ZION התזמורת הארע־יעגראלית THE PALESTINE ORCHESTRA season 1939/40 עו גת ידושרים-תל־אביב נסיעה הלוך וחזור 210 םא־י 0*10111’ Ô MOCHS LAUNDRY 14. CHANCELLOR AVE. J E R U S ALEM• TEL. 2604 מ כבסה מ 1 —_ K 14 ׳ oimiüuj דחוב ירושלים• טל. 2604 moch »IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIN JERUSALEM •TEL-AVIV RETURN TICKETS 210 MUS JERUSALEM, BEN YEHUDA STREET CORN. MORDECHAI BEN HILLEL STREET
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שוקולד "עלית" וממתקי "עלית ׳ טעימים מזינים ומבריאים התזמורת הארץ־ישראלית הקונצרט ה־ 8 למנוי , □ ירושלים: 1.2.40 • תל־אביב: 3.74.2.40 חיפה: 40 . 2 . 6 (ההתחלה ב־ 8.30 בערב) Elite’s Chocolate and Elite’s Sweets are Delicious Nourishing and Healthy ה 1 n צ ח : א י ג נ ץ נ ו י מ א ר ק ה ס 1 ל י ס 0 : ברוניסלב הוברמן הפוזיוזה ■ .אובחן ... קרל סריה פון־ובו ( 1786-1826 ) הסנה חברה א־׳ לאחריות בע״ם מכסה סיכון־מלחמה קונצרט! בדרור לכנור וחזמורת ................ 1 והאנס בראהמס (1833-97) Allegro non troppo Adagio Allegro giócpso,: ma non troppo vivace HASSNEH INSURANCE CO. OF PALESTINE LTD. COVERS WAR RISK ,יוסף ואחיו" סויטה לכלי־טיתרים .... א. ו. שטרנבת ( 1 . 1898 ) 1 . יוסף הרועה. 2 . לעג אחי יוסף. 3 . .וישליכו אותו הבורה׳". 4 . מכירת יוסף. 5 . אבל יעקב. 6 . בני יעקב לפני יוסף. 7 . בהווע יוסף אל אחיו. 8 . שלום ושמחה. קונצרט! בא ־מול לכנור ותזמורת ...... פליכס מנרלסון־ברתולדי (1809-1847) Allegro molto appassionato Andante Allegro molto viVace
8th 1. 2. 40 IGNAZ and Orchestra •••• non troppo giocoso, ma Orchestra vivace PAL AL UM Allegro Adagio Allegro FIRST QUALITY ALUMINIUM VESSELS Allegro molto Andante:. Allegro molto ATARA TEL-AVIV • HAIFA • JERUSALEM Jerusalem: Haifa: 6. ADIN OLIVE OIL TOILET SOAP in a i « nap THE PALESTINE ORCHESTRA SUBSCRIPTION CONCERT Tel-Aviv: 3./4. 2. 40 (Commencing 8.30 2. 40 Bronislaw HUBERMAN R K N E U M A • "Oberon" Overture ...Carl Maria v. Weber (1786-1826) THE BEST COFFEE Concerto in D major lor Violin Johannes Brahms (1833-97) non troppo vivace "Joseph a׳nd His Brethren” Suite for Strings .... E. W. Sternberg (b. 1898) Joseph the Shepherd. The derision of his Brothers. “And they cast him into a pit”. Joseph sold by his Brothers. The Mourning of Jacob. Joseph and his Brother. While Joseph made himself known unto his brethren. ,.„׳ Peace and Joy. Concerto in E minor for Violin and F. Mendelssohn-Bartholdy (1809-1847) appassionato
טספרה ויס, ביצ׳מן, שטיגר ל ג 3 י ת בסלון החדיש ביותר לגבירות נוחיות, סביבה נעימה, עבודה ממדרגה ראשונה טלפון 4705 ב 1 • ן . ת ■ א ט ד ו ן ציון" קרמה א׳ הכניסה מימין WEISS, BAICHMAN, STEINER HAIRDRESSERS Greater Comfort in Our Enlarged SALON FOR LADIES LATEST HAIR STYLES Phone 4705 ZION HALL BUILDING First floor Right entrance the Mid-Summer Night’s Dream” mood of the frolicsome Finale give the ever charming concerto a true romantic character. While the two violin concertos are undoubtedly the focal points of to-night’s programme on account of their musical importance and the personality of the artist rendering them, eager attention should also ■be paid to the contemporary composer’s Work that-together with the well-known OVERTURE to OBERON by WEBER, which Was finished in 1826 and performed in the same year in London — completes the programme. ERICH WALTER STERNBERG, the composer of the Suite that depicts scenes from the story of Joseph and. his brethern (a story which at all times has attracted painters, writers and musicians and belongs to the most popular of biblical tales), is a leading figure in the musical life of our country and first President of the Palestine Section of the International Society for Contemporary ■Music. Before settling in Palestine Sternberg was already a well-known composer whose works were frequently performed wherever there was .interest in modern music. But it- was another Sternberg who was then known. Since that time the composer’s development has taken a trend similar to that of other of our contemporaries. While his early works are witness of the influence on him of both the constructive expressionism of the Schoenberg school and the new contrapuntal art of writing, that definite “modernist” attitude has lately given way to a musical style that seeks simplicity, lucidity, and a certain “classicism” of form and expression. The “Dr. Dolittle” opera — presented a short time ago by the Palestine Broadcasting Service — and the “Joseph” Suite that we are going to hear to-night give vivid evidence of Sternbergs latest phase of composing„ — music that can •be understood and appreciated by each and all. In this work Sternberg wishes to reach a youthful audience as well as the general listener, and by scoring it for an ensemble of strings, to render possible a performance even by a students’ orchestra. Each of the short movements7 of the suite depicts a scene from the well-known legend of Joseph, and the thoughts, feelings, and experience of the principal characters are transformed ,into musical ideas. But in spite of the programmatic character of the composition, form and thematic development in each movement are musically conceived, contrary to the programme music of the preceding age in which the musical form fell victim to purely poetical conceptions. את כל חבריך ת פ ג ו ש בקפה תבור רח' בן־יהודה 4 your friends at CAFE TABOR 4 Ben Jehudast. FORMERLY PRAGUE, CORSET SALON P E S S L JERUSALEM, 1, Ben Jehuda St. III. floor (Lift) MARIENBAD, VIENNA
