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Home , George Szell, John Barbirolli, Robert Marcellus, Victor Alessandro

THE ORCHESTRA Forty-Third Season—1960-1961 , Musical Director and Conductor and Louis Lane, Associate Conductors PERSONNEL FIRST VIOLINS VIOLONCELLOS BASSOONS Adolphe Frezin George Goslee Principal Vaclav Laksar Concertmaster Ronald Phillips Ernst Silberstein Arnold Steinhart Co-Principal CONTRA BASSOON Assistant Concertmaster Harry Fuchs Walter Henker Ernest Kardos Michael Grebanier Assistant Concertmaster Warren Downs FRENCH HORNS Albert Michelson Myron Bloom Daniel Majeske Thomas Liberti Roy Waas Assistant Concertmaster Rolf Störseth Martin Morris Donald White Richard Mackey Kurt Loebel Martin Simon Ernani Angelucci James Barrett Theodore Baar Charles Blabolil Joseph Koch Samuel Salkin BASSES TRUMPETS Stephen Erdely Jacques Posell Bernard Adelstein Leonard Samuels Olin Trogdon Thomas Wohlwender Alessandro Bottero Fay Jennings Richard Smith Clemens Faber Raymond Benner David Zauder Philipp Naegele Irving Nathanson Gino Raffaelli Frank May CORNETS Theodore Rautenberg Harry Barnoff Richard Smith Jeno Antal Lawrence Angell David Zauder Sidney Weiss Thomas LaRusso Edward Matey TROMBONES HARPS Robert Boyd SECOND VIOLINS Warren Burkhart Hyman Schandler Martha Dalton Merritt Dittert Elmer Setzer FLUTES TUBA Samuel Epstein William Brown Maurice Sharp Chester Roberts Martin Heylman Bernhard Goldschmidt TYMPANI Felix Freilich George Hambrecht Cloyd Duff Maurice Wolfson PICCOLO Willis Reinhardt PERCUSSION Evelyn Botnick SNiia.um Hebert Emil Sholle Stephane Dalschaert OBOES Bert Arenson Robert Matson Robert Pangborn Elizabeth Clendenning Marc Lifschey Edward Matey Charles Blabolil Elden Gatwood Robert Zupnik Cathleen Dalschaert KEYBOARD James Knox ENGLISH HORN INSTRUMENTS Jerome Rosen* Emil Sholle Harvey McGuire Louis Lane George Silfies Theodore Baar VIOLAS Jerome Rosen* Abraham Skernick Theodore Johnson Frederick Funkhouser George Silfies LIBRARIANS Edward Ormond Tom Brennand Laszlo Krausz E FLAT Frederick Funkhouser Tom Brennand Theodore Johnson Sally Burnau PERSONNEL MANAGER Ben Selcer Olin Trogdon Muriel Carmen Walter Stummer Alfred Zetzer BAGGAGE MASTER Vitold Kushleika George Higgins Malcolm Mark SAXOPHONE William Kiraly George Silfies * Apprentice Conductor 501 THE GEORGE SZELL, Conductor

SIXTEENTH PROGRAM

Thursday Evening, January 26, 1961, at 8:30 O'clock Saturday Evening, January 28, 1961, at 8:30 O'clock

A RUBINSTEIN FESTIVAL

ARTUR RUBINSTEIN, Piano

Overture to “L’ltaliana in Algeri” Rossini

Concerto for Piano and Orchestra in G major, K. 453 Mozart Allegro Andante Allegretto — Presto

INTERMISSION

Concerto for Piano and Orchestra No. 2 Chopin in F minor, Op. 21 Maestoso Larghetto Allegro vivace

Concerto for Piano and Orchestra No. 1 Liszt in E flat major (In one movement)

Steinway Piano Epic and An exhibit related to this program may be seen in the Green Room. The Thursday evening limousine shuttle service between the parking lot of the Cleveland Museum of Art and will be continued for the remainder of the season, with the exception of certain holidays about which notification will be made. Before and after this Thursday evening concert, and during the intermission, photographs of the January 13 “Showboat Ball” will be available for viewing at a table on the box floor. Members of the Orchestra Ball Committee will be glad to take your orders for copies. 505 NOTES ON THE PROGRAM Edited by Klaus G. Roy OVERTURE TO “L’ITALIANA IN ALGERI” By Gioacchino Rossini Bom February 29, 1792, in Pesaro; died November 13, 1868, in Passy, near Paris.

