CHICAGO SYMPHONY ORCHESTRA Founded by THEODORE THOMAS in 1891

Concert Nos. 2827 and 2828 THE THURSDAY-FRIDAY SERIES

iiniiiiiiiiHiiiiimiiiiii* FIFTY-FOURTH SEASON TWENTY-FOURTH PROGRAM

MARCH 22 and 23, 1945

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1944—FIFTY-FOURTH SEASON—1945 OFFICERS EDWARD L. RYERSON, President ARTHUR G. CABLE, Vice-President ALBERT A. SPRAGUE, Vice-President CHARLES H. SWIFT, Vice-President CHALKLEY J. HAMBLETON, Secretary FRANCIS M. KNIGHT, Treasurer

HONORARY TRUSTEES Charles H. Swift Russell Tyson TRUSTEES Terms Expire 1945 Terms Expire 1946 Terms Expire 1947 Daniel H. Burnham Charles B. Goodspeed Cyrus H. Adams Ralph H. Norton Arthur B. Hall Arthur G. Cable Eric Oldberg Chalkley J. Hambleton Alfred T. Carton J. Sanford Otis Edward L. Ryerson Harry S. Gradle John P. Welling Albert A. Sprague Francis M. Knight

EXECUTIVE COMMITTEE Edward L. Ryerson, Chairman Cyrus H. Adams (Counsel) Chalkley J. Hambleton Albert A. Sprague Arthur G. Cable Francis M. Knight John P. Welling Charles B. Goodspeed Ralph H. Norton Charles H. Swift and Russell Tyson, Honorary Trustees, ex-officio Alfred T. Carton, Chairman Finance Committee, ex-officio

MEMBERS Cuthbert C. Adams Charles B. Goodspeed J. Sanford Otis Cyrus H. Adams Harry S. Gradle Walter P. Paepcke ★Richard Bentley Arthur B. Hall Ralph H. Poole Bruce Borland Chalkley J. Hambleton Theodore W. Robinson Daniel H. Burnham Denison B. Hull Edward L. Ryerson Arthur G. Cable George Roberts Jones Charles Ward Seabury John Alden Carpenter Gwethalyn Jones Durand Smith Mrs. Clyde M. Carr Francis M. Knight Albert Aj Sprague Alfred T. Carton ★Earl Kribben ★Edgar Stanton, Jr. ★William B. Cudahy Mrs. Telfer MacArthur Charles H. Swift Paul H. Davis Chauncey McCormick Robert J. Thorne ★Edison Dick Leeds Mitchell Russell Tyson ★Gaylord Donnelley Charles H. Morse Mrs. Thomas I. Underwood Percy B. Eckhart Howell W. Murray Mrs. Frederic W. Upham Albert D. Farwell Ralph H. Norton John P. Welling Marshall Field Eric Oldberg Ernest B. Zeisler ★In service with the armed forces of the United States.

FINANCE COMMITTEE: Alfred T. Carton, Chairman Chalkley J. Hambleton Francis M. Knight J. Sanford Otis Edward L. Ryerson

WOMEN’S COMMITTEE: Mrs. Telfer MacArthur, Chairman

OFFICES: SIXTH FLOOR, ORCHESTRA BUILDING 220 South Michigan Avenue, Chicago 4 GEORGE A. KUYPER, Business Manager RUTH H. CARROLL, Assistant Secretary CHICAGO SYMPHONY ORCHESTRA DÉSIRÉ DEF AUW... .Musical Director and Conductor HANS LANGE...... Conductor

The Thursday-Friday Concerts

TWENTY-FOURTH PROGRAM

March 22, at 8:15 — March 23, at 2:15 1945

Conductor: DÉSIRÉ DEF AUW

Soloist: ARTUR RUBINSTEIN

OVERTURE, “FingaVs Cave;9 Opus 26...... MENDELSSOHN-BARTHOLDY

TWO NOCTURNES ...... DEBUSSY Clouds. Festivals. SYMPHONY No. 5, D Major...... WILLIAMS Preludio. Scherzo. Romanza. Passacaglia. (First performance in Chicago)

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PRELUDE TO “PENELOPE”...... FAURE RHAPSODY ON A THEME OF PAGANINI, For Piano and Orchestra, Opus 43...... RACHMANINOW

The Piano is a Steinway

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ENCORES NOT PERMITTED Advance Programs on Pages 47, 49 and 51 5 PROGRAM NOTES By FELIX BOROWSKI

