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Founded by Theodore Thomas in 1891

CHICAGO SYMPHONY ORCHESTRA

FRITZ REINER Music Director

THURSDAY-FRIDAY SERIES

FIFTEENTH PROGRAM January 12-13, 19 56

SIXTY-FIFTH SEASON CHICAGO SYMPHONY ORCHESTRA FRITZ REINER, Conductor

GEORGE SCHICK, Associate Conductor

FIFTEENTH PROGRAM Thursday Evening, January 12, 1956, at 8:15 Friday Afternoon, January 13, 1956, at 2:00

ARTUR RUBINSTEIN, Soloist

OVERTURE TO “THE CREATURES OF PROMETHEUS, Opus 43...... BEETHOVEN SUITE FROM THE BALLET “PULCINELLA” (AFTER PERGOLESI) FOR SMALL ORCHESTRA . . . STRAVINSKY Sinfonia (Overture). Serenata. Scherzino—Allegro—Andantino. Tarantella. Toccata. Gavotta con due variazioni. Vivo. Minuetto—Finale. CONCERTO FOR PIANO, No 1, E Fiat Major...... LISZT Allegro maestoso— Quasi adagio— Allegro vivace— Allegro marziale animato. INTERMISSION CONCERTO FOR PIANO, A Minor, Opus 16...... GRIEG Allegro moderato. Adagio. Allegro marcato.

The Piano is a STEINWAY

The Chicago Symphony Orchestra uses the BALDWIN Piano

Patrons are not admitted during the playing of a composition. Considerate persons will not leave while the orchestra is playing. Ladies will please remove large hats. The performance of the last movement of the final composition on this program will require about eight minutes. Advance Programs on Pages 37-39-40. 3 Program Notes By FELIX BOROWSKI

Overture to “The Creatures of Prometheus,” Opus 43 By LUDWIG VAN BEETHOVEN. Born December 16, 1770, at Bonn. Died March 26, 1827. al Vienna. IE GESCHÖPFE DES PROMETHEUS” (“The Creatures of Pro­ metheus”) a ballet composed in 1800-01 by Beethoven, was pro­ duced for the first time at the Hoftheater, Vienna, March 28, 1801. The work was conceived and put upon the stage by Salvatore Vignano. This author was well known as a ballet dancer and as an arranger of works for stage dancing. He had been born at Naples, March 29, 1769, and had begun his career in Rome. Later he went to Madrid, and married there Maria Medina, who also was a dancer. At the first performance of “Die Geschöpfe des Prometheus” the ballet was preceded by “Der Dorfbarbier”—probably the singspiel by Johann

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For free tickets to these concerts which originate in the WGN-TV Theatre, please write to Chicago Title and Trust Company, 111 West Washingto Street, Chicago 2. 5 Program Notes—Continued Schenck which had been produced with great success in 1796, in Vienna. Operatic performances began earlier in Beethoven’s day than they do now. The curtain was advertised to be raised at 6:30 p. m. Beethoven’s music to the ballet consisted of the overture and sixteen other numbers. It would seem that Beethoven was not satisfied with Vignano’s share in the unfolding of “Die Geschöpfe des Prometheus,” for in a letter to Hofmeister, of Leipzig, written April 22, 1801, he said, “I have written a ballet, in which, however, the ballet master has not made the best of his part.”

The argument of the ballet was printed in the program. It ran thus:

“The basis of this allegorical ballet is the fable of Prometheus. The Greek philosophers, by whom he was known, allude to him thus—they depict him as a lofty soul who drove ignorance from the people of his time, and gave them manners, customs and morals. As the result of this conception two statues that have been brought to life are introduced into this ballet, and these, through the power of harmony, are made sensitive to the passions of human life. Prometheus leads them to Parnassus in order that Apollo, the deity of the arts, may instruct them. Apollo gives them as teachers Amphion, Arion and Orpheus to instruct them in music;

