C I H C I M M a T I SYMPHONY ORCHESTRA

C I h C I M M A T I SYMPHONY ORCHESTRA

February 5-6, 1943 Tymppm

SEATING PLAN CINCINNATI SEASON 1942-43 SYMPHONY ORCHESTRA

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BALLET THEATRE December 4—8:30 o’clock December 5—8:30 o’clock December 5—2:15 o’clock December 6—3:30 o’clock

YOUNG PEOPLE'S CONCERTS October 20 December 8 January 12 February 23 March 30 TUESDAYS AT 3:00 O’CLOCK

COLLEGE SYMPHONIC CONCERTS November 1 December 20 January 24 February 28 SUNDAYS AT 3:00 O'CLOCK

OUT OF TOWN ENGAGEMENTS Louisville, Ky., October 27 Toledo, Ohio, March 19 Louisville, Ky., January 19 Columbus, Ohio, April 6 Oxford, Ohio, March 10 Athens, Ohio, April 7 Delaware, Ohio, March 18 Huntington, W. Va., April 8 Louisville, Ky., April 13

402 MUSIC HALL CI N CI N N AT I

FORTY-EIGHTH SEASON CINCINNATI SYMPHONY ORCHESTRA

EUGENE GOOSSENS MUSICAL DIRECTOR

FOURTEENTH PAIR SYMPHONY CONCERTS

CONDUCTED BY EUGENE GOOSSENS

SOLOIST ARTUR RUBINSTEIN PIANIST

THE STAR SPANGLED BANNER Oh say! can you see by the dawn’s early light, What so proudly we hail’d at the twilight’s last gleaming, Whose broad stripes and bright stars, thro’ the perilous fight, O’er the ramparts we watch’d were so gallantly streaming? And the rocket’s red glare, the bombs bursting in air, Gave proof thro’ the night that our flag was still there. Oh, say, does that Star-Spangled Banner yet wave O’er the land of the free and the home of the brave?

O thus be it ever, when free men shall stand Between their loved homes and the war’s desolation! Blest with vict’ry and peace, may the heav’n rescued land Praise the Power that hath made and preserved us a nation! Then conquer we must, when our cause it is just, And this be our motto, “In God is our trust!” And the Star-Spangled Banner in triumph shall wave O’er the land of the free and the home of the brave.

ANALYTICAL NOTES BY JAMES G. HELLER

FRIDAY AFTERNOON SATURDAY EVENING FEBRUARY 5 FEBRUARY 6

403 FOURTEENTH PAIR Friday Afternoon Saturday Evening February 5, 1943 February 6, 1943 at 2:15 o’clock at 8:30 o’clock PROGRAM EUGENE GOOSSENS, Musical Director

The Star Spangled Banner

United Nations National Anthem: No. 14, Poland

TANSMAN Symphony No. 5 in D-minor I. Moderato II. Intermezzo III. Scherzo IV. Finale (Conducted by the composer)

KHATCHATURIAN Concerto for Piano and Orchestra ARTUR RUBINSTEIN

INTERMISSION

HARL McDONALD Fanfare for Poland

TCHAIKOVSKY Symphony No. 3, “The Polish” I. Moderato assai (Tempo di marcia funebre)—Allegro Brillante II. Andante elegiaco III. Scherzo: Allegro vivo

IV. Finale: Allegro con fuoco (Tempo di Polacca)

Artur Rubinstein Plays the Steinway

If necessary to leave before end of program, please do so during an interval between numbers

405 Notes on the Program By JAMES G. HELLER

TANSMAN Symphony No. 5 in D-minor

Program notes on Alexander Tansman Symphony No. 5 in D-minor (from the National Symphony Orchestra program notes of February 3, 1943, concert). Mr. Tansman is among the more recent of eminent European musicians who have come to the United States and who are now exerting their influ ence to make our musical life richer, fuller and more varied. He was, how ever, no stranger to these shores when he arrived here in 1941. His music was comparatively well known, his use of jazz elements in serious composi tion had excited considerable interest, and he had previously made concert appearances in this country, as pianist and conductor, as far back as 1927. His originality and poetic nature, admirably attuned to the times in which he lives, have given him a place of deserved prominence in today’s musical world. One of his greatest honors came to him on October 30, 1941, when he received the Elizabeth Sprague Coolidge medal for distinguished services to chamber music. On that day he played for a Washington audience in the Library of Congress the first performance of his fourth piano sonata. The city of Lodz in Poland is Mr. Talisman’s birthplace. Here it was that he first studied piano and composition, later receiving instruction in Warsaw. As a young composer he attracted attention almost immediately. In 1919 he had a truly remarkable experience—that of winning two prizes in the same competition ! He entered works under two different pseudonyms and had the satisfaction of gaining both the first and second awards. Like

