ג »ביב.ר'מ ז יב-פ*ור־ 32 J , מפורסם 1 > לסדור פנימי «ח־י־ים נמוכים Quttivaied C¡?! flvto,32■ Montefiore ft. ! ; -famous for interior decoration gg ia , furniture . -—-—1 ? at/h< lamas ״-^ 112 כוד* ייגה "מטע" 1 * ט א — סמל לבריאות ואיכות 1 י ט א — תחליף חמאה מהדרגה ראשונה 1 י א א — מותאם לתנאי האקלים הא״י מביל ~ ו*טא ויטאסינים A ו-ס MARCARINB VITA” MATA״ VITA — The sign of health and quality VITA — A first class butter substitute VITA — Best suited to local conditions VITA — Contains Vitamins A & Dll! מל״אביב
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JOSEPH KAMINSKI יוסף קמינסקי כגר ראשי בתזמורת וקומפוזיטויר. ינצח .הערב על הקרנצרטינו שלו לחצוצרה ותזמורת. who will conduct the first performance of his Concertino for Trumpet and Orchestra being given to-night. Mr. Kaminski is one of the Orchestra’s first violins. בפעם הראשונה .מופיע כסוליסט בקונצרט למנויים של התזמזרת. מר הניגטברג הוזמן במיוחד להשתתף ■ ב״סדרת טוסקניני" בעונת 1938/39 . לפני בואר לארץ היה מנגן ראשי בחצוצרה בתזמורת הסימפונית בוינה. makes his first appearance as a soloist at a P. O. Sub- scription Concert. Mr. Hoenigsberg came to Palestine especially to appear in thé Toscanini series of .the 1938/39 season and prior*to settling in the. country had been the first trumpet of the Vienna Symphony Orchestra. מבוא לקונצרט ה־ 11 למנויים-מאת ד״ר פטר גרנדביץ י תכן כ'י ^, בשפת ■ המוסיקה טמונות יותר אפשרויות, מאשר בכל שפה אחרת; יתכן, בי הגאון המוסיקלי — קל לו יותר לעצב בצורת בולטת את דמותו הרוחנית, מאשר לאמן המכחול או המלה. .אולם 'גם המוסיקאי לא יוכל להתהלל, כי אין הוא תלוי בגורמים
לב ע ל י ט ע ם ם ע 1 ; ד ן ז׳קיקיזת שוקולד ,FOR SOU R M AN & * CHOCOLATE* WAFFLES ציון חברה ל ב ט ו ח ב ע ׳־ מ בל mb , בטוח הטשדד הראשי: : ' י י תל־אביב רחוב אלנבי 120 טלפון 4671 ירו שלי ם : : ח י פ ה : : רחוב בן־ימודה 4 ; .. רחוב. המלכים 33 טלפון 5157 ; טלפון 2000 ZION INSURANCE Co. L t d . ALL KINDS OF INSURANCE HEAD OFFICE: Tel ־•Aviv 120, Allenby Rd. Phone 4671 Haifa Jerusalem 33, Kingway 1, Ben-Yehuda Phone 2000 Phone 5157 התזמורת הארץ-ישראלית הקונצרט ה- 11 למנויים ביב: ^ חל 5.41 ״.' • ירושלים: 1 ־*•־■^ ’ חיפה: 41 . 5 .- 15 (ההתחלה ב־ 8.30 .בערב) המנצח: ב ן - ח י י ם ה 0 ו ל י ס ט : אברהם ה 1 י ג ס ב ר ג (חצוצרה) ה ת □ 1 י ת הסימפוניה ה־ 6 בפה־מז׳ור, אופ. 68 ....... ........ לודביג ון־בטהובן ( 1827 — 1770 ) 1 '־. יקיצת רגשות עליזים לקראת הטבע 2 . ליד הנחל :־ 1 . 3 . שבת־רעים עליזה של אנשי־הכפר 4 . סערת־ס־פה ; ; g . שירת הרועים. רגשי שמחה ותודה לאחר הסופה הפסקה קונצרטינו לחצוצרה־סולו .ותזמורת . ....................... יוסף קמינסקי (בנצוחו של המחבל) Un poco Vivaldi Improvisazione Tarantella קברו של יקופח . ....... מורים ראבל (1875—1937) I . Prelude II .־ Forlane III. Menuet . IV. Rigaudon הפתיחה ל״אויריאנטה" ... קרל מריה פון ובר ( 1826 — 1786 ) ^<־ Z3 סיר < <^ 7 ססל ס ^/ (ינ - - - ----
n 3 Im nap THE BEST COFFEE . THE PALESTINE ORCHESTRA 11th SUBSCRIPTION CONCERT Tel-Aviv: 11. 5. 41 * > Jerusalem: 14. 5. 41 Haifa: 15. 5. 41 (Commencing 8.30 p. m.) Conductor: BEN-HAIM Soloist: _ / ABR. HOENIGSBERG (Trumpet 1 ID o * D I p n FACE CREAMS FOR BEAUTY PROGRAMMÉ Symphony No. 6 in F major, ; , "The pastorale", op. 68 ... Ludwig van : . . Beethoven . (1770—1827) 1. PleasA sensations on arrival .in the. country ■ - (Allegri ma non troppo) - , 2. By the *rook (Andante molto mosso) ( 3: Peasant« Merry-making (Allegro) 4. Thunde.fctorm (Allegro)■ 5. The ShtB-herd’s Hymn — Thanksgiving after the storm (Allegrel.o) INTERVAL Concerfno for Solo Trumpet and Orchestra ........ Joseph Kaminski (First Performance — Conducted by the composer) Un poco Vivaldi Improvisazione . Tarantella Le Tom beau de Cpu peri n ... Ma u ri ce Ravel (1875-1937) I. Prelude II. Forlane III. Menuet IV. Rigaudon "Euryanthe״ Overture ... Carl Maria von Weber (1786—1826) 1 ־ m p ־ n3׳iun3׳ ut! 15 I□□ n b • n 3 im 30 333 nu 1 an u b 1 j *7 □
