CARNEGIE HALL Those Were the Days...

CAP) is organized. It is "expected by its founders to become the most powerful 50 YEARS AGO organization in the world for the control of the music business." Feb. 16: Eugene Ysaye forfeits a $2,000 During February 1914 Germany's Ad­ contract to play a concert during a miral von Tirpitz rejected a proposal for Beethoven festival with the New York a year's moratorium on naval shipbuild­ Symphony Society because he insists on ing suggested by England’s First Lord of including a Vivaldi concerto as well as the the Admiralty, Winston Churchill. Else­ Beethoven. Sayi conductor Walter Dam- where on the Continent, a dentist (in rosch: "It would be ridiculous to play Montmartre) advertised his new rates: anything except Beethoven's music at a regular tooth extraction, 60^; painless, Beethoven festival.” §1.00; with music, $4.00, for which the patient could choose "Beethoven, Wagner, Feb. 18: Ysaÿe and his son Gabriel play or Irving of .” In the United States, the Bach Double Concerto at a Society of Koussevitzky as Haydn. the Aero Club laid plans for a one-day the Friends of Music concert at the Ritz. flight across the Atlantic to be undertaken Feb. 20: Mr. and Mrs. David Mannes, cians wearing wigs and frock coats play by a plane capable of cruising at 65 mph, violinist and pianist, are among those per­ the Farewell Symphony by candlelight at while a special state commission investi­ forming at a White House musicale given a benefit concert in . . . . gating conditions in the New York con­ by Mrs. Wilson. Walter Gieseking’s performance of Rach­ fectionary business recommended that the maninoff’s Third Piano Concerto (with working week for fourteen-year-olds be re­ Feb. 22: In an interview, Dr. Karl Muck, the Philharmonic under ) duced from fifty-four hours to forty­ conductor of the Boston Symphony Or­ is judged by one critic as “even more sig­ eight. Also, on . . . chestra, states that “musical composition nificant than a performance of the work, is in a state of stagnation everywhere. . . . Feb. 4: Enrico Caruso, rushing to the which is well remembered, by its com­ is a prolific composer who poser.” cabin door in Act II of Girl of the Golden writes easily and too much. . . . Schoen­ West, falls to the floor when his spurs be­ berg is impossible.” Feb. Il: An NBC Symphony broadcast come entangled in Emmy Destinn’s skirts. features a superlative performance of "Mme. Destinn, absorbed in her part, did Brahms’s Liebeslieder Waltzes: at one of not at first notice what was wrong with the pianos is Erich Leinsdorf. . . . Nadia her colleague.” 25 YEARS AGO Boulanger is "amazing” as conductor, Feb. 6: William Butler Yeats, arriving on pianist, organist, and choral director with the Lusitania, is asked his opinion of the the Philharmonic. recent banning of Maurice Maeterlinck’s In February 1939 Hitler launched the Feb. 19: Ignace Jan Paderewski is re­ works by the Catholic Church. He de­ 35,000-ton battleship Bismarck and also fused in his offer to return to Poland, clares that he sees no heresy in Pelleas opened the Motor Show in Berlin, intro­ after a fifteen-year self-imposed exile, to and Melisande or The Blue Bird. ducing a new lightweight automobile he help organize the country’s defenses in hoped would become a successful export case of German aggression. Feb. 8: A Sunday Times photograph re­ product. It was called the Volksauto. veals Mme. Olive Fremstad hoisting a France opened her borders to the Loyalist Feb. 18: Isaac Stern, making his second large ax. “She, like the Kaiser, enjoys army fleeing Spain, while England or­ appearance in New York, is judged woodchopping, which is her chief recrea­ dered 1,200,000 babies’ gas masks. Mean­ "among the best of the newest crop of tion.” while, on . . . home-bred violinists.” Feb. 10: The Kneisel Quartet, perform­ Feb. 1: Robert Casadesus, on his fifth Feb. 25: Nineteen-year-old violinist ing Opus 127 in Aeolian Hall, is praised consecutive U.S. tour, plays a concert of Ruggiero Ricci makes a "comeback" at for bringing Beethoven’s late quartets "out Romantic music at Carnegie Hall and is Carnegie Hall. from the arcana of hidden and mystical deemed "a superior artist with a distin­ things for the enjoyment and comprehen­ guished musical mind.” Feb. 26: A broadcast from NBC Studio sion of educated music lovers.” 8-H by the seventy-eight-year-old Pade­ Feb. 2: Georges Enesco, as guest con­ rewski, commencing his twentieth U.S. Feb. 11: Thomas A. Edison is persuaded ductor, leads the tour, is termed “one of the most impres­ by his wife and son to leave his labora­ at Carnegie Hall in a program of Ru­ sive musical events this city has seen in tory in West Orange, New Jersey, to come manian works. many years.” . . . The Orchestra of the home for a surprise party celebrating his New Friends of Music, under Fritz Stie- Feb. 5: The Griller Quartet, ten years sixty-seven th birthday. His favorite music dry, gives the first of a series of perform­ old, makes its American debut at Town "was rendered on one of the new diamond ances of little-known Haydn symphonies Hall. Its "youthful vigor and enthusiasm disc phonographs, and in this way the exhumed and edited by musicologist Al­ evening at home was spent.” worked with irresistible effect.” fred Einstein, recently arrived in this Feb. 13: The American Society for Feb. 9: dressed as country. First to be played are No. 67 and Composers, Authors, and Publishers (AS- Haydn and the Boston Symphony musi- No. 80.

2 Carnegie Hall Program ‘What is an -Achromatic ^peaker ^ystem?

-CARNEGIE HALL- RPORATION Board of Trustees Leonard Altman Marian Anderson Robert S. Benjamin T. Roland Berner W60—2 speaker system. $116.50 Julius Bloom Dr. Ralph J. Bunche chromatic means: "Pure sound, uncol- Howard S. Cullman A- ored by extraneous modulations.” Such Jack deSimone modulations, common even in luxury Robert W. Dowling speaker systems, tend to alter the natural Mrs. Marshall Field sound of music. Abe Fortas The concept behind the Wharfedale Achro­ Dr. Harry D. Gideonse matic speaker systems reflects extensive mu­ Mrs. Dorothy Hirshon sical training and respect for musical values. Mrs. Albert D. Lasker In turn, the warm loyalty of Wharfedale Hon. MacNeil Mitchell owners is derived from their personal reac­ Dr. Rosemary Park tions to the musical taste in the Wharfedale Frederick W. Richmond sound. Like a fine painting, the ability of Wharfedale speakers to evoke personal Col. Harold Riegelman emotions is an art. Raymond S. Rubinow John Barry Ryan III Here is the truly natural reproduction of sound, free of spurious resonance and arti­ Isaac Stern ficial tonal coloration. To appreciate this Geraldine Stutz achievement, listen to a recording you know Harry Van Arsdale and enjoy, reproduced by a Wharfedale Gerald F. Warburg speaker system. There are Norman K. Winston Wharfedale Achromatic David L. Yunich speaker systems priced from

Chairman of the Board Frederick W. Richmond Chairman, Executive Comm. Robert W. Dowling President Issac Stern Executive Vice President John Barry Ryan III Vice Presidents Marian Anderson Harry Van Arsdale Gerald F. Warburg Treasurer Robert S. Benjamin Secretary Raymond S. Rubinow Counsel Nordlinger, Riegelman, Benetar and Charney

Executive Director Julius Bloom General Manager Lionel Rudko Controller Ronald J. Geraghty House Manager John J. Totten Asst. House Manager Wayne Richardson Booking Manager Mrs. Ioana Satescu Box Office Treasurer Nathan Posnick

