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ה תזמורת ה א ד ל י ת מרדכי פרטוש, המופיע בפעם הראשונה כסוליסט התזמורת הארץ־ישראלית, עובד בה החל «עונת 1938/39 . לפני כן היה נגן ראשי ב«תזמו 4 ת הסימפונית" ויותר מאותר ב״תזמורת הקונצרטית" של בודפסט. ן <• ,הופיע כסוליסט ברסיטלים ובתחנות הרדיו של מרכזי המוסיקה באירופה. Oedon Partos, who appears for the first time as-a soloist at a P. O. Subscription Concert, joined the Orchestra at the beginning of the 1938/39 season. Formerly concert-master of the Budapest Symphony Orchestraand later of the Budapest Concert Orchestra he has also appeared as a soloist in recitals and: on the Radio an many important European "music-centres. פוטו: י. אלכסנדר Photo:. I. Alexander רפרטוש ^ מהדכ OEDON PARTOS קרופורד מקנייר CRAWFORD McNAIR מבוא לקונצרט ה-« למנויים סאת ד־ד א ל 1 ה ל ב ר ט ו ב שלשת הקומפוזיטורים של, .הערב,,,הגם עמיו כתקופה אחת, מייצגים.,הם ,כוונים מוסיקליים השונים ברוחם. הנגודים שבי ן אישיים ,ה«ם.. האמן לקי, ^ האי > : גדול: מחכה בפאריס — בו למד גם ברליגז. הצעיר — ביצירתו המוסיקלית היה מושפע הצליח למצוא סינתזה נאה בין הקלות .תפישת האמנות ■ הצרפתית, שהעמקה על ידי כוכבו של הכשרון הצעיר ברליוז. .בשנת ממשרת מנהל הקונםרבטור_י ; במקנמו. ^. ון ' ׳ו.. ^ ר המנהל המוסיקלי,¿ באופרה ■ יתפנה בשביל ונאחז במרץ רב במשרתו. "אמרו-נא לאדון קרוביני וברליוז גררו אפילו אחריהם חכוכים י: האופרות. של זמנו,. היה מנהל .הקונסרבטוריון ואש. ■ רוב ימי ו . כלה איפוא ¿בבירתה של צרפת. מאד י¿ מהמסורת הצרפתית. הנה כי ■ כן ת <. ותגרציוזי ,שבסגנון .. האופרה האיטלקית . לבין אסכולת גלוק. קרוביני הגיע לגבורות, כשדרך ' 1840 ,,.נסו ידידי ברלי וז . לסלק את קרוב י נ י למנות את מנצח האופרה .האבאנאק, כדי שמקום ברליוז. האמן כן ה- 80 הרגיש ב״אינטריגה" האבאנאק, כי עוד לא מתי", כך, כביכוד, הגיב THE PALE S TINE OR CH E S T R A
ל ב ע ל יטעם מ ע 1 ד ן דקיקיות שוקולד סוכריות" יק ׳° י) התזמורת הארץ-ישראלית הקונצרט התשיעי לנזוו״ס תל־אביב: 41 . 3 ; 31 ./ 30 «¿;.;ירושלים: 41 . 4 . 2 חיפה : 41 . 4 . 3 (ההתחלה ב־ 8.30 בערב) ה מ ג צ וז : ־ י ־ . ק רו פו רד מ ק-ני י ר ה ס ו ל י ס ט : מרדכי פ ר ט 1 ש וי < 1 לה) FOR GO UR M A N D S CHOCOLATES WAFFLES U י X חברה ל בטוח ב ע " מ 3 ל 1 d א י בטוח המשרד 1 הראשי: ת ל ־ א ב י ב רחוב אלנבי 120 טלפון 4671 ירושלים: חים ה : רחוב בן־יהודה 1 רחוב המלכים 33 טלפון 5157 טלפון 2000 ZION INSURANCE Co. Ltd. ALL KINDS OF INSURANCE HEAD OFFICE¿ “ Tel-Aviv 120, Allenby Rd. Phone 4671 Haifa - Jerusalem ^3, Kingway . x- 1, Ben-Yehuda. Phone 2000 Phone 5157 התכנית הפתיחה "אנקריאון" .............. לואיג׳י קרוביני ( 1842 — 1760 ) "הארולד לאיטליה", אופ. 16 ." הקמור ברליוז ( 69 — 1803 ) 1 . .הארולד בהרים. תמונות של מלנכוליה, אושר וגיל Adagio-Allegrio : 2 . תהלוכת עולי הרגל השרים תפלת ערבית Allegretto 3 . סרנדה של אנשי ההרים האברוציים לאהובת נפשם Allegro assai 4 . האורגיות של השודדים. זכרובות מהתמונות הקודמות. Allegro. frenético Adagio-Allegro הפסקה סימפוניה מם. 1 בצידור אופ. 68 ........................... יוהאנס בראהמם (1833—97) Un poco sostenuto—allegro' . Andante sostenuto Un poco allegrettó e grazioso Adagio—piii andante —allegro non trpppo, ma con brio «הקונצרט העשירי.למנויים המנצח: זינגר. בטהובן: הפתיחה פרומתיאוס, היידן: הסימפוניה-לונדון" ברוקנר: הסימפוניה השלישית חיפה 4 10 • חר-אביב 13/14.4 • יר 1 □ שלי 21.4 ?¿יד