Overture, “Fingal’s Cave,” Felix Mendel-ssohn-Bartholdy. vpusOnus ¿O.26 DiedBorn NovFeb. 3,5> 1809,]847, at Hamburg.Leipzig Fingal’s Cave, one of the show places that attract visitors to the west coast of Scotland, is situated on the little island StaSa that forms one of the Hebrides group. The cave, of basaltic formation, is some two hundred feet in length and thirty-three in width, the sea forming its floor, with a depth of twenty-three feet of translucent green water at ebb-tide. Mendelssohn visited Scotland in 1829 with his friend Klinge- mann as his fellow-traveler, and they made an expedition to Staffa and its famous basaltic cave in August. Then, as now, the voyage was accomplished by steamer, but the vessel was anchored some distance from the island, and the cave was reached in small boats. Klingemann described this visit in a letter dated August 10, 1829:

“We were put out in boats,” he wrote, “and lifted by the hissing sea up the pillar stumps to the celebrated Fingal’s Cave. A greener roar of waves surely never rushed into a stranger cavern—its many pillars making it. look like the inside of an immense organ, black and re­ sounding, and absolutely without purpose, and quité alone, the wide gray sea within and without.”

Mendelssohn said little in description of his experiences at Staffa, but what he said was full of import. “In order to make you understand how extraordinarily the Hebrides affected me, the following came into my mind there.” And Mendelssohn, writing to his family in Germany, set down twenty-one measures of the overture, the opening portion of which occurred to him and was written down in the cave itself. Ferdinand Hiller was 7 VICTOR RECORDS Enrich your record library with Rubinstein’s masterful interpretations of Chopin, of Grieg, Brahms, Schubert and the rest. Come in and listen to them tomorrow—or order by telephone—from the nearest Lyon 86 Healy store.

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Oak Park: 123 N. Marion Evanston: 613 Davis St. PROGRAM NOTES—Continued told by Mendelssohn that the “Fingal’s Cave” overture had its general form and color suggested by the sight of the cavern, and Hiller narrated the following incident, which occurred the evening of Mendelssohn’s return from StafEa: “The same eve­ ning he and his friend Klingemann paid a visit to a Scotch family. There was a piano in the drawing room, but it being Sunday, music was utterly out of the question, and Mendelssohn had to employ all his diplomacy to get the instrument opened for a single minute, so that he and Klingemann might hear the theme which forms the germ of that original and masterly over­ ture, which, however, was not completed until some years later at *Düsseldorf. Some of the overture Mendelssohn composed at Coed Du, the residence of John Taylor, a wealthy mineowner, near Mold, in Flintshire, Wales. Mendelssohn had met him in London.

“Mr. Mendelssohn,” wrote one of the three daughters of Mr. Tay­ lor, “came down there to spend a little time with us in the course of a tour in England and Scotland. My father and mother received him kindly, as they did everybody; but his arrival created no particular sensation, as many strangers came to our house to see the mines under my father’s management, and foreigners were often welcomed there. Soon, however, we began to feel that a most accomplished mind had come among us, quick to observe, delicate to distinguish. We knew little about his music, but the wonder of it grew upon us; and I remember one night, when my two sisters and I went to our room, how we began say­ ing to each other: ‘Surely this must be a man of genius ... we can’t be mistaken about this music; never did we ever hear any one play so before. Yet we know the best London musicians. Surely by-and-by we shall hear that Felix Mendelssohn-Bartholdy is a great name in the world.’ ”

During his Italian travels in 1830 Mendelssohn worked assiduously at the “Fingal’s Cave” overture. On December 10 he writes to his father that he intends to finish the work next day as a birthday present to him, but the MS. score bore the date “December 16, 1830, at Rome.” Although the last note had been set down, Mendelssohn was not satisfied. “The middle portion,” he wrote from Paris, January 12, 1832, “is too stu­ pid, and the whole working out smacks more of counterpoint than of train oil, sea gulls and salt fish, and must be altered.” * Hiller was in error. The overture was finished at Rome. PROGRAM NOTES—Continued