Carnegie Hall Program 3 Letter from Budapest

By Joseph Szigeti

In October of last year Joseph Szigeti returned to his ence of some eight or nine hundred; my recording native Budapest, for the first time since World War II, of the Bach D minor Partita was played after I had to serve as a judge for the seventh International Music touched upon various stylistic and technical problems. Competition, held in that city. The editors of THE Koddly and his wife sat in the first row, and when CARNEGIE HALL PROGRAM take pleasure in he got up to thank me and to reminisce about me (he publishing herewith a letter from the renowned has known me since my tenth year), I got a glimpse of violinist describing his impressions of the visit. Koddly the educator at work. He used this occasion to point out that some of the musical anomalies I castigated spring from a lack of solfeggio training ■p erhaps you have read about the results of the com- among string players, and Koddly—practically shaking petition, meager if one considers that over a hun­ his forefinger at the assembled teachers—said: “The dred contestants took part. In any event, the things I time will come when even violin teachers will come intend writing about are on the margin of the com­ around to solfeggio!” This was an evident dig at the petition. . . . routine pedagogy and routine music making in gen­ Coming back to one’s birthplace after twenty-four eral which he has been combating these last decades. years, it is difficult not to fall into the trap of senti­ The dominant impression he leaves is that of serenity mentality. Everything conspires to make you do just in the knowledge of work well done; counterbalancing this, even the food you eat, the wine or the morella this is an alertness far removed from a “resting on cherry juice you drink. And to hear Koddly reminisc­ one’s laurels” attitude. ing about the blond ten-year-old I was or about a Koddly had just returned with his young wife from simple Schubert sonatina he heard me play some thirty years ago, or to have the poet-philosopher Milan Fust tell me about the violin lessons he had from my father sixty years ago—all this is not conducive to the writing of a level-headed report. Fust was the first man of letters—as distinct from music reviewers—to write about me when I was a teenager. He is now installed in a lavish tycoon-built (circa 1912) villa, surrounded by his books, fine paintings, sculpture, and Steinway grand. Now getting on to his seventy-sixth year, Fust is barely able to move from writing desk to dinner table, but he is undiminished in his creative urge. America, by the way, will soon be hearing about him, for his recent novel, L’Histoire de ma femme, which is being acclaimed in French, German, and Polish translations, is to be published in English. Let me write also about Kodaly, whom I saw both in his home and at the Bartdk Archives (about which more later), besides hearing him speak at the session I gave for teachers, students, and just plain music lovers in the big hall of the High School for Music. I was asked to give a sort of informal workshop talk for the string players and their teachers, and this so- called “intimate event” developed into a two-and-one- Joseph Szigeti visits his old friend Zoltán Koddly in half-hour talk in the big concert hall before an audi­ Budapest during recent return to his native Hungary.

Carnegie Hall Program 5 the Copenhagen Conference of Music educators. A few for editing, typography, production, and so on. This hours after his return he was already in the midst of makes the attitude of “Well, this is just one of those things at home: attending concerts given by prize­ things! . . . You know, in a big organization like ours winners; coming to fetch me at the home of Bartdk’s ...” well-nigh impossible when complaints come in. widow, Ditta; enquiring about her project of settling (The most frequent complaint in the world of books is in a new co-operative building (she lives in a some­ about the inadequate size of the first printing, which what cluttered-up though fairly comfortable apart­ is often sold out in a matter of hours.) I was pleasantly ment in a house much the worse for wear); then, after surprised to find that the “responsible” man, whose lunch at his home, showing me the newly published name you will find at the back of most Hungarian French Bartdk biography by Pierre Citron and speak­ state music publications, is a practicing composer ing about the lack of adventurousness in those who whose quartets and choral works are much played: his fail to take the plunge into Ansermet’s rather for­ name is Béla Tardos. bidding book on musical philosophy (“even reading I never heard the like of the school orchestras and fragments of it would be better than nothing’"). children’s and teenagers’ choirs, or of the Children’s An octogenerian with hearing and sight unim­ Choir of the Radio. The late André Mertens wanted paired, Koddly is ready to fight any infringement on to bring the latter to America. What boldness of at­ his music-education program, any curtailing of music tack and intonation by these kids in short pants and hours in the state syllabus. And there is always that sailor blouses, what security of pitch in intricate charming wife of his to ward ofE inopportune visitors, Bartók and Kodâly choral works! They sing without allowing him (notoriously curt on the telephone) to music. I also heard youth orchestras play contem­ be oblivious of this instrument; there she is, comb in porary Hungarian works written for them—some in hand—when he was about to be photographed with me 5/8 time—in sensitive and rich performances. This is —ready to tidy his still long hair, quite unconcerned not so surprising when you realize that in Budapest with our presence. ... He still lives in his spacious old there are kindergartens where three-year-olds are apartment on the tree-lined boulevard leading to the started on singing, playing games with music, practic­ Fine Arts Museum and the City Park. ing elementary solfeggio. Evidently they believe in This urge to work at an advanced age I found also “do-it-yourself” music instead of the “music apprecia­ in toilers of less exalted fields: for instance, in the tion” that consists of memorizing composers’ birth old violin repairer and expert who told me, “You see, and death dates combined with a record-jacket type there are so few fine instruments left in my country. of musicology. We can thank Kodâly for this. I want to go on; I am about the only one left in this Unforgettable for me was the program given in my domain who has my background.” honor by the UNESCO-aided Elizabeth Szilagyi Other crafts, too, seem to have preserved some of Gymnasium (Hungary has been a member of their former independence, though obviously within UNESCO for fifteen years)—girls singing under their the larger context of state control. Thus the bill for a mesmerizing woman conductor, all eyes glued to hers. custom-made suit has to contain all the meticulous One choral number was a trio by Kodâly in strict detail about the different materials that go into its Bachlike counterpoint that sounded like a three-part making, which means that bargaining and overcharg­ Invention played by solo woodwinds. Kodâly’s in­ ing are “out”l Any publication musk carry informa­ fluence is evidenced even in the list of musical organi­ tion about the number of copies printed, the size, the zations one finds here, with titles like Symphony Or­ weight of the paper, the names of the men responsible chestra of Office Employees, Choir of the Workers of the Building Trade, Choir of the Enamel Factory of Budafok, Young Friends of Music . . . and one could go on. One of the most active orchestras in the country, for instance, is called Symphony of the State Railroads. It is made up of professional musicians who travel throughout the country, sometimes in their own sleep­ ing cars, to spread the good word—or rather the sym­ phonic literature—in places that would never have been exposed to it. This was the orchestra that ac­ companied two of the three prize winners of the Cello Competition in the Dvorâk and Shostakovitch con­ certos—and accompanied them exceedingly well. These numerous musical clubs, choirs, and orches­ tras all gave hospitality and acclaim—and a wonder­ ful time—even to those contestants who failed in the semi-finals. This is one of the characteristics of the Szigeti talks to the young girls of the UNESCO- Budapest Competition which neither the Brussels nor supported Elizabeth Szilagyi Gymnasium in Budapest. the Geneva Concours can (Continued on page 23)