Composed in 1813, Rossini’s opera, The Italian Woman in Algiers, opera buffa in two acts, libretto by Angelo Anelli, was first produced at the San Benedetto Theater in on May 22. The first performance in America was at the Richmond Hill Theater in New York on November 5, 1832. The overture is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, trombone, tympani, bass drum, cymbals, and strings. The most recent performances at these concerts were on March 22-24, 1956.

ossini was just twenty-one when he completed L'Italiana in Algeri, but he was already one of the most celebrated in Italy. His opera RTancredi, produced only a month before, had become enormously popular. In the same year followed the one-act farce, Il Signor Bruschino, and the opera, Aureliano in Palmira. Stendahl, who was an ardent admirer of Rossini, wrote interestingly of this opera in his Vie de Rossini, published at Paris in 1824: “When Rossini wrote L'Italiana in Algeri he was in the flower of his

NEXT TWILIGHT CONCERT Sunday afternoon, February 19, 1961, at 4 o'clock SEVERANCE HALL THE CLEVELAND ORCHESTRA LOUIS LANE SHORT OPERAS OF OUR TIME “There and Back” Hindemith Cast: Annelle Delff, Marilyn Anter, Keith Mackey, Stephen Szaraz, John Dietz, Samuel Riggs Staged by Elsa Findlay Suite from “Comedy on the Bridge” Martinu “A Hand of Bridge” Barber Cast: Jeanne Evans, Delores McCann, Frank Strain, Stephen Szaraz Suite from “Amahl and the Night Visitors” Menotti “The Telephone” Menotti Cast: Beverly Dame, John Dietz with the cooperation of the opera workshops of Karamu Theatre and The Cleveland Institute of Music Musical and dramatic preparation by HELMUTH WOLFES

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507 genius and his youth; he had no fear of repeating himself, he was not trying to compose strong music; he was living in that amiable Venetian country, the gayest in Italy and perhaps in the world. . . . The result of the Venetian character is that the people want above all in music agreeable songs, light rather than passionate. They were served to their hearts’ desire in L'ltaliana; never has a public enjoyed a spectacle more harmonious with its character, and of all the operas that have ever existed this is the one destined to please the Venetians most.” Travelling in Venetia in 1817, Stendahl adds, he found that theaters in Brescia, Verona, Venice, Vicenza, and Treviso were presenting Ultaliana at the same time. For a description of the libretto and of the opera itself, we must turn to that eminent Rossinian, Francis Toye, who wrote as follows in his Rossini, A Study in Tragi-Comedy (London, 1934): “The libretto, based on the well-known legend of the beautiful Roxelana, the favorite slave of Solomon the Second, and already set by Moscha, bears no conceivable relationship to real life, either in Italy, Algeria or anywhere else. This story of an Italian lady (Isabella), who in company with an in­ effective admirer (Taddeo) sets forth to rescue her lover (Lindoro) and then, fortunately wrecked on the shores of the very country where he is held pris­ oner, makes a fool of both Taddeo and Mustafa, the Bey of Algeria, is frank farce. But it is very good farce, abounding in funny situations, wily strata­ gems, and ridiculous expedients . . . “Beyond a doubt here was the best and most important opera buffa libretto that Rossini had yet handled, and he made the most of his oppor­ tunities. L'ltaliana in Algeri is certainly the third, possibly the second, best light opera he ever wrote. Though there are still traces in the score of Cima- rosa, Haydn, and Mozart, the flavor of the whole is unmistakably Rossinian, for here, for the first time, we feel the irresistible appeal of the great laugh that Rossini brought into music. “The outstanding feature of L'ltaliana is the impression it gives, as an entity, of spontaneity, freshness, and, above all, gayety. Indeed, the suc-

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100.00, plus tax 509 Next broadcasts of The Cleveland Orchestra over the CBS Radio Network:

SUNDAY, January 29, at 3:05 p.m., Radio Station WGAR, Cleveland Mozart — Symphony No. 32 in G major, K. 318 LOUIS LANE Conducting Copland — Suite from the Opera, “The Tender Land” Debussy — “” GEORGE SZELL Conducting

SUNDAY, February 5, at 3:05 p.m., Radio Station WGAR, Cleveland Bach — Sinfonia to Cantata No. 42 ROBERT SHAW Conducting Strauss — “”, Op. 35 , Violoncello ABRAHAM SKERNICK, Viola GEORGE SZELL Conducting

SUNDAY, February 12, at 3:05 p.m., Radio Station WGAR, Cleveland Faure— Ballade in F sharp major Weber — Konzertstück in F minor ANTON KUERTI, Piano Albeniz — Suite from “Iberia” GEORGE SZELL Conducting

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510 cession of so many numbers tripping along, one after the other, in so sprightly and impertinent a fashion is its special charm. “One feels loth to dissect even momentarily such a delightful butterfly, but one or two points about the music must be noticed. The overture, fortu­ nately still familiar, though not heard in our concert halls nearly as often as it should be, appropriately suggests the ‘light and tenuous leaf’ to which Mustafa’s character is compared by the chorus in the first scene.”

