the open­ ing bars. III. Dance of the Sweethearts — In 6/8 meter the dance is, like the over­ ture, based on two contrasting subjects, the first presented by the full orchestra, the second and gentler, by the strings. A minuet is 3 interpolated into the movement, reminding the listener that this is music for a play. This is followed by a return to the dance subject and the suite ends with a flashing affirmation of good humor. Published by Carl Fischer, Inc.

SPENCER NORTON...... Partita for Two Solo Pianos and Orchestra The second midwest figure represented on tonight's program, Spen­ cer Norton (1909-. . . .), followed his work at the University of Oklahoma with two years study in Milan, and later, in 1951, received his M.A. at the . He is Professor of Music at the University of Oklahoma, and is active as pianist, conductor and opera coach. He translated the memoirs of Alfredo Casella, Music in My Time, published by the University of Oklahoma Press in 1955. In 1948 he was given a grant for composition from the Rockefeller Foundation and in 1959 the Ford Foundation commissioned the present work. The work, “partita" suggests the suites (made up mainly of dance movements) that appeared in profusion during the eighteenth century. Usually the partitas were for solo instruments and most often for keyboard instruments. Though Norton's Partita is for full orchestra and its virtuoso demands on the solo pianists recall the romantic piano concerto, it con­ forms to the baroque tradition in being made up entirely of forms then current. I. Sinfonia — Marked maestoso, this movement serves as an introduction and begins with the dotted rhythms that characterize the French over­ ture. The principle material of the sinfonia then appears: a vigorously rhythmic subject set forth by the solo instruments and orchestrated with a sparse and dry touch. The tempo indication is alia marcia and there is a good deal of sustained passage-work by the soloists. An allusion to the dotted figures of the opening section ends the move­ ment. II. Corrente — This ancient dance derives its name (“running") from the characteristic animation of its patterns. The motion is continuous throughout. III. Sarabande — Another ancient dance form in triple meter, this is of contrasting gravity. Essentially monothematic, the movement generates increasingly elaborate passagework by the soloists. The sarabande is scored only for trumpets, trombones, tenor drum and pianos. IV. Gavotte — This sturdy movement - the tempo marking is moderato — is orchestrated without trumpets or trombones, but with all other avail­ able forces. 4 V. Air — Horns are omitted in this movement, which is not related to any dance form, but rather to the song. It is accordingly lyrical and for the most part subdued, with the solo instruments providing a series of arabesques. VI. Toccata — Here the music is unrelated in form either to the dance or the song, being purely instrumental in character. It follows the tradi­ tion of being lively and pyrotechnic in character and calls upon the full resources of the orchestra and the solo instruments, bringing the Partita to a brilliant conclusion. Published by the American Music Edition.

JULIAN ORBÓN...... Concerto Grosso for String Quartet and Orchestra Much the youngest of the composers on the program is Julian Orbón (1925-. . . .) born of Cuban parents and a music student of his father until 1939, when he began studying composition with José Ardevól. In 1946 he won a scholarship to study with at Tanglewood. His early music includes a toccata and a sonata for piano, a capella choruses, a Prelude and Toccata for Guitar and a string quartet. When in 1954 the first Latin-American Festival of Music was given in Caracas, Señor Orbón received the $5,000 Landaeta Prize for his work Tres Versiones Sinfónicas. Four years later he was awarded a Guggenheim Fellowship. His orchestral works, including the Misa sobre los Tonos (for orchestra and chorus) have been widely played by major orchestras in Europe and the Americas. Both the Music Foundation (Library of Congress Series) and the Fromm Music Foundation have commissioned works by Julian Orbón. He has lectured at Havana University, Lenox College, Bar­ nard College and , and is now living in Mexico serv­ ing as assistant to Carlos Chavez at the National Conservatory of Music. Concerto Grosso. This work recalls the early eighteenth century as surely as does the Partita heard earlier in the evening. Where the latter was customarily written for a solo instrument, the Concerto Grosso was written for a chamber group and usually it set off several soloists against a contrasting larger group of supporting or competing instruments. The two principal elements of the baroque concerto grosso which are observed here are the contrasting of soloists against the tutti group, and a musical idiom derived in large part from baroque practices in melody, harmony, rhythm and form. I. Poco Allegro; Allegro — In sonata allegro form the first subject pre­ sents the substance of the entire work. 5 II. Lento — This consists of an elaborate reworking of the subject pre­ sented at the beginning of the first movement. It is song-like in char­ acter. In this movement a device is first heard which becomes increas­ ingly conspicuous during the remainder of the work; it consists of sharpening a note when it is returned to after an adjacent note. III. Allegro — A transformation of the first movement's opening subject, the finale has a typically baroque motoric impetus and builds up to an effective climax. An element of unusual rhythmic interest is the opening section in 10/8 meter, which reappears during the movement and with which it concludes. Commissioned by the Serge Koussevifzky Music Foundation Published by Boosey and Hawkes, Inc.