Carnegie Hall Program Artists In The Spotlight

Since his appoint­ eral years to devote himself to intensive ahead became clear. In 1957, two years ment as music study. He resumed his career in Berlin after her debut in Madrid, she appeared director in 1946, in 1910, concertizing throughout Europe at the Aix-en-Provence Festival in Cosi has until World War I broke out. It was fan tutte and scored an immediate success. transformed the then that he made his vow never to play La Scala followed in 1958, and in Novem­ Cleveland Orches­ in Germany again, a vow that he has ber that year the Dallas Civic in­ tra into one of the kept to this day. During the following troduced her to the United States as Neris world’s finest en­ decades he established himself as one of in Cherubini’s Medea ( sang sembles. Born in the major pianists of the century. In 1958 the title role) and as Isabella in Rossini’s Budapest in 1897, he returned to his native Poland after a Italian in Algiers. She returned to America he soon became twenty-year absence to win the first stand­ in 1962 to appear in this hall (in Rossini’s noted as a child ing ovation from a Warsaw audience since La Cenerentola) with the American Opera George Szell prodigy. At sixteen the days of Paderewski. In 1961 Mr. Society. Miss Berganza is married to the he conducted the Symphony Or­ Rubinstein gave an extraordinary series Spanish composer and pianist Felix La- chestra and the following year appeared of ten concerts in forty days at Carnegie villa, and has two childlren. as conductor, pianist, and composer with Hall playing ten different programs. Last the Berlin Philharmonic Orchestra. On fall, before his return to this country, the When twenty-five- ’s recommendation he suc­ seventy-four-year-old pianist played thirty year-old Victoria ceeded as principal con­ concerts in forty days. de los Angeles ductor of the Strasbourg Municipal Thea­ made her American ter. At twenty-four he took the same Making his Ameri­ debut at Carnegie Hall in 1950 she position with the Court Theater in Darm­ can debut directing was already held in stadt and, later, at the Municipal Theater the Vienna Sym­ high esteem here in Dusseldorf. From 1924-29 he was chief phony Orchestra’s through her im­ conductor of the Berlin State Opera, after current tour, Wolf­ which he was appointed general music pressive list of pho­ gang Sawallisch is director of the German Opera House in nograph recordings. largely self-taught. Victoria Prague. He also served as conductor of That recital was He had only three de los Angeles the Scottish Orchestra of Glasgow and of months' instruction one of the high- the Residentie Orchestra in The Hague and Miss De los An­ in conducting in of the season before the war. He made his local debut before geles immediately became a fixture on in 1941 as a guest conductor with Tos­ Wolfgang being called into the American musical scene. Equally at canini’s NBC Symphony and, from 1942 Sawallisch the army in 1942. home on the opera and concert stages, to 1946, was a regular conductor at the the Barcelona-born soprano made her as captured by the . Mr. Szell appears Metropolitan Opera debut in 1951. There British in 1945, released in 1946) Mr. with the Cleveland Orchestra in Carnegie she has starred in Madame Butterfly, Sawallisch became assistant conductor of Hall on three successive Mondays in Feb­ Manon, La Bohème, La Traviata, Pellèas the Augsburg Opera and, in 1953, he ruary: the 3rd, the 10th, and the 17th. et Mélisande, Die Meistersinger, and in became music director of the Aachen many other productions. In recital she has Opera. In 1957 he led the Vienna Sym­ been acclaimed for her renditions of mu­ Artur Rubinstein, phony for the first time and three years sic from German lieder to Spanish songs. who plays in Car­ later became its permanent conductor. negie Hall this sea­ He directs the orchestra here on February Miss De los Angeles interrupted her American tour last spring to await the son on February 9, returning for a second concert on birth of her first child, a son who arrived 6 and 7, was born March 15. in 1889 in Lodz, in August. She returns here February 22. Poland, the young­ est of seven chil­ The young mezzo, Mr. Solti, who leads dren. He dis­ who will present a the Philadelphia played musical tal­ solo recital in Car­ Orchestra in its ent at the age of negie Hall on Feb­ February 25th con­ three and gave a ruary 16, was born cert here, was bom Artur Rubinstein concert in Warsaw in Madrid in 1934. in Budapest in at five. He made his formal debut at She entered the 1913. A protégé of eleven in Berlin, playing the Mozart A conservatory there Ernest von Doh- major Piano Concerto under Joseph to study piano and nanyi, he early Joachim. In January 1906 Mr. Rubinstein took up singing made a reputation came to the United States, where he first only because of the as a pianist and appeared with the school’s require­ was engaged as con­ Teresa Berganza both in Philadelphia and in this hall ment of a second ductor of the Buda­ (January 8). After that first American major subject. When, at twenty, she was pest Opera by the time he was twenty- tour, he forsook the concert stage for sev- awarded first prize in voice, the road one. In his mid-twt nties Toscanini chose

Carnegie Hall Program 7 him for his assistant at the Fes­ FOR AN OLD tival. With the outbreak of war, Mr. Solti fled to Switzerland. After the war he re­ FASHIONED turned as music director of the Munich State Opera and later became head of the TREAT, VISIT rebuilt Frankfurt Opera, where he re­ mained until 1961. His resignation (due to a policy conflict) before actually assum­ HaRveY ing the post of chief conductor of the Los Angeles Philharmonic became a West Coast cause célèbre in 1960. Shortly after, he became music director of the Royal Opera House, Covent Garden.

A native of Vienna, Mr. Waldman has Everything about us Harveymen is modern except FBI FEB 28 the way we treat you — that's old-fashioned. been musically ac­ If you have a need for good music in your home, tive in this country treat yourself to a visit to Harvey. You'll feel a warm, unhurried, comfortable atmosphere ... a since 1942. Former­ COLLEGIATE CHORALE 37-year tradition of thoughtful customer service. ly with the Mannes You'll also experience how the wizardry of mod­ ern electronics as expressed in high fidelity College of Music, ABRAHAM KAPLAN CONDUCTOR components brings into your home the finest music with the vividness of the concert hall. he has taught at Only components afford the flexibility necessary Juilliard since 1947 to match a music system to your personal taste and is music direc­ A CAPPELLA CONCERT and to the acoustics of your home ... and the FROM RENAISSANCE TO CONTEMPORARY technically competent Harveymen are ready to Frederic tor of Juilliard's serve you when asked. Come in ... browse ... Opera Theater. INCLUDING BACH: JESU MEINE FREUDE, listen leisurely, to your heart's content. Waldman PREMIERES OF DRUCKMAN, STRILKO. WHITE From 1957 until Ampex 1962 he directed a series of concerts of . s. yjl Model F4460 eighteenth- and nineteenth-century music Stereo Portable CARNEGIE HALL 8:30 P.M. Recorder called “Music Forgotten and Remem­ TICKETS NOW ON SALE AT BOX OFFICE This Ampex 4 bered” at the Metropolitan Museum. He $1.75,2.50,3.00,3.50.4.00.4.50,5.00 is virtually custom built makes his Carnegie Hall debut on Febru­ for you. Each machine ary 26 when he conducts the Musica comes complete with its own individual per­ formance specifications such as frequency re­ Aeterna, which he organized in 1960, in MAY 1 BRAHMS REQUIEM AND WORLD sponsive curve, signal-to-noise ratio, flutter and wow, and crosstalk rejection measurements. Dvoidk’s rarely heard Requiem. PREMIERE OF PERSICHETTI STABAT MATER A "dream" of a machine, It Includes profes­ sional audiophile features such as multiple sound-on-sound, three heads for source-tape Abraham Kaplan, comparison and a new special design hysteresis motor for constant speed and quiet operation. who returns to Price $595.00 Carnegie Hall with his Collegiate Thorens Chorale on Feb­ ruary 28 for the second concert of a three-concert series, made his Carnegie Hall debut last year It is a product of Swiss master machining and craftsmanship. The result is a turntable conducting the which defies comparison by virtually eliminat­ ing the annoyance of wow, flutter and rumble. Abraham Kaplan ,in Your favorite records will never sound better r thovens Missa when played on this superb 4 speed turntable. Price $125.00 (less base and tone arm) solemnis. The first of this season’s pro­ grams, on January 31, consisted of the Verdi Requiem; the second is an a cap- pella program featuring new works by Micro-TV young American composers, as well as 8 pounds of pure view­ Bach’s motet Jesu meine Freude; and, on ing pleasure. That’s all this fabulous portable TV set weighs. It’s a May 1, Mr. Kaplan will conduct the pre­ versatile performer too! Plays anywhere, In­ miere of Vincent Persichetti’s Stabat doors or out since it performs equally as well on its own rechargeable battery pack, on your Mater, commissioned by the Collegiate auto or boat battery, or on regular AC house Chorale, coupled with the Brahms Re­ current. The picture reception is so sharp, bright and clear that it can be viewed com­ quiem. Mr. Kaplan recently returned fortably from 2 feet away without any concern about eyestrain. This miracle in miniaturization from his native Israel where he prepared is fully transistorized and is hardly larger than the choruses for the world premiere per­ your telephone. You must see it to believe it. For the last act of the evening, Price $189.95 (battery pack extra) formances of ’s Third meet in the Mermaid Room for Symphony (Kaddish), presented by the fun, good food and smooth mu­ Israel Philharmonic with the composer sic by Irving Fields Trio. Dancing conducting. Director of Choral Music at Friday and Saturday. No cover or the , and conductor of the minimum charge. AUDIO Henry Street Settlement Orchestra, Mr. Kaplan is also founder and conductor of HARVEY RADIO CO., INC. 1123 Avenue of the Americas (6th Ave. & 43rd St.) the Camerata Singers, with whom he has New York, N. Y. 10036 (212) JUdson 2-1500 appeared in Philharmonic Hall and on HOURS, MONDAY thru SATURDAY, 9 A.M. to 6 P.M. WCBS-TV. PARK SHERATON HOTEL

Carnegie Hall Program CARNEGIE HALL / 72nd Season

Friday Evening, February 7, 1964, at 8:30 o’clock

S. HUROK

presents

Artur Rubinstein

Pianist

Bach-Busoni Toccata for Organ in C major Preludio Intermezzo: adagio Fuga

Franz Schubert Grand Sonata No. 3 in B flat major (posthumous) Molto moderato Andante sostenuto Scherzo Allegro ma non troppo

INTERMISSION

Claude Debussy Ondine (2nd Vol. Preludes) La plus que lente

Karol Szymanowski Four Mazurkas, opus 50 Dedicated to Mr. Rubinstein

Frederic Chopin Ballade in G minor, opus 23 Berceuse, opus 60 Polonaise in A flat major, opus 53

Steinway Piano RCA Victor Records

Exclusive Management: HUROK CONCERTS, INC., 730 Fifth Ave., New York, 19, N.Y.