On May 14 of the same year the revised overture was brought out at a Philharmonic concert in London, this having been almost certainly its first production. The work, still in manuscript, was entitled on the program, “Overture to the Isles of Fingal.”* As showing that critics differed, even in the earlier days of criticism, it may be mentioned that the reviewer for the Harmonicon (the principal musical journal of that time in England) discovered that “Whatever a vivid imagination could suggest, and great musical knowledge supply, has contributed to this, the latest work of M. Mendelssohn, one of the finest and most original geniuses of the age.” The critic of the Athenaeum was not pleased. The “burthen” of the composition strongly reminded him of Beethoven, and he was moved to declare that “as descriptive music it was decidedly a failure.” Richard Wagner was of a different opinion. “The Hebrides overture is one of the most beautiful pieces we possess,” he wrote. And to Edward Dannreuther the composer of “The Flying Dutchman” he said of the overture: “Wonderful imagination and delicate feel­ ing are here presented with consummate art. Note the extraor­ dinary beauty of the passage where the oboes rise above the other instruments with a plaintive wail, like sea winds over the seas.” The “Fingal’s Cave” overture primarily was dedicated to the Philharmonic Society, but the printed score is inscribed to the Crown Prince of Prussia, afterwards Frederick William IV. The overture is scored for two flutes, two oboes, two clari­ nets, two bassoons, two horns, two trumpets, kettledrums and strings. It commences at once (Allegro moderato, B minor, 4-4 time) with the principal subject in the lower strings and bassoons. Forty-six meas­ ures are employed in the presentation of this material, following which the second subject makes its appearance in D major in the ’cellos and bassoons. Having been presented by these lower toned instruments, the theme is taken up by the violins. The Development is concerned prin­ cipally with the material of the opening theme. The Recapitulation brings forward the first subject in the ’cellos, as before, but it is short-

* Mendelssohn was curiously undecided as to the title of his overture. The name “Fingal’s Hohle” (“Fingal’s Cave”) was placed on the published score, but on the orchestral parts “Hebrides” was printed. And in some of his letters Mendelssohn called it “Einsame Insel” (“The Solitary Island”), and at the Gewandhaus (Leipzig), at which the work was performed December 4. 1834, the overture was put down on the program as “Ossian in Fingal’s Hohle.” 11 PROGRAM NOTES—Continued ened. The second theme—now in B major—is given to the clarinet, the strings sustaining the harmony. At the close of this the theme is quickened and a coda follows, in which the material of the principal subject is given further development.

Two Nocturnes: Claude Debussy. “Nuages” (“Clouds”). Born Aug. 22, 1862, at St. Germain. “Fêtes” (“Festivals”). Died Mar. 26, 1918, at Paris. Debussy’s Three Nocturnes were not originally conceived in the form in which now they stand. It was the first intention of the French master to compose them as three Nocturnes for violin for his friend, Eugene Ysaye, to whom he wrote in 1896 that they were to be for the latter’s own personal use. About the same time Debussy communicated his ideas concerning the violin pieces to Henri Lerolle: I have begun some pieces for violin and orchestra which will be called Nocturnes, he wrote, “and in which I will employ groups of the orchestra separately so as to try to discover nuances for these single groups; for people truly do not dare to do enough in music, Ccsmtfictai ôc/w/ y ¿/Music SHIRLEY M. K. GANDELL, Presiden! ROSSETTER COLE. Dean

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13 PROGRAM NOTES—Continued fearing that sort of divinity which they call ‘common sense,’ which, indeed, is the most wretched thing I know. For it is, after all, founded to excuse the fools for being so numerous. Let us cultivate only the garden of our own instincts, and let us walk without concern over the flower beds where ideas in white neckties are symmetrically aligned.” Debussy’s idea of employing orchestral groups separately was to employ for the first Nocturne only strings; for the sec­ ond, three flutes, two horns, three trumpets and two harps, and for the third the two earlier groups combined. The plan of writing the Nocturnes for violin and orchestra, however, fell through and the composer wrote them for orchestra alone. The first two are “Nuages” and “Fêtes”; the third, entitled “Sirènes,” is written for orchestra with chorus of female voices. The sketches for the Nocturnes are now in possession of the Library of Congress in Washington. They comprise twenty-two detached sheets in the form of a condensed score. At the end of the last sheet Debussy wrote the date—Friday, December 15, 1899, three o’clock in the morning—on which the work was completed. On the outside cover the period of composition is given as 1897-99. The first page of the music contains a note

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15 PROGRAM NOTES—Continued in Debussy’s handwriting dedicating the manuscript to his wife as a New Year’s gift. This reads as follows: “This manuscript belongs to my little Lily-Lilo. All rights reserved. It is proof of the deep and passionate joy I have in being her husband. Claude Debussy. At the peep of January, 1901.” Lily-Lilo, before she married Debussy in 1899 was Rosalie Texier, the daughter of a chef de gare employed by a railway in Burgundy. Debussy’s “passionate joy in being her husband” lasted but briefly, for soon he met Mme. Emma Barduc, the wife of a rich banker, and the outcome of that meeting was an unsuccessful attempt at suicide on the part of Lily-Lilo and, a year later, a divorce from the composer. When the score of the Three Nocturnes appeared no mention was made of Lily-Lilo. The first two Nocturnes were produced for the first time at a Lamoureux concert, Paris, December 9, 1900, under the direc­ tion of Camille Chevillard. “Sirènes” was given to the public at a Lamoureux concert and under the direction of Chevillard, October 27, 1901. In the United States the first performance of the three Nocturnes was given at a Chickering “Production” concert at Boston, February 10, 1904.