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407 Notes on the Program—Continued

bring Rubenstein to your home Tschaikowsky's Concerto #1 in B Flat Schubert's Trio #1 in B Flat Major for Minor, Barbirolli conducting the Lon piano, violin and cello. Victor Album don Symphony Orchestra. Victor Al DM923 ...... 4.50 bum Ml 80...... 4.50 Rachmaninoff's Prelude in C Sharp De Falla's Ritual Fire Dance and Dance Minor and Schubert's Minuet and of Terror. Victor Record #1596 . 75c Trio. Victor Record #14276 . 1.00 Federal excise tax o be added. Record Shop — Fifth Floor The H. & S. POGUE Co. many Polish artists he subsequently went to Paris from where he toured widely as composer, conductor, and pianist. Like his immortal compatriot, Chopin, Mr. Tansman has evinced interest in the national spirit of his native land, but also like Chopin he has developed into far more than an exclusively national composer. His scores reveal a highly individualistic personality and an imagination that transcends, without ignoring, the bounds or limitations of nationalism. He expresses his thoughts in a modern language, but his messages are readily communicable and transmit a generous amount of musical beauty. His melodies are broadly assertive, his harmonies are bold and appropriate to the theme they support, his rhythms are positive and constructive, and his formalism is gratifyingly elastic. Irving Schwerke has written: “In him can be found a strong mixture of poetry which is the heritage of his race, that gracious tenderness which will recog nize no exaggeration or frivolity, and that slow sadness . . . with a strong crisp sense of dynamic movement which is his own.” Mr. Tansman’s new symphony, receiving its initial performances in Baltimore and Washington on February 2 and 3 respectively, was composed in California during the winter of 1942. It is the first important symphonic work that he has written in this country. There is no program attached to the score, and the music is conceived abstractly. There is, however, an emo tional content which is revealed through all the elements comprising “abstract music.” The work is classical in form, with special emphasis placed on

The works to be played at the concerts and the books about them will be found in the Fine Arts Department of the Public Library of Cincinnati.

408 oments o/ Ql'lusic these reine again and again in your own home, on

Brilliant Interpretations of ARTUR RUBINSTEIN

TSCHAIKOWSKY — CONCERTO No. 1, IN B FLAT MINOR, Op. 23. With the London Symphony Orches tra, John Barbirolli, Conductor. Album DM-180 ...... $4.50*

GRIEG — CONCERTO IN A MINOR. Op. 16. With the Philadelphia Orchestra, Eugene Ormandy, Con ductor. Album DM-900 ...... $3.50*

BRAHMS — INTERMEZZI AND RHAPSODIES. Album M-893 .$4.50*

SCHUBERT — TRIO No. 1, IN B FLAT MAJOR, Op. 99. With Jascha Heifetz, Violin ist and Emanuel Feuermann, ’Cellist. Album DM-923 ...... $4.50*

CHOPIN — CONCERTO No. 1, IN E MINOR, Op. 11. With the London Symphony Orches tra, John Barbirolli, Conductor. Album DM-418 ...... $4.50*

CHOPIN — MAZURKAS (Complete in 3 volumes). Album M-626, Vol. 1. Album M-656, Vol. 2. Album M-691, Vol. 3.

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409 Notes on the Program—Continued

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WaLk. aTWUle, W-dJt “Facing the Fountain”

and percussion. The trio is happy and joyful, with a secondary theme being treated canonically (trumpet, piccolo and clarinet) to effect the return of the principal tempo. The finale is opened with another slow introduction. The harmonic element first holds the attention, but soon one thematic idea is brought out which is an anticipation of a second. In the ensuing allegro con moto this material finds use, and contrapuntal treatment is accorded to all the melodic features of the symphony. A dynamic stretto, concise and pointed, brings back the symphony’s slow introduction, and the work finishes as it began, on the sustained pedal D that was heard at the outset.