THE PALESTINE ORCHESTRA 9th SUBSCRIPTION CONCERT Tel-Aviv: 30. /31. 3: 41 • Jerusalem: 2. 4. 41 Haifa : 3. 4. 41 (Commencing 8.30 p. m.) Conductor: CRAWFORD McNAIR Soloist: ODON PARTOS (Viola) PROGRAMME THE BEST COFFEE SHEMEN FACE CREAMS FOR BEAUTY "Anacreon Overture"... Luigi Cherubini (1760—1842) "Harold in Italy",op. 16... Hector Berlioz (1803—69) I. Harold in the Mountains. Scenes of melancholy/Happiness and joy. Adagio-Allegro II. Procession of pilgrims singing the evening hymn. Allegretto. . III. - Serenade of an Abruzzi mountaineer to his sweetheart. Allegro assai. IV. The Brigands’ Orgies. Remininscences of the preceding scenes. Allegro frenetico. ׳ Adagio-Allegro INTERVAL Symphony No. 1 in C minor, op. 68...Johannes Brahms (1833—97) Un poCo sostenuto—allegro Andante sostenuto^ . « Un poco allegretto e. grazioso Adagio —piu andante — allegro non troppo, ma con .brio ■ ליפ ורעננות המור הקרמים לפנים עול ע\מן 10th SUBSCRIPTION CONCERT COND : SINGER, r BEETHOVEN: Prometheus Overture HAYDN: ,London' Symphony, BRUCKNER: 3rd Symphony HAIFA: 10.4 . TEL-AVIV: 13/16.4 . JERUSALEM: 21.4. K E S HE R Every 15 mtn. to JERUSALEM Every 30min. to HAIFA EVERY PASS. INSURED
”TOBECO” ANTI SPLINTER SECURITY GAUZE -Easy to cut Easy to fix • No glue needed Sticks after damping in water • Highly Transparent Air Raid Window Protection TOBY & CO. ltd. 37, JAFFA-RD. TEL-AVIV . PHONE 4040 . P.O.B. 1255 SOLE DISTRIBUTORS FOR JERUSALEM, NABLUS AND JENIN DISTRICTS: A.W. HENDERSON ,JERUSALEM • Sansour Bld. Phone 2982 P.O.B. 854 FOR HAIFA AND NORTHERN DISTRICT: I. BAR DAVID • HAIFA 40, HERZLST. PHONE 2183 and hears again the melodies of long ago. But all these reminiscences. —- consisting of motives from the preceding movements —:are drowned in the wild uproar of the robber band.־ Once again Harold attempts to pit his melody against the daemonic songs and breaks down,, dead,- FIRST SYMPHONY by BRAHMS : The C minor symphony, the result of many years’ work.by a master who struggled painfully with his material, was finished when Brahms was- over forty. A worky of great inward power, in its restrained but yet sensitive and melodious instrumentation it stands in direct contrast to the fascinating orchestral-language of Berlioz. A high seriousness full of character is the keynote ־of this composition. The first movement־, with its gravely weighty chromatic motivés, seems to be a perfey with inimical forces. The second movement is one-of those profound and and “inward” Adagios in which Brahms links Beethvoen’s depth of feeling to a soul fully romantic enthusiasm. Replacing the traditional Scherzo,, there then follows un poeo• Alegretto e grazioso, x typical Brahm’s■ movement, in which gaiety mingles with solemnity. In this spirited composition, noteworthy for its multiplicity of the finest melodies, there glimmers that twilight that is- the-epitome , of true romance. In‘ the Finale the struggle with the forces of destiny recommences. The “theme of joy” is anticipated in a murky minor. Chromatic motives¡ made known to us from the first movement,״: emphasise the feeling of anxiety. Then after a marvellously prepared acceleration, in gleaming C major there sounds a song of joy, like a noble affirmation of of redemption.