a? g with the fundamental equality in the Concerto. The interchange of two independent ־roups is abolished in favour of an alternation of the dominating so 0 instrument, which the orchestra only accompanies, and the orchestra as such without the solo instrument. The form of the concerto is taken from sonata and symphony, the expressive and dramatic character of which suited the demands of a concert public that wanted• to be entertained, interested, and excited. The only difference between symphony and concerto is the absence in the latter of the Minuet (or, since Beethoven, the Scherzo) movement, the last reminder of the earliest pure instrumental cyclic form: the Suite. . . The task.of the modern concerto composer is the exploitation of the manifold possibilities' of a musical instrument and the offering, to the soloist of opportunities to display not only his artistic skill but also his power of sentiment and expression, and all this in the framework of an inspired, well-constructed, and musically interesting creation. No wonder then that the quantity (and quality) of concerto compositions is far behind that of any other musical form, with so many difficulties of material, technique, and execution standing in the way of the composer. While most of the 18th century concerts - and still many of Mozart’s and Beethoven’s - were written for the personal use of their creators who, of course, were very familiar with their instrument, the majority of 19th century virtuoso works were inspired by some artist friend of the composer, who frequently followed the virtuosos advice as to technical questions. Both the concertos played to-night were written with a view to performance •by pre-eminent violinists: Mendelssohn s work for Ferdinand David who had. considerable influence on the shape of the solo part, and Brahms concerto foi Joseph Joachim. who gave it its first performance in 1879 in Leipzig־, the same town where David had first played the Mendelssohn concerto in 1845, about one year after Joachim’s first appearance there as violinist. While Joachim apparently did not succeed in getting Mrahms to change some over-difficult passages in the solo part (there, are many not followed suggestions of Joachim’s in the autographed score of Brahms work) his influence on the composer and the composition was nevertheless remarkable, and still more striking is his never ceasing propagation of the great work thanks to which many violinists tried to tackle the difficult concerto. One of his youngest and most gifted pupils plays the composition to Brahms himself who has specially come to hear him, and’ the aged master listens with the greatest delight to the overwhelming performance of a 14 year old boy, named Bronislaw ,Huberman. The VIOLIN CONCERTO, op. 77, by Johannes BRAHMS is written in the key of D major (which is technically convenient ■for the violinist) in which Brahms had composed his Second Symphony, op. 73, a year before, and which is also the key of Beethoven’s violin concerto. The work was composed in 1878, in the period of Brahms’ highest creative power. Its most characteristic ■feature — as of the composer in general is the complete absence of virtuoso brilliancy as such, in spite of the enormous technical demands on the violinist. The keen sense for form and harmony and for logical thematic development, which allowed Brahms to appear as the last pillar of pure music of the classical conception in a period where poetry and painting dominated music and where romanticism was in process of disintegration and dissolution, governs not only the essential orchestral part but also the solo violin, and the most brilliant, difficult, or even extravagant virtuoso passages are of thematic importance. The first movement of the work is the largest (just as in the Beethoven concerto which it also resembles in some details of character and structure) while the Adagio in F minor with a short middle section in F sharp minor, and the last movement, reminiscent of Brahms’ Hungarian music, are more concise and simpler in form. Comparing the Brahms ■and Mendelssohn concertos, the most striking points are Mendelssohn’s distinct conception of form and his different treatment of the orchestral part. While Brahms’ interest centres around the themes and their development within the framework of the form and the soloist’s appearance is preceded by an ample state- men of the thematic material on the part of the orchestra (except in the last movement which the Classics too usually opened with the Solo), FELIX MENDELSSOHN BAR- THOLDY is more ׳concerned with the balance of form itself, and the soloist leads throughout. He lets the violin start and keep the lead from the very first bars in all three movements of his violin concerto .(which is played without a break as the composer has joined the end and beginning of the movements), and the soloist introduces the themes himself, the orchestra either accompanying only or giving colour and rhythmic accentuation to the solo voice. The :three movements are in jE minor, C major, and E minor — E major respectively, and the melodiousness and colouring of the first Allegro (molto appassionato), the simple sweetness of the “Song without words” — like Andante, and VI
