1 , 375 soc±re /des (Concerts d׳egypte Deux Concerts Symphoniques d e THE PALESTINE ORCHESTRA !Founder: BRONISLAW HUBERMAN) SOUS LA DIRECTION DE MICHAEL TAUBE Dimanche 26 Janvier 1941 a 10 h. 45 a.m. CRAWHORP MncNAIR Dimanche 2 Fevrier 1941 a 10 h. 45 a.m. au Thealre Alhambra, Alexandria _____ \___ —
Analytical QTotes, ^itst Conceit SUITE No. 3 IN D MAJOR BACH. In its own day the whole Suite was caked an Overture, taking its name from the opening piece, which was much the mast important. ״! bach’s ׳great Suites for orchestra without a solo instrument, the Overture is a truly monumental piece of music. The piece open with a slow and dignified section and then there is ■a full-sized Allegro in fugal style. In this one, as d most always with Bach, the ideas seem to grow one from another, not on- ly with endless fertility of invention ant melo- die resource, but with the inevitable sense of Ihness which stamps the music ׳as really great. The design of this Allegro is splendidly proper- tioned, full of beauty in detail, and as a who- le: in bright spirits throughout, it has two light hearted episodes as foils to its fugal di- gnity. Obedient to tradition, it i׳s followed by a return of the stow and more solemn opening. The next movement, for ,strings alone, is the beautiful air with the stately procession in the bass, which is so often heard apart from the Suite. The other movements are d i dance tunes of that spacious and more leisurely age — two Gavottes, a Bouree and a merry Gigue. SYMPHONY IN D MAJOR, No. 2. BEETHOVEN Those who insist that a work of art nece.ssa- rily mirrors the mental condition, of the ar- tist, will find their theory disproved in Beetho- ven’s Second Symphony. Gloomy and despai- ring, he wrote here a work that is full of spon- taneous merriment and with the spirit of de- light. The symphony was the product of a dif- ficult year. His deafness was increasing and he was combatting other illnesses. But in the face of discouragement and distress he could still write: «I shall as far as possible defy my fate... it shall never pull me down.* The doc- tor insisted he should spare hi׳s hearing by 1’.i- ving quietly in the country and sent Beethoven to Heiliigenstadt, at that time a restful little vil- lage near Vienna. It was while he was living there that Beethoven commenced his Second Symphony. Of the ״Second Symphony Berlioz has said «ln this !symphony everything i,s noble, energe- tic, proud. The introduction (Berlioz means the Adagio motto) is a masterpiece. The most beautiful ,effects follow one another without confusion and in an unexpected manner. An Allegro con'brio of an enchanting dash is joi- ned to this admirable Adagio**. «The Andante (here Bed ioz means the Lar- ghetto) i׳s a pure and frank song, which is at first ׳sung ׳simply by the ׳strings and then em- broidered with a rare elegance... It is a ravishing picture of innocent pleasure which is scarcely shadowed by a few melancholy ac- cents. «The Scherzo is as frankly gay in its fan- tastic capriciousness as the Larghetto had been wholly and serenely happy; for this sympho- ny is smiling throughout; the warlike bursts of the first Allegro are wholly free from vio- knee; there i׳s only the youthful ardour of a noble heart in which the most beautiful illu sions of life are preserved untainted.* «The Finale is like nature. It is a second scherzo in two time, and its playfulness has perhaps something still more delicate, more piquant.* PULCINELLA —, SUITE STRAVINSKY, after PERGOLESI. Stravinsky composed the music for Pulci- nelia, a one act « Ballet with Song* in 1920 and the work was given for the first time in May of that year at the Paris Opera by the Ballet Busse with the choreography by Mas- sine and the scenery and costumes designed by Picasso. The principal mimes were Karsa- vina and Massine. Stravinsky afterwards arran- ged a concert suite from the music far the ballet ;!nd this Suite was performed for the first time in America in 1922. Stravinsky minutely studied the' Pergo- lesi compositions and produced not only one of the most delightful Suites of our centu- ry but what may be called «a portrait of Per- golesi and his times painted by Stravinsky. He borrowed from Pergolesi not only the melo- dies and their characteristic harmonies, but also the traits of style and the form of these pieces...* The chamber orchestra for which «Pulci- nelia* is scored is divided up tike the orches- tra of the historic concerto grosso. A Solo String Quintet confronts the full body of strings, and the wind instruments (flutes, oboes, bassoons, horns, trumpet and trombone) are: also treated as soloists. The parts of the Suite bear descriptions suitable to the 18th century character of the work. BARTERED BRIDE —, OVERTURE SMETANA. «The Bartered Bride* a comic opera in three acts was composed in the early months of 1866 although preliminary sketches had been made some three years earlier. It was first perfor- med at Prague in 1866. The brilliant overture lias been given all over the world innumera- hie times, with the greatest success. The opera lias a folk-character and describes the sale of a bride among the Bohemian peasantry. The Overture is based upon themes from the opera and is an inspiring piece of jollity.