Carnegie Hall Program II A NEW PIANIST

The impression is too recent and powerful, too unex­ nicality that an analysis is not to be thought of, even pected to give place as yet to commentary, that is, to for the purpose of taking something of this greatness reflection. A phenomenon so entirely different from for one’s own. He is therefore no model to imitate; all other artists has never yet been seen. The general only a gigantic spirit could follow him, one equal to standard is here of no use; for it is not alone the giant his and seeking an independent path. In a word, one power, which is indeed difficult, but not impossible can form no idea of this playing; one must hear it. to fathom, no, it is the peculiar spirituality, the im­ This has twice been granted me. On the day of his mediate breath of genius. . . . arrival he played at Professor Fischhoff’s some Etudes Imagine an extremely thin, narrow-shouldered of his own composition, then he read at sight Shu- man, with hair falling over his face and neck, an un­ mann’s Phantasie-Stück, but in so perfect a manner commonly intellectual, lively, pale, highly interesting and, particularly the “end of the song,” so touchingly, countenance, an extremely animated manner, an eye that I shall never forget it. After this he eagerly seized capable of every expression, beaming in conversation, compositions that he had not yet found in Italy, such a benevolent glance, strongly accentuated speech, and as Mendelssohn’s Preludes and Fugues for the Organ, you have Liszt, as he is in general; but when he seats which he played on the piano alone without pedals, himself at the instrument, he strokes his hair behind but with such swells and redoublings it was quite his ear, his glance is staring, his eyes hollow, the upper heavenly. Then some new Etudes by Chopin, which part of the body quieter, only the head moves, and for the most part were unknown to him. Thursday ht the expression of the face changes and mirrors every played in Gross’s atelier, in the presence of Clara passing mood that seizes him, or that he wishes to call Wieck, Czerny (his former teacher), and many others; forth, wherein he always succeeds. This fantastic ex­ he executed two fantasies (he called them Etudes), terior is only the covering of an interior volcano, from and especially, the second in G flat, was played with which tones are hurled like flames and gigantic ruins, immense effect; then a part of his fantasia on the not caressing, but with the force of thunderbolts. One Puritans, and finally a scherzo by Czerny from his thinks neither of his hands, nor of the mechanism, the older Sonata, Opus 7. In truth, he shook our inmost technique, or the instrument; he seizes our soul, car­ souls. ried away by an unknown impression, and raises it violently to his own height, making all Philistines Written in 1838 by Professor Josef giddy. Fischhoff as a review of Liszt’s Vienna debut. The piano seems only the weak instrument of an It was published in Robert Schumann’s inner tumult, and he stands so high above all tech­ Neue Zeitschrift für Musik.

CONFUCIUS ON MUSIC

When you see the type of a nation’s dance, you know Therefore, the superior man tries to create harmony its character. . . . Man is gifted with blood and breath in the human heart by a rediscovery of human nature, and a conscious mind, but his feeling of sorrow and and tries to promote music as a means to the perfec­ happiness and joy and anger depend on circumstances. tion of human culture. When such music prevails and His definite desires arise from reactions toward the the people’s minds are led toward the right ideals and material world. Therefore, when a somber and de­ aspirations, we may see the appearance of a great na­ pressing type of music prevails, we know the people tion. are distressed and sorrowful. When a languorous, easy Character is the backbone of our human culture, type of music with many long-drawn-out airs prevails and music is the flowering of character. The metal, we know that the people are hearty and strong. When stone, string, and bamboo instruments are the instru­ a pure, pious, and majestic type of music prevails, we ments of music. The poem gives expression to our know that the people are pious. When a gentle, lucid, heart, the song gives expression to our voice, and the and quietly progressing type of music prevails, we dance gives expression to our movements. These three know that the people are kind and affectionate. When arts take their rise from the human soul, and then are lewd, exciting, and upsetting music prevails, we know given further expression by means of the musical in­ that the people are immoral. . . . struments. Therefore, from the depth of sentiment When the soil is poor, things do not grow, and when comes the clarity of form, and from the strength of fishing is not regulated according to the seasons, then the mood comes the spirituality of its atmosphere. fishes and turtles do not mature; when the climate This harmony of spirit springs forth from the soul deteriorates, animal and plant life degenerates, and and finds expression or blossoms forth in the form of when the world is chaotic, the rituals and music be­ music. Therefore, music is the one thing in which come licentious. We find then a type of music that is there is no use trying to deceive others or make false rueful without restraint and joyous without calm. . . . pretenses.

12 Carnegie Hall Program Calendar of the EUROPEAN ASSOCIATION OF MUSIC FESTIVALS Season 1964

Wiesbaden May 1-31 Florence May 2—June 23 Prague May 12—June 4 Portugal May 16—June 8 Bordeaux May 22—June 7 Vienna May 23—June 21 Stockholm May 26—June 12 Zurich End of May—Beginning of July Helsinki June 3—11 Bath June 3—14 Strasbourg June 12-28 Holland June 15—July 15 Granada June 23—July 6 Aix-En-Provence July 10-31 Dubrovnik July 10—August 24 Athens July 15—September 15 Munich July 17—August 16 Bayreuth July 18—August 21 Santander August 1—80 Lucerne August 15—September 5 Edinburgh August 16—September 5 Besançon September 3—13 Berlin September 13—October 4 Warsaw September 19—27 Perugia September 20—October 5

The booklet "Festivals—Season 1964” giving full program details on all our member Festivals will be issued March 1, 1964. Those who wish to re­ ceive these publications are requested to write directly to the office of the EAMF in Geneva:

EUROPEAN ASSOCIATION OF MUSIC FESTIVALS 122, rue de Lausanne, Geneva, Switzerland

