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PROGRAM

Program Notes by Dr. Malcolm H. Dewey

OVERTURE TO TANNHAUSER...... Richard Wagner (1813-1883) Had Richard Wagner capitalized upon the success of his first grand opera, Rienzi (1842), he might have gone on to be another Meyerbeer, but possibly little more. For here was opera which succeeded by the brilliance of the spectacle and the music rather than through intrinsic merit. It matters little that he failed to repeat the success in the Flying Dutchman, which followed within a year; a new Wagner was in evidence, certainly in more than embryonic state. Tempted though he was to return to historic subject matter so as to repeat the success of Rienzi, and he was actually at work on material dealing with Manfred, he turned to German legendary past, the Germany of epic and story, the world of the Minnesingers, and Tann- hauser, presented in 1845, was the outcome. As Wagner related the story, Tannhauser, who once loved the chaste Elizabeth, had found his way to the grotto of Venus. This was not the goddess of love of classic mythology, but a Calypsolike figure such as once detained the wandering Ulysses in her embraces. Sated after a year of voluptuous experience, moved also by a sense of inner guilt, he seeks and obtains release. He meets his fellow minstrels who remind him of the unfaltering love of Elizabeth and persuade him to return and participate in the tournament of song, the subject of which was "lo ve." In the midst of the contest Tannhaeuser brazenly sings of the joys of Venusberg, and except for the intercession of Elizabeth this would have cost him his life at the hands of the

Continued

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W . W . O r r D o c t o r s B u il d in g infuriated minstrels. To do penance he is implored to join the Pilgrims on their way to Rome. However, such was the enormity of his guilt, the Pope denies him pardon and in utter despair he returns once more to seek the arms of Venus. In the end Elizabeth dies praying for Tannhauser. Through her redemptive love salvation comes to the dying minstrel. The opera concludes with the triumphant singing of the Pilgrims' song. What the opera presents in three long acts is essentially covered in the Overture, which is, in fact, a complete tone poem. It opens with the Pilgrims' Chorus played in its entirety, beginning softly with the woodwinds, increasing in volume and intensity as the strings enter and reaching a full climax as the brass plays the melody to the jubilant accompaniment of the other instruments. The strings gradually retire as the music quiets down leaving the woodwinds once more to intone the Pilgrims' song. Suddenly the music of Venusberg takes over, voluptuous and in­ sinuating, in the midst of which Tannhauser's rapturous song to Venus is heard twice with harp-like accompaniment. Between these two renditions with the orches­ tra reduced to a few softly playing solo instruments, Venus' song to Tannhauser is heard, the melody first assigned to the clarinet. As the music of this bacchanale rises to a frenzy the melody of the Pilgrims' song returns, ending in full triumph.

SYMPHONY NO. 4 IN E FLAT MAJOR, OPUS 4 8 ...... Alexander Glazounov (1865-1936) I. Andante II. Scherzo: allegro vivace III. Andante; allegro Glazounov was sixteen years of age when as a student of Rimsky-Korsakov he presented his First Symphony in St. Petersburg (Leningrad) under the direction of

Continued

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The Style Center of the South Among the artists and celebrities whose music has been brought to Atlanta homes through television are: Arturo Toscanini • Jascha Heifetz • Bidu Sayao • Ferruccio Tagliavini • Howard Barlow • Artur Rubenstein • Gregor Piatigorsky • Eleanor Steber • Thomas L. Thomas • Rise Stevens • James Melton • Ezio Pinza • Christopher Lynch • Benno Moiseivitsch • Jussi Bjoerling • Fred Waring • Roberta Peters • Jerome Hines • Lois Hunt — and many others. Announcements of concerts, recitals, symphonic programs are provided a week in advance in TV DIGEST. DIGEST o t A T L A N T A

TVTV DIGEST gives you, in handy ment on comedians and other pop­ form, complete advance TV pro­ ular stars who offer infinite variety grams of all three Atlanta stations in entertainment. The descriptive — from Saturday through Friday notes help you to be selective — each week. It's the only available aid you in planning your TV en­ source for comprehensive and de­ joyment— help you to choose the tailed program information for the best that television has to offer week ahead. In addition to fine your family circle. By the year, music, TV DIGEST of course lists TV DIGEST costs only about a also the lighter programs — with penny a day. Mail the convenient drama previews, sparkling com­ coupon.