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BUY WAR B0 1945 Dubonnet Aperitif Wine and Vermouth by Dubonnet. Products of U.S. A. — Dubonnet Corp., New York 17 PROGRAM NOTES—Continued The Nocturnes were published in 1900 with a dedication to Georges Hartmann, music publisher of Paris. The latter, well known in France as a librettist, assisted in the writing of texts for operas by Massenet, Messager and other French composers. Léon Valias, discussing Debussy’s “Nocturnes” in his Debussy (Paris, 1930), found reminiscences of themes from Charpen­ tier’s opera “Louise,” which he believes the French master must have seen before its production in 1900, and, at the be­ ginning of “Nuages,” a note for note reproduction of the subject of one of the songs from Moussorgsky’s cycle, “Sans soleil.” Debussy has explained the significance of his Nocturnes in the following words : “The title ‘Nocturnes’ is intended to have a more general and, above all, a more decorative meaning. We, then, are not concerned with the form of the Nocturne, but with everything that this word includes in the form of diversified impression and special lights. “ ‘Nuages’—The unchanging aspect of the sky, and the slow, solemn movement of the clouds, dissolving in gray tints, lightly touched with white. “ ‘Fêtes’—The restless, dancing rhythm of the atmosphere, inter-

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19 PROGRAM NOTES—Continued spersed with sudden flashes of light. There is also an incidental pro­ cession (a dazzling imaginary vision) passing through and through and mingling with the aerial reverie; but the background of uninter­ rupted festival is persistent, with its blending of music and luminous dust participating in the universal rhythm of all things.

Symphony No. 5, D Major. Ralph Vaughan Williams. Born Oct. 12, 1872, at Down Ampney (Wiltshire), England. The composer of this symphony was educated at the Royal College of Music, London, which institution he entered in 1890. In 1892 he went to Cambridge University, where he took the degrees of Bachelor of Music and Bachelor of Arts, respec­ tively, in 1894 and 1895. His instructors there were Charles Wood (for composition) and Alan Gray (for organ). In the autumn of 1895 Williams returned to the Royal College of Music, studying composition there with Sir C. H. Parry and Sir Charles Villiers Stanford; organ with Sir Walter Parratt, and piano with Graham P. Moore and Herbert Sharpe. Leav­ ing the Royal College of Music in 1896, Williams felt that his

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You may enjoy a command performance by Artur Rubinstein any time you wish. The celebrated artist, who has been called the greatest Polish pianist since Paderewski, has recorded many superb performances for Victor. The Victor catalog lists inspired Rubinstein recordings of Chopin, Grieg, Tchaikovsky, Brahms and many others. Each brings you the verve and power of Mr. Rubinstein’s dynamic technique, his rare insight and tonal loveli­ ness in perfect reproduction. Listen l0 «The Music America Loves Best„ Sundays, 3:30 p.m., over Station WMAQ. ★ BUY MORE WAR BONDS ★ THE WORLD'S GREATEST ARTISTS ARE ON PROGRAM NOTES—Continued training was not yet complete, and he journeyed to Berlin the following year to enter the Akademie der Künste as a pupil of Max Bruch. Returning to England, Williams took up a posi­ tion as organist at South Lambeth church. His period of train­ ing was not, however, finished; for in 1908 Williams betook himself to Paris, where he studied with Maurice Ravel. During the war Williams enlisted—at the age of forty-two—as a private in the medical corps, and he served as stretcher bearer both in France and at Salonica. He took and passed the examination for a commission in the artillery in 1917. After the war he joined the faculty of the Royal College of Music. In 1922 Wil­ liams visited the United States to conduct his Pastoral Sym­ phony at the Norfolk (Conn.) festival. The D major symphony bears a statement on its title page that it is “Dedicated without permission to Jean Sibelius,” and that “some of the themes of this symphony are taken from an unfinished opera, “The Pilgrim’s Progress,” but except in the slow movement the symphony has no dramatic connection with Bunyan’s allegory.” The first production of the work was made