BIOGRAPHY OF MICHAEL TAUBE. Michael Taube was born in Lodz in 1892 of a family well known in musical circles. At the age of eight he received his first instruc- lion in violin from his father, following this up late with the flute, the cello and the pia- no. In 1910 he went to Leipzig to continue his studies and to devote himself to the piano and ce’lo. Under the famous piano teacher Teichmueller he attained great virtuosity as a pianist. In 1913 he settled in Cologne studying the piano under Dr. Neizel and composition under Prof. Straesser. After many years of concert performances at which he attained great success he resolved to devote himself to his great dream of beco- ming a conductor and to that end studied with Prof. Hermann Abendroth, one of the greatest European conductors. He rapidly made a name for himself as a conductor. When the Palestine Orchestra was founded in 1936, Taube was one of its first conductors and has constantly appeared with the Orchestra ever since. In the past season he conducted with great success a number of concerts for the Orchestra, also appearing as a solo pianist. BIOGRAPHY OF C.B. MacNAIR. Crawford Mac Nair was born in 1904 and stu- died at the Royal College of Music, London and at Oxford. A pupil of the eminent English conductor, Dr. Malcolm Sargent, Mr. Mac Nair joined the British Broadcasting Corporation in 1934 as a Staff Conductor. He came to Pa- lestine in 1937 and is now the Director of Programmes of the Palestine Broadcasting Ser- vice and its first conductor. In this capacity he has done much for music in the country. He conducted several series of concerts of the Palestine Orchestra in the last two years with the greatest success. This will be the first time the Palestine Or- chestra will play under the baton of an En- gliish conductor in Egypt. It is interesting that Mr. MacNair is a certified pilot, obviously the only-one among the well-known conductors.
FEVRIER DU LE MOIS
7^-33 EIR5T CONCERT Sunday, January 26th, 1941 Conductor: MICHAEL TAUBE 1. Suite No. 3 in D major.....................................Johann Sebastian Bach (1686-1750) 1. Introduction: Grave ״Vivace - Grave 2. Air 3. Gavotte I. 4. Gavotte II. 5. Bouree 6. Gigtte 2. Symphony in D major, No. 2, op■ 36.... Ludwig VAN Beethoven (1770-1827) 1. Adagio molto = Allegro con brio 2. Lar ghetto 3. Scherzo 4. Allegro molto INTERVA L 3, Pulcinella Suite ......................................... Igor Stravinsky (b. 1882) (after G. B. Bergolesi, 1710-36) J. Sinfonia (Overture) 2. Serenata 3. a) Scherzino — b) Allegro — c) Andantino 4. Tarantella 5. Toccata 6. Gavotta (con 2 variazioni) 7. Duetto 8. a) Minuetto -- b) Binale 4 « Bartered Bride » Overture.......................... Friedrich Smetana (1824-1884)
Analytical (Rotes, Second Concert SYMPHONY IN C MAJOR «JUPITER» MOZART. Even for Mozart, a creature of marvels all his life, the summer of 1788 was extraordinary, in little more than ■six weeks he gave to the v ord his last three symphonies, which were also his greatest, the so-called «Jupiter» bearing the date August 10. Nobody quite knows why it got the label «J up i ter* although some believe il is through the «calm, godlike beauty* of the music. The supreme glory 0!f the symphony is the Finale (Allegro molto). Eric Bloom writes of it in the Master Musicians’ Series: « They are five subjects... Mozart does not work any of them into a fu- gure, but all of them into a sonata movement with a fugal'. texture of incredible elaboration, combining now any two of the subjects, now a ■single one in canon, and again mixing both procedures together. The dizzy culmination comes in the coda, where all five themes ap- !)ear together in various juxtapositions ». FANTASIA ON «GREENSLEEVES» VAUGHAN WILLIAMS The ■short and charming orchestra fantasia on the folk-tune «Greensleeve;s» for flute, harp and strings, is taken from the Falstaff opera, «Sir John in Loves written about 1927. « Greensleeves » is an old English folk song or better, ,street song, which enjoyed great popu- larity about 1600 and has been mentioned by Shakespeare in his *Merry Wives of Windsor*. SYMPHONIC VARIATIONS FOR PIANOFORTE AND ORCHESTRA FRANK It can be easily understood that a com- poser like ■Cesar Franck who put an empha- sis on clarity and purity of form and was es- pecially drawn to the principle of thematic unity should have been■ much attracted by the form of musical variations. In the constant return to the one musical thought which ap- pears in ■ever-changing forms, he finds a natu- ral frame within■ which to hold the richness of his imagination. On the other hand, the wide technique of composition which expres- ses itself in rhythmic and melodic changes, in polyphonic ramification and artistic em- bellishmcnt of the theme, finds full release in this form. The basic theme in itself is like a game of question and answer in which the or- chestra and piano relieve one another. The various variations follow each other without any interval and are so constructed that the work is logically articulated like a sympnony with its different parts which vary in feeling and temper. These Variations are a pure pro- duct of French art in the delicacy and refine- men! of their language. «THE SEA» DEBUSSY When Debussy was seven he was taken by bis aunt to Cannes and there on the shore of the Mediterranean the little’ boy became en- chanted with the sea. It was apparently not, however, till 1903 that he began work on that Agent G6n^al: H. SINGER 3, Harel Zogheb, Le Caire
