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II. ..... ~~ ■ . - -~7- 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 A FULL HOUR CONCERT ON TELEVISION see and hear the CHICAGO SYMPHONY ORCHESTRA directed by FRITZ REINER George Schick, Associate Conductor and eminent guest conductors every Wednesday 8:00 to 9:00 p.m. WGN-TV—CHANNEL 9 -presented by 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; Teddy Renoz referred to as “Italy's Sinatra,” will star in the Continental Revue opening December 27th in the Empire Room of the Palmer House. The exciting revue features top enter­ tainers of Italy, France and Spain, never before seen in America. 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, A Special Invitation to acquaint you with America's most widely read music magazine and its noted critic, Irving Kolodin Pacing today’s Musical Renais­ FREE sance is the SATURDAY REVIEW TO NEW SUBSCRIBERS and Irving Kolodin-the critic lis­ teners listen to. Long America’s book authority, Saturday review now has added over 500 pages a year to reporting “live” and recorded music throughout the world-far more than any other general magazine. You’ll enjoy all music more—at home, in the concert hall or opera house-with the guidance of Saturday review. Use money-saving coupon to subscribe. J Saturday review, Dept. C, 25 West 45th St., New York 36, N. Y. 1i i Here are the wonderful 1 Please enter my subscription to Saturday review for 37 issues i recordings Irving * at only 83.69 (regular subscription rate—85.00). Also send me i Kolodin has selected from RCA Victor’s J “Critic’s Choice” free. i r treasured vaults. ! Q 83.69 enclosed O Bill me i Performances by nine of 1 i the greatest singers of i this century at their j i peak. Recorded for i i SATURDAY REVIEW by RCA on a 10-inch LP record. 1 „,,v ZONE STATE---------------------- i i Supply Limited-Order Now 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.” Jewels and watches of unquestioned excellence—prized for their superh quality, distinguished styling, exquisite craftsmanship. < ARBOGAST & HOLDORF 55 E. WASHINGTON ST. CERTIFIED GEMOLOGIST R 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.

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