Pizzicato strings open the brief introduction to the overture (C major, Andante, 3/4). There is an expressive solo for the oboe and a brief orchestral crescendo, then a return to the oboe solo which is echoed by clarinet over the suspense-full pizzicati. The woodwind introduces the first theme of the main body of the overture {Allegro, 4/4), with striking punctuations from the orchestra. The strings take up this theme and develop it. The lyric second theme in G major is given to the oboe. A light-hearted closing theme intro­ duces one of those typical crescendos without which no Rossini overture would be complete. The exposition is repeated after a few transitional meas­ ures for the violins. The second theme returns in the expected tonic key, now sung by flute and bassoon, but the oboe reappears in the answering measures that were previously given to the flute, and the crescendo returns to introduce a brilliant ending. G.H.L.S.

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511 ARTUR RUBINSTEIN

A rtur Rubinstein was born in Lodz, Poland. 2k The youngest of seven children, he showed musical talent at the age of three and was de­ veloped as an infant prodigy. While still a very small child, he was taken to , where he played for Joseph Joachim. Joachim was much impressed with the boy, and sent him to Heinrich Barth for a full course of piano study. He also received instruction in composition and harmony from and Robert Kahn. He made his first public appearance in Berlin at the age of eleven, playing a concerto of Mozart with Joachim conducting. His re­ markable career as a traveling virtuoso, which has taken him to many countries, dates from this occasion. He first visited the in 1906. In recent years he has made this country his home. Artur Rubinstein and George Szell first appeared together more than 27 years ago, at a 1933 concert in The Hague, performing Beethoven’s Concerto No. 4. Their most recent collaboration abroad was at four concerts of the Concertgebouw Orchestra in and The Hague, Dec. 3, 4, 6 and 7, 1958, all of which included Tchaikovsky’s Concerto No. 1. Mr. Rubinstein’s most recent appearances with The Cleveland Orchestra took place on Janu­ ary 21-23, 1960, in Brahms’ Concerto No. 2 in B flat major, Op. 83. A complete listing of Artur Rubinstein’s appearances with The Cleveland Orchestra follows: November 25-27, 1937 ...... Brahms: Concerto No. 2 January 12-14, 1939 ...... Tchaikovsky: Concerto No. 1 February 22-24, 1940 ...... Beethoven:. Concerto No. 4 January 29-31, 1942 ...... Chopin:. Concerto No. 1 Szymanowski: “Symphonie concertante” April 1-3, 1943 ...... Rachmaninoff:. Concerto No. 2 December 2-4, 1943 ...... Brahms:. Concerto No. 2 November 9-11, 1944 ...... Mozart: Concerto in A, K. 488 Rachmaninoff: Rhapsody on a Theme of Paganini January 23-25, 1947 ...... Brahms:. Concerto No. 2 March 24-26, 1949 ...... Tchaikovsky:. Concerto No. 1 April 9-11, 1953 ...... Brahms:. Concerto No. 2 March 31, 1955), . < + . April 2, 1956 }(special concerts) ...... Tchaikovsky:. Concerto No. 1 ...... Brahms:. Concerto No. 1 January 17, 1957] ...... Saint-Saëns:. Concerto No. 2 > (special concerts) ...... Beethoven:.Concerto No. 5 January 19, 1957 ...... Schumann: Concerto in A minor ...... Tchaikovsky:. Concerto No. 1 January 22, (speeia! councils) ...... Chopin:. Concerto No. 1 ...... Tchaikovsky:. Concerto No. 1 January 24, 19591 ...... Beethoven:. Concerto No. 5 ...... Rachmaninoff:. Concerto No. 2 January 21-23, 1960 ...... Brahms:. Concerto No. 2 With his present appearances, January 26-28, 1961, in three works none of which he has played here before — Mozart’s Concerto in G, K. 453, Chopin's Concerto No. 2 in F minor, and Liszt’s Concerto No. 1 in E flat—, Artur Rubinstein will have appeared with The Cleveland Orchestra at a total of 18 concerts or concert pairs, in 15 different works. 612 CONCERTO FOR PIANO AND ORCHESTRA IN G MAJOR, K. 453 By Born January 27, 1756, in Salzburg; died December 5, 1791, in .

Mozart completed this concerto in Vienna on April 12, 1784. It was first performed on June 10 of that year by his pupil Babette Ployer, for whom it had been written, at the Ployers’ country house in the suburb of Dobling. The score calls for the following instruments to accompany the solo piano: flute, two oboes, two bassoons, two horns, and strings. If the four early concerto arrangements are discounted, K. 453 may be listed as No. 13 rather than under the more common number, 17. The work was first performed at these concerts on April 22-24, 1948, with as soloist. Mr. Serkin also played it in its most recent performances at these concerts, February 3-5, 1955.