y OVERTURE TO “ANACREON” by CHERUBINI: Of the varied works of the Italian master two above all remain unforgotten: The Overtures to the operas “The Water-Carrier” and “Anacreon.” The story of the .last-named opera, in the centre of which stands the Greek pact of joy-qf-life, gives its character to the work which is ■being performed to-night. With its slow introduction and the Allegro which follows immediately, it is written in the style of the so-called “French Overture.” The festive chords of the opening breathe the very spirit of Gluck. The principal part is dominated by a charming theme which-skips about in spritely fashion. Its development is worked out most artistically in counterpoint and motives. Through the rich contrasts and the dramatic intensification of its conclusion Cherubini shows himself in this work as a connoisseur of the most refined musical effects and a master of form. HAROLD IN ITALY by BERLIOZ: This work, like the “Fantastic -Symphony” which is well-known to the Palestinian public through repeated performances by the ■Orchestra, is biographical in character. Berlioz was. strongly influenced by Byron’s poem “Childe Harold” which was at that time fashionably popular. He felt a spiritual kinship with the hero, a fantastic, nature-loving knight. As winner of the.. Prix •de Rome Berlioz spent a year in Italy. Although he did not feel too happy in the City of the Seven Hills as all his longings were towards Paris where the woman he then loved lived, he found a certain consolation and relief in wandering over the Abruzzi hills and talking to the simple country-folk. These personal experiences were mingled with the contents of the. poem. With his delicate realisation of the nuances of each individual instrument, Berlioz felt that the up- to-then neglected viola was'especially suited to express the mournful character of the hero. And thus in this work (which by the introduction of a solo- instrument may be termed a “concert-symphony”) Berlioz came not only to the “leit-motif” which he had already arrived at in principle but more than that to a “leading instrumest.” The viola is the personification in sound of “Childe Harold.” The work is divided into four parts with the titles indicating the hero’s emotions and his surroundings. The first movement (Harold in the Mountains. Scenes of melancholy, happiness and joy) begins with a slow introduction, rich in counterpoint, which depicts the depressed state of the hero’s feelings. The solo-viola with the accompaniment of the harp gives forth an expressive, light theme. The ..Allegro which follows, ■written in the traditional sonata-form, shows the hero filled with newly-awakened joy of life. The second movement is headed “Procession of pilgrims singing the evening hymn.” Harold follows the pilgrims' song with his viola and its strains mingle with their prayers. The pilgrims recede from sight, and contemplatively the knight listens to their fading voices. This’movement is filled with poetic and religious feeling and is so effective that it is often performed by itself. Now Berlioz surprises us with a charming “Serenade of a Mountaineer,” using in typical punctuated 6—8 rhythm melodies resembling Italian folksongs. The love-melody is played by- the English Horn which is .accompanied pizzicato on the strings. Harold joins in this jolly, unconstrained music with the reflective sounds of the violatheme. Now the village musicians have departed but still the Knight plays' his dream-lost motif■ of the Serenade. “The Brigands’ Orgies (Reminiscences of the preceding scenes) is the concluding-movement, headed Allegro frenético. With daemonical clang, similar to the Witches’ Sabbath, the Finale of the Fantastic Symphony, Berlioz lets loose a world of terror. Harold is captured by a band of brigands. Wild orgies commence. The sound of lewd and insolent drinking songs is heard. Close־ to death Harold remembers his former life