examples of songs in which the •voices of nature are imitated, r6th century music is particularly rich in such pieces, and the same is true of the epoch preceding Beethoven’s age, the era of Jean Jacques Rousseau, the apostle of the “return to nature”. An immediate predecessor- of Beethoven’s “Pastorale” is a composition in five movements by a then famous composer, J. H. Knecht, which was entitled “A Musical Portrait of Nature” and furnished Beethoven with the actual “programme” of the scènes depicted in his Own “recollections of country-life”. The Pastoral Symphony has, in turn, exerted considerable influence on coming generations,■ romanticism, in the course of its development in the 19th century, abandoned “absolute” music altogether for the sake of programme or descriptive music in which tone-painting and a musical imitation of the phenomena of nature had a most important place. But while the romanticists preferably saw the more heroic aspects of nature and Were impressed by the sublime power of a mountainous landscape and the dramatic happenings in the region of nature, while they let loose their fantasy and populated the forest with elves, fairies, and fabulous beasts, and the tops of the mountains with spirits, ghosts, and witches, Beethoven — whose music became so dramatic' when the passions and struggles of the human soul were concerned — gave an idyllic.picture of country-life, crowned by an “Expression of Thanks” to the Lord who gives us all the beauties of nature and leads us safely through the rage of thunder and storm. Two important contemporary works dominate the second half of tonight’s programme, and it has already been mentioned that strong ties unite them with the musical past. It is this connection with by-gone ages of music that also provides some explanation for. the singular fact that a violinist should, from all instruments, choose the trumpet for a solo concerto. JOSEPH KAMINSKI, familiar to all Palestinian concert-goers as one of the violin principals in the Palestine Orchestra, begins his CONCERTINO FOR SOLO TRUMPET AND ORCHESTRA (written 1940-41) with a movement “Un pbco Vivaldi”. The theme of this movement is a travesty of the main subject from the most hackneyed of Antonio Vivaldi’s violin concertos (in A minor) which no young violinist can afford to ignore and a sympathetic listener can imagine the feeling of relief that must have seized the violinist Kaminski when the composer found this amusing way to overcome his fatigue- of a tune constantly hammered into his ears by practising pupils. The theme lends itself peculiarly well to execution on the trumpet, and Kaminski has built around its parodistic quotation a movement so full of spirited development that one cannot help thinking that we shall all burst into laughter when next hearing the Vivaldi “original.” . The. second part, called “Improvisazione,” constitutes the slow and lyrical movement. It is heralded in as well as closed by the solo instrument with a cadenza that has a liturgical touch and is duly answered by the orchestral “choir” with an “Amen”-like response. The Finale, a boisterous Tarantella, follows without interruption, and the colourful orchestration and captivating rhythms give a most vivid conclusion to an artful and original composition