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INTRODUCTION To the 8 th Subscription Concert I Dr. P. Gradenwitz Ever since the inception of the" public״ concert - that came ■ existenSin the early days of the 18th century with the rise of the bourgeoisie and a new social order based on capitalism and enterprise - the programme culminated in the appearance of one or more soloists presenting compositions of a virtuoso character. &Music ceased to be a community possession and became an exhibit. The pleasure of listening could be bought for money (contrary to the preceding period in which music had been an integral part of social and communal life), and the astounding accomplishment of an individual had become the new.ideal in place of the former preference for a perfect performance by players all of whom were equally important. The rise of the modern virtuoso goes hand in hand with the development of the public concert and the improvement of communications in the 18th century helps to create 'the travelling virtuoso, conquering one town after the other and one country after the other by the power of his artistic genius, the extraordinary skill of his performance or the novelty of the music presented.. Production and execution were then combined in the hands of one artist; the 19th century only saw a still greater development towards individualism when one master •־specialised” in composing and left the task of performing to another specialist who, in turn, did not confine himself to a slavish reading of the printed score but revealed his own power of individual g interpretation״;־ and - what a typical word! - of “re-production”. The art of ״re-produemg” (that is, forming anew) a masterpiece of music, becomes no less an achievement than the composer’s production itself; and, on this occasion when we are lucky enough to hear one of the world’s greatest living performers playing two of the most famous and magnificent concertos ever written, it seems especially appropriate to trace thé . . n ■. • ......______ ״„J tko mneir rlActinp/1 fnr him origins of the virtuoso personality and of the music destined tor him. In ■our days, when a Huberman, a Casals, a Rubinstein appears on the concert platform, the seats are sold weeks in advance, and hundreds of enthusiasts can- not be accommodated. The work of concert managements, the press, the influence of international propaganda, and last but not least the grammophone record, film and radio pave the virtuoso's way and make his appearance in all parts of the globe financially possible while the artistic success, of course, depends on the spell of his performance. How different is this state of affairs from conditions one or two centuries ago ! The 18th century artist was not only composer and performer in one person but also his own agent and manager. Before he dared to appear in a recital he had to play in the prominent houses of the town visited, the success of the concert and the sale of tickets largely depending on the personal and artistic impression he made in these private circles. The concert societies could offer but little help, and a virtuoso without a keen commercial sense was inconceivable. Liszt-in the second half of the 19th , century— was an adored favourite of Courts and Princes, ■but as late as the 1820s and 80s the legendary Niccolo Paganini, first of all modern internationally famed violin virtuosos, sat at the box-office on the nights of his appearance, himself selling the tickets for a performance that was to rouse his audience to delight, passion, and frenzy. And only a century earlier the travelling virtuoso had been a sort of wayfarer touring the countries just as other travelling artisans, appearing here to-day and there to-morrow, playing to a courtly audience on one day, and in the inn on another, and again presenting his art in an opera house. Often these virtuosos were vagabonds and adventurers, a nuisance to every place they visited. The few great vocalists and instrumentalists had no chance to appear to the masses prior to the organisation of concerts in the towns, they were limited to their own place of office, the Court, the Opera, the Church, and only occasional journeys interrupted the routine of their work, composing and performing for their masters and patrons. With the virtuoso’s development from wayfarer or Court musician to the. com- poser-performer in the public concert, and again from an artist-businessman to the reproducing interpreter of specially written works, goes the development of concerted music itself. In the modern concerto we find the principles of structure of the old concerto combined with the spirit of-artistic display such as cultivated by the artisan- virtuoso. The basic idea of the Solo Concerto of the pre-symphonic age had been the same as in the Concerto Grosso (in which more than one soloist appeared): an alternation of two confronted groups, soloist and orchestra, each having an equal share in the musical development and each getting its turn of predominance. The rise of individualism however, that destroyed the principle of equal treatment of tunes m a score (polyphonic style) and of their players, and that helped to create a new style in which one dominant melody is accompanied by subordinate voices, did away also IV
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