14 Carnegie Hall Program MAIN HALL EUGENE Sal., Feb. 8 at 2:30 P.M.—11th annual WLIB Festival of Negro Music and Drama. ORMANDY Sun., Feb. 9 al 11:00 A.M.—Unity-New York. and the Sum., Feb. 9 al 5:30 P.M.—Burton Holmes Travelogues-Illustrated Lecture. Sun., Feb. 9 al 8:30 PJli.—Vienna Sym­ Philadelphia phony Orchestra, Wolfgang Sawal- lisch conducting. Fifth concert in Series "A” of the International Fes­ tival of Visiting Orchestras, spon­ Orchestra sored by Carnegie Hall in associa­ tion with the J. M. Kaplan Fund, Inc. use the Afon., Feb. 10 at 8:30 P.A1.—The Cleveland Orchestra, George Szell conducting. Joseph Suk, violinist. Baldwin Tue., Feb. 11 at 12:30 and 2:30—Teen-Age concerts-American Symphony Or­ chestra, , music Piano director. Tue., Feb. 11 al 8:30 P.M.—Philadelphia Orchestra, con­ ducting. Fifth concert in Series “B” Baldwin, Acrosonic, of the International Festival of Visit­ Hamilton and Howard Pianos ing Orchestras, sponsored by Carne­ Baldwin and Orga-sonic Organs gie Hall in association with the J. M. twenty east fifty-fourth street, new y< Kaplan Fund, Inc. Wed., Feb. 12 at 2:30 P.AL-WNYC’s 25th MUSICA ÆTERNA Annual American Music Festival. FREDERIC WALDMAN, MUSICAL DIRECTOR Wed., Feb. 12 at 7:00 and 9:30 P.M.-The Beatles. DVORAK REQUIEM Thu., Feb. 13 at 8:30 P.Af.-World Vision MARTINA ARROYO soprano MAUREEN FORRESTER contralto presents the film So Little Time. JAN PEERCE tenor GIORGIO TOZZI basso FREDERIC WALDMAN conductor RECITAL HALL MUSICA /ETERNA ORCHESTRA AND CHORUS Sat., Feb. 8 at 8:30 P.AF.-Elliot Rosoff, CARNEGIE HALL WEDNESDAY, FEBRUARY 26, 1964, 8:30 P.M. violinist. Sun., Feb. 9 at 10:00 ALAI.—Anthony Nor- vell-Lecture. Sun., Feb. 9 al 8:30 P.M.—Robert Malone Artists' Recital. Mon., Feb. 10 at 8:30 P.M. — Suzanne Bloch, lutenist. Tue., Feb. 11 at 8:30 P.M.-20th Century Innovations, second in a series of four concerts conducted by Gunther Schuller, sponsored by the Carnegie Hall Corporation. Thu., Feb. 13 at 8:30 P.Af.-The Philadel­ phia String Quartet. 4th concert of a Bcethoven-Bartök-Schoenberg Se­ ries, presented by the Carnegie Hall Corp. Tickets are on sale now at the Carnegie Hall Box Office, Ticket. Prices: Parquet, $4.00; The photograph on the top right of First Tier, $4.00; Second Tier, $3.00; Dress Circle, $2,50; Balcony; $1.50, S1.00.- page 19 is by Eleanor Morrison. Management: ELEANOR MORRISON

Carnegie Hall Program 15 INFORMATION FOR PATRONS OF CARNEGIE HALL

CAFÉ CARNEGIE is located on the main floor to the left of the Parquet. Food, liquors, and soft beverages are served be­ fore, during, and after each concert. Café Carnegie also provides an elegant setting for receptions held in conjunction with concerts and other events in Carnegie Hall. REFRESHMENT BARS are located on the 2nd Tier, Dress Circle, and Balcony floors. ELEVATOR SERVICE to the Dress Circle and Balcony is available in the foyer of the Carnegie Hall studio entrances at 154 West 57th Street and 881 Seventh Avenue. SMOKING and the lighting of matches are forbidden in any part of the Main Hall. See the best of Europe... Smoking is permitted only in Café Carne­ gie, at the refreshment bars, and in the lobbies. PUBLIC TELEPHONES are located off the Parquet on the Seventh Avenue side, in the 57th Street Lobby (studio entrance), in the ladies’ lounge on the 1st Tier level, and at Exit 48 on the 2nd Tier level. LOST AND FOUND ARTICLES should be reported or turned in at the House Man­ ager’s office at the 56th Street Entrance. MEN’S REST ROOMS are off the Parquet, on the 2nd Tier level, and off the Dress Circle. LADIES’ REST ROOMS are on all levels of the Main Hall. A WHEELCHAIR may be obtained for use from the street to seat locations. For in­ formation call House Manager’s Office, Circle 7-1350. THE MANAGEMENT IS NOT RE­ and a movie on the way... SPONSIBLE for personal apparel or other property of patrons unless these items are when you fly TWA checked. Patrons are advised to take their coats and wraps with them whenever they Only TWA takes you direct from New leave their seats. York to all these favorite cities in Eu­ DOCTORS who expect to be called during rope: , , Frankfurt, Zurich, performances may give their seat locations Geneva, Lisbon, Madrid, Milan, to an usher, who will advise the House and Athens. Not a single change of Manager. plane or terminals—how’s that for con­ venience? And TWA shows first-run movies to all passengers—First Class or FOR RENTAL INFORMATION Economy*—on all of these flights. Get ON ALL HALLS more for your travel dollar. Call TWA, or your travel agent. Call or write: »At nominal charge in Economy. Booking Manager, Suite 100, Carnegie Hall 154 West 57th Street, New York, N.Y. 10019

17 Carnegie Hall Program Pasta as Semiramide on her return to London in 1824.

fEhatever became of SEMIEafMIDE?

T? he American Opera Society has been New York’s operatic bulwark against the warhorse for over a decade. Since its first production (Monte­ verdi’s L’Incoronazione di Poppea with Laurel Hurley) during the 1952- 53 season, the Society has given opera lovers here the opportunity of hearing many seldom-heard works and many significant new artists. (It was under the Society’s aegis, for example, that made her New York debut as Bellini’s in the 1960-61 season.) Although a few standard works like Fidelio and Merry Widow have appeared in Society productions, they have been all but overshadowed by such connoisseur as Rossini’s Otello (1954-55, with Jennie Tourel), Cherubini’s Medea (1955-56, with and John McCracken), Handel’s Julius Caesar (1956—57, with and Cesare Siepi), Donizetti’s (1957-58, with Giulietta Simionato), Rossini’s Mosè in Egitto and Bellini’s II Pirata (both in 1958-59, the one with Tourel, the other with Maria Callas). Berlioz’ two “Trojan” operas (1959-60, with Eleanor Steber and Martial Singher), Sutherland s first local Sonnambula, as well as Teresa Berganza’s New York debut (as Rossini’s Cenerentola) two seasons ago were other mem­ orable Society events. This season, on February 18 and 20, Miss Suther­ land returns for Rossini’s Semiramide. Except for its overture, Semiramide is hardly ever heard today. The from the collection of Mr. and Mrs. Bonynge Metropolitan Opera staged it once, over seventy years ago. But it was, Grisi as she appeared in the role itself, something of a warhorse in the nineteenth century. It was the for the 1847 opening of Covent vehicle for the return to London of Giuditta Pasta (the original Norma, Garden as an opera house. Sonnambula, and Anna Bolena) in 1824. When Covent Garden was transformed from a theater to an opera house, the first performance was Semiramide, starring Giulia Grisi (for whom Bellini wrote I Capuletti ed i Montecchi and I Puritani and Donizetti wrote Don Pasquale). Grisi also chose Semiramide for her Paris debut at the Théâtre des Italiens in 1832 under Rossini’s direction. The story of the Babylonian Queen who murders her husband and falls in love with her son attracted many composers, among them Vivaldi, Alessandro Scarlatti, Gluck, Meyerbeer, and Respighi. Rossini based his opera, first performed in , 1823, on Voltaire’s drama. 18 Carnegie Hall Program Sutherland, her husband Richard Bonynge, who from the collection of T. A. McEwen will conduct the American Opera Society’s perform­ Luigia Boccabadati (1800-1850) ances, and , who will sing the role as the sinful Babylonian Queen. of Arsaces, Semiramide’s lover-son, on the terrace Boccabadati was successful name­ of the Bonynges’ London home in Kensington. ly in comic opera, although Ber­ lioz wrote that “she is a fort beau talent who deserves, per­ haps, more than her reputation.”

Sutherland as Semiramide in a recent La Scala production.

