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vj9mGQiGr NEW YORK V_l^ OCTOBER 1974 •*** '«e%

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IH ••••• m&cti It's the real thing. Coke. ^t& Trademark® COPYRIGHT © 1971. THE COCA-COLA COMPANY. "COCA-COLA" AND "COKE" ARE THE REGISTERED TRADE-MARKS WHICH DISTINGUISH THE SAME PROOUCT OF THE COCA-COLA COMPANY. 1 The complete cinema.

Now there's a cinema

which is more than just MAGAZINE another art movie house. A cinema which takes a new AMERICA 'S EDITORIAL MA GAZINEAND PROGRAM FOR THEPERFORMING ARTS AND THEATRE approach to retrospective cinema.

VOLUME 1 • BOOK1 OCTOBER 1974 A cinema which has a

Page CONTENTS knowledgeable staff, all of

4 CHARLES EDWARD IVES. "Genius" whom know what film is, An excerpt by the author of the book "From The Steeples and Mountains" about what it should be and Charles Ives—an eccentric loner who created some of the greatest music of our time while getting rich as a New York insurance broker. what it has been. By David Wooldridge A cinema which offers 6 Carnegie Hall October Calendar of Events film classics, recent 8 Tricks and Treats in Hallowe'en Music discoveries and forgotten The author discusses the supernatural forces of Hallowe'en appearing in major musical masterpieces. masterpieces — more than By Joseph McLellan 600 a year. 9 Carnegie Hall Corporation Board of Directors and Staff A cinema which offers all 10 Carnegie Hall Directory of Facilities and Services of this with the ambiance 11 People of Note Onstage will reprint with exclusive permission a series of the famous cartoons and of a place to talk, have poems by Gluyas Williams and Laurence McKinney on the different individuals who coffee and buy a book. make up a symphony orchestra. 14 Carnegie Hall's New Organ A cinema which even has The story about Carnegie Hall's new organ which will be inaugurated at an organ established a sophisticated recital on the opening performance of the 1974-1975 season. By Leonard Raver organization devoted to The program of the evening can be found in the alphabetized section in the center of film with special film the magazine. programs and separate

THIS MONTH'S COVER: Design by Irwin Horowitz from the jacket for the book, From the facilities for its Steeples and Mountains by David Wooldridge. Ives photo by W. Eugene Smith. Use by permission of Alfred A. Knopf, Inc. members.

A cinema which treats the ONSTAGEMAGAZINEAND PROGRAM film devotee as a film LEWIS FIELDS Founder and Publisher devotee and not as a customer. Publishers Enterprises Corporation • 4405 East-West Highway Bethesda, Maryland 20014 301/986-1966 Now there's a cinema

Z. J. FIELDS which is more than just President another art movie house. BENJAMIN S. HELLER Vice President It's Carnegie Hall Cinema. L FIELDS Executive Editorial Director Drop by and pick up a JOSEPH McLELLAN Senior Editorial Consultant schedule-brochure tonight. JACK RALPH General Sales Director SALES ARM INC National Sales Representatives 31 Union Square West • Suite 801 • New York, N.Y. 10003 • 212/989-6780

MARY PORTER SUEDOLAN PATTE PARKER Ballet Editor Saratoga Festival Editor Editor ALTON MILLER JEROME FERRAIRA Arena Stage and Kreeger Theater Editor New Jersey Symphony Editor

OnStage Magazine/Program is distributed at Carnegie Hall Cinema. Carnegie Hall and Carnegie Recital Hall, New York Arena Stage, Kreeger Theater and National Theatre, Washington, D. C. The symphony hall for film. New Jersey Symphony Orchestra, New Jersey Saratoga Performing Arts Center, Saratoga Springs, New York 887 Seventh Avenue between and 57 Streets © 1974 by Publishers Enterprises Corporation. All rights reserved. Reproduction in whole or in 56 part of any is in contents herein prohibited without written permission. This magazine printed PLaza 7-2131 —

J

"Genius" by DAVID WOOLDRIDGE

To honor the 100th anniversary of Charles Ives' birth, we print an excerpt musical popularity, being "a nice guy," from the closing pages of From the Steeples and Mountains, by David Wooldridge, with a string of nicknames long as your published earlier this year by Alfred A. Knopf. In his early forties, a composer arm. At Poverty Flat the same: and conductor as well as writer, Mr. Wooldridge was born and educated in Edwards Park was atonished to learn, in later years, that Ives had been "a England, has led an active professional life on both sides of the Atlantic and musical genius" —he had no idea, he now lives near Danbury, Conn., Ives' birthplace. His book, subtitled A Study said, and was none the wiser, for having of Charles Ives, though replete with the fruits of his research, avoids virtually learned it, what "being a musical every cliche of the biographer-critic, even down to the liberties it takes with genius" entailed. Even in marriage, typographical conventions. The result: a perceptive, outspoken, sometimes Ives instinctively sought a mate who heated, but faithful account—exhilarating to the reader and, in form and sub- would not intrude herself on his music, stance, evoking the free-wheeling genius of Charles Ives. who favored isolation in their daily lives. He had no need to avoid his He had this paranoia about artists musical peers because he sensed there composers—who used their art "pri- were none, in America, at the time. marily to make a living." It was so And he was right. He was not much moonshine, because an artist masochistic. He showed some of his who was open to corruption by the music to a few friends and acquaint- establishment, by patrons and flat- ances who didn't like it; he wasn't terers, started out with something less going to risk showing it to strangers— than artistic integrity in the first place. "some of them famous, so-called." But Ives occupied a strange position in Except Damrosch. Damrosch was the American music c 1900/1916. A writer brother of Clara Mannes who had been like Herman Melville at least enjoyed at Farmington School with Harmony, the fugitive love of fellow genius, so he showed him one "safe" score— Hawthorne, the more enduring friend- the 1st Symphony—and sent him ship of fellow writers like Richard another—the 2nd Symphony. But it Henry Dana, publishers like Evert was never Ives who was on trial. It was Duyckinck. Ives enjoyed the friendship Walter Damrosch. And he was weigh- or even the passing interest of NO ed in the balance and found wanting, PUBLISHER during his creative life, so far as Ives was concerned. no fellow musicians except David And so the continuing obscurity. No Stanley Smith and Max Smith. And one recognized Ives's genius because they, truly, were the best the musical no one was qualified to recognize it. establishment had to offer. It hardly Charles Ives, America's foremost composer, is Yet who, during his lifetime, had seems credible, the musical waste-land seen above in a double exposure made during recognized Bach's genius, as a com- that prevailed in America at the time. his freshman year at Yale. Taken from David poser? Who Schubert's? Who Mo- Woo/dridge's biographical study, "From the All those American composers who zart's, even? Precious few. Genius is Steeples and the Mountains". went to Europe, instead of staying not concerned with recognition; it home and building something indi- creates because it must. Maybe Mahler Hawthorne, his native shyness was a genous. Consider that the authors of recognized Ives's genius. Certainly defense against the outside world. His Moby Dick, The Scarlet Letter found Goossens and Slonimsky did, later. All Danbury upbringing was provincial/ at least the wherewithal for material three had the advantage of a European suburban: apart from his father, none survival in 1852. Who, in American cultural heritage, where the pheno- spotted the seeds of genius awakening music, could survive, 50 and 60 and 70 menon of "being a musical genius" was in him, and that was well. His mother, years later, with works of equivalent not unknown. But for Ives himself, interrupting his work to have him run originality? during the creative years, isolation and errands for her, Aunt Amelia, fussing obscurity were welcome—more, The 3 propositions, then: about him not getting enough fresh air, essential. \n Genii survive only in isolation; "Shut up all day in that stuffy room," Except that, even then, they were not 12} Genius create, "to flatter patrons even Moss, parading his new piccolo in quite complete enough. His letters to or dec- is"; front of him for him to look at: all these his future father-in-law in 1907, to [3] Geniut an active: it makes things were commonplace—Melville fared no John Griggs in China in 1922, are then- nappen. better. At Yale, Ives earned the blessed own tell-tale: his search for a paternal neglect of Horatio W. Parker and Ives had no problem over (1). Like found musical anonymity in extra- [Continued on page 11] Now! Audition the great new