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Q] Remittance Enclosed □ Bill Me Later Balakirev, one of the famous "Five" who sought to nationalize Russian music. The work made an immediate impression and was soon eagerly heard beyond the Russian borders. On the strength of this success he composed a total of eight sym­ phonies along with other works. In 1900 he became a member of the faculty of the St. Petersburgh Conservatory. Later, when Rimsky-Korsakov was compelled to resign because of political reasons, he succeeded him as director, enjoying unlimited popu­ larity both with the students and the public in general. The fact that Glazounov's conception of the symphony differed widely from that of the classic tradition, to a large extent exemplified in Beethoven, is traceable to the influence of the German romantic school. His European tour in 1884 was a significant one for him. Not only did he visit romantic Spain, but he came vigorously under the influence of Liszt following a stay at Weimar, and although the experi­ ence at Bayreuth did not make him an immediate admirer of Richard W agner, in the end he threw himself wholeheartedly on his side. This all comes to a head in his musical style. Glazounov sought the effect which might be obtained by the flow of easily grasped melodies, made more appealing through orchestral color and telling harmonies. What if the the theme is heard over and over again so long as it was revitalized in this fashion. Therefore the composer seems to luxuriate in melodious phrases, loving their purely sensuous qualities, at times even nostalgic in feeling, alluring in the rise and fall of gentle rhythms. Such melodies he is loathe to leave. That there is not a decidedly virile main subject on which to build and against which contrasts of mood and style, becomes more and more clear on repeated hearings. In fact no one subject takes on the more definite, incisive tone frequently heard in the more classic era.

Continued,

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A truly colossal figure In the history of nineteenth century music was Hector Berlioz. A man of tremendous energy and independence of spirit he gave evidence of these qualities throughout his entire life. Despite the wishes of his family even though it brought the threat of being cut off from financial support, he refused to continue a medical career and went even further in marrying a Shakespearian actress, Miss Henrietta Simpson, following a furious courtship. But in following his own instincts he ended up by being the single outstanding genius of the French romantic school and one of the most influential composers in all of Europe. If one is to believe the claims of Jacques Barzun in his two volume account of "Berlioz and the Romantic Century," no single figure of the age can be found whose musical ideas and daring reforms had a more far-reaching effect. If one doubts his state­ ments, he authenticates them with the most irrefutable evidence.

In the Paris of his day there was an amazing grouping of poets, musicians, artists and painters not only from France, but from all over Europe. For this city at the time was the artistic center of Europe. In literature and art the romantic revolt from classicism had made itself felt. Such names as Victor Hugo, the poet, and Delacroix, the painter, towered above their compeers. But music had been so dominated by the single interest of opera and this in turn so much in the control of leaders from other lands, Cherubini, Rossini, Meyerbeer, to name a few, especially Italy, that the romantic upsurge had much more to overcome here than elsewhere.

Continued,

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37 FIFTH ST BETWEEN THE PEACHTREES REALTORS Opposite the Biltmore Apartments The field was open for a Berlioz. In the main, he kept within the field of opera, but at the same time he began to turn his attention to the powerful and expressive symphony orchestra which accompanied the singers and chorus. In throwing the emphasis predominantly on the orchestra he was running counter to Italian tradition and was going forward in lines followed by Wagner and the German school. Soon the symphony emerges, with him, as an important and independent force. Immediately he breaks through conventions. Symphonies are extended beyond the conventional four movements. And symphonies and "overtures" are given titles as a cue to their inspiration, the subject matter of which was drawn from romantic literature; e.g., Harold in Italy, Romeo and Juliet, the Fantastic Symphony whose five movements have the following subtitles: I. Dreams, Passions; II. A Ball; III. Scene in the Meadow; IV. March to the Scaffold; Witches Sabbath. As a result, program music becomes the order of the day.