all photos courtesy of London Records

Carnegie Hall Program 19 BEETHOVEN: Concerto for Piano, No. 3, freedom of expression which maturity stressed urbanity, clarity, and the refined in C minor, Op. 37; Rondo in B flat. brings. humor of the orchestration. Toscanini’s, Sviatoslav Richter, piano; Vienna Sym­ On a technical level there is little ri­ on the other hand, emphasized the primi­ phony Orchestra, Kurt Sanderling, cond. valry. The new DGG has rounder and tivism, the wild Russian flavor of the warmer sound than Epic’s, and much of music itself—which is, after all, by Deutsche Grammophon. Stereo: SLPM the force of Richter’s playing is due to Mussorgsky, not Ravel. These renditions 138848. $6.98. Mono: LPM 18848. $5.98. the fact that his instrument is wonder­ served as paradigms for two basically dif­ fully well recorded. He projects superbly, ferent interpretative approaches (despite Replaying this record, I am increasingly and with an artist of this stature, that the fact that their appearance was pre­ convinced that it is the finest concerto is quite enough to insure success. ceded by other fine recorded perform­ recording Richter has made. Certainly it The Rondo which fills out the B side ances, most notably those by Koussevitzky is the finest new Beethoven Third to ap­ is a work from 1795, generally regarded with the BSO and by Rodzinski with the pear in a considerable period. as an alternate finale for the Second piano New York Philharmonic). We have been bombarded with testi­ concerto (which is chronologically the first Leibowitz follows in Toscanini’s foot­ monials to Richter’s supremacy as a of the five). It is a highly attractive fast steps, and for this particular score, at virtuoso, and certainly when it comes to movement for piano and orchestra, deli­ least, the Maestro’s mantle seems to have virtuosity he is not to be surpassed. But ciously done, and just the sort of bonus fallen to him. The French conductor gives he is also an extraordinarily fine musician, that ought to tip many choices in the a magnificent reading of the piece, one and it is the impact of this musicianship direction of this disc. Robert C. Marsh which, like Toscanini’s, is vibrant and which gives solidity to the present achieve­ sanguine. Unlike Toscanini (or, more ment. The playing is admirably conceived precisely, unlike 1953 Toscanini—the in terms of a classic style, ideally scaled Maestro’s 1940 broadcast acetates are in dynamics to the registration of the closer to Leibowitz’s reading), Leibowitz score, and consistent throughout for MUSSORGSKY: Pictures at an Exhibi­ leads the guided tour with more elasticity felicities in phrasing and ornamentation tion; Night on Bald Mountain. Royal and less outward pressure, thereby giving which are the mark of a perceptive and Philharmonic Orchestra, René Leibowitz, the orchestral players more time to shape imaginative artist at work. cond. and color their solos. The Royal Phil­ Contrasted with the Fleisher edition, harmonic is in splendid form. which I still respect very highly, the effect Rca Victor. Two discs. Stereo: PCS 2659. Maazel’s slender and diminutive lyricism is one of greater maturity and the larger $6.98. Mono: VCM 2659. $5.98. is in the Cantelli vein, but shows less temperament and individual profile than MUSSORGSKY: Pictures at an Exhibition. the young Italian conductor displayed. DEBUSSY: Prélude à l’après-midi d’un Maazel’s reading takes some time to get faune. Philharmonia Orchestra, Lorin under way, but it comes to life splendidly Maazel, cond. in the Tuilleries section, and gets better still in the episode of the Unhatched Angel. Stereo. S 36132. $5.98. Mono: Chicks. Bidlo is impressively solemn, and 36132. $4.98. The Market Place at Limoges bubbles at­ tractively with activity. Baba Yaga and In the early Fifties, RCA Victor released the preceding Catacombs are precisely two outstanding editions of the immortal judged, but both could stand more power Ravel orchestration of Pictures. One (LM and savagery. As for The Great Gate at 1719) presented the late Guido Cantelli Kiev (the foundation on which perform­ leading the NBC Symphony;-that disc has ances of this suite either stand or fall), long since disappeared from the catalogue. that section is in actuality an outgrowth, The other—still very much available- thematically speaking, of the opening featured the same great ensemble, this Promenade motif, and here Maazel time under ’s direction reverts to the tentative foot-dragging that (LM 1838; also in “Electronically Re­ marred his reading at the outset. The processed Stereo” LME 2410). Despite the Philharmonia Orchestra plays very cleanly, use of the same orchestra, and the un­ but while the absence of fakery and tonal usually strong bond between Toscanini Sviatoslav Richter exhibitionism is admirable, one feels that and Cantelli, the two interpretations were lymph rather than red blood flows His finest concerto recording. strikingly dissimilar. Cantelli’s version through the musical arteries: Maazel’s

20 Carnegie Hall Program constant striving for tonal transparency “the only automatic robs the music of much needed dark THE MUSICA AETERNA coloration. ORCHESTRA AND CHORUS His legendary reputation as a purist FREDERIC WALDMAN, Conductor ...for the finest systems” notwithstanding, Toscanini did not "play The American Record Guide as written” all the time. His editing of Exclusively on Ravel's orchestration amounted to a full- fledged revision. The most notable DECCA' changes occur at the end of Baba Yaga (where he altered the trumpet parts con­ siderably) and in the coda to The Great Gate at Kiev (where the prominent brass triplets were removed, leaving that sway­ ing rhythm to the strings alone). By the time he recorded the work in 1953 (or possibly even earlier than that) the Maes­ tro had extended his rescoring further by incomparable adding timpani rolls in a few key climac­ tic sections of the Great Gate finale. Maazcl will have none of it: he adheres UAL 1009 to the Ravel original (as do most conduc­ tors). Cantelli utilized the Toscanini text tracks with startsand changes ante-1953—which is to say without the finest stops auto­ records extra timpani. Leibowitz goes along with Toscanini all the way, and the modern cartridges matically when desired HANDEL: ISRAEL IN EGYPT-with Adele engineering on his disc makes those ef­ Addison • Florence Kopleff • John McCol­ ...at 1 gram ...at 1 gram lum • Louise Natale Deluxe 2-record Set ...atlgram fective extra timpani flourishes into veri­ DXA-178(M), DXSA-7178(S) or less! or less! or less! table cannon shots. He apparently feels (as I do) that the editing is an asset rather rite for complete reprints of sensational than a liability. dews in high fidelity magazines. Better see the DUAL 1009 perform at your Maazcl’s version prefaces the Pictures lited Audio dealer. You’ll find it an performance with a finely controlled, iraordinary value at $94.75. highly detailed version of Debussy’s UNITED AUDIO Äh DUAL Après-midi d’un jaune which is, never­ !-F WEST 18TH ST., N.Y. W* N.Y. 10011 theless, just a shade too icy and non- impressionistic to be a major documenta­ tion of this work. Leibowitz offers his own orchestration of a Night on Bald Moun­ tain, replete with wind machines and HANDEL: L'ALLEGRO ED IL PENSEROSO other synthesized “ghoully” noises. The • with Adele Addison • John McCollum • Rimsky-Korsakov treatment is far worthier, John Reardon Deluxe 2-record Set and it can be heard with unsurpassed DXA-165(M), DXSA-7165(S) effect in Giulini’s rousing presentation (Angel) with the Philharmonia Orchestra. RCA's Leibowitz disc is part of a special package. I suspect that the recording is an MONTEVERDI: Madrigali Guerrieri • with Charles Bressler • Herbert Handt • offshoot of the same arrangement that Chester Watson DL 9417 (M), DL 79417 (S) produced the RCA-derived Leibowitz tapes of the Beethoven Symphonies issued by Reader's Digest. If you want this MOZART: Concerto in C Major for Flute Mussorgsky, you will have to accept with and Harp, K. 299 • HANDEL: Concerto in it a disc called “The Power of the Or­ B Flat Major for Harp, Op. 4, No. 6 • with Marcel Grandjany, harp • Samuel gan,” which I was unable to hear. Angel’s Baron, flute DL 10075 (M), DL 710075 (S) recording is, of course, a standard release. LUNCHEON - COCKTAILS RCA’s engineering is superbly managed. The sound has phenomenal brilliance and DINNER A LA CARTE BACH: Violin Concerto No. 2 in E Major, presence, but at the same time the orches­ BWV 1042 • MOZART: Violin Concerto tra sounds warm and musical. Angel’s No. 5 in A Major, K. 219 (“Turkish") • 151 W. 57 ST. Cl 7-5683 with Erica Morini, violin reproduction is by no means bad, but it DL 10053 (M), DL 710053 (S) cannot compare to that given Leibowitz’s ensemble. There is an occasional raspiness throughout the Debussy and at the begin­ ning of Pictures which suggests that the MOZART: Sinfonia Concertante in E Flat Major for Violin, Viola, and Orchestra, microphones were slightly overloaded K. 364 ■ Adagio in E Major for Violin and when the recording was made. Orchestra, K. 261 • Rondo in C Major for Violin and Orchestra, X. 373 • with Taking everything into consideration, I Joseph Fuchs, violin • Lillian Fuchs, viola. feel that Leibowitz wins over Maazel, in DL 10037 (M), DL 710037 (S) "The outer movements, brilliantly led by fact giving the finest orchestral Pictures Waldman, are handled with the greatest of I have yet heard recorded on two chan­ technical ease by the soloists...” 1528 2ND AVENUE (7» ST.) -American Record Guide RESERVATIONS: REGENT 4-3443 nels. Harris Goldsmith FROM 5 P.M. TO 3 A.M. (Continued on following page) (M) Monaural (S) Stereo