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Tuesday, October 1, at 8:00 Wednesday, October 16, at 8:00 live in VIRGIL FOX, Organist LEIPZIG GEWANDHAUS First recital in the International Organ ORCHESTRA world Series, featuring the new Rodgers- Kurt Maser, Conductor a Scherzer, Violin Carnegie Hall concert organ Manfred Works by Schumann, Mat- Wednesday, October 2, at 8:00 thus, Tchaikovsky without CLEO LAINE and JOHN DANK- WORTH Thursday, October 17, at 8:00 cancer* NEW YORK JAZZ REPERTORY Thursday, October 3, at 8:00 COMPANY SOPHIA LDREN AND VERONICA MAZZARINI, HERBIE HANCOCK Friday, October 18, at 8:00

Friday, October 4, at 8:00 DEODATO

ROBERT KLEIN Saturday, October 19, at 8:00 HAROLD MELVIN and THE BLUE Saturday, October 5, at 8:00 NOTES THE EARL SCRUGGS REVUE, SONNY TERRY and BROWNIE Sunday, October 20, at 3:00 McGEE BELLA RUDENKO, Soprano Sunday, October 20, at 7:30 and 11:00

Sunday, October 6, at 8:00 THE STYLISTICS and EDDIE MUDDY WATERS, WILLIE DIXON KENDRICKS Monday, October 21, at 8:30 Thursday, October 10, at 8:00 LOS ANGELES PHILHARMONIC MESSAGE TO DAMASCUS ORCHESTRA Tuesday, October 22, at 8:00 PIERRE , Conductor COCHEREAU, PHOTOGRAPHED BY TAZIO Organist of Notre-Dame, 9ECC Isaac Stern, Violin International Organ Series Works by Mozart, Bruckner (Sym- Wednesday, October 23, at 8:00 My dream is shared by phony No 8) all people, I'm certain. NEW JAPAN PHILHARMONIC Friday, October 11, at 8:00 Kazuyoshi Akiyama, Conductor And it is not impossible. LOS ANGELES PHILHARMONIC Tsuyosho Tsutsumi, Much has already been Cello ORCHESTRA Works by Takemitsu, Dvorak, Berlioz learned through research. Zubin Mehta, Conductor International Festival of Visiting This year I understand Andre Watts, Piano Orchestras over 200,000 Americans Works by Gerhard Samuel, Beethoven, Thursday, October 24, at 8:00 will be saved from cancer Dvorak BOSTON POPS by earlier detection and Arthur Fiedler, Conductor treatment. Saturday, October 12, at 8:00 LOS ANGELES PHILHARMONIC Friday, October 25, at 8:00 Soon perhaps all Amer- FAIRPORT CONVENTION icans. All the world. ORCHESTRA Saturday, October at Zubin Mehta, Conductor 26, 8:00 That is the aim of a BOSTON SYMPHONY , powerful organization that Soprano ORCHESTRA Works by Schoenberg, Mahler, Strauss supports cancer research. , Conductor want to wipe out "We Sunday, October 13, at 2:30 Alex Weissenberg, Piano cancer in your lifetime" ISRAEL PHILHARMONIC Works by Ives, Chopin, Rachmaninoff they say. ORCHESTRA Sunday, October 27, at 8:00 But they need mothers , Conductor AMERICAN SYMPHONY and fathers—and everyone , Piano ORCHESTRA —to help them do it. Kazuyoshi Akiyama, Conductor Monday, October 14, at 8:00 Help them. Give to the GEORGE CARLIN Teiko Maehashi, Violin Works by Schumann, Sibelius, Stra- American Tuesday, October 15, at 8:00 vinsky (Sacre du printemps) LEIPZIG GEWANDHAUS Tuesday, October 29, at 8:00 CancerlSociety ORCHESTRA MYUNG WHUN CHUNG, Piano Kurt Maser, Conductor Wednesday, October 30, at 8:00 Siegfried Lorenz, Baritone RICHARD and JOHN Works by Reger, Mahler, Bruckner CONTIGUGLIA, Duo-pianists

(Symphony No 7) Thursday, October 31, at 8:00 International Festival of Visiting TOHO ORCHESTRA OF JAPAN THIB SPACE cor- BY THE PU Orchestras Tadaaki Odaka, Conductor No one person has all the knowledge, skills and experience to settle your estate, That's why Manufacturers Hanover gives you two.

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§all©we'e^ Musfe by JOSEPH McLELLAN

Only one major composer, the assorted sprites of Mendelssohn's (and shadows and their mirror-reflections American Charles Ives, has written a Shakespeare's and, for that matter, explicit symbols of their souls? It is piece of music explicitly named for this Purcell's) Midsummer Night's Dream. never stated explicitly, but this seems month's distinctive holiday, Hal- Schubert's Erl-King and all of Wag- more like the activity of a devil than of a lowe'en. But the holiday expresses an ner's mythology, the curious creatures sorcerer. The third villain, Dr. Miracle, experience which is universal among encountered by various operatic acts more like a sorcerer; he walks human societies — awe and fear of the Orpheuses (Orphei?) and even (much through walls, he makes a portrait, supernatural— and music on that as I regret it) the wicked ghost-couple hanging on a wall, break into song, subject is so abundant that an in Benjamin Britton's Turn of the and he tricks poor, consumptive impresario trying to draw up a Screw. Witches and perhaps an odd Antonia into singing herself to death. program of Hallowe'en music would sorcerer or two will give us more than These are the kind of thing you might have trouble only in trying to narrow enough food for meditation in this expect a sorcerer to do. But at the down his choice to realistic dimensions. ghostly season. climax, he dances around playing a Witches and sorcerers ride in classical Let's begin with the sorcerers, since fiddle, almost a sure sign that he is a music as they never did in old Salem. they are relatively rare compared to devil. 1 And when he disappears And if they ride more often in opera their sister-practitioners of the occult through the floor, cackling with and orchestral music than in chamber arts and, at least comparatively, a fiendish glee, there can be no further music, still there is hardly any branch rather benign, sometimes comic group. doubt that he is a devil. (The of the art completely free of their There are, of course, occasional relationship between a devil and spooky influence. identity problems. In Offenbach's sorcerer or witch is something like that Space limitations forbid a treatment Tales ofHoffmann, for example, there in music between a composer and a of the whole subject of malign is no problem about Spalanzani, the performer; sometimes a composer will supernatural forces in music, and we first of the three villains; he is simply a play or conduct, but his chief concern is must regretfully leave to one side the mad scientist who has invented a with more purely creative activities.) whole Faust legend, the statue that coloratura soprano robot. But what In the case of Kastchei, the villain of came to dinner in Don Giovanni, the about Dapertutto, who steals men's Stravinsky's Firebird, there is a multi- ple identity; he is a king and an ogre as well as a sorcerer, but he is definitely a sorcerer and he engages in one of the characteristic hobbies of his kind: keeping beautiful young princesses in thrall with the aid of magic spells— 13 of them at once! He illustrates quite well, incidentally, one of the nearly universal rules concerning music about sorcerers and witches: that it tends to be vividly orchestrated, highly accent- ed in its rhythms and, more often than not, loud. He is a thoroughly bad person, but he deserves our attention and our gratitude for at least one service: he was the one who first showed the world conclusively the enormous potential that was being unleashed through the genius of . Before turning to the distaff branch of the sorcery industry, we will look at two more sorcerers whose sad stories both illustrate the same moral: that you shouldn't start anything you can't finish. Both, moreover, are rare among their colleagues in having a certain feckless charm; they are relatively nice sorcerers and both deservedly popular. Strictly speaking, one of them, known through the beautifully con- structed if too-often-heard tone poem of Paul Dukas, is not a full-fledged ALTENBURG PIANO HOUSE '• The author discusses the devil's violin virtuosity at greater

