t33 Peb . 26 , 1946

f:J~ ad ~ ol ~ Brooklyn Academy of Musiu

Published by Concert Program ~agazines. Editorial office: 30 Lafayette .Avenue, Brooklyn 17, 'N. Y. STerling 3-6700. Advertising office: 258 'Fiftb Avenue, 'New York. 1, 'N. Y., CAledonia 5-6690.

THE B ROOKLYN INSTITUTE OF ARTS AND SCIENCES FABULOUS ANGNA ENTERS

44F AB ULous" IS TIIE WORD poignant films of the year. one critic used to de­ PROGRAM She has also sold her book, scribe Angna Enters. And Silly yirl, to the movies, and IN TillS ISSUE "fabulous" is the apt word to more recently has completed describe one who has become • a stint at the lvLG.l\1. studios a veritable one-woman Trust in I Iollywood. of culture. This slight and Brooklyn Chamber Then there is still another puckish young woman with Music Society Angna Enters - the artist. the dark and intense eyes, Originally, she expressed her­ and the thick black bangs of • self by dec;igning costumes for hair offering a vivid contrast her dances. Subsequently, she to the ivory pallor of her sen­ BEGINNING ON PAGE 5 turned to the canvas. I Ier sitive face, has gone as far in drawings and paintings, about her profession as it is possible 1,200 items, have been e'\.­ for anyone to go. Actress, mime (she likes to hibited by more than thirty -five leading galleries pronounce the word "meem"), satirist, and in the country, have been bought b) \\ell known dancer, she has created a theater of her own art collectors and by several important mu­ which she calls " Episodes, or Compositions in seums, including the l\1etropolitan 1\!luseum of Dance Form,') but which it is difficult to cate­ .Art. She is also the illustrator for this ) ear's gorize because it is unique. With distinct orgin­ collection of 13esl S!Jort Stories, edited by Mar­ ality, she uses the dance to portray not only the tha f-oley, her second venture in the field, lhe \, grace of movement, but the more subtle emo­ first being her own )il/y y1rl the illustrations of I tions of tragedy, comedy, and rapier-edged sat­ which were lavishly praised. ire. She has created more than 175 dance com­ Upon her many achie,·ements in so many positions, said to be the largest repertory in the different artistic fields, tviiss Enters looks with field; and with it she hac; won a place all her modesty. "\Xfhen the sun rose in my g~rden,'' own among the dancers of our time. she told an interviewer, cc y often said to myself 1\1any another dancer would have felt, and no poet could dream anything to take the place with justification, that this was achie\ ement of this world. No ecstasy of the imagination in enough for one lifetime. But not Angna Enters! the language of words or music or movement Turning to writing, she has created one play (a or line is enough to take the pbce of this ph) s­ bitter anti-fascist document), two books (one of ical world for me. To live in a dream world one them a best-seller), and several short stories, all must first be alive. To paint an apple-e\ en an of which have received the ringing praises of the abstract one-first there must be an apple, ;mel leading book critics. One of her short stories, T would not give up the apple for the most e\·o­ Lost ..A11gel, with Margaret O'Brien in the prin­ c;1tive painting of an apple in e:-;.istence. The cipal role, was acclaimed one of the moc;t arts are of life and cannot be separated from it." 3 ABRAHAM tl' FULTON ST. at HOYT • CJI 3-t g~ ~~ ;;c ASS offers you !

