The Israel Philharmonic Orchestra FOUNDED BY BRONISLAW HUBERMAN TWENTY NINTH SEASON 1964/65 » 60 AGOROT SUBSCRIPTION CONCERT, TEL AVIV X ffhe Quest (Artists 1W3N» V3WJX ANTONIO JANIGRO PAUL PARAY, under whose baton tions of the leading French composers the present season opened, is also the but also for his understanding of the conductor of the second series of sub­ classic and. romantic German composers scription concerts. and the programme being played tonight shows his wide range. Moreover, he has The French-born conductor is noted always shown a most sympathetic inter­ not only for his outstanding interpreta­ est in the work of Israeli composers and very readily agreed to conduct a new ensemble which has since become famous piece by Hanoch Jacoby, which is being as the “Virtuosi of Zagreb”, and which given its first performance in this series has appeared with the greatest success of concerts. in such music festivals as those of ANTONIO JANIGRO, now appearing Holland, Salzburg, Aix-en-Provence, with the I.P.O, for the first time, is one Prague, Edinburgh and Venice and has of those rare musicians who have achiev­ appeared in many of the world’s musical ed fame both as instrumentalist and centres with Janigro either as conductor conductor. As a cellist he has toured the or soloist or as both. world and has appeared with most of Antonio Janigro was born in Milan in the major orchestras under the leading 1918, studied at the music conservatoire conductors. He has also participated in of his native city and then at the Ecole many concerts of chamber music. normale de Musique in Paris in the class It was in 1953 that the Zagreb Radio of Diran Alexanian on the advice of asked him to organize and direct a string Pablo Casals. FLY TWA DIRECT TO NEW YORK AND THE WORLD’S FAIR U.S.A- Europe Africa • Asia Enjoy the fabulous 1965 World’s Fair — and the pleasant, depend on easy way TWA takes you there. No change of plane. You get on in Tel Aviv, get off in New York. En route, you’re our guest for superb meals. And you see first-run movies in flight. They’re complimentary. In Royal Ambassador First Class, just IL 3 — in money-saving Economy. Next time — for an entertaining trip — call your Travel Agent and specify TWA-Trans World Airlines. TEL-AVIV, Fredric R. Mann Auditorium — Sunday, 25.10.64 at 8.30 p.m. Series 2 “Serio-Giocoso” — Symphonie Piece introduction, changes into a waltz and Hanoch Jacoby this takes on a scherzo-like 3/8 rhythm. There is a short fugue and after several Hanoch Jacoby’s newest orchestral episodes comes what can be taken as a work has a specific title which may be recapitulation in reversed order. Here the translated as “serious-joyful”, and in texture has become denser and more this way he defines the range of ex­ impressive and the work ends on a pression, the temperature, so to say, of climax. his work. He thus implies that it is not Concerto in A minor for Violoncello and Orchestra Robert Schumann In the last years preceding the actual outbreak of his mental illness, Schumann was driven by a feverish activity. The Cello Concerto was written in only two weeks. Like the piano concerto, it is free of the cheap device of virtuosity for virtuosity’s sake, which was so widespread at the time. The work derives its main strength a work of a particular modern kind, from the romantically felt slow passages mechanical or fortuitous music, or music in the cello and the noble character of an exclusively intellectual type. But given to it is instantly felt when the once he has established himself as a soloist enters at the beginning of the romantic, Jacoby then proceeds to com­ piece. Schumann deviates from the pose a carefully constructed work. It is orthodox concerto pattern that demands in one movement, but with changing two expositions, one each for orchestra tempos and it starts with a slow introduc­ and soloist. Here the tutti which follows tion which contains the basic material the solo is a transition to the second used in the work. All that follows can theme, which is again given to the cello be understood as written by way of and presents no real contrast, except variation. The march, which follows the that it is in the major key. Even if the formal requirements are not fulfilled, the criticised by his contemporaries for its listener is conscious of a beautiful fan­ “most barbaric dissonances" and the tasy. Without pause comes the second “noisy use of all the orchestral instru­ part, a kind of “song without words” ments”. But affirmative voices were also and, when the main theme of the first raised