1150 East Jersey Street • Elizabeth, • New Jersey 07201 (201J 351-2000 length in the Winter issue of Stereo Quarterly magazine. Youx Representative tor RODGERS, RUFFATTI, and GEMINI organs 8 [Continued on page JO] Carnegie Saturday Evening, October 26, 1974 at 8:00 1974-1975 SEASON V-/ NEW YORKV

The Carnegie Hall Corporation presents the Boston Symphony Orchestra

Ninety-Fourth Season/ 1974- 1975

SEIJI OZAWA, Music Director , Principal Guest Conductor

Seiji Ozawa, conducting

Alexis Weissenberg piano

IVES Central Park in the Dark

CHOPIN Concerto No. 1 in E Minor for Piano and Orchestra, Op. 11* Allegro maestoso Romanza: larghetto Rondo: vivace ALEXIS WEISSENBERG

INTERMISSION

RACHMANINOFF Symphonic Dances, Op. 45 Non allegro Andante con moto (tempo di valse) Lento assai; Allegro vivace

Alexis Weissenberg plays the Steinway piano

The Boston Symphony Orchestra records exclusively for Deutsche Grammophon Baldwin Piano Deutsche Grammophon and *RCA Records )

Alexis Weissenberg His newest Angel albums Beethoven "Emperor" Concerto, , conducting S 37062 Brahms Concerto No. 1 in d, Op. 15, London Symphony Orchestra, S 36967

Chopin Schumann Carnaval Op. 9 Nocturnes ( Complete ) SB 3747 Sonata No. 2 in G Minor, Op. 22 S 36552 Fantasia in C, Op. 17 The Complete Works for Piano and Orchestra Kinderscenen, Op. 15 S 36616 The Paris Conservatory Orchestra Stanislaw Skrowaczewski, conducting SC 3723 Saint-Saens

Carnival of the Animals ( with Aldo Ciccolini Rachmaninoff (B/W Poulenc: Les Animaux Modeles) Songs with Nicolai Gedda S 36917 ( ) Paris Conservatory Orchestra Georges Pretre, conducting S 36421 Rachmaninoff Concerto No. 2 in C Minor, Op. 18 Ravel Franck Concerto in G Symphonic Variations Prokofiev Berlin Philharmonic Orchestra Concerto No. 3 in C, Op. 26 i lerbert Von Karajan conducting S 36905 Orchestre de Paris Seiji Ozawa, conducting S 36785 Tchaikovsky