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7 Program Notes—Continued Melpomene to teach them tragedy; Thalia, comedy; Terpsichore and Pan. the latest shepherd’s dance, and Bacchus for the heroic dance, of which he was the originator.” In his biography of Beethoven, Ludwig Nohl asserts that Beethoven’s “Prometheus” “represents in a sense the history of the creation of man in choreographic pictures.” Nohl also declares that the success of the ballet “determined Schikaneder, well known to the readers of the Life of Mozart, who at this time had the direction of the newly built theater in Vienna, to engage Beethoven at a large annual stipend.” Beethoven’s overture to “Prometheus” is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums and strings. The first performance at these concerts was March 10, 1900. The overture opens with an Introduction {Adagio, C major, 3-4 time) sixteen measures long. After four fortissimo measures an expressive theme is given out by the woodwind, horns and strings. The main movement (Allegro molto con brio, C major 2-2 time) has its principal subject given in a rapidly moving figure by the first violins. This is repeated, //, in the full orchestra. The second theme, in G major, is given to the flutes and oboes. The Development section is concerned principally with the opening subject. In the Recapitulation the first theme is set forth by the

9 Program Notes—Continued first violins as in the Exposition, and the second subject, now in C major, is allotted to the Hutes and oboes as before. There is a lengthy coda, in which further development is given to the principal theme.

Suite from the Ballet, “Pulcinella” (After Pergolesi), for Small Orchestra By IGOR FEDOROVICH STRAVINSKY. Born June 5, 1882, at Oranienbaum. ^T")ULCINELLA,” a ballet in one act, with song, was completed in the Spring of 1920. The work was created at the instigation of Serge de Diaghileff, who had conceived the notion of producing a number of choreographic works based on music by masters of earlier days. He had suggested to Vincenzo Tommasini a ballet with music by Domenico Scarlatti, the outcome of which was “Le donne di buon umore,’ pro­ duced at Rome in 1917. To Ottorino Respighi he suggested music by Rossini or Cimarosa. “La Boutique Fantasque,” based on some of Rossini’s piano pieces, was given by Diaghileff and his Ballet Russe in London, June 5,

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11 Program Notes—Continued 1919. Mme. Pavlowa staged Respighi’s version of some of Cimarosa’s music in a ballet entitled “Le Astuzia femminili,” also in London. Stravinsky’s “Pulcinella,” founded on music by Pergolesi (1710- 1736), was produced for the first time at the Opera, Paris, May 15, 1920. The choreography was designed by Leonide Massine, Pablo Picasso made the designs for scenery and costumes. The role of Pulcinella was in­ terpreted by Massine and that of Pimpinella by Thamar Karsavina. The singers were Mme. Zoia Roskovska, Aurelio Anglada and Gino de Vecchi. Ernest Ansermet as the conductor. Later, Stravinsky made a suite for orchestra from the music in the ballet. It was given for the first time in America at a concert of the Boston Symphony Orchestra, Boston, De­ cember 22, 1922. The score of “Pulcinella” contains the following description of the action: The subject of “Pulcinella” is taken from a manuscript found at Naples in 1700, containing a great number of comedies which put on the stage the traditional personages of the Neapolitan folk-theatre. The episode chosen for the libretto of this ballet is entitled: “Four Similar Pulcinellas.”

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13 Program Notes—Continued All the young girls of the country are in love with Pulcinella; the young fellows, pricked with jealousy, try to kill him. At the moment when they think they have accomplished their purpose, they borrow Pulcinella’s costume to present themselves to their sweethearts. But the malicious Pulcinella has had his intimate friend take his place, and this substitute pretends to die from the hands of the assassins. Pulcinella himself takes the dress of a sorcerer and brings his double to life. At the moment when the young swains think they are relieved of him and go to visit their loved ones, the true Pulcinella appears and arranges all the marriages. He weds Pimpinella, blessed by his double, Fourbo, who in his turn appears as the magician. The suite contains the following movements: 1. Sinfonia (Overture). II. Serenata. III. Scherzino. IV. Tarantella, leading to V. Toccata. VI. Gavotta con due variazioni. VII. Vivo. VIII. Minuetto, leading to Finale. The orchestra employed for the work comprises the following: Two flutes, piccolo, two oboes, two bassoons, two horns, trumpet, trombone, solo quintet of strings and string orchestra. The first performance of the work by the Chicago Symphony Orchestra was January 17, 1935. Stravin­ sky was the conductor.

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15 Pkocram Notes—Continued Concerto for Piano. No. 1, E Flat Major By FRANZ LISZT. Born October 22. 1811. at Raiding. Died July 31, 1886, at Bayreuth.

