THE CLEVELAND ORCHESTRA Forty-Third Season—1960-1961 GEORGE SZELL, Musical Director and Conductor Robert Shaw and Louis Lane, Associate Conductors PERSONNEL FIRST VIOLINS VIOLONCELLOS BASSOONS Adolphe Frezin George Goslee Rafael Druian 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 Alice Chalifoux 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 CLARINETS Theodore Baar VIOLAS Robert Marcellus Jerome Rosen* Abraham Skernick Theodore Johnson Frederick Funkhouser George Silfies LIBRARIANS Edward Ormond Tom Brennand Laszlo Krausz E FLAT CLARINET Frederick Funkhouser Tom Brennand Theodore Johnson Sally Burnau PERSONNEL MANAGER Ben Selcer Olin Trogdon BASS CLARINET Muriel Carmen Walter Stummer Alfred Zetzer BAGGAGE MASTER Vitold Kushleika George Higgins Malcolm Mark SAXOPHONE William Kiraly George Silfies * Apprentice Conductor 501 THE CLEVELAND ORCHESTRA 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 Columbia Records 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 Severance Hall 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 Venice 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 composers 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 Conducting 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 Tickets for all Twilight Concerts are available at Severance Hail and Burrows at $.75 $1.00, $1.50 and $2.00 (Box Seats). Mail orders to Severance Hall, Cleveland 6, Ohio. 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- FRANKLIN BENJAMIN P I A N I S T • T E A C H E R S K Y L I N E - 1 -846 5 100.00, 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 — “La Mer” 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 — “Don Quixote”, Op. 35 PIERRE FOURNIER, 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 North or south, at home or anywhere in the world — this is the dress that's incontrovertibly right. Delicately detailed, black silk linen (completely lined) with scalloped neckline to wear off the shoulders, or lightly covering. Misses’ sizes. $55 The Specialty Shop 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.