and soon, when the “Eroica” ap­ movement appears, the fast third part peared, the “First” was characterised as approaches. Here we find much passage­ “a splendid work of art in which con­ work, thematic exploitation and even text, order and light always reign”. But a cadenza but what remains in the mind highly critical again was Berlioz who, of the listener is the spell created by the writing as the romantic he was, said nostalgic beauty which clothes the great “The scherzo is the only truly original part of this concerto. thing in this symphony in which the poetic idea, so great and rich in the Symphony No. 1 in C Major, Op. 21 majority of Beethoven’s succeeding works, Ludwig van Beethoven is wholly wanting. It is music that is admirably made, clear, alert, but slightly Beethoven’s first symphony, work of accentuated, cold and sometimes mean the 30-year old composer, was severely as in the final rondo, which is musically childish. In a word, this is not Beet­ cents, his surprises. Thus the very hoven”. Even in our own times, Paul beginning is not in the key in which Bekker wrote that the Finale is “rather the symphony is written, the real C inferior in importance compared to the Major being reached and confirmed only other parts” and “is not different from with the end of the 12-bar introduction. the better works of other contemporary composers”. The slow movement starts like a real fugue and its beauty is partly based on Today the fight over this work — on its polyphonic transparency. The last one side it being said that it was too movement is famous for its wittily audacious for ears trained in the lan­ hesitant start. It is a rondo in character guage of Mozart and Haydn, and on the but in form it is also a sonata movement, other side it being accused of not yet like every movement in the First Sym­ being the real Beethoven — is over. Now phony except for the minuet, which is the listener can freely enjoy this master­ only called by this name but, in fact, piece of composition and invention, the old, slow dance has really been re­ which already shows so much of the placed by the stormy, fast, Beethoven force of the “real Beethoven”, his ac­ scherzo. d v A KORE" TEl-AVIV, 6, BEir-HASHOEVA LANE TEL. 6 4 3 0 1 HAIFA, 35. HAATZMAUTH ROAD 6 90 3 5 JERUSALEM, 33 JAFFO ROAD . 22338 “Pelleas et Melisande”. Suite for of Brahms till after the second world Orchestra Gabriel Faure war. Born in Rumania in 1881, he was taken to Vienna when only seven years Gabriel Faure, organist of the Made­ of age. There he remained till his four­ leine Church in Paris and the teacher teenth year, completing his studies with of a whole group of French composers, the highest awards. He then met was himself a remarkable composer and Brahms and was greatly impressed by as French in his works as Couperin or him. Then he turned to Paris where he Saint Saens. His roots were in the earlier continued his studies, France becoming romantic music and he remained faith­ his second homeland. In his musical ful to the restraint typical of these com­ activities he vacillated between violin, posers and did not succumb either to piano, conducting and composing, achiev­ Berlioz or to Wagner and, when inFaur&s ing great success in every field. He latter years the musical scene was became a great interpreter and teacher dominated by Debussy, he again resisted with Menuhin as his most famous pupil. temptation and did not become an Im­ pressionist but remained in the sphere Enesco’s first orchestral work was of intellectual rectitude, delicacy of feel­ performed at a Paris concert while he ing and transparency which give his was still studying. This was the “Ru­ music its genuine French character. manian Poem” which launched him on a career that brought him the place of Faure’s main field was that of the foremost Rumanian composer. To the chamber music and songs, but best wide public only one of Eensco’s works known is his “Requiem”. He occasionally is very well known, his popular Rumanian wrote incidental music for the stage and Rhapsody No. 1. But one should not among such works the music for Maeter­ therefore draw the conclusion that linck’s tragedy “Pelleas et Melisande”. Enesco’s style is mainly folkloristic. He This music soon moved into the concert did make use of folkmusic occasionally hall in the form of a Suite, leaving the but he is most indebted to his teacher stage to the opera of the same name Faure and to other French contemporaries by Debussy, written only four years later, who did not yield to Wagnerian vehe­ which caused quite a revolution.