for an instrument which is seldom heard in a solo concerto. While׳ Kaminski’s Concertino .parodies a tune of. the great Italian violin master at the threshold of the 18th century, the French comnoser pays homage to a créât French classic of the same period, MAURICE RAVEL was a profound admirer of early French keyboard music (for the “clavecin”) and especially of François- Couperin (“Le Grand”), who was a court composer at the time of Louis XIV, the “roi soleil,” Ravel’s love for the tender and graceful music of the roccco pèriod makes it clear that though Claude Debussy’s stylé has found some echo in one or the other of his
INTRODUCTION to the 11ih Subscription Concert , Dr. Peter GradenWitz ’ —־ It may be.-true that the language of music yields' the genius far'greater chances to give a personal and intense expression, of dits inner self , than ׳ those granted to the meii of. the word.or the brush.־ ;But־ even "in-.£the,״Sphefe of tonal art no master c.an be said to be ׳quite :״independent .in his creations. ; The character of the period and-the conditions: :o.f life help: to., form theiaxtist as. well as everyone else; moreover no composer,, however original his.mind or revolutionary his style, can neglect ¡.the achievements■ of״, the generations and centuries preceding his own time, This is not only. true, of the.;lesser stars who try in their music to . captivate .the great masses by imitating , all that is nest loved in the accepted- works of■, art but also of "the'greatest “revolutionaries” in music, of masters whose creations- -were ״ rejected- as . “modernistic” hy; the indignant public .of their time״ prior to their becoming favourite “standard” , works. . . The music of our ...own times rejected-.by conservative audiences ¿to־-dhy just .as Mozart« Beethoven, Wagner, »Were declined acceptance by thëir ■contemporaries, — looks Back to. the pre-classical ages for a truly polyphonic style; the. inventors., .of the symphonic ■form, — created to, suit the demands of the .newly instituted. public concert of. 18th e:m־ury bourgeois society’ — had. found .the roots of their style■ -in the song- ■ fulness and Vivacity of Italian comic, opera,opera itself — ,based, on, mediaeval . mystery plays on th(■ one hand ..and court. ”shows”; on the״ other - wr.s an attempt to imitate the drama of ancient Greece; .these.very.,few,examples,.may •■ suffice- to show ■that even in music, there, is .”nothing new •under, ,the' sum” ■Thé influence exerted on a ■great composer by contemporary conditions apd by the style or peculiarities of masters before-him is ־seldom״ realised tby the creator himself (the inquiry .into this matter ■being; left to the critics״!־), but there are cases , in which composers intentionally■! create , works.״ “in-״-the style of" a certain composer of present their own idea of a •treatment, suitable to ■another, master’s, theme, This type of music has been much - favoured1 since the days Of Brahms ajid Reger but the practice really is as ■old,as ,■instrumental music itself ; in ■ fact, in olden days,: when, a . musician at. court ■or . in. ,the service of the',church-..had to־turn out large,, quantities • of music to■ order,, an important part of the output." consisted, of ,arrangements, of contemporary . pr the then classical compositions and composers considered it-an , honour :and not an act■ of plagiarism to be quoted by( an artistic, colleague. . :. .. . ' ■ Two items in to-night’s symphony concertJosef "Kaminski's ־: Concertino for Trumpet־ and Orchestra, with its״ ■parody of a well-known- co"m- ■ position of Antonio Vivaldi, and Maurice Ravel’s Suite in "memq'ry of the great French classic François Couperin — belong to” the-category''of "music . ]poking back to far-off days for inspiration, while the-, first part of the programme is devoted to that symphony• of- Beethoven’s in which the'1 master gives his pi n version of a subject that has attracted"almost-every ״musician once in his life and the different handling of which is characteristic ;:of-their respective״ eras : the beauty arid ,:the voices: of ״nature .״ ■"; ■״,־• ׳. ::•:- LUDWIG VAN BEETHOVEN’S" “PASTORAL SYMPHONY”,.-“his ״ Sixth' symphony, op. 68, in F major, was intended by the composer to־ give “recollections of country-life” but to be- “more״ ”ah' !expression: of- feeling than a tone-paii ׳.ting.”. From■ this we cari clearly gather that ;:it is wrong to regard the work. Ls a piece of “programme music”, although later eras often ■referred to .the “Pastorale” ■as ״the first programme symphony.־ "Neither is ■it "the -first description of '!pâture-?.. Thé very, beginning of .:European ."art” music: shOtvs
וטיסת וזבדי התזמורת: י ש ולץ ברוב י שלב כ 11 דוא ויולות מירקין זאב ברגמן רודולף בור חיים (מנגן ראשי) שפרכר וולה . (מנגן ראשי) גלימיר רנה פינסקי מרדכי חצוצרות בור שלמה פניבש אלים - זכס הגס . .. בורוכוב אשר פרונט ירוסלב וזלילים הניגסברג ארולן» פלדמן צבי י ברזון רעיה , פרטוש מרדכי א. אנגלסמן שלמה ברנשטיין ■ יוסן» (מנגן ראשי) הוטורסכןי הירש גרטר שלטה • קלצקי מנשה טפליץ אריד הצוצלת! נר 1 ל 1 ת גינזבורג אריה רק מרק הלר אוסקאר - טיבאל ^ פודטסקיי גרינשלאג דוד ■ אבזבים האפטל היינריר . ■ ויידתצ־ד! _ 4 , (מנגו ראשי) . ■ שיפר היינריך ׳ י ם בורנשטיין היים ■ ב י- ר ה נ . ז ) גינזבורג בר וך ד״י ויידוי זיגפריד זלבר בו-זומי (טנגו ראשי) היפה ים הל ד , . וייסגיבר יוסף קלאיי 1 מ 1 ה פאטאקי-שרבס קלרה לןנגר א ל פרד זיצטן תיאו צימרטן היינריך טימפאני גינזבורג דויב זומרפלד ק ורפו ל , 6 טט , ברור (מנגן ראשי.) קרטן גיס ’ ד״ר ויגצ׳ה לאסלו פלידרבאום מיצ׳יסלב מאגוטיס פולישוק בזיו¡ " י נפרסטק הירש סגל ישראל פניבש לורנד רודאס אימרה טובה (טנגן ראע , ) ק״מדבאס-ם שולץ ליאון לוי רודולן» קטינסקי יום!» בעהם ארנסט הס 9 דן (מנגן ראשי) ברייער ואלטר . בלי•,קד! רוגון« בורים ונגר אברהם וגמן:צבי פ ופר קורט שטיגליץ משה לוי רודולף סלומון יהודה ה. ועד המנגנים: יושב־ראש: י. סורוביץ (המפקח על'התזמורת/ חברים: יוסף וייפגרבר, תיאר זל*«ן. LIST OF THE MEMBERS OF THE ORCHESTRA VIOLINS: Rak, Marek BASSOONS: Bergman, Rudolf (Leader) Bernstein, Josef. Berzon, Raya . Napartstek, Hersz VIOLONCELLI: D , T _ _ , .. . Rudas, Imre Bodenstain, Haim . J n . . ,r i < Szule, Leon . Ginzbarg, Boleslaw (Leader) Bor, Shlomo Katz, Albert HORNS: Borochow, Asher Raider, Mischa Salomon, Horst Fenyves, Lorand (Leader) Salzman, Theo (leader) Sprecher, Wolf Fliederbaum, MiesZyslaw Vincze, Dr. Laszló Sznlc Bronislaw Garter, Salomon Ginzbarg Alfred Weissgerber, Josef Wegmann, Zwi 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 5 ROMBONES : Rogoff Boris Wenger Abram Heller, Oskar Silber, Ben*Ami . Podemski, Michael Styglic, Moshe FLUTES: Schiefer, Heinrich Engelsman, Salomon Surowicz, Jecob Hutorski Herz TUBA: Weissgerber, Andreas (Leader) Toeplitz Erich Levy, Rudolf . Yam,. Hella hadp • OROFS: riAKr. VIOLAS: Szarvas-Pataki, Klara Berger, Heinz Bor, Chaim Blez, Bram TIMPANI: Fenyves, Alice Seidner Dr. Siegfried Ginzbarg, Bromslaw Front, Jaroslaw Segal, Israel Galimir, Renee CLARINETS: •Sommerfeld, Kurt Klecki, Mnacza. Karten, Gys LIBRARIAN: Partos, pedon (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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