KHATCHATURIAN Concerto for Piano and Orchestra 1903—

The Soviet-Armenian composer is a graduate of the Moscow Conservatory of Music where he was a pupil of Gnessin and Miaskovsky. His works are mainly based on Armenian and Uzbek folk music, though it has been said that he finds it “even unnecessary to refer to these native sources, since that music springs within his own musical self.” An analysis of the composer’s aims reports that he “. . . lives only enmashed in the harmonies and rhythms of his native Armenia. He is adding more songs to a lore already rich in material. And when he does become attracted to ... a four bar melody or original music, he turns it inside out,

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making it a richer and more colorful song.” (It is interesting to note that when his music to a film was being recorded the directors were at variance as to which was original folk music and which had been composed by Khatch- aturian.) “The composer is passionately interested in creating his own means of expression with which to clothe his songs and the songs of his native soil. He desires to go much further than composers who have used the orchestra in the Western sense . . .” In the standard three movements, Khatchaturian’s first piano concerto was composed in 1935. Shortly thereafter it was performed in Moscow and elsewhere in the Soviet Union, and last year in London, in each case with spectacular success. Its American premiere occurred in the concert hall of the Juilliard School of Music last March 14. Albert Stoessel led the Juilliard Graduate School Orchestra, and the soloist was, appropriately, a young Armenian girl, Maro Ajemian, member of the student personnel.

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A second performance, by the same forces, took place at a Russian Relief Concert in the Cosmopolitan Opera House on May 17, when a huge audience, drawn largely from New York's Armenian colony, greeted the work with cheers. The concerto’s mainspring is an unflagging rhythmic go. The material is fresh and exotic, deriving in part from Armenian folk motifs, and worked into a throbbing symphonic scheme hurtling repeatedly to rousing dramatic climaxes.

INTERMISSION

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413 TOSCANINI

Next week-end the great Arturo Toscanini takes over the podium at Music Hall for two appearances as the guest conductor of the Cincinnati Symphony Orchestra. It was on the invitation of Mr. Goossens that the great maestro con sented to come to Cincinnati for two special concerts on next Saturday and Sun day evenings, at 8:30 P. M., in Music Hall. The same program will be presented by Toscanini at both concerts. Little can be added to what has already been said about Toscanini. He is certainly the most distinguished figure in the musical world and he is, in the eyes of his own confreres, the supreme maestro of the day. Cincinnati may well be proud of the rare privilege of having so noted a guest. Already every seat in Music Hall, with the exception of a few scattered loca tions on the lower floor, has been sold for the Saturday evening concert. The management of the Orchestra announces that choice locations are still available for the Sunday evening concert. The box office sale of tickets opens on Monday morning at 9:00 A. M., at Wurlitzer’s, 121 East Fourth Street. Doubtless every seat for both performances will be sold before the end of the coming week and the management suggests an early call at the box office for those who have not procured their tickets.

414 Notes on the Program—Continued

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HARL McDONALD Fanfare for Poland

American pianist, composer, choral director and organist, Mr. McDonald started his musical education at the age of four and studied in both Europe and the United States. He became a concert pianist, accompanist and music teacher and is now a choral director and lecturer at the University of Penn sylvania. His compositions have been widely performed, and include a sym phonic fantasy, Mojave, an orchestral suite, Festival of the Workers, Sym phony No. 1, Santa Fe Trail, a Rhumba Symphony, Choral Symphony, a two-piano concerto, three orchestral poems on Aramaic themes; an organ setting for the eighty-fourth Psalm, a choral Missa Patriem, a Fantasy for string quartet, two trios and a Quartet on Negro Themes.

