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THE MANUFACTURERS LIFE INSURANCE COMPANY OF CANADA ASSETS EXCEED $ 177.000.000.- Premiums as low as is commensurate with absolute safety. Canadian Government Supervision, the most stringent in the world. TEL-AVIV: Palatin Building JERUSALEM: Mizpa House HAIFA: 63, Kingsway סיר הסבוני . לבשול 3 מטעמים בבת אחת «פלאל 1 ם Special Economic pot for cooking 3 dishes at the same time PALALUM התזמורת הארץ־ישראלית הקונצרט ה־ 12 למ 11 ״ם חיפה: 11.4.40 • תל־אביב: 40 . 4 . 14 ./ 13 י ר 1 שלים: 18.4.40 (ההתחלה ב־ 8.30 בערב) ה ם נ צ ח פ ל י כ ס ו י י נ ו. א ר ט נ ר סימפוניה ■ פנטסטית", קורות חייו של אמן ........ הקטור ברליוז ( 1803-1869 ) 1 . חלומות ותשוקות, 2 . הנשף. 3 . תמונה בכפר. 4 . תהלוכה לגרדום. 5 . חלום על שבתון המכשפות. הפסקה הזמנה למחול .............. ובר-וייעארטנר שלשה .דאג קפריס״ .... דחוס מילהו (נולד 1892 ) הפתיחה .רואי בלאס" פליכס מנדלסון־ברתולח ( 1809-47 ) ה 11 p צ ר ט ה - 13 ל מ 11 " ם המנצח : ד׳ ר הרמן שארכאן חל־אביב 27.4.40 ■ ירושלים 40 30.4 • חיפה 2.5.40 IN HAIFA: ״ .. ■ ... after the concert ... in the "CARMELIA COURT»-BAR
ATA R A THE BEST COFFEE THE PALESTINE ORCHESTRA 12th SUBSCRIPTION CONCERT Haifa: 11. 4. 40 • Tel-Aviv: 13./14. 4.40 Jerusalem: 18. 4. 40 (Commencing 8.30 p. m.) Conductor: FELIX WEINGARTNER "Symphonie Fantastique". Episodes from fhe Life of an Artist •••• Hector Berlioz (1803-1869) 1. Dreams and Passions 2. The Bali 3. Scene in the Fields 4. Procession to the Scaffold .... ,5; Vision of the Witches’ Sabbath INTERVAL Invitation to fhe Waltz ... Weber-Weingartner Trois Rag-Caprices ......... Darius Milhaud (born 1892) Overture to "Ruy Blas" Felix Mendelssohn-Bartholdy (1809-1847) 1 3th Subscription Concert Conductor: Dr. HERMANN SCHERCHEN TEL-AVIV: 27.4.40 . JERUSALEM: 30.4.40 . HAIFA: 2.5.40
V מספרה ויס, ביצימן, שטיגד weiss, baichman, steiner hairdressers n ל ג ב ך Greater Comfort in 0ur Enlarged בסלון החדיש ביותר לגבירות נוחיות, סביבה נעימה, עבודה salon for ladies LATEST hair styles ממדרגה ראשונה ט ל פןן 4705 4705 Phone Zion hill building בנין .תיאטרון ציין״ First floor Right entrance קומה א׳ הכניסה מימין sign of his strong personality — foreign influences are blended with his own principles of style then one can understand why this composer is to-day considered as perhaps the most representative musician of France. In this connection it may be mentioned that Milhaud, who is extremely popular in all “new art” circles, has always laid a stress on his Jewish origin. (Among his best known song-compositions belong the “Poèmes ï^uifs”, “Zionshymne”, “Israel Lives”, “Two Psalms”, which were composed in the third decade of the century). Milhaud’s special contribution to pioneer efforts in sound was the introduction of polytonality : melodic lines or succeeding accords in different keys being presented at one time. Through the resulting friction new effects are gained ; it gives rise to strong contrasts and often to curiously oscillating shades of sound. “Trois^'f? Rag Caprices’ is an excellent example of this mode of writing. Milhaud composed the .pieces in 1933 for piano and only orchestrated them later on. They ,;are dance com- position full of temperament in which rhythmic and dynamic power, predominate. The wind instruments are given the most important tasks and in the score the ac- customed roles of strings and winds are, so to say, reversed. The opening and concluding pieces are brilliant in character and the centre piece with its clear arrangement of themes .(flute and ’cello being in the cannon) form a “Romanze” full of intense feeling. The Overture to RUY BLAS, a drama by Victor Hugo, was written by Men- delssohn in three days. It is a clearly defined and very effective work. After an in- troduction whose ever higher soaring figures fade away on a note of interrogation, the defiant chief theme appears as a reply and this too is marked by its ever-ascending sounds. In contrast to these vigorous thoughts, the melodious second theme bespeaks tender feeling and submission. Perfect rhythm and melodic power of invention fill this overture with typically dramatic life. Classical Dance, Rhythmics, Gymnastics ריקוד אמנות י, ריתמיקה, התעמלות עליזה דובלון else dublon שעורים מתחרים למשתלמים professional training Special Gymnastics for women ם י 1 ח ■ 1 ת ל 1 ש י ם n I ל Q ה ת ע 6, alfasi road, Jerusalem 6 ירושלים. רחוב אלפסי M. KOVALSKY & SON Haifa, Hadar Hacarmel, Tel-Aviv Jerusalem Everything- in Music נו. ק ו ב ל ס ק י ובנו חיפה. הדר הנוהל, תל־אביב ירושלים כל צרכי מוסיקה PBECHSTEINJ
