PHILADELPHIA ORCHESTRA Season 1942-1943 Mrs
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Tte Philadelph ia Orchestra EUGENE ORMANDY Conductor ☆ Anni vers ary Concert In \Cash mg ton DECEMBER 1, 1942, at 8:30 ☆ CONSTITUTION HALL WASHINGTON COMMITTEE FOR THE PHILADELPHIA ORCHESTRA Season 1942-1943 Mrs. Adolph C. Miller, Chairman Mrs. Robert Low Bacon Miss Laura Harlan Mrs. A. A. Berle, Jr. Mrs. Charles B. Henderson Mrs. Robert Woods Bliss Mrs. Eugene Meyer, Jr. Mrs. William Castle Mrs. Owen J. Roberts Mme. Ciechanowska Lady Salter Mrs. William Crozier Mrs. Edwin Watson Mrs. James Clement Dunn Mrs. Stanley Woodward BOXHOLDERS 13. Mrs. Roosevelt 23. Mrs. Orme Wilson 5. Major J. N. Ray 24. Mrs. Max O’Rell Truitt 7. The Ambassador of U. S. R. R. and 25. Mrs. Edwin B. Parker Mme. Litvinov 26. Mrs. William Crozier 9. Miss Alice Clapp 27 Mrs. Owen J. Roberts 10. Mr. and Mrs. Eugene Ormandy 29. Mrs. Ralph Worthington 11. Mrs. William Pouch Mrs. Norman C. Keith 12. Mr. Andrew Snow 30. Mrs. Patrick J. Hurley 14. Mrs. Edwin M. Watson 31. Mr. Dudley T. Easby, Jr. Mrs. Stanley Woodward 33. Mrs. Thomas Daniels 15. Miss Mabel Boardman 39. Mrs. George Garrett 16. Mrs. Eugene Meyer, Jr. Mrs. James Clement Dunn 17. Mrs. F. A. Keep 42 Princess Cantacuzene-Grant 18. Mrs. A. A. Berle, Jr. 43. Mrs. William R. Castle 19. Mr. Ord Preston 47. Countess Laszlo Szechenyi 21. Mrs. Adolph Casper Miller 51. Mrs. Robert Low Bacon PATRONS AND PATRONESSES Hon. C. B. Aitchison Mrs. Carol Greenough Lt. Commander David Mrs. Copley Amory Miss Grace Dunham Guest McAlpin Rev. Dr. George W. Atkinson Mrs. Chandler Hale Mrs. Paul V. McNutt Hon. Jennings Bailey Hon. Charles B. Henderson Miss Mary L. McQuade Mrs. F. L. Belin Mrs. Isadore Hershfield Mt. Vernon Seminary Mrs. Henry Berliner Mrs. Christian Heurich National Cathedral School Baroness van Boetzelaer Mr. William H. Hill Miss Helen Nicolay Dr. Walter Boyd Mrs. C. B. Hite Mrs. Frank Brett Noyes Mr. C. J. Brand Mrs. Paul T. Homan R. V. Palin Mrs. Paris Brengle Mrs. Walter Bruce Howe Mrs. A. K. Payne Miss Lucy Brickenstein Mrs. James A. Hurley Mrs. Duncan Phillips Mrs. Roberts Brookings Mrs. George Hyman Rear Admiral and Mrs. Edward B. Burling Mrs. Hennen Jennings Mrs. Frederick Pyne Mrs. Eugene Byrnes Mrs. Mary Tyler Johnston Mrs. Marie 0. Plavnick Mrs. F. H. Calvert Mrs. Preston B. Kavanagh Mrs. Nelson Rockefeller Mrs. C. Alden Chase Mr. Joseph D. Kaufman Mrs. Dunbar Rosenthal Señora de Chavez Mr. Warren Kelchner Mrs. Julius Rosenwald Mr. William S. Conant Mrs. J. B. Kendall Lady Salter Mrs. Dwight Cooke Miss Bessie J. Kibbey Mrs. J. Sanders T. B. Creagh-Coen Mrs. Milton King Miss Anita Schade Miss Mary A. Cryder Miss Helen D. Lee Mrs. C. C. Schiffeler Mrs. H. C. Davidson Mrs. Reeve Lewis Mrs. Charles Schwartz Mr. J. F. Davison Mr. Hugues Le Gallais Mrs. P. H. Sheridan Mrs. Arthur L. Day Mr. Lynch Luquer Mrs. Roland K. Smith Countess de Limur Mrs. Arthur Lyons Col. Oliver L. Spaulding Mrs. Clark Diamond Mrs. D. K. McCarthy Mr. Richard Stokes Mrs. Benjamin Dowell Mrs. J. G. McKay Brigadier A. C. Sykes Hon. J. M. Elizalde Mrs. N. R. Macomb Major H. H. Sykes Fairmount School Mrs. Atherton Macondray Mr. John Cobum Turner Mrs. Ben Fisher Mrs. D. B. Merryman Mrs. Eliot Wadsworth Mrs. Katharine Frost Mme. Mishtowt Col. L. Watrous Mrs. Pierre Gaillard Mrs. G. Mercer-Nairn Miss I. C. Wells Judge T. Alan Goldsborough Mr. Porter McCray Mrs. T. S. Wiles PHILADELPHIA ORCHESTRA FOUNDED 1900 CONSTITUTION HALL WASHINGTON, D. C. SECOND PROGRAM Tuesday Evening, December 1st, at 8:30 EUGENE ORMANDY Conducting ARTUR RUBINSTEIN, Pianist HAYDN........................................Symphony No. 88, in G major I Adagio; allegro II Largo III Menuetto IV Finale SZYMANOWSKI .... Symphonie Concertante for Piano and Orchestra, Op. 60 I Moderato II Andante molto sostenuto III Allegro non troppo INTERMISSION BARBER.........................................Second Essay for Orchestra *GRIEG......................................Concerto in A minor for Piano and Orchestra, Op. 16 I Allegro molto moderato II Adagio I JI Allegro moderato molto e marcato The STEINWAY is the official piano of The Philadelphia Orchestra * Available on VICTOR Records Patrons who are obliged to leave the auditorium before the concert is over are asked to withdraw before the last number begins. It is earnestly requested that the women patrons of the Orchestra will remove their hats during the performance. NOTES ON THE PROGRAM BY R. L. F. McCOMBS Symphony in G major (No. 88) Joseph Haydn Bom in Rohrau {Austria), March 31, 1732 Died in Vienna, May 31, 1809 HIS Symphony, identified by several numbers which vary confusingly from one catalogue to another, is also known as the “Letter V” Sym Tphony. There is in that, however, no connotation of Victory. It is merely one of a series of Haydn’s symphonies which the London