TCHAIKOVSKY Symphony No. 3, “The Polish” 1840—1893

We are indebted to the Chicago Symphony Orchestra for the following program notes: Tchaikovsky began his third symphony—according to a note on the auto graph score—June 17, 1875, at Ussovo, the country residence of his friend, Vladimir Shilovsky, to which he had betaken himself at the end of May. Tchaikovsky was still working at his symphony when, at the end of the month, he paid a visit to another friend, N. D. Kondratiew, at Nisy. The work was completed August 13, at Verbovka. The first performance of the 415 Notes on the Program—Continued

No Ancient Ancestry for the Clarinet

Efforts have been made to throw an atmosphere of romance around the clarinet by describing it a worthy successor to the shawm of biblical days; however, the records clearly indicate the clarinet to be the creation of Johann Christopher Denner, at Nuremberg, in the year 1690.

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THE HATFIELD-CAMPBELL CREEK COAL CO. Union Trust Bldg. MAin 4800 third symphony was given at a concert of the Imperial Musical Society, Mos cow, November 19, 1875. In St. Petersburg the new work was produced, under the direction of Napravnik, February 6, 1876. César Cui, one of the most influential of the music reviewers in the Russian capital, wrote thus concerning the symphony: “The public remained cool during the performance of the work, and ap-

THE COMING CONCERTS There will be an interlude of three weeks between the Sym phony Concerts this week-end and the next pair of regularly scheduled programs of the Season of 1942-43. This period was to have been devoted to a long tour of the orchestra to impor tant cities of the South and West but the difficulties of war-time transportation for so large an aggregation made it advisable to cancel the entire trip. Cincinnati will not be deprived of its music, however, during the coming three weeks. The appearance of Arturo Toscanini, as guest conductor of the orchestra, at two special concerts on next Saturday and Sunday evenings, is quite the highlight of the current season. Also, the presentation of a special Pop Program, with Mr. Goossens conducting, on Saturday evening, February 20, is another musical treat in store for Cincinnatians. The next pair of regularly scheduled concerts will be offered on Friday afternoon and Saturday evening, February 26-27. At these concerts the young and gifted Brazilian pianist, Arnaldo Estrella, will be presented as the soloist. Estrella, who is making his first American tour, is the winner of the Columbia Concerts Award and comes heralded as one of the most brilliant virtuosi of the younger generation. He is making his American debut on this Sunday afternoon with the New York Philharmonic- Symphony under the direction of Bruno Walter.

416 POP CONCERT Saturday Evening, February 20 Another of the musically thrilling Pop Concerts will be given by the Cincinnati Symphony Orchestra on Saturday evening, February 20th, at 8:30 P. M., at Music Hall, with Eugene Goossens conducting. The first program of this type offered by the Orches tra in many years was presented last November and proved an instantaneous success. Literally hundreds of music lovers expressed their unbounded appreciation of the first Pop Concert and asked that the Orchestra give some additional programs this season of similar content. Mr. Goossens gave the answer to this last week with the announcement that he had arranged a brilliant program of light and tuneful music which he would present at a single concert on Saturday evening, February 20 th. This was made possible by the cancellation of the Orchestra's long tour, originally scheduled for February. The lilting music of Johann Strauss; the popular and familiar melodies of Tchaikovsky's "Nutcracker Suite'' and Rossini's "Wil liam Tell" overture; the haunting and rhythmic tunes of "Liturgia Negra," from San Juan's Afro-Cuban Suite which impels one to dance in the aisles, are but a few of the highlights of this gay program. Special advance order cards for the use of Symphony sub scribers in ordering tickets to the Pop Concert are being mailed out this week-end to season ticket holders of record. Mail orders will be received this coming week at the box office at Wurlitzer's, 121 East Fourth Street. Advance orders will be filled as received, and must be accompanied by self-addressed, stamped envelope and remittance in full. The management of the Orchestra can not guarantee the exact seats specified on advance orders for the Pop Concert but will fill orders as near specifications as pos sible. Patrons are urged to send in their mail orders as soon as possible to avoid disappointment. The following prices will prevail for the Pop Concert on Satur day evening, February 20, at 8:30 P. M., at Music Hall: Lower Floor, first three rows, 85c; fourth to thirty-second rows, $1.10; last eight rows, 85c. Balcony, first four rows, $1.10; next three rows, 85c; last four rows, 55c. Gallery, center, 85c; left and right center, 55c; sides, 30c (Tax Included.)