ozart was evidently pleased with the prowess of his young pupil, Babette Ployer, and assured her of a place in musical history. Having writtenM for her his Concerto in E flat, K. 449, he inscribed to her his only mature concerto in the key of G, K. 453, even calling it — in a letter — “her new concerto”. Two other concertos stand between these, all dating from the late winter and early spring of 1784: K. 450 in B flat, and K. 451 in D. As if such extraordinary productivity had not sufficed, the extended this series of piano concertos with eight more before the close of 1786; his two final concertos, in D and B flat, were to date from 1788 and 1791. When one considers such incredible fecundity in a single medium (in addition to the multitude of other works that came from the same years) one begins to understand Alfred Einstein’s evaluation of the as “really Mozart’s most characteristic creation . . . the last word in respect to the ARTUR RUBINSTEIN "Heart of the Piano Concerto” RCA Victor R E C O R D S Favorite Movements from Six Concertos You Love by BEETHOVEN • CHOPIN • GRIEG • LISZT • RACHMANINOFF • SAINT-SAËNS Entirely New Recording e First Time Available In Stereo LIMITED TIME —SAVE $2.00 MONOPHONIC STEREOPHONIC LM 2495 $2.98 LSC 2495 $3.98 (After Introductory Offer, Catalog Prices Will Be $4.98 and $5.98) PHONE ORDERS . SK 1-9300 SHAKER MUSIC SHOP 16505 CHAGRIN BOULEVARD AT LEE OPEN EVENINGS UNTIL 9 —SATURDAY UNTIL 6

513 fusion of the concertante and symphonic elements.” The scholar would not agree that the concertos of the nineteenth century, from Beethoven onward, represent a continuation of what Mozart had done; they had perforce to be something else, and something new. The fusion of elements in Mozart’s concertos, he feels, resulted ‘‘in a higher unity beyond which no progress was possible, because perfection is imperfectible.” What may seem to us incomprehensible is the fact that all of these more than a dozen late concertos are totally different from one another, in con­ ception and in effect. Relationships there are; but Mozart never repeats him­ self perfunctorily. Like the last dozen-plus symphonies of Haydn, these concertos have unique personalities, create around them atmospheres that belong to them alone. The “key” to the nature of the G major Concerto may be, by symbolic logic, its key. Einstein calls it “friendly”, and that is its tradition, from J. S. Bach on. There has long been something genial and cordial about the key of G, and it is not by accident that Beethoven chose it for his Fourth Piano Concerto, Mahler for his idyllic Fourth Symphony. But Einstein also points to the “hidden laughter and hidden sadness’ ’that is to be found in Mozart’s Concerto; “no words can describe the continuous iridescence of feeling of the first movement, or the passionate tenderness of the second.” The orchestral forces are unusually small: no clarinets (were none to be available at the Ployers’ house that night?), no trumpets and drums. The music is appropriately intimate, and it is possible to perform it with a chamber orchestra; Mozart liked large orchestras for his symphonies and some of the concertos, but here he was concerned with practicality as an essential facet of good composing.

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514 The Allegro, 4/4, begins with a cheerful little march, not unlike the spirit of the later , also in G. The first subject group is a rich one: with Mozart, one must learn to get away from the idea of “first theme, second theme, etc.”; his ideas are too extensive and varied for those simple terms. Mark well the little solo bassoon figure that forms the transition to the second subject; it will become the close of the whole movement. The new subject, warm and amiable, modulates no less than four times in a few measures! The exposition is not over yet: Mozart likes to play a trump card at this point and brings in a third subject; this one is in E flat, churning away symphonically. The orchestra’s codetta figure, also to become important later, prophesies the overture, yet three years in the future. One might think that Mozart had presented quite enough material for one movement: but after the piano has expounded on the opening subject, it offers a brand new theme in D major, charmingly syncopated upon its second statement; it reserves discoverer’s rights, and will allow the orchestra only a phrase of it. The development section seems like one continual modulation; woodwind passages based on the E flat episode shine through the ar-peggi of the solo part. Only a great musical dramatist could construct a re-transition of such unerring assurance; who could help smiling when the opening subject saunters in, after four discreet knocks on the door? The cadenza is introduced by the dramatic material in E flat; Mozart himself wrote two cadenzas for this movement.* The coda is short and to the point; the transition figure from the bassoon, widely used throughout the movement, is now hammered home, and as a few grains of salt and pepper the rising F sharp clashes neatly with the tonic G. As he occasionally likes to do, Mozart thus thumbs his nose at “the rules”. ~ * Mr. Rubinstein plays the composer’s own cadenzas in this Concerto.

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515 The C major Andante, 3/4, has a peculiar relationship with some of Mozarts church music. Not that it is obviously ecclesiastical; far from it. But there is in it more than a reminder of such music as the Incarnatus of the unfinished Mass in C minor (K. 427, 1782-83), with its woodwind soli and unique blend of simplicity and sophistication, spirituality and sensuousness. If one has played Mozart’s piano sonatas, one may also be reminded of the early one; in E flat, K. 282. The returns of the opening theme are always followed by different sequels; it becomes a kind of refrain for this “strophic ana (Arthur Hutchings’ phrase), and a somewhat enigmatic one. There is some unusually beautiful scoring, like the times when the winds have the first subject, and when the violins float in octaves above the questioning phrases of the soloist. The subject in G minor, heard soon after the beginning from the solo instrument, returns later in E flat; it is one of those moments that explain Chopin’s deep affection for Mozart. Again as in some of the church arias, there is a “vocal” cadenza before the close; and the last measures show us what a great composer can do above a pedal point on the note C.