Concerto No. 1 in b\) Orchestra de Paris Herbert von Karajan, conducting S 36755

Bach Partita No. 5 in G, BWV. 829

Partita No. 6 in e, BWV. 830 Chromatic Fantasy & Fugue ind, BWV. 903 S 36437

Photo-. Christian Steiner —

PROGRAM NOTES By Harry Neville

Central Park in the Dark/by Charles title had the composer's sanction. Ives himself them to one's most intimate friend. Youth's had once paired the work with The Unanswered flaring passions at nineteen, sometimes regarded Ives. Question, which he gave the either/or title of A as inconsequential, had in this case a direct and Contemplation of a Serious Matter or the tangible expression—the Larghetto of the Born: October 20, 1874, Danbury, Unanswered Perennial Question, while the Concerto in F minor. Chopin lavished his Connecticut; died: May 19, 1954, New second part ofthe set was called A Contemplation affection and his confidences at this time upon ofNothing Serious or Central Park in the Dark in his friend Titus Voytsyekhovski, whom he York. 'The Good Old Summer Time.' Ives used yet addressed in his profuse, and not unspirited another title in his own pungent description of letters as 'My dearest life'. Writing to Titus from the work: Warsaw (October 3, 1829), he dismissed all Central Park in the Dark Some Forty Years thoughts of Leopoldine Blahetka, a fair pianist of Ago purports to be a picture in sounds of the twenty whom he had met in Vienna, and of nature of Central Park in the Dark was completed in sounds and happenings that men confessed a new and deep infatuation: would hear. . .when sitting on a bench in Central 'I have perhaps to my misfortune already 1906, and is scored for flute, piccolo, oboe, — — a night. strings I clarinet, bassoon, trumpet, trombone, two Park on hot summer The found my ideal, which worship faithfully and pianos, percussion, strings. represent the night sounds and silent darkness sincerely. Six months have elapsed and I have not interrupted from I After Ives's death in 1954, his widow, by sounds the Casino over the yet exchanged a syllable with her of whom of street singers coming from the Harmony Twichell Ives, decided to present his pond— up dream every night. Whilst my thoughts were with manuscripts to the Library of the Yale School of Circle, singing—in spots—the tunes of those her, I composed the adagio of my concerto.' (In Music, which was as sensible a repository as any, days—of some "night owls" from Healy's his letters and on the programs of this time, the whistling the latest or the the since Ives, though remarkably uninfluenced by Freshman March— larghettos of each concerto are referred to by the occasional elevated, street parade or his studies there, had graduated from the Yale a a generic title of 'adagio'.) The inspiration of the Music Department. The transfer of music "break-down" in the distance—of newsboys slow movement of this concerto was Constantia crying "uxtries," of pianolas having a rag-time (Konstancjia) Gladkowska, a pupil of the manuscripts from the Ives home in Redding, war in the apartment house "over the garden Warsaw Conservatory and an operatic aspirant, Connecticut, to New Haven was completed in the wall," a street car and a street band join in the who was twenty, and three months younger than fall of 1955, and scholars, composers and chorus—a fire engine, a cab horse runs away, Chopin. Her voice and appearance alike performers have been working on the materials lands "over the fence, and out," the wayfarers captivated him. Wierzynski, Chopin's bio- ever since. The manuscripts came from shelves, shout—again the darkness is heard—an echo grapher, wrote: 'She had been studying voice at drawers, cabinets and desks throughout the Ives over the pond—and we walk home.' the Conservatory for four years and was home, and some had even been stored in the barn considered to be one of Soliva's best pupils. She at Redding. But it was not so much the sorting was also said to be one of the prettiest. Her and cataloging of material that posed an 1 in for Piano regular, full face, framed in blond hair, was an enormous editorial headache to the archivists as Concerto No. £ minor epitome of youth, health and vigor, and her it was the decoding of the manuscripts, the and Orchestra Op. 11/by Frederic beauty was conspicuous in the Conservatory deciphering of the jumble of notes that had to be Chopin chorus, for all that it boasted numbers of done before many of the works could be beautiful women. The young lady, conscious of performed. Ives, it is true, was anything but Born: March 1, 1810, Zelavowa Wola her charms, was distinguished by ambition and meticulous in his notation, for his far-ranging diligence in her studies. She dreamed of notion of freedom embraced not only the near Warsaw; died: October 17, 1849, becoming an operatic singer, of receiving composing and performing of music but its Paris. tributes and acclaim.' She shortly made her stage writing-down as well. But how does even the most debut in the leading part of Paer's Agnes di meticulous and compuslive of composers notate Chopin wrote his two piano concertos within a Fitz-Henry, not without success, and to Chopin's a musical idea such as that behind Central Park year of each other, when he was twenty years old. delight. He did not meet her until April 1830, in the Dark, an idea whose core is randomness The F Minor Concerto was actually the first, either from shyness, or preference for nursing a and arbitrariness? Especially in 1906, when no although the second in order of publication secret passion and pouring it forth in affecting precedents existed? It would be another fifty (1836); the E minor Concerto was published in melody. That the young man was in a state of years before other composers attempted what 1833. Although he had visited Berlin, Vienna, emotional equilibrium, in spite of melancholy Ives had done, and then it would be largely a Prague and other centers, met celebrities and moments, is proved by the highly fortunate matter of 'controlled' randomness in which the exhibited his talents in charity concerts, he had — results. Not only the two Concertos but some of performer is given a set of circumscribed still much to learn of the world. His progress had the Etudes to be published as Op. 10 and the options—or else a randomness which is totally been fondly nurtured in private performances at lovely Andante spianato for piano were com- fixed, on paper, at least in other words, an home. The three concerts he gave in 1830, for — posed in this year. impression of randomness. which he composed his two concertos, were his JQHNN.BURK Being compulsive neither about what he first opportunity in Warsaw to submit his talents expected of himself nor about what he wanted as a pianist to the more impersonal scrutiny of from his performers, Ives made do with the general public and the professional critics. notational methods that have been the bane of As a sensitive and emotional artist, he was everyone who comes into contact with his surprisingly developed for his age, for he had Symphonic Dances, Op. 45/by Sergei music—everyone, that is, except the listener, for played the piano with skill and delicate taste Rachmaninoff. the ironic thing about ali this is that what from early childhood. He could improvise to the emerges forcefully from a good performance is wonderment of numberless high-born ladies, not Born: April 1, 1873, Oneg, Gvt. of the clarity of the musical Ideas. It is a clarity only in the parochial native warmth of the beautfully evident in Central Park in the Dark, a Warsaw mansions, but in other parts as well. Novgorod; died: March 28, 1943, work which dazzlingly combines melodies, Although his Opus 1, a rondo, had been Beverly Hills, California. rhythms, tempos, tonalities and harmonies to published only five years before, he had been describe the simple experience of listening to a ministering to the adoring circle about him with Although Rachmaninoff spent much of his life summer night's sounds while sitting on a park affecting waltzes, mazurkas, and polonaises, even after 1918 in the United States, it was not until a bench. from the age of ten, or before. few years before his death that he composed a Central Park in the Dark was originally His letters of this time are abundant in ardor major work in his adopted country. This was the published as the last of Three Outdoor Scenes, a and effusive sentiment. He had reached that score entitled Symphonic Dances, which he set which also included Halloween and The stage of youthful idealism which in his century wrote during the summer and fall of 1940 at Pond, but neither the grouping nor the overall could nourish secret infatuations, and confide Orchard Point, the Honeyman Estate, near c —