Carnegie Hall Program 21 (Continued from preceding page) Manhattan School of Music POULENC: Sextuor. Three Songs: Hôtel, Voyage à Paris, C. Sonata for Two Pianos. Francis Poulenc, piano, Philadelphia Woodwind Quintet (in the Sextuor); Jen­ nie Tourel, mezzo, Leonard Bernstein, JOHN BROWNLEE, piano (in the Songs); Arthur Gold and Robert Fizdale, pianos (in the Sonata). Director

“JOSEF FIDELMAN PLAYS” Columbia. Stereo: MS 6518. $5.98. Mono: Beethoven and Chopin ML 5918. $4.98. A fully accredited college This is a charming record, a graceful and warm memorial to Poulenc. For me, the high point of the disc is the Two-Piano Sonata, a work that might possibly turn Catalog on Request out to be the composer’s most important 238 East 105th Street instrumental composition. This is serious, even weighty music, which betrays a good New York 29, N. Y. deal more thoughtfulness than one some­ times credits Poulenc with having pos­ sessed. The composer himself described the piece as centering on its lyric andante and, secondarily, on the lyric middle sec­ tions in the other movements. This ex- pressive centering, so to speak, is enhanced by the vital and striking qualities of the rest of the music: the dissonant, insistent opening, the use of the finale as a kind of summation movement, the firm, expressive piano scoring which has something of the A Urania Recording character of a fine black-and-white pen drawing, the neat, fastidious qualities of the il lines themselves. All this is characteristic of Poulenc at his most typi­ cal and most expressive; and all these qualities are enhanced by the excellent playing of Gold and Fizdale, for whom r* Diller-Quaile the work was written. School of Music The songs are well performed by Miss • Carefully graded course of piano and musicianship Tourel and Mr. Bernstein. The singer for pupils 7 to 18. Also pre-school and pre-lnstru- ment classes still has the remarkable art and skill to • Teacher Training Course. communicate the simple, expressive elo­ Mrs. G. E. Lyons, Exec. Dlr., 24 E. 95 St., N.Y. 28 quence of this music. I am not excep­ ' ------EN 9-1484 ------tionally devoted to Poulenc’s lyric art, which I find sometimes too self-consciously metropolitan and deliberately modest and unassuming, but there is no denying the effectiveness music school of a deeply felt song like C—thought by Founded 1935 Rudolf Jankel, Director many to be the composer’s expressive A happy, relaxed place to study . .. Pre-School, Children, Adults masterpiece—and especially in a perform­ ance like the present one. Bernstein’s ac­ IS tv 74street tr 3-2761 companiments, by the way, are models of their kind. Poulenc’s own version of his Sextet, ac­ MEMORY TRAINING for Wherever you go-always carry complished with the very exceptional as­ CONDUCTORS and FIRST NATIONAL CITY sistance of the very expert Philadelphia INSTRUMENTALISTS group, has a special, pleasant, relaxed Post Graduate Study in the character. Actually I prefer the dry vi­ Techniques of Modern Music travelers tality and witty tense drive of a perform­ PAUL EMERICH, 330 W. 72nd St. ance like that of Frank Glazer and the New York 23, N. Y. TR 7-1379 New York Woodwind Quintet. But then, this amusing collection of Victorian, checks Mozartean, and music hall knickknacks BETTER THAN MONEY! takes on a different and very special DALCROZE Spendable anywhere. quality in the performance at hand. INTERNATIONAL Global on-the-spot refunds if lost or stolen. The recorded sound is dry and clear. SCHOOLS OF MUSIC GENEVAo • LONDON • PARIS • STOCKHOLM • SYDNEY FIRST NATIONAL CITY BANK Stereo profits these works and is, of course, NEW YORK —161 East 73rd Street, New York 21 DR. HILDA M. SCHUSTER, Director—TR 9-0316 TRAVELERS CHECKS perfect for the Two-Piano Sonata. “Combining the best features of Eric Salzman European and American Mutic Education."

22 Carnegie Hall Program Szigeti—(Continued from page 6) 5th SEASON —1963-64 duplicate. It is simply the feeling of all AT CARNEGIE HALL these practicing music enthusiasts that anyone, winner or not, brave enough to face the ordeal is worthy of being heard THE ORCHESTRA with a willing ear, applauded, and given a fraternal accolade. So, many of the OF AMERICA vanquished just stay on and forget the RICHARD KORN, bitterness of their defeat by playing with Musical Director these clubs at informal evenings. MARCH 11, 1964 The Bartók Archives and the Bartök- Kodâly Exhibition there—one could DEDICATED TO write many pages about it. Seventy-two MUSIC OF THE AMERICAS unpublished works that preceded his Opus 1 (among these a naive violin­ piano sonata from 1895 and a second one of 1897—very Brahmsian—plus a piano quartet and an unfinished quintet). His THE library: Ulysses by Joyce in the first Paris MANNES COLLEGE OF MUSIC edition; Don Quichotte in Spanish and Leopold Mannes, President German; Proust, Shakespeare, Aldous Rent a Rolls Royce Huxley, Goethe, etc., and perhaps three B. S. Degree or four dozen dictionaries—Arab, Turk, Diploma (or a Cadillac) Croatian, Russian, Polish, Czech. I was Enjoy the luxury of a new, chauf­ impressed by the antlike industry of the Extension feur-driven Rolls Royce Limou­ team headed by Dr. B. Szabolcsi and Preparatory Prof. Denys Dille, a former Belgian priest sine for only $10 an hour. Special who now is dedicating his life to Bartók. theatre and shopping rates. Air­ 157 EAST 74th ST. RE 7-4476 Bookstalls everywhere: at the canteen port and pier service. Corporate of the Radio, near the elevator in any and personal charge accounts number of office buildings, in those pa­ invited. Diners’ Club honored. trician houses that are now used by min­ NEW YORK COLLEGE OF MUSIC istries or export organizations, on mobile Buckingham Livery book trucks, everywhere. Chartered 1878 Arved Kurtz, Director Beauty shops have two teams—6:80 Special division for children, Including 349 E. 76th St., N.Y.C. YU 8-2200 Youth Orchestra a.m. to 3 p.m., 3 p.m. to 9 p.m. There's something endearing in the thought that Fall, Spring, Summer Sessions. Day and Evening Hungarian working girls sacrifice sleep Teacher Education Program and go to beauty shops at 6:30 in the Diploma Courses and Private Lessons morning before going to factory or school or hospital or office!! 114 East 85th St., New York, RE 7-5751 One of the very few disappointments of my trip was to find the anachronistic courtesy formulae in full swing: “Deign to command (me),” “To your precious , Mus.d. health” (when the waiter sets a plate of For over 17 yrs. on Ma|or Piano Faculty of The Curtis Institute of Music. Assistant to Director, Joseph Hof­ soup in front of you). Once a maître mann. Member of famed Busoni “Circle” in Berlin. Son-in-law of the late Leopold Godowsky, many of Restaurant d’hôtel, advising me to taste some lus­ whose compositions and paraphrases he recorded. cious dessert, even used the eighteenth­ Recordings: Victor Red Seal, Command Performance Records, Inc. and Kapp. Steinway Piano. century expression, “I implore!” at the end of his salestalk (which, now that I SHURA CHERKASSKY think of it, is not so very different from SIDNEY FOSTER JULIUS KATCHEN SEYMOUR LIPKIN WILLIAM MASSELOS A dining tradition the Victorian “Pray be seated!") But the and famous others abbreviation of the “Küss die Handl” of 344 West 72nd St., New York, N.Y. 10023 for half a century the Johann Strauss or Rosenkavalier or Tel. SU 7-1745 Merry Widow period is still more ludi­ crous in the Hungary of the 1960s! Leav­ 30 East 65th Street ing out the word “hand," they just say “I kiss . . .” and say it to the girl—some­ times middle-aged—cashier at the book­ Most • store or anywhere else. widely read The ubiquitous gypsy bands were an­ Open every day other disappointment, with their Toselli ART serenades and their bird-twittering imita­ magazine luncheon, cocktails, dinner tions in harmonics and glissandi in the upper reaches of the fingerboard. Two in America different prices are marked on à la carte today . .. menus; one without music and a higher Reservations, Michel: LE 5-3800 one when the band is in action. I have heard it said that there has been agita­ American Artist tion to make the “with music” price the lower one.