Everyone who hears the Allegretto, G major, alia breve, must at one moment or another think of Papageno, the bird-catcher of The Magic Flute whose yet unborn spirit flits gaily through this music. A real bird-catcher did,’ however, have something to do with this movement: it has been definitely authenticated that Mozart bought a starling which had been trained to whistle a.version of the opening tune! It cost the composer thirty-four

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Southgate Great Northern 516 kreutzer, according to his little account book. He spent a bit more on the pet when the musical bird died and was buried in Mozart’s garden, with a verse- inscribed monument. This finale and that of the C minor Concerto, K. 491, are of all last concerto movements by Mozart the only ones in variation form. The joining of the five variations is done imperceptibly, except for the one in G minor which — quite distant from the theme — moves with a pensive and agitated air. The fifth variation dispels the clouds with a comical noise, but the com­ poser ends it with some polyphonic sleight-of-hand and an oddly halting rhythm. After a sudden hold, anything could happen: pianissimo, a Presto finale puts us on the opera buffa stage, and bids us depart with a merry flourish. The Austrian word Kehraus, applicable here, means a “last dance”, a “sweep-out”. Some moments of mock-seriousness in G minor deceive no-one, and with the merry chirps of a whole flock of musical starlings the festivities are brought to a close of utter hilarity.

“I like Mozart best when I have the sensation I am watching him think. The thought-processes of other composers seem to me different: Beethoven grabs you by the back of the head and forces you to think with him; Schubert, on the other hand, charms you into thinking his thoughts. But Mozart s pellucid thinking has a kind of sensitized objectivity all its own: one takes delight in watching him carefully choose orchestral timbres, or in following the melodic line as it takes flight from the end of his pen . . . Mozart tapped the source from which all music flows, expressing himself with a spontaneity and refinement and breathtaking rightness that have never since been duplicated. — (From “At the Thought of Mozart”, first published 1956 in High Fidelity, reprinted in “Copland on Music”, Doubleday & Company, New York 1960)

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in F mi.nor 7as comPosed at Warsaw in the autumn of 1829, and intro- 1836 * "rSt concert glven by Ch°Pln ln Warsaw, March 17, 1830. It was published in »1™^* s<'ore> dedicated to the Countess Delphine Potocka, calls for two flutes, two piano and string?8’ tW° bassoons' two horns> tw° trumpets, bass trombone, tympani, solo w„r„Tbe con“rto. w?s &st heard at these concerts on December 1, 1932, when Tosef p,? , Wyth Th=re,have also been performances on November 2, 1933 (Severin Eisenberger), and February 3 1944 (Josef Hofmann). On December 26-27, 1952, Guiomar the hser d tbut Wltb The Cleveland Orchestra in this work, and also played it in the most recent performances at these concerts, October 23-25, 1958.

HOPIN s few works for piano with orchestra were all composed in his early years. The two piano concertos, written within a year of each Cother were performed before their composer had reached the age of twenty- ;..et minor. concerto, actually the second, acquired the designation of iNO. I because it was published in 1833—three years before the F minor round its way into print.

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518 Although Chopin’s development as an artist had already been phenom­ enal, he was still lacking in experience of the orchestra. He had played the piano with dexterity and understanding from his earliest years, and he could improvise the most sensitive and complicated piano pieces at will to the surprise of admiring circles in and about Warsaw. But his experiments with the concerto form showed him unable to cope with the larger architectural forms and the mysteries of the instruments themselves. In the two concertos, the interest is almost wholly in the treatment of the solo part. Carl Tausig rescored the E minor concerto and Carl Klindworth the F minor, each seek­ ing to strengthen the orchestration and to make the works more brilliant. Both of these editions show inequalities of balance, and it has been argued that Chopin intended the orchestration to be no heavier than it is in his original scoring.

The two concertos were written at Warsaw in 1829-30. Chopin had re­ turned from his first trip to Vienna and had not yet departed on the travels that were to take him to Breslau, , , Vienna, Munich, Stutt­ gart, and eventually Paris, his future home. He first mentioned the F minor Concerto in a letter to his friend, Titus Woyciechowski, dated October 3, 1829. Oberlin College CONSERVATORY OF MUSIC DAVID R. ROBERTSON, Director Revised undergraduate course now includes one year Inquiries Invited of study at the “Mozarteum” in Salzburg, Austria