Huntington, New York, on Long Island Sound. In a letter dated August 21, 1940, the composer wrote to , 'Last week I finished a new symphonic piece, which I naturally want to give to you and your orchestra. It is called Fantastic Dances. I shall now begin the orchestration. Unfortunately my concert tour begins on October 14. I have a great deal of practice to do and I don't know whether I shall be able to finish the orchestration before Novem- ber.' He managed to complete the orchestration, however, on October 29, and Ormandy and the Philadelphians gave the premiere on January 3 of the following year. The title had meanwhile been changed to Symphonic Dances. His first work since the Third Symphony of 1936, the Dances proved also to be his final compositional legacy. As with most of his large-scale works, this one had caused him a great deal of work and creative anxiety, but, as can been seen from his letter to Ormandy, his extensive concertizing had interfered too. And there was the matter of his health, which had begun to give way at about this time to the strain of the long years of heavy touring. Later, when SEDT OZAWA ALEXIS WEISSENBERG friends urged him to give up public life and devote himself to composition, he asked, 'Where am I to get the necessary strength, the necesary fire?' Reminded of the dances, he would reply, 'I don't know how it happened. It must have been my last spark.' The remark proved to be accurate, Upon his appointment as Music Director in the Alexis Weissenberg, who has appeared with for only two and a half years after their fall of 1973, Seiji Ozawa became the thirteenth the Boston Symphony Orchestra in recent completion, Rachmaninoff died, in Beverly Hills, person to head the Boston Symphony Orchestra seasons on many occasions in Boston, New York, where he had moved to be near his many friends since its founding in 1881. He succeeds such Chicago and at Tanglewood, was born in , in the film industry and to enjoy the then historic figures as , Serge . He studied in his native country, and in upolluted climate. He had written nothing in the Koussevitzky and Charles Munch. Prior to his Israel, where he made his professional debut at meantime. appointment he was for one year the Orchestra's age fourteen. After a tour in South Africa he 'Midway,' 'Twilight' and 'Midnight' are the Music Adviser, and had appeared on numerous came to the United States to attend the Juilliard titles Rachmaninoff originally thought to give occasions as guest conductor of the Orchestra. School. He toured Israel, Egypt, and the three movements, with the probable idea of Born in Hoten, Manchuria, in 1935, he South America, then returned to win the 'Youth, Maturity and Death', or some such graduated from the Toho School of Music in Leventritt Competition. He then made his debut logical progression, as a vaguely programmatic Tokyo, winning first prizes in composition and with the and began the scheme. Finally, however, he settled on the conducting. He then went to Europe, where he first of his concert tours throughout the country. tempo indications alone Non allegro, Andante won first prize at the International Competition He was also invited to appear with the con moto [Tempo di valse] and Lento assai; of Conducting at Besancon, . One of the Philadelphia Orchestra. Mr. Weissenberg has Allegro vivace—as sufficient, allowing the music judges was the late Charles Munch, then Music appeared since in all parts of the world, including to speak for itself. John Culshaw, author of an Director of the Boston Symphony, whose tours in North and South America, Europe, the admirable book on the composer and his music, invitation to Tanglewood was the beginning of Near and Far East, and the Soviet Union. Among has said that the work might be called 'a set of Mr. Ozawa's association with the Orchestra. the major orchestras with which he has idealized dance motives in free symphonic form, Appointed one of the New York Philharmonic's performed are the Berlin Philharmonic, Vienna but the emphasis is on "symphonic" rather than assistant conductors at the beginning of the Philharmonic, Chicago Symphony, Cleveland "dance."' That Rachmaninoff had balletic 1961-62 season, he directed that orchestra Orchestra, Royal Philharmonic, Royal Danish ambitions for the Dances, however, we know several times, though it was with the San Symphony, Israel Philharmonic, Czech Phil- from the fact that he discussed the matter with Francisco Symphony, during the same season, harmonic, Japan Philharmonic, Minnesota Michel Fokine, whose Paganini, a choreo- that he made his first full-length professional Orchestra, Pittsburgh Symphony, Orchestra of graphic treatment of the Rhapdosy on a Theme concert appearance in North America. Begin- Paris, and French National Symphony. of Paganini, had greatly pleased the composer. ning in the summer of 1964, he was for five seasons Nothing, however, was to come of these plans, Music Director of the Ravinia Festival, and at the which were brought to an end by Fokine's death start of the 1965-66 season, he became Music in August 1942, a death which brought not only Director of the Toronto Symphony, a post he personal sorrow to the composer but also a relinquished after four seasons in order to devote renewed and bitter sense of his artistic his time to guest conducting. During the estrangement. summer of 1969, he conducted opera for the first The Dances begin with a three-part first time, Cos"i fan tutteat Salzburg, and served also movement, the second section of which, with its as principal guest conductor of the Ravinia use of the saxophone and a faintyly jazz-like Festival. syncopations, is the closest Rachmaninoff ever That fall he opened the New York Philhar- came to composing a musical salute to his monic season and later appeared as guest The next concert by the Boston Symphony adopted country. The second movement, a kind conductor with L'Orchestre de Paris, the Orchestra will take place on Saturday, Novem- of valse triste, has been likened to the Cleveland Orchestra and the Berlin Philhar- ber Seiji will sophisticated, nostalgic transformations of the monic. In 1970, Mr. Ozawa was made Artistic 23, 1974, at 8:00, when Ozawa waltz to be found in the works of such composers Director of the Berkshire Music Festival, and in conduct Ravel's Le Tombeau de Couperin, as Tchaikovsky, Debussy and Faure. The finale December of that year he began his inaugural Loren Rush's The Cloud Messenger (N.Y. employs a favorite device of the composer, the season as Conductor and Music Director of the Premiere), and Brahms' Symphony No. 2. incorporation of the Dies irae chant into the San Francisco Symphony Orchestra. He holds thematic structure. It quotes also a fragment of the position of Music Director and Conductor of another chant, an Alliluya from the liturgy of the the Boston Symphony concurrent with his posts Program notes copyright 1974 by the Boston D Greek Church, in the coda. at Tanglewood and in San Francisco. Symphony Orchestra, Inc. Live with great m live among great musicians, live in the Caribbean. Carnegie Hall 1974-1975 SEASON The Tenth Music Festival at Sea aboard the m/s Renaissance. THE CARNEGIE HALL CORPORATION January 518,1975.