Carnegie Hall Program 23 BY DORLE SORIA

February is short in days but long belligerent pigeons swoop down, picketing Words-fail Department: Arturo Tosca­ on festivities. It has Lincoln’s and Wash­ the entrances with their wings and attack­ nini, furious at one of the men in his ington’s birthdays and St. Valentine’s Day ing the people as they try to go in. The orchestra, poured out on the unlucky (which began in Roman times as the reason: for Lohengrin's dove-drawn boat, musician a stream of abuse. In the midst bacchanalian Feast of Lupercalia, dedi­ at the end of the opera, Herr Musik- of his tirade the Maestro, talking in Ital­ cated to the original “Wolf”) and it is direktor had imported a FOREIGN ian, realized that the object of his wrath star-studded with musical birthdays. . . . pigeon from the Piazza San Marco in did not understand him. Reverting to On the same day, February 2, two great Venice. English, he searched for words to express violinists were born: Fritz Kreisler, who his fury, finally shouted: "You bad, bad, would have been eighty-nine this month, Berlin will dedicate its next festival . . . bad man.” . . . José Iturbi, rehearsing and Jascha Heifetz, who is celebrating his (three weeks starting September 15) to a Mozart symphony, could not get from sixty-third birthday in Beverly Hills. . . . “twentieth century music from the point the orchestra the combination of strength Among great composers there are Felix of view of rhythm,” according to its new and refinement which he wanted. In a Mendelssohn, who was born February 3 artistic director, Nicolas Nabokov. The last attempt to make his wishes clear, he (155 years ago), Alban Berg on the 8th theme of the festival will be illustrated stopped, thought, then explained what (if he had lived he would be seventy- by works and artists from every continent. was wrong: "No, no. It is too fairy. nine), Archangelo Corelli on the 17th (311 Programs are planned for all the city’s Mozart was man." years ago), Luigi Boccherini on the 19th (221 years ago—and what did cellists do Like all of musical Europe the Salzburg before that?), Frederic Chopin on Wash­ Festival will pay tribute to the Strauss ington’s Birthday (154 years ago), and Centenary. The 1964 Festival, says the an­ George Frederick Handel on the 23rd nouncement, "will be specifically devoted (279 years ago). . . . But, if Gioacchino to the art of Richard Strauss, who him­ Rossini, born February 29, 1792, were alive self was one of the original initiators of today, he would be only 43! Because the the Festival idea.” Operas presented will immortal composer of The Barber of Se­ be Ariadne auf Naxos under Karl Bohm, ville was a Leap Year baby like poor and Elektra and Der Rosenkavalier under Frederic in The Pirates of Penzance who Herbert von Karajan; the ballet Die was apprenticed to the pirate captain un­ Josephslegende will be done by the Ballet til he was twenty-one—at which time he of the Croatian National Opera in Zagreb; found out he was only five-and-a-quarter. the ten orchestral concerts, four by the “A paradox, a paradox, a most ingenious Vienna Philharmonic and four by the paradox . . Berlin Philharmonic, will offer the most important symphonic compositions of The latest story making the rounds of Gioacchino Rossini Strauss. . . . Yes, there will still be Mozart: the Viennese musical circles followed in Forty-third birthday this month. The Magic Flute, Cost fan tutte, The Mar­ the wake of the latest "Karajan affair.” A riage of Figaro, and the master’s youthful crisis that shook the country (where the halls, including the new permanent home work, Lucio Silla. ... As a contribution to General Music Director of the opera ranks of the Berlin Philharmonic, which stands the Shakespeare Memorial Year, Salzburg higher than the President of the Repub­ in the Tiergarten near the East Berlin will offer the play (not the opera), The lic, and is more highly paid) revolved border. The building, which has proved Merry Wives of Windsor. around a prompter at La Scala whom to be as acoustically satisfying as it is Herbert von Karajan had imported from architecturally exciting, has become one Elephant jokes are still clomping about. Italy for his new production of La Bo- of the sights of the city. Berliners have (“How do you put six elephants in a hime. The artists' union refused the nicknamed it "Karajan’s circus” because Volkswagen?” Answer: "Three in front prompter a working permit and the stage of its tentlike roof. Inside, the players are and three in back” or "Why do elephants union would not allow him to enter the surrounded by the public. It is “Beethoven have flat feet?” "From jumping out of prompter’s box. As a result, the opening in the round,” to the delight of the audi­ trees.”) To this current madness we con­ performance was cancelled just as the ences. Nabokov hopes that the coming tribute our own jokes about musical ele­ curtain was to go up. It was given a few festival will help create a new image of phants: “Why don’t elephants make good days later, however—without prompter— Berlin in the eyes of the world. “Berlin,” conductors?” "Because they are generally and had a huge success. But the incident he says, "is not the Wall.” . . . Composer grounded.” "Why do elephants play the provoked endless controversy, made head­ and internationalist Nicolas Nabokov, violin?” "Because they don’t have to worry lines in the Viennese and Milanese press, who has been secretary-general of the about wrinkles in their neck.” “What did and inspired this typically Viennese story: Anti-Communist Congress for Cultural the elephant say when he went backstage Karajan decides to produce Lohengrin. On Freedom, is not to be confused with his to congratulate Oistrakh?” "Nothing. Ele­ opening night a gala audience arrives at equally brilliant and erudite (but quite phants don’t speak Russian.” “Why don’t the Opera House. Suddenly, from the different) cousin—Vladimir Nabokov, pro­ more newspapers hire elephants as city’s parks and squares, thousands of fessor, lepidopterist, and author of Lolita. critics?” "Because their ears are too big.”

24 Carnegie Hall Program Remaining Concerts INTERNATIONAL FESTIVAL OF VISITING ORCHESTRAS

Evenings at 8:30 AT CARNEGIE HALL

SUNDAY, FEBRUARY 9 VIENNA SYMPHONY ORCHESTRA WOLFGANG SAWALLISCH conducting. Mozart, Jupiter Symphony; Bruckner, Symphony No. 3.

TUESDAY, FEBRUARY 11 THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY conducting. Scarlatti, Ballet Suite "Good Humored Ladies"; Mozart, Linz Symphony; Strauss, Till Eulenspiegel; Franck, Symphony in D Minor.

SUNDAY, MARCH 15 VIENNA SYMPHONY ORCHESTRA WOLFGANG SAWALLISCH conducting. Strauss, Don Juan and Macbeth; Mozart, Piano Concerto in E-flat; Hindemith, Mathis der Maier. Soloist: PHILIPPE ENTREMONT.

TUESDAY, APRIL 7 THE PHILADELPHIA ORCHESTRA STANISLAW SKROWACZEWSKI conducting. Mozart, Prague Symphony; Prokofiev, Suite No. 2 from "Romeo and Juliet"; Schumann, Symphony No. 4; Stravinsky, Firebird Suite.

THURSDAY, APRIL 16 CHICAGO SYMPHONY ORCHESTRA JEAN MARTI NON conducting. Prokofiev, Symphony No. 5; Brahms, Sym­ phony No. 4.

FRIDAY, APRIL 17 CHICAGO SYMPHONY ORCHESTRA conducting. Honegger, Symphony No. 4; Roussel, Bacchus et Ariane" Suite No. 2; Beethoven, Symphony No. 7.

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REMAINING SEATS ALL CONCERTS EXCEPT FEB. 9 AND MARCH 15: $6.50, $5.50, $3.50; VIENNA SYMPHONY ORCHESTRA: $7.00, $6.00; ALL OTHER LOCATIONS SOLD OUT. Mail orders accepted. Send check or money order payable to Carnegie Hall Box Office, 154 West 57th Street, N. Y. 19. Do not send cash. Please designate date(s) of concert and enclose stamped, self-addressed envelope.

AUSPICES The Carnegie Hall Corporation and the J. M. Kaplan Fund, Inc.