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23 PROGRAM NOTES—Continued at a Promenade Concert of the British Broadcasting Corpora­ tion at Albert Hall, London, June 24, 1943. The composer also was the conductor. Concerning the character of the work the following was written by Ferruccio Bonavia, music critic of the London Daily Telegraph and London correspondent of the New York Times: “Here at least there is no faltering, no adapting of one’s thoughts to the fashion of the day, no experimenting with new, untried tools. Modal harmony there is, but modal harmony is the very breath of life to Vaughan Williams and always has been. In others—including some of the pupils—it has become an affectation; it is perfectly natural to him. “It is significant that in this symphony Vaughan Williams reverts to his earlier style, the style that gave us the Fantasia on a Theme of Tallis. And although divided in four movements it is all pervaded by the same spirit. The orchestra is comparatively small, having but two horns in place of the usual four, and there is nowhere anything like a climax of great sonority; yet nowhere does one feel the slightest need for greater variety either in tone or texture. The reason is not far to seek. “The motive power is given not by an academic trick but by a

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25 PROGRAM NOTES—Continued spiritual impulse which guides the hand of the artist and leads him to express himself in the simplest manner. What he has to say does not need the addition of questionable ornament, and his thought is averse to rhetoric. The charm of the work is in the ideas it presents rather than in the manner of presentation, although anyone who has dabbled in musical composition must know that it is far more difficult to present an idea without than with elaborations. “How we shall come to regard this symphony when we know it well it is impossible to surmise at present. Its simplicity and its sincerity may well create a new fashion, based not on imitation but on those ele­ mental principles of artistic honesty and integrity which give it its true strength and character. It may in time be regarded as Vaughan Williams’ best achievement, even though during the first performance the first section, in which the composer lingers and plays with one of his favorite harmonic combinations, seemed slightly overlong. “But it is obviously the work of a man whose faith is entire and whose courage rises above conventions. It needed courage of a rare kind to return to the earlier style, after the experiments of the piano concerto, of the Fourth symphony and the siring sextet. Only a pro­ found faith could have suggested ideas so remote from the torment and turmoil of today. “This is the work of one who has attained what he had long labored to find—peace and serenity of mind and soul, as well as a perfect balance between thought and medium.”

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27 PROGRAM NOTES—Continued The D major symphony is scored for two flutes, one oboe, one English horn, two clarinets, two bassoons, two horns (at certain places in the score an optional doubling of these is per­ mitted), two trumpets, three trombones, kettledrums and strings. The following is an analysis of the work: I. Preludio. Moderate, 4-4 time. The symphony opens with a motive in the two horns, followed by one in the first and second violins, of which considerable use is made in later portions of the movement. A. E. F. Dickinson, in a brief analysis of the symphony in the British Broadcasting Corporation’s publication, The Listener, stated that the greater part of the opening movement is “a series of variants on the GCD/AGA (the notes of the violin motive), essentially a plainsong phrase:

No. 1. Moderato Horns ... a 1 T" g»- . r L r 1 rr pi - terr r rr (()■ 4 J ’ e i— » • L La ..... * 1 L 1 — X Violins Employment, too, is given frequently to a little figure in the lower strings

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29 PROGRAM NOTES—Continued

No. 2.

which appears at the tenth measure, and frequently after that in some measure or other. Soon a songful theme makes its appearance in E major, the horn motive (No. I) returns, and an Allegro in 2-2 time is reached, beginning thus in the violins:

No. 3.

This works up to a climax, following which the original tempo and the material quoted in No. 1 reappear. Another climatic outburst, tutta jorza, follows, dies down, and the movement closes with the horns playing the motive with which they had opened it. II. Scherzo. Presto, 3-4 time. The subject of this opens in the strings: The Empress Eugenie Sherry Pralines

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No. 4. Violins and Violas FZ n—V T'f 5—f-tvi— pp® ' . 7 Lower strings “Z5’-

“This,” writes Mr. Dickinson, “forces the rising fourth of the ‘plain­ song’ into two fourths (and back), in varied rhythmic detail, with a plain auxiliary theme announced by flute and bassoon”:

No. 5.

“Two episodes,” continues the writer, “show more sprightly material, the second, a phrase from the woodwind in unison with trenchant falling thirds.”