HERE is some uncertainty as to the exact year in which Liszt com­ posed his first concerto for piano. It was written either in 1848 or T1849. Hans von Biilow, Liszt’s son-in-law, stated in one of his letters that the work was completed in June of the latter year. It would seem, how­ ever, that Liszt was dissatisfied with his concerto and that he made a revision of it in 1853 at Weimar, where he was living as director of music at the court of Carl Alexander, Grand-Duke of Saxe-Weimar-Eisenach. Andreas Moser, in his biography of Joseph Joachim, stated that the orchestration of Liszt’s E flat major concerto had been written by Joachim Raff, who acted for some time as amanuensis for Liszt. This claim is not substantiated by the known facts in the case, but it is likely that Raff may have made a copy of Liszt’s score. While, indeed, there is no reason to believe that Raff was the orchestrator of Liszt’s concerto, it is certain that he assisted Liszt in the scoring of more than one of the latter’s symphonic poems.

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48 E. Oak Street, Chicago 11 DE. 7-4150 COMPONENTS AND COMPLETE INSTALLATIONS IN ALL PRICE RANGES 17 Program Notes—Continued The concerto was performed for the first time at a concert given February 17, 1855, in the hall of the Grand Ducal castle at Weimar in celebration of the Grand Duchess’ birthday. The performance was de­ voted to compositions of Berlioz, who conducted them and the concerto by Liszt. The latter work was inserted between the French masters song, “La Captive,” sung by Doris Genast, and the Dance of the Sylphs, from “Le Damnation de Faust.” Liszt was the performer of the piano pait of the concerto. Berlioz conducted, and the orchestra played from manu­ script. for the work was not published (as to the score) until 185/. At that time, as in later years, Hanslick wielded a powerful influence and a caustic pen in his capacity as critic on the Wiener Presse. He was not at all in sympathy with the radical ideas of Liszt, of Berlioz, of Wagner. Their music appeared to him as being meaningless, without form, without beauty, without nobility of thought. There is a passage in the scherzo of Liszt’s concerto, in which the triangle has a small but important part. Upon this inoffensive instrument Hanslick poured the full measure of his scorn. He dubbed Liszt’s work a “Triangle Concerto.” This was sufficient to decide the fate of the composition in Vienna. No one had the courage to revive a work so effectually annihilated, and Liszt’s concerto remained (Continued on page 22)

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19 Program Notes—Continued unheard until 1869, in which year Sophie Menter, in spite of the warnings and admonitions of her friends and colleagues, played the work and— to the astonishment of all—with great success. In America, Liszt’s concerto was played for the first time at a concert of the Philharmonic Society, New York, April 20, 1867, with Sebastian Bach Mills as solo pianist. At concerts of the Chicago Symphony Orchestra it was first heard February 24, 1894, with Adele aus der Ohe as soloist. The concerto is scored for three flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, kettledrums, cymbals, triangle and strings.

Concerto for Piano, A Minor, Opus 16 By EDVARD GRIEG. Born June 15, 1843, at Bergen. Died September 4, 1907, at Bergen. RIEG wrote his A minor concerto for piano in the summer of I860 G at the village of Sollerod, in Denmark, where he was spending his

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23 Program Notes—Continued Grieg a sum of money from the Norwegian government, wherewith he could travel to Rome to meet Liszt. In October, 1869, Grieg left Oslo for Italy, and he met Liszt at the monastery near the Forum, where the master usually resided when he visited Rome. It was at the second of two meetings with Liszt that the concerto was discussed. In a letter first published in Norwegian in a pamphlet issued at Bergen in 1892, on the occasion of Grieg’s silver wedding, the composer described his experiences. The translation subjoined is drawn from Mr. Finck’s book: “I had fortunately just received the manuscript of my pianoforte concerto from Leipzig, and I took it with me. Besides myself there were present Winding, Sgambati and a German Lisztite, whose name I do not know, but who goes so far in the aping of his idol that he even wears the gown of an abbé; add to these a Chevalier de Concilium, and some young ladies of the kind that would like to eat Liszt, skin, hair and all; their adulation is simply comical. . . . Winding and I were very anxious to see if he would really play my concerto at sight. I, for my part, considered it impossible; not so Liszt. ‘Will you play?’ he asked, and I made haste to reply: ‘No, I cannot’ (you know I have never practiced it). Then Liszt took the manuscript, went to the piano, and said to the assembled