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TUESDAY EVENING, FEBRUARY 26, 1946

THIRD CO~CLHT OF TUE SE \SO'l'

BROOI(LYN CHAMBER MUSIC SOCIETY

Under the direction of Carl H. Tollefsen

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PROGRAM BEGINS ON PAGE 5

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., PARTICIPATING ARTISTS

CARL H. ToLLEF E", violin RoBERT RoHVIA '1:\1, clarinet IRVI G KLIGFIELD, violin BERT BIAL, bassoon Aux YOUNG MARUCHESS, viola Gu:"'TIIER ScHULLER, French horn Y OURY BILSTI , violoncello HELEN CI-IIFF, narrator RALPH SATZ, double-bass ETTA K. ScHIFF, pianist

A'ID

THE UNITED TEMPLE CHORUS Under the direction of Isadore Freed

Frieda Luther at the

Guest oloist: Arthur Wolf on, baritone

PROGRAM CONTINUES ON PAGE 9

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Nightingale Chorus from "Solomon" __ ------Handel

Psalm No. 23 ------__ _ _ ----- ______Schubert

Alleluia ------______Mozart

United Temple Choru

PROGRAM CONTINUES ON PAGE 12

9 PROGRAM NOTES By DAVID EWEN - ---..JI The Pied Piper of Hamelin Arthur Bergh ( 1882 -) Arthur Bergh is a California who, for many years, was a violinist with the New York Sym­ phony Society and the Metropolitan House orchestras. Subsequently, he was director of several recording companies. He has written numerous works, in many different forms, the romantic vein of which suggests the late nineteenth century rather than our own times. He is best in his works for chorus, in his songs, and in extended pieces for narrator and ~wk~ ~~ orchestra, of which The Pied Piper of :Hamelitt is a notable example. In all of these he is uniquely suc­ cessful in transferring the subtlest nuances of feeling s u and the most elusive suggestions of atmosphere of the ~ rt~ T~~ .. tl;f tvt~ ~ text into tones. Rhapsody for Viola and Piano Isadore Freed ( 1900 -) The Rhapsody had its first performance at the hands of Samuel Lifschey, solo viola of the Philadelphia Orchestra, on a League of broadcast in February, 1940. At that time Mr. Freed supplied no program other than to explain that the viola is much like the physical human being: it is too small for the depths of its pitch, and for this reason its tone has a kind of pent-up quality that accounts for its unusual timbre, dark and nostalgic. The Rhapsody is built on three distinct themes: the first, fast and fervent, sets the impassioned pace of the entire work. There follows a slower, rather mysterious, idea which is heard "sui ponticello '' (played on the bridge, giving off a curious reedy whistling sound). The third subject is slow and song­ ful, and comprises the central portion of the Rhapsody. The coda of the work is based upon these three themes. * * * Mr. Freed's musical style in general mirrors his esthetic attitude towards the important achievements of the twentieth century. He feels that he reached musical maturity at a period when great technical inno­ vations had caused an almost chaotic confusion in the musical horizons of our time. New creative ideas had come and gone with such speed that the tonal art was ready for some stabilizing influences and some attempts at digesting and assimilating these new prac­ tices. And so, Mr. Freed's esthetic outlook is one that tends towards organizing and stabilizing some of these new trends, rather than towards discovering further innovations.

INTFRJ\1TSSION CO.i\1Ml:N TARY: FRANZ'L From the writings of his very good friend, Anselm If vou can't find vour ~tvlc at fir~t. trv a~oin! Dealers Huttenbrenner, we have acquired an informative and ~1'1 · suppli<'S monthly s., ,~d for Style ~ nd . C ons('rvation f ,,J,f,.r, · 'l t~ id <' n Form Bw ~ ~irrc Co., lnc. , :\cw York 16. revealing word-picture of Franz Schubert. " Schubert was not of very striking appearance. He 10 was very short, somewhat corpulent, with a full round face. His brow had a very agreeable curve. Because of his near-sightedness, he always wore eye­ glasses, which he never removed, not even while sleeping. He never concerned himself with his dress, and he detested going into higher society because it necessitated careful dressing. In general, he found it impossible to discard his soiled frockcoat for a black suit. "Schubert never composed in the afternoon. After dinner, he would go down to the cafe, drink a cup of dark coffee, and would smoke for several hours while reading papers. In the evening, he would ~o ( to the theater. Good plays interested him as much as good opera. "Ordinarily, Schubert drank beer at the Chat 'Noir or at the Escargot, and smoked considerably. But when we were more affluent we would drink wine. Over a glass of wine or punch, Schubert was most talkative. His musical judgments were sharp, and he always hit the nail on the head. In this way he resembled Beethoven, who could be very sarcastic at times. If at a Society gathering music was discussed with knowledge, Schubert would listen with pleasure and rarely interrupted. But if an ill-informed ama­ teur made statements which proved his ignorance, Schubert's patience broke at once. He would go up to the jabberer and exclaim hotly: 'You'd better be quiet. You don't understand that, and you never will understand it.' "