417 Notes on the Program—Continued

SYMPHONY BROADCASTS SUNDAYS 7:00 to 8:30 P. M. WCPO "Symphony Silhouettes" 11:30 to 12:00 P. M. WKRC United Nations Salutes WEDNESDAYS 8:15 A.M. WCKY Olive Kackley 11:30 A.M. WSAI Ruth Lyons, "Petticoat Party Line" THURSDAYS 8:45 A. M. WSAI Rita Hackett, "View of Vogues and Values" 11:15 to 11:45 P. M. WSAI Symphony Previews FRIDAYS 8:15 A.M. WCKY Olive Kackley SATURDAYS 6:15 P.M. WCKY "Do You Know" 8:30 P.M. WSAI Symphony Concert Radio Department of the Woman's Committee for the Cincinnati Symphony Orchestra Mrs. John P. Tillinghast, General Chairman Station Chairmen: Mrs. John R. Strauss Mrs. Frank Byers Mrs. John P. Tillinghast plauded very moderately after each movement. At the end, however, the com poser was enthusiastically recalled. His symphony must be taken seriously.” Herman Augustovich Laroche, one of Cui’s colleagues on the St. Peters burg press, was more impressed by the worth of the new symphony. “The importance and power of the music,” he writes, “the beauty and variety of form, the nobility of style, originality and rare perfection of tech nique, all contribute to make this symphony one of the most remarkable musical works that have been produced during the last ten years. Were it to be played at any musical center in Germany, it would raise the name of the Russian musician to a level with those of the most famous symphonic composers* of the present day.” 418 Another Letter From A Man In Uniform “Friends of the Cincinnati Symphony Orchestra, Cincinnati, Ohio. I am another service man fortunate enough to be here in Cincinnati, and fortunate enough to be the recipient of the hospitality of your Orchestra on the occasion of several stimulating Concerts. I am happy to make this small gesture—as a music lover—as a small expression of my appreciation of the policy of your Organization in providing the service men with some of the finer things of life which they might otherwise miss. C. W. Stoll, B.M. 2 C (R) U. S. Coast Guard.”

The above is just a sample of the many letters we receive at the Symphony Office from men in the armed forces and they all breathe the spirit of hope that the Orchestra may continue. Will you please aid us by making a pledge which you will find on the reverse side of this sheet? May we be able to say to these fighting men when they return as St. Paul said centuries ago: “I have run a good race, I have fought a good fight, I have kept the faith.” Roger Kemper Rogan, Chairman, The Friends of the Cincinnati Symphony Orchestra.

419 Enrollment Blank

To the Friends of the Cincinnati Symphony Orchestra, Gwynne Building.

In consideration of the subscriptions of others and in conjunc tion with them, I feel the vital necessity of perpetuating our marvelous Orchestra and so

I ask to be enrolled as a member of the

Friends of the Cincinnati Symphony Orchestra for the Season 1943-1944 and I pledge the sum of $...... for the support of the Orchestra, payable on......

Name ...... -......

Address ......

This enrollment blank may be filled in and mailed to the Friends of the Cincinnati Symphony Orchestra Office, Gwynne Building. Checks are payable to Cincinnati Symphony Orchestra. Payments may be made with enrollments or one year from now, or at any time during the Season. Gifts to the Orchestra are deductible donations under the Federal Income Tax Law.

420 Notes on the Program—Continued

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An analysis of Tchaikovsky’s third symphony is subjoined: I. Moderato assai {Tempo di marcia funebre), D-minor, 4-4 time. The movement opens with introductory material in the strings :

No. 1 Moderato assai -j------ai Strings v 4«2—g

-4- 3 — i— 2 This material is worked over, always on an organ point on repeated A’s in the lowest strings. The tempo becomes gradually faster and faster and finally leads without pause into the main movement {Allegro brilliante, D-major, 4-4 time), whose principal subject is given out by woodwind, horns and strings. 421 POP CONCERT PROGRAM by the CINCINNATI SYMPHONY ORCHESTRA EUGENE GOOSSENS, Musical Director

SPECIAL CONCERT

Saturday Evening, February 20, at 8:30 P. M.