; w ־־ : introduction . ,, To the Ninth Subscription Concert / Dr. Else Lewertoff. . The three composers ,of to-night’s programme. althougl^׳!almost contemporaries, are 'representative■of completely different musical trends. These dissimilarities are alsô' dite, between Cherubini and Berlioz for. instance, to distinct “human’ differences between them. The Italian master spent the greater part,of his life in the trench capital as Director of the Paris “Conservatoire*^^ at which thè- young Berlio¿'’Studied — and .,as one of the most admireê composers of opera of his time. His compositions were strongly influenced by the French tradition and thus he found a happy synthesis between the graceful lightness of .the: Italian style of opera and the French,’ deepened by the School of Cluck. Cherubini was an Old.man when the star of Berlioz rose. In 1840 the friends of Berlioz attempted to drive: Cherubini out of ״his: office as Director of the Conservatoire. They intended' to put in ■his place the opera-conductor Habeneck so that the musical'management of opera would be left free for Berlioz. The. octogenarian master, however, learnt of the intrigue and.kept his post with unabated energy.. “Tell Mr. Habeneck I am not dead yet" he is said to have: remarked. This affffair ¡who less typical of Berlioz than it is of Che- rubini. Although the young composer was his own cleverest propagandist and always had a small but fanatically devoted following, yet he never managed to obtain a post which for any length, of time satisfied his artistic aspirations and this in spite of his life being so rich in dramatic changes of destiny. His was by far the greatest musical talent of his time in France. He w$s an extraordinary conductor. His gifts as a writer were such that they alone would.have been sufficient to stamp him as an .outstanding personality. And to all this was added the gift of being a firstrrate “publicity. man.” He^nderstood as few others how to keep the public interested through his personal affairs and their theatrical background. Nearly all his concerts were marked by some sensation or other. But finally he always destroyed his well-laid plans by some impulsive action and in the end he never managed to exploit his successes. ־ This combination of sharp intellect and an ever-simmering and 11011- quiescent imagination is as characteristic of the artist as of the man. Berlioz's music was'the medium for the depicton of Jiis own passions and visions. ■: Thus in order to convey ' more explicity his ideas ' and emotions he elabóratela new means of expression'.and can be called the founder of modern programme-music. In the arrangement and development of his, symphonies which are divided into single movements, Berlioz hardly deviates from the classical scheme. But by the. introduction of the “leit motif,” the ;“■idée fixe” which is inspired by some experience outside the realm of music and which runs through the whole work uniting the'various parts, he builds ’the bridge to the symphonic poem, the new form which was to find its first master in Liszt. The North-German composer, Johannes ;Brahms, exactly thirty years younger than Berlioz, is the absolute antithesis of the French master. Like the latter, Brahms is the artistic descendent of Beethoven whom he ever regarded as an unattainable ideal. While the romanticist Berlioz, inspired by 'a ׳ new ideal of art, is driven to break'up the inherited ■forms Brahms, who detested all external display, remained opposed to programme-music all his life. His four symphonies develop; exclusively by their deeply romantic content of ideas, the line of the classical symphony. Together; they form a single gigantic work which in its impregnable fastness conceals a world of sentiment which proves that what matters in the end is whether the cbmpôser has something to express or,not. If this is Sb, then the actual• expression, programme or “absolute” music, matters ..no;|j..