Octet in F major Franz Schubert ( 1797-1828) In the entire realm of art it would be difficult to find many examples of the kind of creative genius pos­ sessed by Franz Schubert. Not that he was the great­ est composer who ever lived; certainly the horizons of Beethoven, Bach and Mozart were far wider. But for sheer native gifts, he is excelled only by Mozart. Music came to him as naturally as breathing. He could create beauty as freely as the ordinary man talks in cliches. Every melodic idea that sprang in him soared on lyric wings. And these ideas seemed inexhaustible both in their endless variety of mood and in their copiousness. As he himself once con­ fessed, he was unable to complete one work without having several others crowd in on his conscious­ ness. Musical ideas came to him, not merely in a spontaneous flow, but in a veritable geyser eruption which he could not hope to curb or canalize into 0 0 disciplined and formal order. oo

Herein lay his greatness as a composer-his great­ oO 0 ness and his weakness as well. His greatness, because 0~ In 0 0 0 it made him the most important composer of songs Oo the world has known. His weakness, because a song 0 can be written in one feverish sitting; but a symphony, a quartet, a piano sonata, an octet-never. This is not to imply, however, that in his more ambitious works he did not produce music that com­ mands admiration and affection. A work like the Octet is sensitive, emotional, tender, the voice of a beauty, sometimes gay, sometimes melancholy- a beauty that comes from the heart and stabs the heart. 11 LOESER'S PAYS CASH for LOESER'S Diamonds, Gold New Beauty Salon And Silverware • Skilled eoiffure experts • We invite estates to sell to ua • Most modern equipment • No brokerage fee • Luxurious eurroundinp Call TRIANGLE 5-8100,Ext.280 Call TR. 5-8100, ext. 261, H You Cannot Come In For Appointments a ....kb'u 1. N. Y .-Fa.Uoa at BMul Brooklna 1, M. Y.-Fulton at Bee•

II The Pied Piper of Hamelin ______Arthur Bergh

Helen and Etta K. Schiff

Ill

Rhapsody for Viola and Piano _ ------Isadore Freed

Alix Young Maruchess and I adore Freed

PROGRAM CONTINUES ON PAGE 14

The Program and Magazine of the ~ORTGAGE ~O~E" Applications given prompt attention Brooklyn Academy of Music FLATBUSB AVE. at L.U'AYETI'E AV&. is published by ONE BLOCK FROM L. L B. B. e BROOJ[LYN Branch e 8633 BAY PABJ[WAY at CONCERT PROGRAM MAGAZINES 22nd AVE. STATION SEA BEACH LINE Member FederaJ Deposit In.s•nmce Corp. SIGMUND GoTTI..OBER, President OreanlJ:ed 1.886 FREDA RoYcE, Advertising Director 258 5th Ave. New York 1, N. Y. CAledonia 5-6690

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IV Song of Miriam ______------______Herbert Fromm

The Cradles ------______Faure

Two Polish Folk Songs arr. J erzy Fitelberg Pine Tree in the Wood Rosemary • Builder's Dance (Palestinian Folk Song) arr. Isadore Freed United Temple Chorus

INTERMISSION

PROGRAM CONCLUDES ON PAGE 16

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Octet in F major Schubert Aclagjo; Allegro Andante un poco mosso Scherzo: allegro vivace Finale: andante molto; Allegro

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