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519 "I have, perhaps to my misfortune,” he wrote, “already found my ideal, which I worship faithfully and sincerely. Six months have elapsed, and I have not yet exchanged a syllable with her of whom I dream every night. While my thoughts were with her I composed the Adagio* of my concerto.” This ideal was the young singer, Constantia Gladkowska, with whom he was madly in love. The next mention of the work is in another letter of Chopin dated Octo­ ber 20, 1829. “Elsner has praised the Adagio of the concerto. He says there is something new in it. As for the rondo, I do not yet wish to hear a judgment, for I am not satisfied with it myself.” The first performance was on March 17, 1830, at Chopin’s first concert in Warsaw. He played the first movement after an overture by his friend Elsner. A Divertissement for the was then played before the last two movements of the concerto. The house was completely sold out, but Chopin was not satisfied with the artistic result. He wrote: “The first Allegro of the F minor Concerto (not intelligible to all) received, indeed, the reward of a 'Bravo,' but I believe this was given because the public wished to show that it understands and knows how to appreciate serious music. There are people enough in all countries who like to assume the air of connoisseurs! The Adagio and Rondo produced a very great effect. After these the applause and ‘Bravos’ came really from the heart.” * ThejB!?7 movements of both Chopin’s concertos are marked ‘‘Larghetto’’. The composer uses here the word Adagio generically—much as we use the term “slow movement”.

SOPRANO—HARPIST Director of Cafarelli Opera Company CARMELA CAFARELLI OPERA—CONCERT—TEACHER Former Harpist with The Cleveland Orchestra ER. 1-2078 • Studio: 5511 Euclid • UT. 1-0788 Diplomas In Harp and Voice of the Royal Accademia Filarmonica of Rome

THE WOMEN’S COMMITTEE OF THE CLEVELAND ORCHESTRA invites members and guests to the Third Pre-Concert Talk “Open Forum” with KLAUS G. ROY, moderator Friday, January 27, at 2 P.M. Severance Chamber Music Hall This will be, in fact, a “post-concert talk”. Instead of discussing works that are to be heard at future concerts, Mr. Roy will hold an open-forum session dealing mainly with music performed at recent concerts; the Second Symphony by (American première December 29-31, 1960), and the Second Symphony by Easley Blackwood (world première January 5-7, 1961). Come prepared to offer your frank opinions about the music heard,'to ask questions about the pieces and the composers, and to discuss with Mr. Roy any problems that may occur to you in regard to the hearing of contemporary music. The more lively, argumentative, and even controversial the meeting can be made, the better. This meeting is open to all members and their guests. Guest fee—$1.00 per guest. Parking in the Severance Hall lot, entrance from Bellflower Road. 40TH ANNIVERSARY SEASON 1960 -1961

520 Q1 B“bllc and prT "'T entl“siastic, and the concerto had an even greater h, t a sei?°'!d performance a few days later. Chopin used a Viennese He eo^T ft b6en a'icused o£ PIaying too softly at the first concert. PoHsh ' t 4 aft

cor'cert°> m the usual three movements, has called forth the wildest enthusiasm from Chopin s admirers. Niecks wrote charmingly of the first XXn ‘ wT'Th 4/4)’ Which begins with a re^ar orchestral nnP?hJ fir 7 Wb.entth-! P‘an° interrupts the orchestra impatiently, and takes hP thJ ! subject, it is as if we were transported into another world and tione th ,I,’Urer atmosphere First there are some questions and expostula- ínvX tT £he composer unfolds a tale full of sweet melancholy in a strain of th?¿yd»r t y’e1ntTned meJlody- With what inimitable grace he winds those delicate garlands around members of his melodic structure! How light Sef dS±o57“ baS.C ™ WhichJit rests! But the contemplation of his grief disturbs the equanimity more and more, and he begins to fret and fume. Me 7 eCOnd. s,lbje1ctJ1,e seems to protest the truthfulness and devotion of which 7’77 COadudeS Wlth a Passage* half upbraiding, half beseeching, S quíe captivating, nay more, even bewitching in its eloquent per- suasiveness. r ./a}L1SZa 7a Schumann both admired the Romanza (Larghetto, A flat major, 777*,T'í must be considered the ultimate interpretation: Pome ot his [Chopin s] efforts are resplendent with a rare dignity of style- amonPvt£mSA°f exceedlng mterest, of surprising grandeur, may be found among them. As an example of this, we cite the Adagio of the second concerto,

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Tell Your Friends in New York About the Two Concerts at to be played by THE CLEVELAND ORCHESTRA . GEORGE SZELL, Conductor Two Sunday Evenings at 8:30 p.m. February 5, 1961 February 12, 1961 Soloist: ANNIE FISCHER, Piano Soloist: DIMITRI BASHKIROV, Piano (first appearance in New York) (only N. Y. appearance with orchestra) Symphony No. 102 in B flat ...... Haydn “Post Horn” Serenade, K. 320 ...Mozart Symphony No. 2 ...... William Walton Symphony No. 2 ...... Easley Blackwood (New York première) (New Norie première) INTERMISSION INTERMISSION Piano Concerto in E flat, Piano Concerto No. 2 K- ^82 ...... Mozart in B flat, Op. 83 Brahms Send orders to Carnegie Hall Box Office, 154 West 57th St., New York 19 If v ^“'addressed, stamped envelope: Single prices $5, 3.50, 2.50, 2, 1 50 It You Can Attend Yourself, The Orchestra Will Greatly Appreciate Your Presence

