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National Symphony Orchestra TWENTY-FOURTH SEASON NATIONAL SYMPHONY ORCHESTRA HOWARD MITCHELL, Conductor MAGAZINE [ IV-B ] April 5, 1955 National Symphony Orchestra [FOUNDED BY HANS KINDLER IN 1931] HOWARD MITCHELL, Conductor TWENTY-FOURTH SEASON ----------------------------- ■ ■■ ♦««<i — 1995th Concert Tuesday, April 5th, at 8:30 P.M. Lyric Theatre, Baltimore, Md. Soloist: ARTUR RUBINSTEIN, Pianist MESSIAEN..................................................... “The Ascension,” Four Symphonic Meditations I. Majesty of Christ Beseeching His Glory of His Father II. Serene Hallelujahs of a Soul That Longs for Heaven III. Hallelujah on the Trumpet, Hallelujah on the Cymbal IV. Prayer of Christ Ascending to His Father R. STRAUSS . Death and Transfiguration (Tod und Verklarung) Symphonic Poem, Opus 24 [INTERMISSION] BEETHOVEN................................... Concerto No. 5 in E Flat Major, Op. 73 (“Emperor”) Allegro Adagio un poco mosso Rondo—Allegro ARTUR RUBINSTEIN Steinway Piano from Music Centre The National Symphony Orchestra Records Exclusively for Westminster NOTICE—For your own safety LOOK for your nearest EXIT. In case of emergency WALK, do not RUN to that EXIT. By order of the MAYOR AND CITY COUNCIL OF BALTIMORE PROGRAM NOTES by John Learmont THE ASCENSION—Four Symphonic Meditations Oliver Messiaen Born in Avignon, France, 1908 Olivier Messiaen, a pupil of Paul Dukas exotic features. A ten-movement sym­ and Marcel Dupré, distinguished himself phony, written under commission from at the Paris Conservatory where he later the Koussevitzky Foundation, exhibits became teacher among other leading these characteristics plus remarkable use Paris schools of music. After serving in of rhythm and of unusual percussion in­ the World War, he visited the United struments. A strong influence in the com­ States to give lectures in composition at positions of Messiaen is his deep religious Tanglewood. The works of Messiaen feeling, and many of his works are based are original both structurally and the­ on religious subjects. matically, and several of them exhibit The Four Symphonic Meditations for TTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT ■■/¿/m ■^ïcf^ïani.t... ,inema ’layhouse North Avenue at Linden 25th Street at Charles Currently Presenting: Currently Presenting: ALASTAIR SIM NEW YORK FILM CRITICS AWARD "THE BELLES OF "Best Foreign Film of the Year" ST. TRINIAN'S" "GATE OF HELL" "Delightful . wonderfully funny" "An absolute must!" —n. y. Post —N. Y. Times Feature: 2:00, 4:00, 6:00, 8:00, 10:00 Feature: 2:00, 4:00, 6:00, 8:00, 10:00 In Baltimore ... only in The Cinema and The Playhouse auditoriums will you find the “AirFlo” Rocking Chair . the finest theatre seating yet conceived. • In the spacious lounges, freshly brewed coffee served at all times .. rotating art exhibits . world-wide periodicals for your reading pleasure . Page 10 THE SYMPHONY MAGAZINE Orchestra are based on texts drawn from that we may dwell in Heaven in the Catholic liturgy and scripture, which are spirit.” quoted by the composer, who additionally III. Lively and joyous. Hallelujah on has provided each movement with a title the trumpet. Hallelujah on the cymbal. and an explanatory caption. These are as “God is gone up . with the sound of follows: a trumpet. ... 0, clap your hands, all I. Very slow and majestic. Majesty of ye people; shout unto God with the Christ Beseeching His Glory of His voice of triumph.” Father. “Father, the hour is come; IV. Extremely slow with emotion and glorify Thy Son, that Thy Son may solemn. Prayer of Christ Ascending to glorify Thee.” His Father. “Father ... I have mani­ II. Clear and not too moderate. Serene fested Thy name unto men . and now Hallelujahs of a Soul that Longs for I am no more in the world, but these Heaven. “We beseech Thee, 0 Lord . are in the world, and I come to Thee.” DEATH AND TRANSFIGURATION Richard Georg Strauss Symphonic Poem Born in Munich, 1864 Died in Garmisch-Partenkirchen, 1949 When Richard Strauss died four and Precocious as a child, he already had a half years ago, he had over seventy some promising compositions to his years of musical creativity behind him. credit at the early age of ten. Six years FOR THE ULTIMATE IN Sound Reproduction and High Fidelity Installations ENGINEERED - CUSTOM DESIGNED - CONSTRUCTED RADIOS • PHONOGRAPHS • COMBINATIONS Equipment Supplies - Repairs Individual For Units Home Sold At Office Wholesale Industry Prices FREE ESTIMATES 2326 N. Charles Street HOpkins 7-7192 NATIONAL SYMPHONY ORCHESTRA Page 11 later he had composed his first sym­ Wagnerian manner carry the thread of phony, and at twenty-one was conductor the story. of the ducal orchestra at Meiningen. Up The first episode features the dreams to this time Strauss had composed sub­ and childhood memories of a dying man. stantially on classical lines, with Brahms In this episode, two of the three main as exemplar. At Meiningen however, themes appear. The first is the “death” under the influence of the violinist and theme, played pianissimo in