ROY HARRIS .... Variations on a Theme by Howard Hanson

Another Oklahoman by birth, Roy Harris (1898-. . . .) after a period of training at the University of California made his way to Paris in the early 30's where he became a member of what is now sometimes affec­ tionately known as the "Boulangerie" — the composers (many of them now famous) who went there to study with . In 1934 Harris' First Symphony was performed by the Boston Symphony Orchestra under the direction of Serge Koussevifzky who called it “the first truly tragic symphony by an American." Roy Harris has served in many universities as teacher and composer­ in-residence, among them Cornell, Southern Illinois, Indiana and the Inter-American University in San German, Puerto Rico. This year he is lecturing at the University of California in Los Angeles. He is also at work on his Eighth Symphony, commissioned by the San Francisco Symphony Orchestra in celebration of its fiftieth anniversary. Variations on a Theme by Howard Hanson — Written originally as a tribute to Howard Hanson, the Variations are played tonight in honor of Dr. Hanson's 65th birthday. The subject of the Variations is derived from the scherzo of Hanson's Third Symphony and consists of a pedal (a single repeated note) with a small ornamental flourish and a touch of both modality (the lowered 7th degree) and tonality (the leading tone), plus the characteristic metrical pat­ tern of the traditional scherzo. Confining himself to the most modest of borrowings, Harris is given the utmost liberty, being bound only by the pedal, the flourish, the interesting double nature of the 7th degree and the triple meter. He has a "field day" lasting for ten minutes and involving the full orchestra in an agreeable festival in honor of a distinguished colleague. Published by Carl Fischer, Inc. 6 ARTHUR WHITTEMORE and JACK LOWE, have brought new facets to the medium of the duo-pianist's art, which places them on a pinacle of high eminence. They have appeared with major symphony orchestras from coast to coast, and premiered two major works in a single concert with the : Krenek and Gould. This evening marks their first appearance with The Orchestra of America . . . and the perform­ ance of American composer, Spencer Norton's Partita for Two Pianos is a New York premiere.

COMING CONCERTS

SECOND PROGRAM DECEMBER 6. 1961 ROBERT RUDIE, Violinist Virginia Babikian, Soprano Marlena Kleinman, Mezzo Soprano Louise Parker, Contralto Don Yule, Baritone SILVESTRE REVUELTAS (Lat. Am.) ...... Colorines ALEXANDER BROTT (Canada) ...... Concerto for Violin and Orchestra *ALAN HOVHANESS ...... Sixth Symphony (New Version for Chamber Orchestra) EXCERPTS FROM AMERICAN OPERAS GEORGE CHADWICK ...... The Padrone DOUGLAS MOORE Giants in the Earth 0820106 The Mother of Us All THIRD PROGRAM JANUARY 10. 1962 CLAUDETTE SOREL, Pianist Assunta Dell'Aquila, Harpist •WILLIAM SYDEMAN ...... Orchestral Abstractions HAROLD MORRIS ...... Concerto for Piano and Orchestra DON GILLIS...... Rhapsody for Harp and Orchestra GEORGE BRISTOW ...... Symphony in Fj Minor

FOURTH PROGRAM FEBRUARY 14. 1962 ALDO PAR1SOT, Cellist DEEMS TAYLOR ...... Ballet Music from “Casanova" HENRY EICHHEIM ...... Oriental Impressions •CAMARGO GUARNIERI (Lat. Am.) ...... Concerto for Cello and Orchestra ...... Concerto for Orchestra

FIFTH PROGRAM MARCH 14. 1962 MAUREEN FORRESTER, Contralto ••PETER WESTERGAARD ...... Symphonic Movement CHARLES IVES ...... Robert Browning Overture ** HARRY SOMERS (Canada)...... Five Songs for Dark Voice •MARVIN DAVID LEVY...... One Person, Song Cycle HEITOR VILLA-LOBOS (Lat. Am.) ...... Amazonas

First Performance First New York Performance Baldwin Piano 7 THE ORCHESTRA OF AMERICA Richard Korn, Musical Director

ORCHESTRA PERSONNEL

VIOLINS Maas, Gerald CONTRA BASSOON Moore, Kermit Rudie, Robert Norkin, Morris Concert Master Rogers, Bruce Shapinsky, Aaron Dimitriades, Peter FRENCH HORNS Principal Second Steinbock, Evalyn Taht, Juri Froelich, Ralph Ajemian, Anahid Henry, Sheldon Beimel, George Tillotson, Brooks BASSES Black, Arnold Brown, Ralph De Sanctis, Juan Sankey, Stuart Eisenberg, Marcella O'Brien, Orin TRUMPETS Eley, Jean Petty, Warren Ligotti, Albert Eley, Louis Prinz, Paul Brower, Jay Golodner, Maurice Rhein, William Staffer, Arthur Graf, Vera Teiko, Jesse Gusikoff, Michel TROMBONES Henkle, Ralph FLUTES Thompson, James Katz, Jack Orenstein, Martin Hessler, Gene Katz, Meyer Jackson, John Guffey, Kenneth Kerker, Jack Handy, Antoinette Kuehne, Marguerite TUBA Künstler, Julius PICCOLO Levi, Nannette Stanley, William Molday, Sonia Handy, Antoinette Ohmes, Allen TIMPANI Ravina, Oscar OBOES Jones, Elayne Roth, Herbert Roseman, Ronald Schiller, Alan PERCUSSION Schuman, Henry Stutch, Ann Bhosys, Waldemaar Adato, Joseph Vaz, Domenick Koff, Richard ENGLISH HORN Pollick, Albert VIOLAS Bhosys, Waldemaar Dengel, Eugenie PIANO & CELESTE Bloom, Michael Glazer, Gilda CLARINETS Brown, Beatrice Hurtig, Renee Galimir Russo, Charles HARP Howland, Paul Juvelier, Aaron Dell'Aquila, Assunta Levine, Jessie BASS CLARINET Serbin, Max LIBRARIAN Simons, Janet Davis, Emery Dolan, James

CELLOS BASSOONS ORCHESTRA Foley, Madeline Schwartz, Frank PERSONNEL MGR. Harry, William Sharoff, Sanford Aaron, Arthur