& rriASTeRPiece ”י Colorful, spectacular entertainment! . • . un- forgettable with songs new and old! DARRYL F. ZANUCK'S ALICE FAYE DON AMECHE HENRY FONDA EDWARD ARNOLD WARREN WILLIAM LEO CARRILLO cmemn RIO Programme for !he week beginning Monday 3rd February 1^1
33 5LIMMERTflLfKE MOTEL GLYMENOPOULO - RAMLEH NOUVELLE DIRECTION; M. MARK METZGER - Tel. RAMLEH 703-2073 ----------- ——------—— 000 —----------------------------- Hofei de le1 ordre - Completement remis a I'etat de neuf - Eau courante chaude et froide dans toutes les chambres - Salles de bain privees - Bonne cuisine Adresse Telegraphique: "SUMMER” Alexandria Arrangements speciaux pour longs sejours. — Verandah - Jardins - Garages REUTER'S TICKER SERVICE 5EC0NP CONCERT Sunday February 2nd, 1941 Conductor: CRAWFORD MacNAIR Soloist: PNINA SALZMAN !Pianoforte) 1. Symphony in C major, “Jupiter”, (K. 551) .... Wolfang Amadeus I. Allegro vivace MOZART (1756-1791) 2. Andante cantabile 3. Menuetto - Allegretto - Trio 4. Finale - Allegro molto 2. Fantasia on “Greensleeves”............... Vaughan Williams 3. Symphonic Variations for Pianoforte and Orchestra .................... Cesar Franck (1822-1890) INTE R VA l_ 4 The Sea, Tree Symphonic Sketches ., , , CLAUDE DEBUSSY 1, From dawn to noon at sea (1862-1918) 2. Frolic of tl1־e waves 3. Dialogue of wind and sea 7< ך ץ ^ “PLEYEL" from PA PASI AN f 5. Rhapsodie Espagnole...................................... Maurice Ravel 1. Prelude a la Nult 3. Habanera (1875-1937) 2. Malaguena 4• Feria
Analytical Aotes, SECOND CONCERT (continued). tribute to the sea, «La Mer», which was to be one of his most important orchestral composi- lions. Critics have differed very much about the merits of this work and in this! connection the words of the late Philip Hale, well-known American writer on music, are of value that ׳as a matter of fact these sketches are frankly ini- pressionistic and that the enjoyment of the hea- rer depends largely on his susceptibility and i- magination. The׳ ocean that Debussy knows is wild and many-faced, « now exulting in Aeschylean laughter, now spasmodic, sinister, terrible, and never so terrible as when calm, or inviting mortals to sport with it, and smi- ling_as though it were forgetful of rotting ships and sunken treasure and the drowned far down that were for a time regarded cu- riously by monsters of the deep.» RHAPSODIE ESPAGNOLE HAVEL. The Rhapsodic espagnole, which is ׳really a suite in four movements, was written in 1907 and published and performed in the ,following year. Movement I. Prelude a la Nuit. — This mo- vement (tres modere, 3-4 time) is a nocturne of which the instrumentation! evinces tne mosr subte skill.Colourful interruptions are a caden- za for two clarinets, another for two bassoons, the latter accompanied by arpeggios in harmo- nics for a solo viof.in and trills for three other violins. The movements ends with a chord in harmonics for divided cellos and basses. Movement II. Malaguena (Assez vif, 34) — This along with the fandango, is a dance in three time, of moderate movement with accom- paniment of guitar and castanets. It is perfor- med between rhymed verses, during the sip- ging of which the dance׳ stops. With his ex- pert use of the orchestra, Ravel manages to suggest the song and sinuous dance, the ishou- ting crowd and the heady atmosphere of some Andalusian cellar. Movement III. Habanera (Assez lent et d’un rythme las, 24). — About twelve years before Ravel had written a Habanera for two pianos, four hands. It reappears in this orchestral mo- vement. This dance, as its name might imply, is of Cuban origin; slaves are supposed to ha- ve brought it to that island! from their African villages and Spanish colonials to have taken it thence to their homeland. For modern ears the infectious rhythm is an inescapable remin- der of the seductive Carmen. Movement IV. Feria — «The Fain (Assez anime, 6-8). — The. first of the three sections of this movement has for its material a brief passage for flute, another for three muted trumpets rhythmed by a tambourine. Oboes and English horn then repeat the figure with the xylophone for ׳pulse. The full orchestra then deals with it. The second has a •solo for English horn which is taken up by the cla- rinet. There is then a return to the opening part of the movement. Les plaisirs de Kouie ne doivent pas faire oublier ceux du palais GOUT DELICIEUX AROME EXQUIS du CAFE BRESILIEN the BRAZILIAN COFFEE STORES ... ~ - ״ - a 1 c =־ 1 i
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