EUGENE GOOSSENS, Conducting

The Star Spangled Banner

ROSSINI "William Tell” Overture

TCHAIKOVSKY Nutcracker Suite

DUBENSKY Variations on Melodies of Stephen Foster

Three Short Pieces (a) "Barcarolle" Irom "Tales of Hoffmann” OFFENBACH / (b) Entry of the Little Fauns PIERNE (c) Rhythmic Dance GOOSSENS

PEDRO SAN JUAN Two Dances from "Liturgia Negra," Afro-Cuban Suite (By Request)

INTERMISSION

STRAUSS Overture, "The Gypsy Baron”

STRAUSS Waltz, "The Emperor"

DELIBES Pizzicato Polka from the Ballet, "Sylvia"

STRAUSS Waltz, "Artists' Life"

WEINBERGER Polka and Fugue from the Opera, "Schwanda the Bagpiper"

422 Notes on the Program—Continued

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No. 2 Allegro brillante

This material is worked over, eventually to be repeated fortissimo by the full orchestra. A ritenuto leads to the second theme—in B-minor—given out by the oboe, the strings playing a rhythmical accompaniment below it:

No. 3

The flute takes up this subject and the first violins continue it expressively. A second section of the theme makes its appearance in the clarinet, and it is quoted here, as a portion of it is given considerable development later:

No. 4

The second measure of the subject just quoted is now worked over at some length, after which the second theme (No. 3) is developed (first in the flutes), as well as the first subject (No. 2), the latter sometimes in augmenta- 423 Notes on the Program—Continued

Lovely Ladies and NOTICE Successful Men

ENJOY THE LUXURY of DINING in the The doors of the Florentine Room auditorium will DINNER MUSIC be closed to late FREDDY MILLER and his comers until after Top Hats the playing of HOTEL GIBSON the first number. Randall Davis, General Mgr. tion, more particularly in the brass. The Recapitulation brings forward the principal subject (No. 2) in the full orchestra. The second theme (No. 3) is heard in the oboe, as at first, but now in E-minor. Its second section (No. 4) also is reheard, and again in the clarinet. The movement is brought to a close with a brilliant and sonorous coda. II. Andante elegiaco, D-minor, 3-4 time. Following eight introductory measures in the woodwind, the first bassoon presents the plaintive opening theme, the strings playing a subdued pizzicato accompaniment to it:

Jndante elegiaco

The first horn immediately answers the subject, and, after a somewhat more vigorous phrase, the two instruments respectively return to the original 424 Notes ON the Program—Continued

Sttje (MiW iff ittitAt (Ktntfmmii /y) ENDOWED ~ INCORPORATED

Sixty-fifth Academic Year COLIN O’MORE returns to the College of Music

After winning highest awards as a student at the College of Music, Colin O’More continued his studies in Europe for several years. Upon returning to America, he began a career replete with achievement. Among the famous organizations and conductors with whom Mr. O’More has appeared may be mentioned Dr. Koussevitsky, Boston Symphony Orches tra; Leopold Stokowsky, Philadelphia Symphony Orchestra; The Schola Can- torum, Carnegie Hall, New York; Fritz Reiner, Cincinnati Symphony Orchestra; Igor Stravinsky, greatest among modern composers, in his “Perse phone” with the Boston Symphony Orchestra. This year Mr. O’More has returned to the College of Music where he is working for a postgraduate degree. On the evening of Tuesday, February 9, he will sing with the College Symphony Orchestra on the Benefit Program to be presented in the Odeon. Tickets for the Benefit Concert on sale at the College of Music. Admission 75 cents 1228 CENTRAL PARKWAY PArkway 0538 theme. There then succeeds a new idea, given out, molto espressivo, by the strings. This is worked over, and then development is given to the opening subject (No. 6). The second idea also is reheard in the woodwind, with a countertheme against it in the first and second horns and a triplet figure accompanying them in the first violins and violas. The mood becomes more emotionalized as a crescendo culminates the climax. Following this there is a general subsidence and, after a short conversational passage for the wood wind (above tremelos in the violins and violas), the bassoon and horn respec tively close the movement with a final suggestion of the opening theme. III. Scherzo. Allegro vivo, B-minor, 2-4 time. The principal subject is divided between the first violins and the clarinet:

No. 6

425

A _ _ . J a / a f\ Notes on the Program—Continued

IV. Finale. Allegro con fuoco (tempo di Polacca), D-major, 3-4 time. The principal theme of this Polacca is set forth, fortissimo, by the full orchestra :

No. 8

Some sixty measures are devoted to the working over of this subject. The key then changes to A-major and the woodwind give out the second theme, the strings accompanying it with a broken-chord figure in triplets:

No. 9

After thirty-five measures of this principal subject (No. 9) is worked out, and, after a few measures, is repeated. Following this repetition an episode in B-minor is introduced by the strings (pizzicato in the violoncellos

427 Notes on the Program—Continued

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IV. Finale. Allegro con fuoco (tempo di Polacca), D-major, 3-4 time. The principal theme of this Polacca is set forth, fortissimo, by the full orchestra :

No. 8

No. 9

mf Wood wind

427 Notes on the Program—Continued and double basses). This in its turn is succeeded by another repetition of the opening theme. A long organ point—now on A—characteristic of so many of Tchaikovsky’s movements, is used to build up a lengthy crescendo which, culminating in a great climax, brings forward the second subject (No. 10), fff. The coda, which concludes the movement, begins with the material that had opened it.

<^_RATEFUL acknowledgment is made to the following business establishments who, recognizing the civic and commercial importance of the Cincinnati Symphony Orchestra and desiring to aid in its successful continuance, have subscribed for blocks of season tickets to the Symphony Concerts of 1942-1943: The Adler Company Kraft Cheese Co. Al’ Aise Beauty Shop F. H. Lawson Co. Alms & Doepke The Lawton Co. Alvey-Ferguson Company Lodge & Shipley Co. American Laundry Machine Loretta Food Shop Loring Andrews Co. The Art Dry Cleaning Co. Mabley & Carew Co. Arrow Press McDonald Printing Co. Ault & Wiborg Co. W. S. Merrell Co. Baker Hunt Foundation Morrison-Drabner Co. Baldwin Piano Co. The H. H. Meyer Packing Co. Beau Brummel Ties, Inc. John Mullane Company Beverly Hills Country Club The Nivison Weiskopf Co. The Castellini Co. Ohio National Life Ins. Co. Cedar Hill Farms Peerless Foundry Co. Central Trust Co. The Peoples Bank & Savings Co. Chemical Products Co. Pollak Steel Co. John P. Childe Co. Pollins Leather Co. Cincinnati Equitable Insurance Co. Provident Savings Bank & Trust Co. Clopay Corp. Roessler Bros., Inc. Columbia Engineering Corp. Rollman & Sons Co. Cricket Tavern Rosenthal Printing Co. Diem & Wing Paper Co. Sawbrook Steel Castings Co. Eagle-Picher Lead Co. The John Shillito Co. Fashion Frocks Sloan Furriers Ferro Concrete Construction Co. So-Lo Works Fifth-Third Union Trust Co. Standard Brands, Inc. The French-Bauer Co. Stein-Hall Co. The Gidding Co. Strietmann Biscuit Co. Gruen Watch Co. Strobridge Lithographing Co. Hamilton Tool Co. Tool Steel Gear & Pinion Works Henry Harris, Inc. Union Central Life Ins. Co. Hilton Davis Chemical Co. Victor Electric Products Co. Robert L. Hummel Jewelry Co. Western & Southern Life Ins. Co. Jackson Box Co. Wright Aeronautical Corp. The Jenny Co. Wuerdeman Dry Cleaners Juilfs Dress Shop The Wurlitzer Co.