III. Romanze, Lento, 3-4 time. This movement, the composer states, “has dramatic connection” with John Bunyan’s The Pilgrim’s Progress, and the score quotes the following from it: “Upon that place Music - to your eyes

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Thej~louse of Vision BELGARD’SPERO, INC. America's Most Exacting Opticians 30 NORTH MICHIGAN • 718 NORTH MICHIGAN • 4753 BROADWAY © HOV 33 PROGRAM NOTES—Continued there stood a cross, and a little below, a sepulchre. Then he said: ‘He hath given me rest by His sorrow, and life by His death.” After six introductory sustained chords in the muted and divided strings, the English horn gives out the following subject:

No. 6. Lento

The strings continue this. Soon the flute and oboe present an idea with the characteristic rising fourth intervals, and the sustained chords of the opening return, but now in the woodwind and horns, and the strings give out the opening theme (No. 6). The rising fourth motive is then worked over in the oboe and English horn. The tempo then becomes quicker (Animato) as a new idea is presented in the two instruments just mentioned, but the original subject (No. 6) soon recurs in the horn against tremolo chords in the strings. Former material is now developed, and there is expressive episodic matter in the full orches­ tra. A solo violin interpolates a phrase twice, and the muted first horn brings back a variant of the opening theme (No. 6). With this the movement comes tranquilly to an end.

35 PROGRAM NOTES—Continued IV. Passacaglia. Moderato, 3-4 time. “In the final Passacaglia,” wrote Mr. Dickinson, “secure at last in D major, the introductory mood is maintained, but the grand ground bass (one bar under the usual eight) gathers increasing dignity, like Bach’s ‘Dona nobis pacem,’ and although striking variations of meter appear in the clarinet and elsewhere, the note of quiet confidence is a second major tune. This acquires a rare exulta­ tion, and finally, after a recollection of the preluding plainsong, seems to fill the whole world with its song of goodwill. In the comparatively smooth texture of the symphony this simple but suggestive melody is able to summarize in its ‘objective’ of eight bars all that has preceded.” It remains only to quote the material of which Mr. Dickinson has written. The ground bass of the Passacaglia opens in the violoncellos as follows:

No. 7.

The “noble theme” immediately follows in the flutes and first vio­ lins:

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37 PROGRAM NOTES—Continued

Prelude to “Pénélope.” Gabriel Fauré. Born May 13, 1845, at Panders. Died Nov. 4, 1924, at Paris Fauré disclosed gifts for music at an early age. When three years of age, the boy was taken by his parents to Foix, where his father had been appointed director of the Normal School. There he showed so much talent and inclination for music that it was decided to send him to Paris to study in the School of Religious Music, which had been founded by Louis Nieder- meyer. Fauré was ten years of age when he went to Paris to study with Niedermeyer, with Dietsch—he who set the text of “The Flying Dutchman” which Wagner sold to the Grand Opéra, in Paris, for 500 francs—and with Saint-Saëns. The young mu-

BOSCH . ... a distinguished '"j/ name in wallpaper

Invites you to join other smart Chicagoans in using Chicago’s most distinctive wallpaper showroom. Drop in at your conveni- ence and make your wall­ paper selection by leisure­ ly comparing the many lovely Bosch-styled patterns. ► 4818 SHERIDAN. RD. J BOSCH PHONE LÖNGBEACH 7671 WALLPAPER SALON ;App.rai$.als for Insurance and Probate 130 E. Delaware Place In the 900 N. Mich. Ave. Bldg. 39 PROGRAM NOTES—Continued sician progressed so rapidly that he won a prize for piano play­ ing the first year. Fauré left the Niedermeyer School when he was twenty, and the following year—in 1866—he was appointed organist of Saint-Sauveur, Rennes. He remained there until March, 1870, when he returned to Paris, where he became or­ ganist of Notre-Dame de Clignancourt. The war with Prussia supervened, and Fauré served in the first regiment of the Guards. After peace had been declared he officiated as organ­ ist at the church Saint-Honoré d’Eylau, and later as chorus mas­ ter at Saint-Sulpice. In 1877 Fauré was made chorus master at the Madeleine, arid in 1896 organist of that church. In the latter year he became a teacher of counterpoint and fugue at the Conservatory of Paris, and in 1905 succeeded Dubois as director of the institution. Fauré retired from the directorship in 1919, partly because old age—he was seventy-four—was making much administrative work difficult for him, and partly because for more than a decade his hearing had been affected and complete deafness practically had overtaken him. “Pénélope” was produced for the first time at Monte Carlo,

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41 PROGRAM NOTES—Continued March 4, 1913. The libretto, by René Fauchois, was based upon the story in Homer’s “Odyssey” of the return of Ulysses (Odys­ seus) after many years from Troy to Pénélope, his wife, who has remained faithful to him, but who at first does not recognize him. There are more than sixty operas dealing with the subject of the return of Ulysses, dating from the work, “11 ritorno d’Ulisse in patria,” brought out by Monteverde in 1641, to the Odyssean trilogy by Bungert (1896-1903), “Die Homerische Welt.”