521 for which he evinced a decided preference, and which he liked to repeat fre­ quently. The accessory designs are in his best manner, while the principal phrase is of an admirable breadth. It is alternated with a recitative, which assumes a minor key, and which seems to be its antistrophe. The whole of the piece is of a perfection almost ideal—its expression, now radiant with light, now full of tender pathos. It seems as if one had chosen a happy vale of Tempe, a magnificent landscape flooded with summer glow and luster, as a background for the rehearsal of some dire scene of mortal anguish. A bitter and irreparable regret seizes the wildly throbbing human heart, even in the midst of the incomparable splendor of external nature. The contrast is sus­ tained by a fusion of tones, a softening of gloomy hues, which prevents the intrusion of aught rude or brusque that might awaken a dissonance in the touching impression produced, which, while saddening joy, soothes and softens the bitterness of sorrow.” The work concludes with a bright finale {Allegro vivace, F minor, 3/4). Niecks wrote in a similarly rhapsodical vein of ‘‘its feminine softness and rounded contours, its graceful, gyrating, dance-like motions, its sprightliness and frolicsomeness. The exquisite ease and grace, the subtle spirit that breathes through this movement, defy description.” G.H.L.S.

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FACULTY RECITAL Wednesday • February 15, 1961 • 8:30 P.M. • Willard Clapp Hall GIORGIO CIOMPI, Violin - ELIZABETH PASTOR, Assisting Artist BRAHMS Sonata in A Major KREISLER Introduction and Scherzo (Unaccompanied) PIZZETTI Conte WIENIAWSKI Scherzo Tarentelle Violin Sonata THE CLEVELAND INSTITUTE OF MUSIC Dr. Clement A. Miller, Acting Director 3411 Euclid Avenue • HE 1-4040 Member of National Association of Schools of Music Soon — a new Institute of Music Building in University Circle

522 CONCERTO FOR PIANO AND ORCHESTRA NO. 1 IN E FLAT MAJOR By Franz Liszt Bom October 22, 1811, in Raiding, ; died July 31, 1886, in Bayreuth, Germany.

This Concerto was sketched in 1830 and completed in 1849; revisions were made in 1853 and 1856. The first performance took place in Weimar on February 17, 1855, with Liszt at the piano and Berlioz conducting. (This was the only work by another composer heard during that “Berlioz Week” in Weimar.) One of the earliest pianists to essay the solo part was one Hans Bronsart von Schellendorff, a most appropriate name for certain aspects of the Concerto. The first performance in America occurred in New York on April 20, 1867, with another interesting name as soloist: Sebastian Bach Mills. The work was first heard at concerts of The Cleveland Orchestra during its third season; the most recent performances at these concerts were on March 6-8, 1941, when Artur Rodzinski conducted and Egon Petri was the soloist. The orchestration calls for two flutes and piccolo, two each of oboes, clarinets, bassoons, horns and trumpets, three trombones, tympani, triangle, and the usual strings.

hen Liszt’s First Piano Concerto was last performed at these concerts, almost twenty years ago, Arthur Loesser commented as follows in his Wnotes: “In this work Liszt undertook an interesting experiment in musical form. Up until this time almost all larger non-programmatic works, such as sonatas, symphonies and concertos, were patterned in the forms established in the eighteenth century. They either had three movements — fast, slow, and fast

523 again — or they had four: fast, slow, scherzo and fast finale. In the E flat Concerto Liszt attempted to combine the elements of four consecutive movements into one uninterrupted whole. (There was, of course, at least one historical precedent for a somewhat similar kind of design: Weber’s Kon­ zertstück of 1821.) The Concerto has an allegro section, followed by an adagio section which leads into a scherzo-like section that in turn leads up to a rapid and brilliant closing section. None of these, however, taken by themselves, are self-sufficient units. “All the sections, especially the first and second, are interlarded with short cadenza-like flourishes. These give the work an impression of being grandiose and rhapsodic, which indeed it is, to an extent. Yet that need not obscure the fact that the actual themes are well deployed and craftily de­ veloped. The last section, in particular, is an effective resumé of all the material exposed previously. The martial strain which introduces this finale is a rhythmic transformation of the adagio melody heard earlier. * “In the scherzo section an important rhythmic motive is heard on the triangle. In its day this harmless and cheerful bit of color offended many *Liszt, in a letter: “The finale is merely an urgent recapitulation of the earlier subject matter with quickened, livelier rhythm, and contains no new motive. This method of binding together and round­ ing off a whole piece at its close is somewhat my own, but it is quite maintained and justified from the standpoint of musical form.”—Ed.

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524 people’s sense of musical propriety — in fact it seemed slightly scandalous. A triangle might be all right in a frivolous ballet, or even in certain kinds of opera. But in a solemn concerto? Dear me, no! Anyway, Beethoven and Mozart never used it in their concertos; that ought to settle it for good. It must be wonderful to have one’s notions in such neat and uncontaminated compartments. This Concerto became notorious as the ‘Triangle Concerto’, in Hanslick’s phrase, and someone even called it the lTingel-Tangel Concerto’. Tingel-Tangel is the German slang equivalent of the American ‘burlesque show’.”