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25 Program Notes—Continued guests, with his characteristic smile, ‘Very well, then, 1 will show you that I also cannot.’ With that he began. “I admit that he took the first part of the concerto too fast, and the beginning sounded helter-skelter; but later on, when I had a chance to indicate the tempo, he played as only he can play. It is significant that he played the cadenza, the most difficult part, best of all. His demeanor is worth any price to see. Not content with playing, he at the same time converses and makes comments, addressing a bright remark now to one, now to another of the assembled guests, nodding significantly to the right or left, particularly when something pleases him. In the Adagio, and still more in the finale, he reached a climax both as to his playing and the praise he had to bestow.

“A really divine episode I must not forget. Toward the end of the finale the second theme is, as you may remember, repeated in a mighty fortissimo. In the very last measures, when in the first triplets the first tone is changed in the orchestra from G sharp to G, while the piano part, in a mighty scale passage, rushes wildly through the whole reach of the keyboard, he suddenly stopped, rose up to his full height, left the piano, and with big,

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“This final admonition was of tremendous importance to me; there was something in it that seemed to give it an air of sanctification. At times, when disappointment and bitterness are in store for me, I shall recall his words, and the remembrance of that hour will have a wonderful power to uphold me in days of adversity.”

Mr. Van der Stucken asserts that “while Liszt admitted the originality of the music, he suggested several alterations in the instrumentation. The composer, who at that time was rather doubtful about his orchestral

DePaul University Symphony Orchestra Paul Stassevitch, Conductor with Soloists and Women’s Chorus

Friday, January 20, 1956, 8:15 p.m. THORNE HALL, Lake Shore Drive at Superior Street

No charge far Admission—Complimentary Tickets Available at The School of Music, DePaul University 64 East Lake Street, Chicago 1, Illinois

29 Program Notes—Continued knowledge, accepted these suggestions, and the score was published ac­ cordingly. But on this occasion Liszt had made the mistake of following his own fiery temperament, instead of considering Grieg’s more idyllic nature, and so the scoring turned out to be too heavy for its poetical contents. Later on Grieg published a revised edition of the concerto, in which he partly reverted to his first simpler and more appropriate scoring. A single example shows plainly the difference of the two versions: the beautiful second theme of the first movement was given by Grieg to the ’cellos, quite in keeping with the tender cantabile character of the melody; Liszt suggested the trumpet, and at once introduced a theatrical tinge that never existed in Grieg’s make-up.” The first performance of Grieg’s concerto took place at Copenhagen in 1869, the interpreter of the solo part having been Edmond Neupert, to whom Grieg dedicated the work. The composition was played from manu­ script. From a manuscript, too, it was played for the first time in Germany at a concert given for the benefit of the Leipzig Orchestra Pension fund, February 22, 1872. The pianist was Miss Erika Lie, a pupil of Kjerulf and Theodore Kullak. The first performance in England was given by Edward Dannreuther, who played it at a Crystal Palace concert, April 18, 1874.

Music in the Great European Tradition

IGOR MARKEVITCH Con­ FERENC FRICSAY Con- ducts: Mussorgsky: Pic­ ducts: Stravinsky: Le tures At An Exhibition; Sacre Du Printemps; also, Wagner: Siegfried RIAS Symphony, Berlin Idyl; Berlin Phil. (DL (DL 9781) Verdi: Requi­ (¡ofciLM 9782) Berlioz: Sympho­ em; Soloists, RIAS Sym­ nie Fantastique; Berlin phony & Chorus; Choir Phil. (OL 9783) of St. Hedwig’s Cathe­ dral. (DX-118) RECORDS, All recorded in Europe by Deutsche Grammophon Gesellschaft.Gt 31 Program Notes—Continued In America it was also played in 1874, for it figured al one of the Boston Symphony Concerts, Oct. 28. wheh it was played by F. Boscovitz under the direction of Theodore Thomas. The program announced the work as “new.” Grieg busied himself at different periods of his life in retouching the concerto, and shortly before his death he was occupied in changing the scoring from two horns to four for the performance of the work at the Leeds (England) Festival of October, 1907, in which he himself was to have taken part. The Norwegian master died in September, and the con­ certo was played by Percy Grainger. The concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, kettledrums and strings. The first performance at these concerts was April 17, 1897 with Teresa Carreno as soloist. The work contains the following movements:

I. Allegro moder a to, A minor. 4-4 time. II. Adagio, D flat major, 3-8 time. III. Allegro marcato, A minor, 2-4 time.

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33 Chicago Symphony Orchestra

SIXTY-FIFTH SEASON - - - 1955-56

FRITZ REINER, Conductor GEORGE SCHICK, Associate Conductor GEORGE A. KUYPER, Manager Roger G. Hall, Assistant Manager

CONCERTMASTER VIOLONCELLOS CLARINETS John Weicher Janos Starker Clark Brody Jenska Slebos Jerome Stowell Theodore Ratzer Walter Wollwage VIOLINS Joseph Saunders George Weber Victor Aitay Margaret Evans Assistant Concertmaster Nicolai Zedeler BASS CLARINET Richard Beidel George Weber Alois Trnka Josef Faerber Robert Smith Paul Kahn David Greenbaum BASSOONS Victor Charbulak Ernst Friedlander Leonard Sharrow Perry Crafton Philip Blum John Raitt Nathan Snader Wilbur Simpson- Theodore Silavin Clarke Kessler Frank Fiatarone BASSES Edward Gradman Kaymond Niwa James Vrhel CONTRA BASSOON Warren Benfield Jerry Sabransky Clarke Kessler Juan Cuneo Radijov Lah William Hector Rudolf Fahsbender HORNS Charles Zika Vladimir Kalina Philip Farkas Samuel Siegel Alfred Kovar Walter Hancock Harold Carnes Louis Stout Joseph Michalek Nathan Zimberoff Alan Fuchs John Klima Clyde Wedgwood Wayne Barrington- Franz Polesny Joseph Mourek Principal IIARPS Francis Akos TRUMPETS Royal Johnson Joseph Vito Leon Brenner Geraldine Vito Adolph Herseth Philip Scharf Rudolph Nashan Morris Monitz William Babcock Joseph Golan ORGAN Vincent Cichowicz Aaron Finerman Irwin Fischer Michael Rill TROMBONES Adrian Da Prato Robert Lambert James Hansen FLUTES Frank Crisafulli Carlo Morello Ernest Libgl Edward Kleinham mer Joseph Kovacs Walfrid Kujala Robert Rada Norbert Mueller Ralph Johnson- BOHUSLAV IIaRVANEK Ben Gaskins TUBA Rudolph Reiners Arnold Jacobs PICCOLO VIOLAS Ben Gaskins TIMPANI Milton Preves Edward Metzengek Rolf Persinger William York OBOES PERCUSSIONS ISADORE ZVEROW Ray Still Harry Brabec Sheppard Lehn hoff Laurence Thorstenberg James Ross Samuel Feinzimer Jerry Sirucek Sam Denov Robert Alexa Robert Mayer Donald Evans LIBRARIANS Guido Rizzo ENGLISH HORN Robert Coleman- Fred Boos Joseph Roda Robert Mayer John Klima

Walter Hancock, Personnel Manager

Lionel Sayers, Custodian of Library 34 Soloist This Week Artur Rubinslein, Piano A native of Lodz, Poland, Artur Rubinstein first displayed signs of musical talent at the age of three. At six, he performed at a charity concert in Warsaw. At eleven, Artur made his formal debut in Berlin under the baton of Joachim, who had assumed responsibility for Artur’s musical future. By the time Rubinstein was fifteen, his reputation had spread throughout Europe and he had earned the praise of Saint-Saëns, Paderew­ ski and Max Bruch. In 1906, he paid his first visit to America where he gave 75 concerts in three months. Mr. Rubinstein’s global tours have covered more than two million miles and have taken him to every country in the world except Tibet. In recent years, he has appeared in several motion pictures. He played the sound track for MGM’s picture depicting the life of Robert Schumann; the pianist’s latest film appearance was in “Of Men and Music.” This will mark his twelfth appearance as soloist with the Chicago Symphony Orchestra.