Chief among his contributions lie the understanding and revelation of the inherent powers of the orchestra itself. His understanding of the characteristics and possibilities of the various instruments as well as many suggestions as to their combination both for tone color or even realistic effects, is revealed not only in his symphonic works, but in his Treatise on Instrumentation. This became at once the leading authority. When Richard Strauss, whose supreme mastery of the orchestra is known to all, was asked to write a new treatise on instrumentation, he preferred rather to translate the Berlioz volume, merely adding an introduction and comments of his own. Both in theory and practice Berlioz found an immediate

Continued

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763 PEACHTREE. N.E. 52 PRYOR ST.. N. E. ATLANTA, GA. following outside France, even though his own country was slow in following suit, and in fact never did succeed in accepting his interest in great volumes of orchestral tone. France had no desire to repeat the overpowering effect produced by huge bands of musicians in Berlioz's tremendous Requiem.

The Roman Carnival Overture is a splendid example of the composer's skill in the manipulating and contrasting of orchestral tone whether in dynamic climaxes or in subtle effects of purest pianissimo. What had been the music to the Carnival scene in the unsuccessful opera Benvenuto Cellini, is now removed from the context to be an independent work. The main theme or rhythm is a rapidly moving, leaping saltarello, a rapid dance which, along with the whirling tarantella, Mendelssohn had used in the closing movement of his Italian Symphony. This dance rhythm is quickly stated in the first twenty measures, allegro assai con fuoco (reasonably fast and furious) A major, 6/8 time; then giving way to slower tempo andante sostenuto (slow and sustained) C major, 3/4 time, to make room for the lyric theme. This melody was taken from an aria in the opera and introduced by the English horn. The fast rhythm of the saltarello is then resumed for the major portion when as it nears the end, the lyric melody, played by the bassoon, is rendered simultaneously. Subtle transitions from passages almost whisperingly soft, to full orchestral sonority become fascinating as do the fairly quick returns from loud to soft. It ends tem­ pestuously.

I. Andante (slow), E flat major, 9/8 time. The English horn is assigned the opening melody in the slowly moving introduction, which will be shortly taken over by the violins and to an extent developed. The main theme, allegro moderato (moderately fast), in E flat major 4 /4 time, is first announced by the oboe. Soon Continued.

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443 Peachtree Street, N. E. ATLANTA In recognition of the Atlanta Symphony Orchestra, and the outstanding contribution it is making to the cultural life of Atlanta

Colonial Stores feels privileged to sponsor a series of Sunday Afternoon Family Concerts at 3:30 o’clock on November 30 • December 14 January 11 • February 22 March 29

Tickets of admission will be available without charge at all Colonial Stores in the Atlanta area on Monday, Tuesday and Wednesday preceding each Sunday concert. You and your family are cordially invited to attend. Since the number of seats is limited, we suggest you get your tickets early in the week.

COLONIAL 4 * STORES A Southern institution for over half a century there appears a transition theme indicated as scherzando, its "tripping rhythm" furnishing something in the nature of a contrast or relief before the appearance of the second main subject. This is one of true lyric feeling. Such is the main material of this movement.

II. Scherzo: allegro vivace (very lively), B flat major, 6/8 time. Pizzicato (plucked) strings in the second violin section along with two clarinets start the light scherzo on its way. In style it is not too far removed from the Mendelssohn concep­ tion of these sprightly rhythms. The contrasting middle section or Trio, marked poco meno mosso (slightly less rapid), D flat, 3/4 time, is practically a waltz, with an appealing, sweeping melody. The scherzo returns, but in the end it is the music of the Trio which returns and which has the final word.