carries with it a reminder of the love pangs the artist suffers. The third movement “Scene in the Fields” calls to mind Beethoven’s Pastorale symphony but contrary to that classical work, the composition of Berlioz is purely romantic in its medly, its com- oination of the depiction of nature’with emotional strife. The movement opens with a dialogue between the English Horn and Oboe, — two shepherds calling and replying to one another — but the sounds of passion soon disturb even this idyll of nature. The “idée fixe” appears in the sounds of the shepherds’ strains and the movement fades away' in dreamlike mood. This romantic description of soul turmoil and nature is followed by the wild march rhythm! of the fourth movement, “Procession to the Scaffold”, which is presented with great instrumental pomp. In the time of Berlioz, the performance with its wealth of harmonic boldness and its harsh sound effects was an extraordinary venture. It is typical of Berlioz that when in one part of the score there is a sudden harmonic change from D flat major to G minor he draws the attention of the player in a special note to the fact that this change is deliberate and not a slip of the pen! At the conclusion of this movement of stirring rhythm comes the melody of the “idée fixe”, played ׳by the clarinet and sounding like a call from another world. “The Witches’ Sabbath”, the Finale of the work, is the longest movement. It ©pens with a Larghetto in which in weird and uncanny tones are depicted the spirits of the underworld. From afar the “idée fixe” suddenly appears, now diabolically distorted, to the. sound of the big drum and the timpani. A second Allegro follows. The “idée fixe”, this time in a' strange key and deeper colour, again appears in still grimmer form. Again a change of mood: the sound of bells and a recitativo following in the basses introduce the “Dies irae” which l׳s immediately shamelessly parodied. After this strange sacred interlude, the real Witches’ round begins, commencing with a fugue. In the further development of this gigantic movement various thoughts and moods are combined in the boldest manner and a veritable hell of sound is let loose through the extraordinary sound effects ־which Berlioz employs. These effects are obtained by a use of the instruments in all their ranges and colours which until that time had been unknown and it is obvious that the appearance of this strange work produced fierce differences of opinion among the composers of that time In Mendelssohn, for instance, it aroused bewilderment whereas Others such as Paganini, Schumann and Liszt were moved to the greatest admiration. There are strong links between Carl Maria von WEBER, the third Romantic on the programme, and Berlioz. The French composer found many features-similar to his own in the ■works of his German predecessor. In fact Berlioz’s admiration for Weber went so far that he insisted On producing “Der Freischütz” in its original form at the French Opera, As it was desired to include a ballet, he orchestrated the famous “Invitation to the Waltz” for his purpose. To-day we hear this waltz-composition in the Orchestration of Felix Weingartner. If this conductor and composer has given a somewhat different frame to this work he doubtless has his reasons, particularly since WeingaTner is known as a great connoisseur and admirer of the Berlioz oeuvre. (He was the chief editor of the full Berlioz edition). And obviously Weingartner’s particular approach to sound made him orchestrate the work in the way he has done. “Invitation to the Waltz”, originally composed for piano was a poetic expression of the waltz form. Thé dance — from earliest times one of the principal themes for music — offered the Romantic composer ever fresh material especially in its various “national” forms and the Polonaise and the Waltz enjoyed their highest favour. Originally, almost exclusively found in the musical• life of every-day , they were now lifted to a higher sphere. Weber’s effort was a remarkable ■beginning to this development which was continued by E. Th. Hoffmann, Schubert and, in the highest perfection, by Chopin. The ־■invitation to thé Waltz” is a chain of the most melodious and floating waltz tunes which ar! held together ,by introduction and coda. The Weingartner orchestration emphasises most successfully the hovering lightness and grace of these waltz rhythms. The whole instrumentation is of gleaming lucidity. As a novelty at the end we hear a spirited combination of the chief themes in double counterpoint. Musical history shows us that even to the present day the “social” dances of an epoch have always influenced the composers of the time. After the last world war a new attitude to life made itself felt. The soft and charming waltz was relegated to the past and a new form of music, coming from North America, with its barbaric, rhythms, its syncopation with characteristic effects on the percussion instruments, .gave a fresh impetus to European music. Jazz-music had arrived. Even, the most eminent composers were influenced by this new tendency. One need only think ©f Stravinsky, Hindemith:, Krenek, Weill. In France it was especially the Jewish composer, Darius MILHAUD (b. 1892), who made deliberate use of the methods of this new .:art. When one knows the subtle and original compositions of this master in- whose work — and this is a