Rhapsody.on a Theme of Sergei Rachmaninow. Born Apr. 2, 1873, at Onega, Paganini, for Piano and Government of Novgorod. Orchestra, Opus 43. Died Mar. 28, 1943, at Beverly Hills, California. The Rhapsody on a Theme of Paganini was composed in the summer of 1934 at Rachmaninow’s home on the shores of

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43 PROGRAM NOTES—Continued Lake Lucerne, Switzerland. It was begun at the beginning of July and finished on the 24th of the following month. The com­ poser was also the interpreter of the piano part when the Rhap­ sody was produced for the first time at a concert of the Phila­ delphia Orchestra, at Baltimore, November 7, 1934, Leopold Stokowski having been the conductor. In Chicago it was first performed—with Rachmaninow as soloist—at concerts of the Chicago Symphony Orchestra, November 7-8, 1935, Frederick Stock having been the conductor. Although entitled a Rhapsody, the composition is in reality twenty-four variations on a theme from Paganini’s Caprices for violin alone—the subject having been drawn from the last of the twenty-four Caprices. Paganini himself wrote variations on the theme. Other composers have been moved to the crea­ tion of transformations of Paganini’s subject matter, notably Johannes Brahms, who employed the same subject as Rachmani­ now, Robert Schumann ( Studien nach Caprizen von Paganini, Opus 3) and Franz Liszt (Grandes Etudes de Paganini, tran­ scrites pour le piano et dédiées a Madame Clara Schumann).

THE APOLLO MUSICAL CLUB EDGAR NELSON, Conductor ROBERT BIRCH, Organist will present at ORCHESTRA HALL April 9, 1945,8:15 P. M. THE PASSION MUSIC (According to St. John) Bach The St. John Passion offers us Bach in one of his most attractive aspects that of the simple, devoutly religious man turning his immense genius to the glorification of his faith. Here is emotional speech of urgency and sincerity embodied in music of such transcen­ dent nobility that even Bach could have excelled it only once or twice in his lifetime. The Chicago Symphony Orchestra SOLOISTS Esther Hart...... Soprano Ruth Slater...... Contralto Charles Sears...... Tenor Harry Swanson...... Baritone John Macdonald Bass-Baritone TICKETS: $1.80, $1.20, 78c; Box Seats $2.40 (Tax included)

45 SOLOIST THIS WEEK

ARTUR RUBINSTEIN, Piano

Mr. Rubinstein, a native of Lodz, Poland, was born in 1888. He displayed musical talent at the age of three, and was able to play the piano before he could talk. At four he came to the attention of Joseph Joachim, who arranged a reeital for him in Berlin, and placed him under the guidance of d’Albert and Lesehe- tizsky. He made his formal début in Berlin with Joachim as conductor. Mr. Rubinstein first came to the United States in 1906. His first appearance with the Chicago Symphony Orchestra was in that year, playing the Saint-Saëns Concerto No. 2, in G Minor, which he also played on April 9, 1940. At his appearances of December 1-2, 1922, December 28, 1937, and April 11-12, 1940, and December 29, 1942, he was heard in the Tschaikowsky Concerto. He played the Brahms Concerto No. 2, in B flat Major on December 31, 1942-January 1, 1943; the Beethoven Concerto No. 3 in C Minor on December 28, 1943 and the Khatchaturian Concerto for Pianoforte on December 30-31, 1943.

SOLOIST NEXT WEEK

JOHN WEICHER, Violin

John Weicher, born in Chicago, received his educa­ tion both here and in Prague. Upon his return to this country he became concertmaster of the Civic Orchestra, later spending two years in Cleveland. Returning to Chicago he played for five years with the Chicago Symphony Orchestra and left to become concertmaster of the Seattle Symphony Orchestra. He returned to his native city to become principal of the violins. Since 1937 he has been concertmaster of the Chicago Symphony Orchestra.