III. Andante (slow), E flat major, 4/4 time. The slow opening subject is by way of introduction. This leads up to a crescendo and accelerando (increase in loudness and speed) which prepares for the introduction of the main subject. This is marked allegro (animated), E flat major, 2/2 time, moving along at a brisk tempo. Grad­ ually there is a lessening of pace until a "more peaceful and less rapid" second subject, indicated by meno mosso e tranquillo, makes itself heard. There is no rapid working over of this material, but passes on to the recapitulation or general repeat of what has already been heard, the second subject, however, being given the support of the full orchestra. A passing reference to the main subject of the first movement appears in the coda which concludes with the main subject from the final movement.

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Continued

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A Soutkern Institution for 85 Years world of beautiful A fashions at your fingertips IHT ELIJAH, Mendelssohn's great oratorio, will herald the Christmas season when it is performed by the Atlanta Symphony Orchestra, a chorus of 300 and a quartet of distinguished soloists on Tuesday evening, December 9.

Henry Sopkin, who prepared the stirring performance of The Messiah last year, will conduct Elijah in its first Atlanta presentation. He is assisted by Haskell Boyter, director of the Chora! Guild of Atlanta, who has trained the chorus.

Three of the four soloists who appeared in last year's The Messiah will return to sing in Elijah. They are Nancy Carr, soprano; Beatrice Krebs, contralto; and David Lloyd, tenor. They will be joined by Michael Rhodes, baritone.

The choral passages in this magnificent religious spectacle will be sung by an all-Atlanta chorus, drawn from church choirs and other musical groups throughout the city. For more than three months, the chorus has been training under Mr. Boyter's and Mr. Sopkin's direction.

Only a few seats remain for the performance on December 9. Telephone Alpine 2956 for reservations.

Continued

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De Falla, the most outstanding of modern Spanish composers, was born in Cadiz in 1876. He studied piano and composition in Madrid, won a national contest with his opera La Vida Breve, which later in 1913 scored a success in Nice. De Falla was at the time living in Paris where he went in 1907 and where he remained until the outbreak of the war in 1914. This threw him into intimate personal contact with Dukas, Debussy, and Ravel, and others of the impressionistic school, which had definite effect on his own style. His reputation is confined to a few, but genuinely notable works. In addition to La Vida Breve he composed a Concerto for Harp, Flute, Oboe, and Clarinet, Nights in a Garden in Spain, and the Ballet, The Three- cornered Hat.

Despite de Falla's interest in the Spanish idiom, he seems never to have used a specific Spanish tune in his music with the sole exception of the SEVEN SPANISH SONGS. These are genuine folk songs both in words and melody; the originality of the composer evidences itself in the manner of grouping and in the piano accom­ paniment which he provided. These become even more effective when sung with orchestra.

Continued

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Dorothy Kirsten has asked the Atlanta Symphony to change the date of her appearance with the orchestra in order to enable her to fill an engagement with La Scala Opera Company in Milan, Italy. Therefore, Miss Kirsten will appear with the Atlanta Symphony on Tuesday, December 16, instead of on March 3 as previously announced. Robert Harrison will play on March 3 instead of December 16. Your tickets dated December 16 will be honored on the correct date even though the name of the soloist is wrong. Leslie C. White, Manager, Atlanta Symphony Guild

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II. SEGUIDILLA MURCIANA (Murcian Seguidilla) Let him who lives in glass houses not throw stones For we are trucksters and might meet on the road For your inconstancy I compare you to a silver piece It becomes worn and seems false and all refuse it.

III. ASTURIANA Seeking for one to console me, I approached a pine tree, Thinking it might offer consolation. As it is green, It too will weep, when it sees me weeping.

IV. JOTA (Spanish Dance) No one believes in our love for we keep silence. They can ask your heart and mine; they will not believe. Continued

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Much of the music to be played by your Atlanta Symphony Orchestra this season has been made available by the splendid Library of Music founded and maintained by the Junior League of

Atlanta. The vision of the League brings to you a w ider range and more rapid growth of orchestral

repertoire. This library is the first one to be founded by any Junior League for a major symphony. It is now housed in special bound folders at the Atlanta Division, University of Georgia. A librarian is in charge.