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35 JAN. 19 ¿Is and JAN. 20 2« SIXTEENTH PROGRAM OF THE THURSDAY-FRIDAY SERIES (PROGRAM SUBJECT TO CHANGE)

FRITZ REINER, Conductor

THE NEW YORK CONCERT CHOIR, Margaret Hillis, Conductor HILDE GUEDEN, JENNIE TOUREL, LEOPOLD SIMONEAU, DONALD GRAMM, Soloists

MASS IN C MINOR (Köchel 427)...... MOZART (First performance at these concerts)

INTERMISSION

TE DEUM...... • BRUCKNER (First performance at these concerts)

This program will end at approximately 10 :05 on Thursday and 3 :50 on Friday. Tickets : $2.50 to $5.00

FORTHCOMING CONCERTS of the CHICAGO SYMPHONY ORCHESTRA

Saturday, January 14, at 8:15 P.M. Orchestra Hall GALA CONCERT Conductor: REINER Soloist: Rubinstein

Wednesday, January 18, at 8:00 P.M. Studio 1-A WGN-TV FOURTEENTH TELEVISION CONCERT over WGN-TV Conductor: SCHICK Sponsor: CHICAGO TITLE AND TRUST COMPANY

Thursday, January 19, at 8:15 P.M. Orchestra Hall Friday, January 20, at 2:00 P.M. Conductor: reiner THE NEW YORK CONCERT CHOIR, Margaret Hillis, Conductor HILDE GUEDEN, JENNIE TOUREL, LEOPOLD SIMONEAU, DONALD GRAMM, Soloists

Tuesday, January 24, at 2:00 P.M. Orchestra Hall EIGHTH TUESDAY CONCERT Guest Conductor: WALTER

37 TUESDAY AFT’N ™ JAN. 24 EIGHTH PROGRAM OF THE TUESDAY AFTERNOON SERIES (PROGRAM SUBJECT TO CHANGE) BRUNO WALTER, Guest Conductor

OVERTURE TO “THE MAGIC FLUTE” (Kocliel 620) . . MOZART SYMPHON1E CONCERTANTE FOR VIOLIN AND VIOLA, E Flat Major (Kochel 364)...... MOZART Allegro maestoso. Andante. Presto. Soloists: John Weicher, Violin; Milton Preves, Viola INTERMISSION SYMPHONY NO. 3 (“Eroica”), E Flat Major, Opus 55 . BEETHOVEN Allegro con brio. Marcia funebre. Scherzo. Allegro molto. This program will end at approximately 3 :50. Tickets: $2.50 to $5.00

900 NORTH MICHIGAN

HART SCHAFFNER & MARX Enjoy food of superb quality served in a clothes for distinctive continental atmosphere. men and women Reservations Suggested

OPEN DAILY. .. 11:30 A.M. TO 12:00 P. M. BASKIN State at Adams

39 JAN. 26 s-Is and JAN. 27 2« SEVENTEENTH PROGRAM OF THE THURSDAY-FRIDAY SERIES (PROGRAM SUBJECT TO CHANGE)

BRUNO WALTER, Guest Conductor

ALL MOZART PROGRAM OVERTURE TO “THE MAGIC FLUTE” (Kochel 620) SYMPHONY, A Major (Kochel 201) Allegro moderato. Menuetto. Andante. Allegro con spirito. SYMPHONIE CONCERTANTE FOR VIOLIN AND VIOLA, E Flat Major (Kochel 364) Allegro maestoso. Andante. Presto. Soloists: John Weicher, Violin; Milton Preves, Viola INTERMISSION SYMPHONY, C Major (“JUPITER”), (Kochel 551) Allegro vivace. Menuetto. Andante cantabile. Finale. This program will end at approximately 10 :05 on Thursday and 3 :50 on Friday. Tickets : $2.50 to $5.00

VITALY SCHNEE Pianist and Teacher

STUDIOS: 2052 North Orleans Street ÌÌÙyCfL and 616 Fine Arts Building CONCERT HARPIST Concert Management, Howard R. Will For information call DI versey 8-6223 332 S. Michigan Ave., Chicago Universal Recording Artist

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