46 TUESDAY AFT’N MAR. 27 ELEVENTH PROGRAM OF THE TUESDAY AFTERNOON SERIES (PROGRAM SUBJECT TO CHANGE) Conductor: HANS LANGE Soloist: ARTUR RUBINSTEIN

Overture to La Clemenza di Tito (Köchel 621)...... Mozart Symphony, G Minor (Köchel 550)...... Mozart Allegro molto. Andante. Menuetto. Finale: Allegro assai. Symphonic Metamorphosis of Themes by Carl Maria von Weber...... Hindemith Allegro— Turandot, Scherzo— Andantino— March. INTERMISSION

Concerto for Pianoforte, No. 2, F Minor, Opus 21...... Chopin Maestoso. Larghetto. Allegretto vivace. ______Tickets (Tax Included) Main Floor $3.50, $3.00, $2.50; Balcony $1.75; Gallery $1.25 Service Men and Women in Uniform, Main Floor 30c

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47 • ORCHESTRA HALL • GEORGE A. KUyPER announces 'CELLO RECITAL GREGOR PIATIGORSKY Saturday Evening, March 24 at 8:15 PROGRAM Sonatine No. 2 in A Major...... Mozart Allegro—Menuetto—Adagio—Rondo—Allegro. (From a Divertimento for Two Clarinets and Bassoon) (First time in Chicago) Sonata in E Minor, Opus 38...... Brahms Allegro non troppo. Allegretto quasi minuetto. Allegro. Fantasie-stiicke, Opus 73...... Schumann Zart und mit Ausdruck—Lebhaft leicht—Rasch und mit Feuer. ' Intermission Variations on "A Frog He Went A-Courting"...... Hindemith (First time in Chicago) Allegro Appassionato...... Saint-Saëns Prelude ...... Debussy Dance of Terror...... deFalla Variations in Popular Style on a Paganini Theme...... Piatigorsky RALPH BERKOWITZ AT THE PIANO TICKETS: $3.00, $2.50, $2.00, $1.50, $1.00 (Tax Included)

« OPERA HOUSE »

Sunday Afternoon, April 15 at 3:30 P. M.

MARIAN ANDERSON CONTRALTO

Seats Now on Sale at Box Office and by Mail Order: $1,20, $1.80, $2.40, $3.00, $3.00 (Tax Inc.) Phone Information: RANdolph 6933.

48 MARCH 29 and MARCH 30 TWENTY-FIFTH PROGRAM of the THURSDAY-FRIDAY SERIES (PROGRAM SUBJECT TO CHANGE)

Conductor: HANS LANGE

Chorale Prelude, “A Mighty Fortress is Our God”...... Bach (Freely Transcribed for Orchestra by Frederick Stock) S inf onia to Church Cantata, “Ich steh’ mit einem Fuss im Grabe”. .Bach Three Chorales from The Passion According to Saint Matthew.. . Bach 0 Man Bewail Thy Grievous Sin. When Life Begins To Fail Me. Here Yet Awhile, Lord, Thou Art Sleeping. The University of Chicago Chorus — Gerhard Schroth, Director INTERMISSION Tone Poem, “Ein Heldenleben,” Opus 40...... STRAUSf The Hero. The Hero’s Adversaries. The Hero’s Companion. The Hero’s Battlefield. The Hero’s Mission of Peace. The Hero’s Escape from the World—Conclusion. (Played without pause) Tickets (Tax Included) THURSDAY: Main Floor $3.00, $2.50, $1.75; Gallery 60c All Balcony Seats Have Been Sold on Season Subscription FRIDAY : Main Floor $3.00 ; Balcony $1.75, $1.25 ; Gallery 60c Service Men and Women in Uniform, Main Floor 30c APRIL 5 and APRIL 6 TWENTY-SIXTH PROGRAM of the THURSDAY-FRIDAY SERIES (PROGRAM SUBJECT TO CHANGE)

Conductor: DESIRE DEFAUW Soloist: JOHN WEICHER

Overture, “The Marriage of Figaro”...... Mozart

Concerto for Violin...... Bartók Allegro non troppo. Andante tranquillo. Allegro molto.

INTERMISSION

Symphony No. 6 (“Pathetic”), B Minor, Opus 74...... Tschaikowsky Adagi o—Allegro—Anda nte—Allegro vivo . Allegro con grazia. Allegro molto vivace. Adagio lamentoso. Tickets (Tax Included) THURSDAY : Main Floor $3.00, $2.50, $1.75 ; Gallery 60c All Balcony Seats Have Been Sold on Season Subscription FRIDAY : Main Floor $3.00 ; Balcony $1.75, $1.25 ; Gallery 60c Service Men and Women in Uniform, Main Floor 30c

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