The Guild expresses gratitude to the League for this worthwhile contribution. Through such a generous gesture the League continues to play an im portant role in the musical life of Atlanta.

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The Garlington Garlington Hardwick YANCEY BROS. CO. Company Co. 1540 Northside Dr., N. W. • ATLANTA Real Estate and 1781 Fifteenth St. • AUGUSTA Mortgage Loans Insurance • But now I must leave your window and your house Whether your mother wishes it or not. Farewell till the morrow.

V. NANA (Lullaby) Sleep well, my little girl, sleep my soul. Sleep well, beautiful star in the clear morning, My little girl, sleep well.

VI. CANCION (Song) Vour eyes, how traitorous they are, I shall bury them. So you know what it costs to look at them. You no longer love me, yet you were mine. What I gained then is worth more than what I lose now.

VII. POLO (Spanish dance) Bitter pain is in my heart To no one will I utter it Cursed be love! Be she cursed who made me know this.

Parker Invest the Insured Way Sno-White Laundry 15 STORES IN ATLANTA % Atlanta's Finest Laundered Shirt 3 CURRENT RATE ★

BUTTON MISSING? NO CHARGE

★

If not ready when promised, SOUTHERN FEDERAL

get a garment cleaned free SAVINGS & LOAN ASSN. Ground Floor, Hurt Bldg., MA. 1935

★ JOHN L. CONNER, Pres.

Assets Over $16,000,000.00 LA m ar 2021 iJhe Atlanta ^ym ph on if Orchestra

f-^erdonnel

VIOLINS CELLOS BASS CLARINET Robert Harrison, Rudolph Kratina, Principal Robert Waggoner Concertmaster Catherine Barnhardt Martin Sauser, Assistant Marjorie Borgia BASSOONS Concertmaster Eleanor Hodges Tora Pinckard, Principal George Heffernan, Principal Priscilla Loemker Frank Belvin Elsie Alenius Robert Mann John Rea Irving Anderson Donovan Schumaker Rose E. Bowen Walter Steinhaus HORNS C. W. Borgia Arline Balster, Principal Helen Brooks BASS VIOLINS Merwin Crisman Joseph Cordeiro John Golden, Principal Carleton Guptill W. H. Crusselle Betty Finley John Nelson Harold Davidson Carl Fox Carleton Palmer Doris Edwards James Hopperstead Robert Gerhardt Israel Isaacson TRUMPETS Albert Greco Andrew Partridge John Iuele, Principal Betty Gysbers Roger Reed James Sedlack Sarah Hansen Joseph Roberts Ted Whelchel Richard Holloway William Hutchins FLUTES TROMBONES Hans Kleber Richard Hansbery, Principal Walter Lortz Warren Little, Principal William Hill Mary Lupton Alex Lesueur Charles Knox Shirley Nordin Carl Tucker Bobby Liles William Pordon PICCOLO Richard Robinson TUBA Harry Robkin Alex Lesueur James Hopperstead Wolfgang Siebel Carl Tucker Donald Wendt TIMPANI Masao Yoshida OBOES G. Jackson Howorth Agatino Ronchetti, Principal VIOLAS PERCUSSION Donald Wendt John Adams, Principal Dorothy Wendt Richard Barron Doris Alderman G. Jackson Howorth Benjamin Goodsell ENGLISH HORN Kenneth Krause Eleanor Gwin Wayne Marlow Dorothy Wendt Henry Hobel Vaclav Kec HARP CLARINETS Virginia Rouse Dulcie Barlow Joseph Scheitz Karl Bevins, Principal James Sherrill Frances Jones PIANO & CELESTE E. C. White Robert Waggoner Frances Wallace “ Music hath charms”. . .

★

and so has

a GOOD HOTEL

★

Atlanta is a

CITY of GOOD HOTELS

★

ATLANTA HOTEL MEN’S ASSOCIATION v D aivisons i "4- i H ► o f D IX IE > ■> ^ v .

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Lmenca s great virtuosos o f fashion... starring in Davison’s

georgian room., second floor