INTRODUCTION To the 12 th Subscription Concert / Dr. Else Lewertoif contrasts, HI The works on to-night’s programme belong ■with one exception to the romantic movement ip music, with which designation the period following the classical era is indicated. This hew movement arose out of the deliberate reaction of the artists of the 19th century against the productions of their predecessors. They replaced the world of rationalism and formalism by that of the supernatural and the fantastic. They no longer limited themselves to a narrow realm in space and time but gave themselves over to MARIA von WEBER (1786—1826) is the most remarkable representative of the early Ro- mantics. Through his opera “Der Freischiitz” he unlocked the door to the exploitation of the supernatural and the macabre in music to a hitherto unheard of degree. Since the idea itself the it is but natural that the development of this form of expression should take various directions. Both the other Romantics who speak to us in to-night’s programme, FELIX MENDELSSOHN-BARTHOLD Y (1809-1847*) and HECTOR BERLIOZ (1803.^1869) are personalities who also paid homage to another ideal of art. They are characteristic representatives of German and French “high romantic” respectively. They were both men of the widest, education who consciously accepted suggestions from, other forms of art for their music. But it is interesting to ho té that the process of production took different directions with both these musicians. Although the titles• of. many of ■Mendelssohn’s' compositions suggest programme music (one can call to mind the “Italian” and “Scotch” symphonies and most of his overtures) they are actually only hints of the sources from which he drew his inspiration and his compositions remain “pure” music and never go beyond the limits of musical form. With Mendelssohn the main׳ point is always the specifically musical thought, the purely musical impetus from which basic element the music is formed. The poetic or pictorial impressions which dictated the theme are united in a most ingenious way with a completely musical approach. Whereas Berlioz, the French master of the Romantics, is haunted by his visions and experiences and is driven to give these expression in the form of music. In his faust-like struggle for new these, composers the r” ox the literary theme is the point of exit fox their f the music are made subservient to this. A new order !e limits of the classical boundaries. Music becomes the. means of clarifying visions, it becomes the medium of expressing emotions which affect the nerves and go to the verge of hysteria. The ardour and torment, of human feeling are powerfully expressed through the medium of sound. No better example than :the Fantastic Symphony could be given of this development in music. Composed by Berlioz, in 1829, it depicts the strange lovestory of an artist and is in great contrast to the balanced ®nd controlled composition by Mendelssohn which is included in the programme. Though both composers, are Romantics״ each mirrors the spirit of the epoch For Berlioz the:.literary idea is the spring which nourishes his creative imagination and leads him into new paths. Inspired ■by his teacher Lesuettr, he becomes the champion of the new style kt word, letter and in music. Berlioz was the first to ini oduce deliberately a leading theme in his work which was the musical counterpart of a poetic’idea or personal experience. He himself called il "idée fixe”. The employment of a term with which a certain association of ideas is always connected was introduced into music by Berlioz. Waiter’s, famous leitmotifs is nothing but the logical outcome of this principle of composition. In the Fantastic Symphony, a woman is the prototype of the "idee fixe” whom the artist adored without any response. Whenever he thinks of his ■beloved or when he meets her, then this love theme, which has become an “idée fixe";,• returns in various guises. The composition has the character of an autobiography. In its five part-form it exceeds the usual four part scheme of the classical symphony. The first movement “Dreams and Passions", begin with a largo introduction full of feeling, depicting the state of mind of the artist before the beloved appears to him. In the Allegro following after a few bars we hear the “idée fixe', a yearning love melody which softly rises and falls and in which •a hidden passion vibrates. This musical phrase which is executed sometimes tenderly, sometimes passionately, governs the first movement which is built li p i n the form of a classical sonata. Then a regular waltz follows, “The Ball’, a graceful, liltintr theme which prodtices an atmosphere of gaiety. The 3—4 time continues despite th¿, appearance of the “idée fixe” and this, ,al though it flows through the dance rhythm;
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