488 PUBLIC LIBRARY KEYNOTES The story of recorded music, from the early days of cylinder and disc and of the horn which blared forth “His Master’s Voice,” to the P«^nt of juke-box and symphony, is fully told by F. W. Gaisberg in THE M . GOES ROUND This book is a treasure-trove of anecdote, ihe celebri ties of the last fifty years, their personalities and their accomplishments are set down in lively manner. The musical scene in England and in this coun try is ably described; several pages are devoted to Artur Rubinstein. The Kenyon Review published by Kenyon College in Gambier, Ohio, carries excellent articles on literature, philosophy, music, and art. Visitors to the Fine Arts Department will find the latest number, that for winter 1943 exceedingly stimulating. W. H. Mellers’ ‘ Music letter from Eng land” and Arnold M. Walter’s “The composer in search of freedom and progress” are hereby brought to the attention of Cincinnati music-lovers. The Music Review, war-baby, now in its third year contains an article in volume III, No. 4, by Gerald Abraham on “Prokofiev as a Soviet Com poser.” A footnote announces that this article will appear as a chapter in the author’s forthcoming book on Soviet composers. • In speaking of magazines, mention must be made of Modern Music for January-February 1943, devoted to “Two Decades in Review.” The entire issue is well worth reading and Cincinnatians will point with pride to the leading article, “The Public- Has it changed?” by Eugene Goossens. THE PUBLIC LIBRARY IS YOURS —USE IT!

CINCINNATI SYMPHONY ORCHESTRA EUGENE GOOSSENS, Musical Director

SPECIAL PAIR OF CONCERTS February 13 and 14, 1943 8:30 P. M.

ARTURO TOSCANINI, Guest Conductor

The Star Spangled Banner SCHUMANN Overture to “Manfred,” Op. 115

BRAHMS Symphony No. 2 in D-major, Op. 73

Intermission

MARTUCCI Notturno, Op. 70, No. 1 Noveletta, Op 82

CRESTON Choric Dance

WAGNER Prelude and Liebestod, from “Tristan and Isolde’

429 ORCHESTRA PERSONNEL for 1942-1943

Eugene Goossens Musical Director First Violins Violoncellos Bassoons Emil Heermann, Walter Heermann Hans A. R. Meuser Concertmaster Fritz Bruch Ralph Lorr Leonard Watson Leo Reines Howard Coif John Charles Harnish ♦♦Harry Meuser Sigmund Effron Herbert Weis Leo Brand, Jr. Contra Bassoon Carlo Mastropaolo Arthur Knecht William Morgan Knox Fritz Manczyk Leo Reines Carl Topie Hobart Schoch Gordon Epperson Ernest Pack Horns Anthony Esposito Victor Rice Weldon Wilber Henry Borjes **Arthur Bowen Gustav Albrecht Julian Pulikowski Mathias J. Kuhn Salo Nagel Basses Joseph Freni Adolf Schleue Louis Winsel Hans Lind John Beroset Joseph A. Van Reck ♦♦Vincent Capasso Philip Dreifus Louis R. Cassetta Jean Ten Have Gustave Gerhardt Trumpets Helen Von Kreisler Harold Roberts Henry Wohlgemuth Reuben Segal Roland Fancher Herbert A. Tiemeyer ♦♦Herman Wasserman Otto Berger Ferd R. Weiss ♦♦James Werner Gustav Liebholdt Trombones Second Violins Reuben Lawson Harp Ilmari Ronka Herbert L. Silbersack Vojmir Attl Ernest Glover Hyman Schuler Olga Attl William B. Wilkins Thomas Gay ♦♦Corwin Taylor Samuel Schanes Flutes Tuba Rubin Phillips Alfred E. Fenboque Herbert Jenkel Nicholas Gabor Robert Cavally Milton Henych Max Hadrika Tympani Margaret Henning Fred W. Noak Arthur Dondero Piccolo Ray Castello Max Hadrika Percussion Fritz Graupner George J. Carey ** Charles Charkins Oboes James J. Rosenberg ♦♦Henry Shaw Marcel J. Dandois Otto Brasch Violas Andre A. Andraud Ferd R. Weiss Joseph Sherman Herman J. G. Goehlich English Horn Piano August Soendlin John Quincy Bass Mikail Stolarevsky Albert J. Andraud Organ Harry Berg Clarinets Walter Werner Parvin Titus Felix Leipniker Emil Schmachtenberg Peter Froehlich Eugene Frey Librarian Ernest Lorenz Fred Schuett Ferd R. Weiss Otto Brasch Fred Haven Hendrickson Bass Clarinet Personnel Manager Siegfried M. Humphreys Fred Schuett Reuben Lawson ♦♦Erik Kahlson ♦♦In the service of the 1 States Army

432 ROtW BROTHERS riniers^ CINCINNATI