Isaac Stern, President p^ Frederick W. Richmond, Chairman of the Board Richard A. Debs, Chairman, Executive Committee Col. Harold Riegelman, Vice President and General Counsel Eugene M. Becker, Harry Van Arsdale, Vice Presidents Lucien Wulsin, Treasurer Raymond S. Rubinow, Secretary Donald L. Baraf, Assistant Secretary

Board of Trustees

Martina Arroyo Frederick W. Richmond Hon. George W.Bali Col. Harold Riegelman Eugene M. Becker Raymond S. Rubinow T. Roland Berner Lewis Rudin Julius Bloom Hon. Constantine Sidamon-Eristoff Richard A. Debs Aye Simon James S. Deely Isaac Stern Jack deSimone Roger L. Stevens The m/s Renaissance, a ship renowned Hon. AbeFortas Harry Van Arsdale for the finest in the French tradition, Hon. Roy M. Goodman Hon. Robert F. Wagner offers an altogether unique Mrs. Dorothy Hirshon Mrs. Philip Wise experience this winter. Travel with some of the world's Laurence C. Leeds, Jr. James D. Wolfensohn truly great artists (among them Hon. MacNeil Mitchell Lucien Wulsin pianists, Gina Bachauer and Byron Mrs. George W. Naumburg Janis; violinist, Isaac Stern; flutist, Jean Pierre Rampal; soprano, Jessye Norman; dancers, Jean Pierre Bonnefous and Patricia McBride; the English Honorary Trustees Chamber Orchestra under Alexander Schneider)! Cherish the thrill of daily Leonard Altman Mrs. Albert D. Lasker concerts and recitals, either on board or amidst lush and unusual Caribbean Marian Anderson Hon. John V. Lindsay settings. Robert S. Benjamin John Barry Ryan III Treasured French cuisine, wines, Mrs. Marshall Field Norman K. Winston and services; an open bar at all times; Jacob M. Kaplan David L. Yunich stimulating and informative daily lectures and seminars; excursions and admission to all concerts, historic sites, private receptions— all these are part Julius Bloom, Executive Director of the price of the cruise (from $1795 to Ronald J. Geraghty, Controller $3820 per person, double occupancy). Peter W. Smith, Operations Administrator See your travel agent for details, and be there when we sail from Port Richard A. Mead, Head, Development Office Everglades, Florida, with the curtain Stewart J. Warkow, House Manager going up. Roger Villeneuve, Associate House Manager Ioana Satescu, Booking Manager J^X Gilda Barlas Weissberger, Associate Booking Manager Nathan Posnick, Box Office Treasurer Judith Arnold, Head, Programming Office Richard Gottlieb, Head, Publicity Office Paquet Cruises, Inc. Wilson R. Utter, Building Superintendent 1370 Avenue of the Americas, N.Y., NY. 10019 (212)757-9050 Hess, Segall, Popkin, Guterman, Pelz & Steiner, Counsel The m/s Renaissance is registered in France. sorcerer but a Sorcerer's Apprentice. language, in every sense of the word: He hardly needs an introduction, and When the night wind howls Carnegie Hall the story of the broom (later the broom In the chimney cowls, buckets of DIRECTORY OF splinters) carrying their And the bat in the moonlight flies, water is both familiar and graphically FACILITIES AND SERVICES And inky clouds, told in the music. We might comment, Like funeral shrouds, worst vice he shows in Box Office (247-7459) Hours: 10 A.M. however, that the Sail over the midnight skies— story is a bit of laziness and to 5 P.M.—Monday through Saturday; this When the footpads quail impetuosity. Perhaps that is 12 Noon to 5 P.M.—Sunday and legal youthful At the night-bird's wail, he is still an apprentice. holidays. Note: the Box Office is not why And black dogs bay at the moon, Our final sorcerer, on the contrary, is open on Sundays and legal holidays Then is the spectre 's holiday— an old hand at the trade and represents when there is no performance in the Then is the ghosts' high noon! an established and respected firm of Hall. Box Office hours are extended to As it happens, however, no witch ever family sorcerers. His is the title role in 8:30 P.M. on weekdays when there is to appears on stage; the curse in the Gilbert and Sullivan's operetta, The be a performance that evening. subtitle is one incurred by the First Sorcerer and his name, as he tells us in Cafe Carnegie is located on the main Baronet of Ruddigore several centuries a patter song that blends wit and floor to the left of the Parquet. Food, ago; his hobby (fashionable at the time) liquors and soft beverages are served salesmanship, was witch-burning, and one of the before, during and after each concert. Is John Wellington Wells, victims shouted a curse on him and his Cafe Carnegie also provides an elegant I'm a dealer in magic and spells, descendants through the flames. The setting for receptions held in conjunc- In blessings and curses, curse worked (proving, I suppose, that tion with concerts and other events in And ever-fill'd purses, the Baronet was right, at least that Carnegie Hall. For information call In prophecies, witches, and knells. once) and, since it is the mainspring of 586-6208. He is, in fact, without question the the plot, Ruddigore should probably be Refreshment bars are located on the best-qualified and most authentic considered witch music despite its 2nd Tier, Dress Circle and Balcony sorcerer in music; his downfall comes witchlessness. floors. because the magic in this story, a Surprisingly, there aren't all that Elevator service to the Dress Circle and love-philtre, works only too well. many witches in Italian opera when you Balcony is available in the foyer of the The philtre, ordered for mass look at it closely, though one opera Carnegie Hall Studio entrance at 154 distribution by an enthusiastic young (Verdi's Macbeth, where the witches West 57th Street. bridegroom because he wants every- follow their Shakespearian roles with Smoking and the lighting of matches body in his village to be as happy (and considerable fidelity) has enough are forbidden in any part of the Main as much in love) as he is, is mixed in a witchcraft to make up for the lack. Hall. Smoking is permitted only in the teapot, this being a British Victorian At any rate, the best-known and Cafe Carnegie, at the refreshment bars comedy (in America, it would have to most unequivocal witch in opera is not and in the lobbies. be the punch bowl) and nobody Italian, French or American; she is the Public telephones are located off the bothers, of course, to tell people about German lady who lives in a ginger- Parquet on the Seventh Avenue side, in the special treat they are receiving. bread house in Engelbert Humper- the 57th Street lobby (studio entrance), Naturally, everyone (including the dinck's Hansel and Gretel, and pre- in the ladies' lounge on the First and bride-to-be) starts falling in love with sumably she needs no further intro- Second Tier levels. the wrong person and finally, since it is duction. Lost and found articles should be the only way to neutralize the philtre, Oratorio seems a curious place to reported or turned in at the House Wells offers to sacrifice himself, look for witches, but Handel's Saul is Manager's Office at the 56th Street dropping down through the stage in a really an opera that happens to have a Entrance. Or call 265-9651. burst of flame. (There is all the biblical subject. It also has a witch Men's rest rooms are off the Parquet, difference in the world, of course, (sung by a tenor, though a female role) on the 2nd Tier level and off the Dress between the way Wells disappears who is the center of one of its most Circle and Balcony. through the floor and Offenbach's Dr. impressive scenes; at Saul's request, Ladies' rest rooms are on all levels of Miracle does the same thing; Dr. she summons up an apparition of the the Main Hall. Miracle does it willingly, even trium- Prophet Samuel, who informs the king A wheelchair may be obtained for use phantly, the devil. Wells, in effect a that he will be killed in battle the next from the street to seat locations. For field man for the same company, shows day. information, call House Manager's no enthusiasm about his trip to the In chamber music, witches are Office, 247-1350. home office.) almost nonexistent, but there is one The management is not responsible for Supernatural elements are fairly movement, the third of Haydn's String personal apparel or other property of common in the Gilbert and Sullivan Quartet in D Minor, Opus 76, No. 2, patrons unless these items are checked. operettas —notably in Iolanthe, but the that is known as the Witches ' Minuet are advised take Patrons to coats and characters there are fairies rather than because of its wierd-sounding harmony wraps with them whenever they leave human witches and wizards, so they (two-part, in canon, between the violins their seats. aren't really very suitable for Hal- in octaves and the viola and cello, also Doctors who expect to be called during lowe'en meditation. But another G&S in octaves. performances may give their seat work, Ruddigore, is subtitled The One other piece of Hallowe'en locations to an usher, who will advise Witch 's Curse—perfect Hallowe'en chamber music is, in a sense, a the House Manager. stuff. It is a rather spooky show, with counterpart to Haydn's brief venture taking of photographs The and the use no fewer than eight ghosts (all deceased into harmonic witchcraft: Charles of recording devices is strictly forbid- Baronets of Ruddigore) stepping out of Ives's Halloween, which adds a piano den. their portraits on the wall (shades of and bass drum ad lib to the usual For rental information Call or write: Hoffmann!) and marching about the instruments of the string quartet 247-1350, Booking Manager, Suite stage while they sing in chorus. This is (which can be augmented at will). It is, 100, Carnegie Hall, 154 West 57th followed by a solo (the Ghost of Sir of course, considerably more daring Street, New York, New York 10019. Roderic) with chorus that is one of the than Haydn, as well as spookier and W most haunting pieces of music in our funnier. For one thing, the strings play simultaneously in four different keys: But that ask of a first violins in C, seconds in B, violas in IVES [Continued from page 4 ] cultural D-flat and cellos in D. The piano didn't come out of a bottle blessing, for paternal absolution, con- avoids tonality and the bass drum part test-tube. The pedigree of a Mozart— tinues even there. Most of this other and close is mostly improvised. how to corruption Mozart paranoia of his, about Mozart, was himself came. Only think, After Ives, the orchestral treatment if the because Mozart had been taught Viennese musical establishment witches seems rather tame, though it had of largely by his father; so Ives, his had by continued to bestow its favors on him, is quite wild by any other standard. father, and he never forgave himself, in instead of turning to Salieri. There are two major examples, both Mozart those later years, that he failed to live chose poverty, had poverty thrust upon dealing with the witches' sabbath, up to his father's expectations for him, him, and survived— the spirit of him. orgiastic rites of satanic worship. The to elect poverty, to "live as simply as Ives chose wealth, had wealth thrust first (and, one suspects, the ancestor of Thoreau." So he took it out on Mozart. upon him, and ultimately did not the second and many other tone poems But unlike Mozart, Ives did not die survive. But not because he ever on occult subjects) is the final move- penniless. So he took it out on Sibelius, became a flatterer or decorator. ment of Berlioz's Symphonie Fantas- who used to enjoy being mistaken for a He could afford not to have to tique. Nobody has ever described the successful businessman. . . ". become one, of course. So could music better than the composer: . .a No apparent problem, either, with Gertrude Stein, Jan Sibelius, George frightful crowd of ghosts, sorcerers and Proposition No 2. Ives had no instinct Gordon Byron. Wealth really has all manner of monsters. . .weird noises, for flattery or decoration. Fair of nothing to do with it. There have been groans, bursts of laughter. . .funeral face/full of grace— that, yes, perhaps. those of independent means whose bells, parody of the Dies Irae. Round ." whole life was flattery and decoration. dance of the witches. . admission a little, to consider, for If Ives did not ultimately survive, as an Mussorgsky (who also gave the example, any composition that can artist, it had nothing to do with his Russian witch Baba Yaga a brief role in claim a spooky atmosphere, like Falla's being a man of wealth. But if Horatio his Pictures at an Exhibition) presents El Amor Brujo or Atnill's Corroboree Parker had "recognized" him, back at or the incantatory Sensemayd of a witches' sabbath as vivid as that of Yale? Or Elizabeth Sprague Coolidge? Berlioz in his Night on Bald Mountain, Silvestre Revueltas, the discussion Only look at David Stanley Smith, would take us until Thanksgiving. But and also contributes a bit of descriptive Daniel Gregory Mason. writing: "Subterranean sounds of that is quite another holiday and, Proposition No 3. "Genius is an unearthly voices. Appearance of the perhaps, another article. D ." active: it makes things happen." This Spirits of Darkness. . Joseph McLellan, who has been a journalist and music critic is the reverse image to (1), Genius in on this inspiring scene, space in Boston, New York and Washington, D.C. for the past 15 And isolation. It took nearly 100 years for years, is presently an assistant editor in the book review limitations force us to close our department of The Washington Post, where he also reviews the genius of J S Bach to be consideration of music for Hallowe'en. concerts and reports chess news. He is presently finishing a book about chess and beginning work on a study of humor in acknowledged, longer to get his MSS If we were to extend the rules of music. into some articulate order, and new