In a letter to his uncle, Liszt himself attempted to breach the “com- par tmentality” described by Mr. Loesser. “As regards the triangle,” he wrote, “I do not deny that it may give offense, especially if struck too strongly and not precisely. There prevails a preconceived disinclination and objection to instruments of percussion, somewhat justified by the frequent misuse of them. And few conductors are circumspect enough to bring out the rhythmic element in them, without the raw addition of a coarse noisiness, in works in which they are deliberately employed according to the intention of the composer . . . In the face of the most wise proscription of the learned critics I shall, however,

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525 The Orchestra will be on tour during the next two weeks. Fifteen concerts will be given, all under George Szell's direction: Troy, N. Y. (Jan. 30); Stamford, Conn. (Jan. 31); Woodbridge, N. J. (Feb. 1); Hartford, Conn. (Feb. 2); South Hadley, Mass. (Mount Holyoke College, Feb. 3); Northampton, Mass. (Smith College, Feb. 4); (Carnegie Hall, Feb. 5); Princeton, N. J. (Feb. 6); Harrisburg, Pa. (Feb. 7); Lancaster, Pa. (Feb. 8); New Brunswick, N. J. (Feb. 9); Greenwich, Conn. (Feb. 10); Brooklyn, N. Y. Feb. 11); New York City (Carnegie Hall, Feb. 12), and Ithaca, N. Y. (Cornell University, Feb. 13). THE CLEVELAND ORCHESTRA GEORGE SZELL, Conductor

SEVENTEENTH PROGRAM Thursday Evening, February 16, 1961, at 8:30 O’clock Saturday Evening, February 18, 1961, at 830 O'clock

Suite from the Danced Legend, “The Fire Bird” Stravinsky (Revised version of 1919) Introduction: Kastchei’s Enchanted Garden and the Dance of the Fire Bird Dance of the Princesses Infernal Dance of All the Subjects of Kastchei /Berceuse (Finale

Concerto for Violin and Orchestra No. 1 Prokofieff in D major, Op. 19 Andantino Scherzo : Vivacissimo Moderato intermission Symphony No. 4 in F minor, Op. 36 Tchaikovsky Andante sostenuto — Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale : Allegro con fuoco

Assisting Artist: HENRYK SZERYNG, Violin Tickets for all concerts are on sale at Severance Hall and Burrows, 419 Euclid Avenue, or may be ordered at any Burrows stores.

UNUSED TICKETS Subscribers who are unable to use their tickets for any concert are urged to telephone the locations to the box office so that the seats may be resold for the benefit of the Orchestra Maintenance Fund. With the increasing number of sold-out concerts there is a heavy de­ mand for any available tickets. It is important that the ticket office be notified as early as possible before the concert at CE-1-7300. The value of the turned-in tickets is income-tax deductible as a contribution.

526 continue to employ instruments of percussion and think I shall yet win for them some effects little known.” The composer could hardly have suspected that due to the persistency and regularity of the triangle’s ringing the Concerto would eventually gain another occasional nickname: the “Telephone Concerto”.

"The element which strikes one most forcefully, separating Liszt's music from all other nineteenth century composers, is it sonorous appeal . . . No other composer before him under­ stood better how to manipulate tones to produce the most satisfying sound texture, ranging from the comparative simplicity of a beautifully spaced accompanimental figure to the massive fall of a tumbling cascade of shimmering chords." — Aaron Copland (From “A Tribute to Liszt”, in “Copland on Music”, a book of essays published 1960 by Doubleday & Co., New York)

The Cleveland Orchestra is the subject of the lead article in the February issue of High Fidelity Magazine, now on the stands. The article, by Robert C. Marsh, is one of the most extensive reports on this Orchestra’s stature and activities published in recent years.

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THE WOMEN’S COMMITTEE OF THE CLEVELAND ORCHESTRA invites members and guests to a special event Monday, February 13, at 2 P.M. Severance Chamber Music Hall Program Featuring Wives of Orchestra Men Patricia Parr Grebanier, piano Sylvia Gatwood, violin Marie Setzer, violin Harriet McGuire, viola Elaine Phillips, 'cello Mary Rautenberg, piano Sue Silfies, piano The program will consist of music for duo piano, string quartet, and solo piano. A RECEPTION IN THE FORM OF A VALENTINE’S PARTY, HONORING ALL ORCHESTRA WIVES, WILL FOLLOW. This meeting is open to all members and their guests. Guest fee — $1.00 per guest. Parking in the Severance Hall lot, entrance from Bellflower, and The Cleveland Museum of Art lot (shuttle bus service will begin at 1:30) 40TH ANNIVERSARY SEASON 1960 - 1961

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