the strings. composer Alexander Ritter, an ardent Then the theme denoting childhood and Wagner supporter, he forsook the path happier days is presented by the oboe. of Brahms to follow that of Wagner, The second episode depicts death’s at­ Berlioz and Liszt. Programmatic 'style tacks, in which dissonant chords play a of composition soon became the staple telling part. Two subsidiary themes also orchestral production of Strauss. The appear and then the first suggestion of composer himself has stated that “I have the transfiguration theme, which will be long since learned that in my composi­ heard in full in the final episode. tions I am unable to write without a After his struggle with death, the dying program to guide me.” man in delirium sees his life pass in pic­ The program of “Death and Trans­ tures before him. Here in the third figuration” comprises four main episodes, episode, the childhood theme reappears, and running through them are at least along with subsidiary themes in related three distinctive themes, which in the mood, then the transfiguration theme— COMPLETE is the word . FOR THE HECHT CO. NORTHWOOD JUST MINUTES AWAY FROM YOUR SECTION NORTHWOOD Havenwood Road between Hillen and Loch Raven Boulevard COMPLETE STORE FOR MEN, WOMEN, CHILDREN, THE HOME NATIONAL SYMPHONY ORCHESTRA Page 13 now more recognizable—and again the strings, but the essence of the episode death theme as the final struggle takes is transfiguration — deliverance from place. Death wins, and a rising sequence earthly tribulation. The transfiguration proclaims the soul’s release. theme, sounding out in complete form In the last episode, a suggestion of the for the first time, brings the work to a childhood theme is heard again in the climax. CONCERTO NO. 5 IN E FLAT Ludwig van Beethoven Born in Bonn, 1770 Died in Vienna, 1827 Beethoven’s Fifth Concerto, popularly #26 in A Major, which is known as the known as the “Emperor Concerto,” was “Adieux” Sonata, since it was written as composed in 1809. This was the year a farewell to one of the members of the that the Napoleonic forces occupied departing royal family. The first per­ Vienna, causing the royal family and formance of the Fifth Concerto was in many of the aristocracy to flee the city. Leipzig, one hundred and forty-three Yet despite the disturbance of the occupa­ years ago. tion, Beethoven produced compositions as The first movement contains just two imposing in calibre as in quantity. The main themes, but before they are pre­ year’s output included the Fourth, Fifth sented there is an introductory section and Sixth Symphonies, and the Sonata made up of cadenza-like passages for the This is the GARRARD Precision engineered ...Trouble-free... World's Finest 3-Speed Easily, inexpensively CHAUFFEURS - BUTLERS Record Changer installed in your present set... MILITARY - INDUSTRIAL Automatically plays a.must for any new all sizes, all speeds. high fidelity BANDS — DRUM CORPS ECONOMICALLY PRICED! installation! Available in Bcltimore Area at: American Television Co., 1200 No. Fulton A. Jacobs & Sons, Inc. Custom Music Systems, 2326 No. Charles St. Dave’s Radio & Appl. Cen., 4010 Glenayle Uniforms Since 1891 Hi Fidelity House, 5123 Roland Ave. Radio Electric Service Co., 5 No. Howard 107 W. FAYETTE STREET Wholesale Radio Parts Co., 301 W. Redw'd And other high fidelity dealers L E 9 - 6 6 6 0 A Quality Endorsed Product of the British Industries Group: Garrard, Leak, R-l.Wharfedale Components, Page 14 THE SYMPHONY MAGAZINE piano, punctuated by orchestral chords. ent participation on the part of the piano, This is followed by an important sequence until finally there is quiet and again a which opens with the first of the two feeling of expectancy. We are waiting main themes, and then goes on to pre­ for something—the usual virtuoso ca­ view the rest of the thematic material denza—but, instead, the piano leads into from which the movement is built. After a coda in which it cooperates with the this exposition, a completely new short orchestra in a restatement of the open­ subject— a transitional one—creates an ing section of the movement, which this air of expectancy preparatory to the time begins with the second theme. In­ entry of the solo piano. This enters with creasing prominence is, however, given a version of the first subject, to usher to the first theme, with both orchestra in a second exposition of the main themes, and piano dramatically offsetting and which are now presented with embellish­ merging with each other in varying de­ ments and intricate modulations and a grees of vigor and tenderness right to the greater dramatic effect. The develop­ spirited conclusion. ment section stresses the first theme. It The second movement is simple in con­ starts softly, but gradually builds up in struction. There is really just one theme power with frequent orchestral emphasis —a lovely, quiet melody—played at the on the first theme and increasingly insist­ outset with muted strings and pizzicato The whiskey that didn’t watch the clock..
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