LE OF NOTE A SCORE OF SYMPHONY FACES

THE CONDUCTOR

This Backward Man, this View Obstructor Is known to us as the CONDUCTOR He beats the time with grace and vim And sometimes they keep up with him. But though they're eloquent and snappy Conductors always seem unhappy Their strange grimaces on the podium Suggest bicarbonate of sodium May be, perhaps, the proper diet To keep their inner fires quiet. They have to think up countless capers To keep them in the daily papers Which help them in financial strictures Or fit them for the motion pictures Conductors worry all the while That's why they bow, but never smile.

Poem by LAURENCE McKINNEY Cartoon by GLUYAS WILLIAMS 11 Carnegie Hall INTERNATIONAL FESTIVAL OF VISITING ORCHESTRAS THREE SERIES OF SIX CONCERTS EACH EVENINGS AT 8:00

Series A Series B Series C Tuesday, October 15 Wednesday, October 16 Wednesday, October 23 Leipzig Gewandhaus Leipzig Gewandhaus New Japan Orchestra Orchestra Philharmonic KurtMasur conductor Kurt Masur conductor Kazuyoshi Akiyama conductor Manfred Scherzer violin Siegfried Lorenz baritone TsuyoshiTsutsumi cello Schumann Symphony No. 4 Takemitsu Winter Dvorak Cello Concerto Reger Mozart Variations Siegfried Matthus Violin Concerto Berlioz Symphonie Fantastique Mahler Songs of a Wayfarer Tchaikovsky Symphony No. 6( "Pathetique") Bruckner Symphony No. 7 Wednesday, November 6 Tuesday, November 5 Monday, November 4 Orchestre de la Orchestra de la Orchestre de la Suisse Romande Suisse Romande Suisse Romande Wolfgang Sawallisch conductor Wolfgang Sawallisch conductor Wolfgang Sawallisch conductor liana Vered piano Michel Beroff piano piano Alicia de Larrocha Armin Schibler Metamorphosis Ebrietatis Ron Golan viola Honegger Horace Victorieux Schumann Piano Concerto Haydn Symphony No. 44("Trauer") (symphonic pantomime) Brahms Symphony No. 4 Frank Martin Ballade for Viola Rachmaninoff Piano Concerto No. 2 Prokofieff Piano Concerto No. 2 Mendelssohn Symphony No. 3 ("Scotch") Schumann Symphony No. 2 Friday, December 6 Thursday, December 5 National Arts Centre Tuesday, January 28 National Arts Centre Orchestra of Canada Detroit Symphony Orchestra of Canada Mario Bernardi conductor AldoCeccato conductor Berlioz "L'Enfance du Christ" with Dvorak Symphony No. 8 Mario Bernardi conductor Gabrielle Lavigne, mezzo-soprano; JanacekGlagolitic Mass with Janice Yoes, Barry Tuckwell frenchhorn PaulTrepanier, tenor; Gaston Germain, baritone; soprano; Lili Chookasian, contralto; Schoenberg Verklarte Nacht Claude Corbeil, bass; Rutgers University Choir Henry Grossman, tenor; Ara Berberian, Strauss Horn Concerto No. 2 bass-baritone; Janos Sebestyen, organ; Wayne State University Symphonic Choir Tadeusz Baird Elegy ( N.Y. Premiere) Wednesday, January 29 Mozart Symphony No. 38 ("Prague") Detroit Symphony Wednesday, February 19 Tuesday, February 4 Baltimore Cleveland Orchestra AldoCeccato conductor Lorin Hollander piano Symphony Lorin Maazel conductor Bach Piano Concerto in D Minor piano Strauss "Burleske" for piano and orchestra Sergiu Comissiona conductor Shostakovich Symphony No. 9 Chopin Piano Concerto No. 2 Ravel "Daphnis Leon Fleisher piano and Chloe" (complete ballet music) Overture to be announced Tuesday, February 11 Prokofieff Piano Concerto No. 4 Mahler Symphony No. 5 Tuesday, April 15 Cleveland Orchestra Pittsburgh Symphony Lorin Maazel conductor Wednesday, April 2 William Steinberg conductor Mayumi Fujikawa violin ~ Madrid RTV Isaac Stern violin Prokofieff Symphony No. 7 Glazunoff Violin Wagner Overture to "Tannhauser" Concerto Bartok Suite from "The Miraculous Mandarin" Symphony Beethoven Symphony No. 3 ("Eroica") George Rochberg Violin Concerto Odon Alonso conductor (N.Y. Premiere) Thursday, April 24 NarcisoYepes guitar Arriaga Symphony in D Major Tuesday, May 6 Rotterdam Rodrigo Fantasia for Guitar and Orchestra Cristobal HalffterAnil!os( U.S. Premiere) Bavarian Symphony Albeniz Iberia Suite Falla Suite No. 2 from Philharmonic "The Three-cornered Hat" Rafael Kubelik conductor Edo de Waart conductor Mahler Symphony No. 9 Kyung-Wha Chung violin Wednesday, May 7 Rachmaninoff Caprice Bohemien Piet KettingTime Machine Bavarian Symphony Stravinsky Violin Concerto Rafael Kubelik conductor Brahms Symphony No. 1 Smetana "Ma Vlast" (complete)

Tickets, each concert: $7.50, $6.50, $5.50, $4.50, $3.50. MAIL ORDERS ACCEPTED UMTILTWO WEEKS PRIOR TO DATE OF CONCERT. MAKE CHECKS PAYABLE TO: CARNEGIE HALL BOX OFFICE. Auspices: The Carnegie Hall Corporation