רשימת חברי התזמורת: 1111113 זיזלוח מירקין זאב שולץ ברוניסלב ברגמן רודולף בור חיים (טנגן ראשי) שפרבר וולף (מנגן ראשי) גלימיר רנה פינסקי מרדכי בור שלטה פניבש אלים misisn בורוכוב אשר פרונט ירוסלב חרירים זב ם הנם ברזון רעיה פרטוש מרדכי א. אנגלסמן שלטה הניגסברג ארולף ברנשטיין ■ יוסף (מנגן ראשי) הוטורסקי הירש פלדמן צבי גרטר שלמה . קלצקי מנשה טפליין אריך גינזבורג ארית רק מרק nnsisn גדזרות גרינשלאג דוד , אבובים ה,־. . האפטל היינריך זי 1 ל 11 צ־ל 1 רלז ברט ,״. J ״\ יי ■ . " , בל! ברם 8 ורמסק י מיכאל וייטגרבר אנד ריאם •י בורנשטיין חיים ברגר הי ינץ שיפר חיינריך ’ IV ״ “ ) גינזבורג ברוך ד״ר ז״דנר זיגפריד זלב ר יאשי) - (מנגן ראשי) . היפה • בי ^ זלכי ^ וייס י, םף קראדי״״ח פאטאקי-שרבם קלרה ליגגר אל פרד זלצטן תיאו ציטרמן היינריך ל _, טן ברור (מנגן ראשי) קרטן גים םיםפא 1 י סורוביז יעקב »"אלברם" לאסל, פא״מים . גינזבורג דוב פלידרבאום טיצ׳יפלב ?." ל 22 "? פא״מ ם • זומרפלד קורט פולישוק בזיה רקיר מש" נפרסטק הירש סגל ישראל פניבש לורנד רודאס איטרה (מנגן ק״טיבא״ ° שולץ ליאון טובה קמינסקי יוסף בעתם ארנסט לוי רודולף (מנגן ראשי) בר ״ ער ואלטר כרי-קדן ר וג וף בורים ונגר אברהם וגמן צבי ה 0 פד 1 שטיגליץ משה לוי רודולף סלומון יהודה ה. פופר קורט ועד המנגנים: יושב־ראש: י. סורובי׳ן (המפקח על התזמורת), חברים: יוסף וייפגרבר, תיאו זלצמן. LIST OF THE MEMBERS OF THE ORCHESTRA VIOLINS: Rak, Marek BASSOONS: Bergman, Rudolf (Leader} VIOLONCELLI: Napartstek, Hers־ Bernstein, Josef Bodenstajn, Haim ®" ׳ 18 ל Imre Berzon, Raya Ginzbarg, Boleslaw (Leader) zu c' n Bor, Shlomo Katz, Albert HORNS: Bprochow, Asher Rakier, Mischa Salomon, Horst Fenyves, Lorand (Leader) Salzman, Theo (Leader) Sprecher, Wolf FUederbaum, Mieszyslaw Vincze, Dr. Laszló Szulc Bronislaw Garter, Salomon Weissgerber, Josef Wegmann, Zwi Ginzbarg Alfred Haftel, Heinrich (Leader} BASSES: TRUMPETS: Gruenschlag, David Böhm. Ernst Feldmann, Zwi Kaminski, Josef Breier, Walter Hoenigsberg, Adolf Liftman, Baruch Levy, Rudolf Sachs, Hans Lunger, Alfred Mirkin Seev (Leader) Polischuk, Basia Pinski, Mordechai TROMBONES: Rogoff Boris Wenger Abram Heller, Oskar Silber, Ben-Ami Podemski, Michael Styglic, Moshe FLUTES: Schiefer, Heinrich w , Engelsman. Salomon __ Surowicz, Jecob Hutorski Herz TUBA:״ J ״ Weissgerber, Andreas (Leader) Toenlitz Erich Levy, Rudolf oboes״ ׳ARP: VIOLAS: Berger, Heinz Szarvas-Pataki, Kia״ Bor, Chaim Blez, Bram TIMPANI: Fenyves, Alice Seidner, Dr. Siegfried Ginzbarg, Bronislaw Front, Jaroslaw Segal, Israel Galimir, Renee CLARINETS: Sommerfeld, Kurt Klecki, Mnacza Karten, Gys LIBRARIAN: Partos, Oedon (Leader) Zimmerman, Heinrich Popper, Kurt Musician’s Committee: J. Surowicz (Inspector), Chairman, ,Theo Salzmann, Josef Weissgerber Lay-out—Adv. "Zurah”-Adv., Tel-Aviv, Allenby 120, Tel. 2337; Haifa Branch: Balfour St. 11, Tel. 1525 "Haaretz” Press, Tel-Aviv, 56, Mazah Str., Tel. 4212
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