Philharmonic So ciety listed by alphabetical designations—Letter A to Letter W. It is No. 13 in the Breitkopf and Härtel catalogue, No. 8 in that of Peters. In the chrono logical list compiled by Eusebius Mandyczewski it is No. 88. In 1784, when Haydn was at the peak of his fame as private composer to Prince Nicholas Esterhazy, he was approached by an emissary of the Concert de la Loge. Olympique of Paris, a musical organization of great wealth and overpowering aristocracy. Buried in the country at Esterhaz, almost never farther afield than Vienna, the composer was in a position comparable to that of the backwoods maker of mouse-traps. His wares were known and sought for in all the musical capitals of Europe. His symphonies had been played in Paris as early as 1779, and two years later his Stabat Mater had made a sensation at a Concert Spirituel, its popularity justifying several repe titions. There were Parisian publishers for a number of his works. Despite the safety and security of his comfortable drudgery for Prince Esterhazy, Haydn sometimes felt that he was unfortunate to live where he could not actively expand the market for his own music. For the Loge Olympique, then, Haydn wrote two sets of symphonies. That in G major, of this program, was the first of the second set of five. It was composed at Esterhaz, probably in 1786, forwarded to Paris for perform ance that year or the next, and published there afterwards as Op. 51, under the special title of “Répertoire de la Loge Olympique”. Mention of that august association hints at the interesting early history of Parisian concerts, which provided a model for other cities. Performances at the Opera were forbidden on the holy days of the Church, and in 1725 a court musician named Philidor obtained a license to give concerts on such days on condition that neither French music nor operatic excerpts be in cluded in the programs. This was the foundation of the Concerts Spirituels, which grew in importance (the ban on French and operatic music presently being lifted) and lasted until silenced by the Revolution in 1789. The cumulative influence of the Concerts Spirituels resulted in 1770 in the formation of a still more fashionable enterprise, the Concert des Amateurs, which presented twelve concerts a year in the grand salon of Charles de Rohan-Rohan, Prince de Soubise et D’Epinoy. The participating orchestra was the largest that had been brought together in Paris—comprising forty violins, with other instruments in proportion—and its performances were of great artistic importance. In 1781 these concerts were reorganized, and given the title de la Loge Olympique. (The Salle Olympique had been the home of the opera bufia.) It was rich as well as fashionable, able to engage re nowned virtuosos as soloists and to commission new works from eminent composers. The great violinist, Viotti, served as conductor of the concerts. In its early days the association had vague connections with freemasonry. Subscribers to the performances were received only after a rigorous exami nation. Admittance was granted at solemn ritual meetings. Each one paid two louis a year, and was given a decoration consisting of a silver lyre on a skyblue background which was his badge of admittance. Concerts, at first in the Palais Royal, were later given in the Salle des Gardes in the Tuilleries, where a stage was set up for the performers and tiers of seats for the listeners. Marie Antoinette and her household were fre quently present, and a grande toilette was required, not only for the audi ence but for the players, who wore embroidered coats with lace ruffles, swords and plumed hats, which lay beside them on benches as they played. Their concord of sweet sounds, however, was to be drowned by the cries of the hungry, and, after July 14, 1789, by the rattle of the tumbrels over the cobblestones. Symphonie Concertante for Piano and Orchestra, Op. 60 Karol Szymanowski Born near Elisaivetgrad (.Ukraine), September 21, 1883 Died in Lausanne, March 28, 1937 ZYMANOWSKI, who brilliantly represented his native Poland in the S circle of contemporary composers, wrote the Symphonie Concertante, his only work for piano and orchestra, in 1931 and 1932. He dedicated it to his friend and compatriot, Artur Rubinstein, but in the first performances, with the Warsaw Philharmonic Orchestra in May, 1933, the composer was himself the soloist. The first American performance was given November 2, 1933, by the Cleveland Orchestra in Cleveland, with Severin Eisenberger, pianist, and Artur Rodzinski conducting. Although Szymanowski was born into a family that had possessed wealth and culture for generations, his own musical expression was more specifically shaped by illness and misfortune. When he was a boy he fell and injured one of his legs so severely that a long illness followed.