12 readings still are coming to light. That disorder? What can have been the is the price society must pay for its innermost thoughts of this man, once To free the ser neglect of an artist, the bankruptcy of so fertile, now, his last 37 years, Alexander II its soul. In Ives's case, all his MSS— all creatively impotent? What can they was bribed with that had not been lost—went into the have been after rave reviews for the 4th Cotelette barn on Umpawaug Road after his Symphony in 1927, major perform- a la Kiev! retirement, and lay there virtually ances in Paris and Berlin in 1931 and 2, untouched till his death, 25 years later. and then nothing, or so little, till Untouched, that is, except by Ives shortly before his death, when everyone himself. His closest friends—the Ry- was climbing on the bandwagon? And come,i ders, Nicolas Slonimsky, Carl and nothing accepted for publication as a Charlotte Ruggles, The Cowells— all commercial venture till his 74th year. be inspired are/were agreed that Ives, in his later Small wonder he was so scathing about THE RUSSIAN TEA ROOM years, diabetic, arthritic, palsied, di- "Commercialism" in music. Melville, heart and failing eyesight, still Hawthorne, Whitman had not to suffer 150 West 57th Street seased RTfl retained his youthful vigor, animation, such indignity. CO 5-0947 enthusiasm, that there was nothing For, although he somehow forfeited "tragic" about him. This was the face his creative powers in early middle age, he chose to show them, and it was a Ives knew that he had done right by Justa short walk precious face. But there was another American music. But American music from this theater getsyou to a Charles Ives, restlessly brooding over had not done right by him. By 1930, by one in a million his forgotten MSS, pulling out sheaves 1935, there could be no excuse for his restaurant. at random to live for a while with some genius not being recognized. Not that incident of the past, add a few notes or he gave a solitary cuss for recogni- Where you can get light snacks after marginalia, shove them back hap- tion —only flatterers and decorators the show. Or complete dinners (from hazard into one of the drawers any- flattery — sought and decoration. But 4.95). Fondues (cheese, beef, choco- where but where they had come from. nothing had happened. There was still late). Quiche Lorraine. Cheese, fruit Was this evidence of any faith that they no authentic mainstream of American and sausage snacks. Wine. Cocktails. would some day be considered valuable composition. Rich desserts. Lots more. La Fondue. Just a few blocks away to others? Behavior you would expect There could not be. Full, even on 55th Street. Between 5th and 6th from someone who once had been a adequate recognition of this obscure Avenues. As long as you're in the successful businessman, had the or- New England source would have meant neighborhood, drop in. derly mind and self-discipline that the sweeping aside of the musical characterize a successful business- establishment, of a host of middle- lafundue man? this for 25 years. Is And went on generation composers who, one way or 43 West 55 St., N.Y.C. 581-0820 it any wonder the MSS were found in other, had paid homage to that

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13 —

C^thegie Halls^New Orgaii

by LEONARD RAVER system of sound generation which uses variety and diversity. discrete components that permit voic- That such a truly modern instru-

For more than ten years it has been ing of the stops and minute adjust- ment is now in one of the world's major the desire of The Carnegie Hall ments of volume and timbre similar to concert halls is an exciting prospect. Corporation that a great organ be built the techniques of voicing pipes. The The Carnegie Hall Corporation, which would do justice to the acoustics elaborate five-manual console provides through the courage and insight of Mr. of the celebrated auditorium. Though the ultimate in flexibility both for the Bloom, may well be ushering in a new most of the better organs throughout execution of the music and placement age, not only by causing such a the world are in churches and on the stage. A complex series of high revolutionary new electronic instru- cathedrals, late in the nineteenth fidelity speakers are placed just under ment to be built but also in providing century a few organs were installed in the proscenium; those for the pedal the opportunity for more frequent use some of the concert halls of Europe and division are suspended at the back of of the organ as a concert instrument. the United States. However, the pre- the stage, and those for the echo vailing lack of cathedral acoustics division in the ceiling at the rear of the Leonard Raver, a frequent contributor to that lively resonance which enhances auditorium. These factors together music publications, is well known among the organ tone—has caused the majority of with such further innovations as professional organists in New York City. organs in concert halls to be less than multiplex cabling from the console, satisfactory. As a result the vast bi-amplification and delay/reverbera- repertoire of great organ music is tion circuitry make this instrument sui D7ES [Continued from page 13] infrequently heard there. Now hope- generis: no other concert hall in the establishment, the uncloaking and fully all that will change with the world possesses one like it. exposure of its huge incompetence. It advent of a new organ at Carnegie Hall. As a result, this instrument should would have been like Germany after The desire a few years ago to install a be in constant demand, not only for the the first recognition of Bach in the tracker- action pipe organ in Carnegie International Organ Series and other 1830s and '40s: every intermediate Hall was frustrated when it was solo concerts but also for programs German musical figure before Men- determined that the stage housing with symphony orchestras and choral delssohn, Wagner, and Schumann would have to be altered in order to groups. The flexibility of a movable ((Mozart and Haydn were Austrian/ accommodate it, which would have console on a concert hall stage provides Hungarian, Beethoven went early to affected the famed Carnegie Hall the ideal relationship between the Vienna)) has been passed over, and acoustics. Thus, after discussions audience and the organist with the posterity has forgotten them. between Julius Bloom, Executive Di- other instrumental and/or vocal forces And what price posterity anyway? It rector of the Corporation, and Virgil on stage. The visual excitement of is an establishment sop we use to salve Fox, whose experience with electronic watching an organist perform at an our consciences in, 99% lip-service, organs on tour had convinced him that elaborate console is a most enjoyable remembering genius for a day, in a the technology had developed suffi- part of such concerts, and the sight year's time, in fifty years, a hundred. ciently to build a truly great instru- lines of Carnegie Hall will add this More than that is not possible, we live ment, Mr. Bloom approached the fascinating dimension to every pro- now and have all the problems, and Rodgers Organ Company of Hillsboro, gram in which the organ is used. what do we care about those who had Oregon, to see if it could measure up to Pipe organs in concert halls are them before? Genius is meaningful the stringent demands required by notoriously expensive to maintain and only if we see it happening, now, as it such a project. The answer was a difficult to keep in readiness, given the is supposed to happen, living, vital, definite Yes. inordinate amount of time involved in vivid—not paid homage to, written The challenge has been eminently tuning and servicing them. These about, stuck in a museum to atrophy met with the completion of this problems are virtually non-existent in and brought out once in a while for custom-built electronic organ. The electronic instruments, one of the show. What homage can vindicate the builders have devised a "comprehen- reasons why The Carnegie Hall Cor- actual anguish of genius unless we are sive design" in their choice of stops and poration made its decision to install a exposed to that anguish, capable of number of keyboards which is capable Rodgers organ. Specifications were sharing it? If as musicians, then of realizing the full range of organ drawn up by Virgil Fox as musical constantly? literature of all styles and periods. The consultant, Christopher Jaffe as acous- American posterity, it seems to me, International Organ Series of six tical consultant and advisor on design is acutely embarrassed about Charles concerts by world-famous artists will and placement of speakers, John Edward Ives. fits no convenient serve as a supreme test, given the wide Grable as tonal designer, and Allan He notion, no ready-made pigeon hole as] scope of music programmed for the Van Zoeren as tonal finisher. John to what genius and artistry are series. McNamara was the architectural con- It should be recalled here that this is sultant. supposed to be like. He was not eccentric, except as posterity has the second organ to be installed in Organists performing at Carnegie chosen to portray him as eccentric. He Carnegie Hall. The first one was built Hall will find the instrument ready for by the was not Bohemian. He was not Kilgen Organ Company about use in a fraction of the time needed to 1930 at the avant-garde though years ahead of behest of Pietro Yon, but it prepare a pipe organ. But important as — was soon considered the avant-garde. He did not die young, inadequate due to ease of maintenance and flexibility of the or go deaf, blind, or insane. did not quality of the pipes and their use are, the most significant considera- He go on composing till his dying breath. unsatisfactory placement in a back- tion is the tonal beauty of an organ: stage wing. It In every way except one, he was the was removed early in the whether it is indeed a great musical stereotype of a gentle, genial, generous 1960's. instrument capable of bringing organ The new Rodgers upper-middle-class American. D organ benefits literature to its fullest realization. The from the most advanced technology, concert world awaits the experience of ©1974, by David Wooldridge. Printed by 14 employing the company's own unique hearing this superb new organ in all its permission of Alfred A. Knopf, Inc. i r

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