: יי 4 A ־ . SOCIETY DE MUSIQUE D’gGYPTE ■ CAIRO SOCIETE DES CONCERTS DtGYPTE - ALEXANDRIA __________ _ PALESTINE ORCHESTRA SYMPHON ONCERTS No. 1 * CAIRO : Wednesday 15th April, 9.15'p.m. EWART MEMORIAL HALL ALEXANDRIA : Thursday 16th April, 4 p.m. ALHAMBRA THEATRE conductor: GEORGE SINGER /M No. 2 ־־ ALEXANDRIA: Sunday 19th April, 4 p.m. ALHAMBRA THEATRE CAIRO . Monday 20th April, 9.15 p.m. EWART MEMORIAL HALL CONDUCTOR . CRAWFORD MCNAIR SOLOISTS . ELLA GOLDSTEIN in Alexandria GEORGES THEMELI in Cairo GEORGES THEMELI GEORGE SINGER CRAWFORD MCNAIR ELLA GOLDSTEIN. SYMPHONY CONCERT TOUR APRIL 1942
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Ie - ׳?fa NOTES ON THE FIRST CONCERT Conductor: GEORGE SINGER Ouverfure "Iphigenia in Aulis" Christoph Gluck Gluck was the first great master of dramatic expres- sion in opera. The “Iphi. genia” overture recalls the quarrel which broke out after the first performance of the opera in Paris in 1774 between the followers of the old Italian opera form and the friends of the new style. E. Th. A. Hoffman thus described “Cava- liter Gluck”: “in him, the man of sixty-years, the fire of youth glows with an undying flame..’. To such an extent had he mastered the highest flights of music, in all its essence and in all its demands that from his own inner being real musical drama rose up like a brilliant and wonder- angelic and of such irresistible tenderness that the prodigious art of the workmanship disap. pears completely. You are seized from the first measures by an emotion which at the end be- comes overwhelming in its intensity; and it is only in the works of one of the giants of poetry that we can find a point of comparison with this sublime page of the giant of music.” The third movement (Allegro vivace) is plan- ned on a large scale and is further remarkable for the fact that the delicious Trio (un poco meno mosso) is played twice, the minuet or scherzo proper being repeated each time-. In the exuberant Finale perpetual motion in tone holds sway, flashing and glittering with tunefulness and fun. Ma Mere L’Oye (Mother Goose) Maurice Ravel Symphony No. 4 in B flat Major Ludwig van Beet h o ve n Not till three years after the completion of Beetho- ven’s third symphony (Eroica) was the Fourth brought out. The initial performance took place in Vienna at the house of Prince Lobkowitz in March 1807. Hector Berlioz has written of this symphony with unique eloquence: “The character of this score is generally lively, nimble, joyous or of a heavenly sweetness. If we except the meditative Adagio, which serves as introduction, the first movement is almost entirely given up to joyfulness... The astonishing crescendo is one of the most skillfully contrived things we know of in music; you will hardly find its equal except in that whiich ends the famous Scherzo of the C Minor Symphony... As for the Adagio (second movement)—it escapes analysis. It is so pure in form, the melodic expression is so Beauty. The Cinq pieces enfanti- nes were conceived origih- ally as four-hand piano pieces for the amusement of two children, Mimie and Jean Godebskf (to whom' they are dedicated) and Ravel later scored them for orchestra. 1. Pavane of the Sleeping The grave and stately movement of the pavane is initiated by the flute against a counterpoint of muted horn and muted violas. The Princess, who is supposed to have been awakened after a sleep of a hundred years, does not dance long; the piece ends at the twentieth measure. 2. Hop-O’-My-Thumb. At the head of this section of his score Ravel quotes a passage from the tale by the 17th century French writer, Charles Perrault: “He believed he would have no difficulty in finding his way by means of the bread- crumbs he had strewn wherever he had passed, and he was greatly surprised when he could not find a single crumb; the birds had come and eaten them all.” KURSAAL RESTAURANT C AIKO EVERY NIGHT : CONCERT & DANCE L
After three introductory measures for muted violins, the oboe sings the pensive theme, the violins accompanying it in thirds. 3. Laideronnette, Empress׳ of the Pagodes. In the Countess d’Aulnoy’s fairy tale. Serpen, tin Vert, the Princess Laideronnette was con- demned by the curse of an old witch to endure from her cradle the burden of an atrocious ugli- ness. In due time, of course, she attains her true and beautiful form. One of her adventures leads her to the country where dwell the Pago- des, small creatures made of jewels, crystal and porcelain and Ravel’s third piece depicts the tiny creatures playing on their instruments. 4. Conversations of Beauty and the Beast. The piece depicts the culmination of the ancient tale with Beauty agreeing to marry the Beast and thus helping him regain human form. A clarinet impersonates• Beauty and the double- bassoon enacts the Beast. You hear them joined __apparently both talking at once. There is a climax, a harp glissando and the transformed Beast and thus helping him regain huxnan form, a solo violin; after which tho Prince makes love on his cello while Beauty responds upon the harp in company with a discreetly chaperoning piccolo. 5. The Fairy Garden. To this movement the composer offers no clue beyond the title. We can only listen with inno- cent ears and remember a line from the poet Poe: “Ah, bear in mind this garden is enchant- ed.” Violas and clarinet sing the chief theme. The close is radiant and jubilant. "Petroushka” a Burlesque in four scenes Igor Stravinsky Stravinsky wrote “Pe- troushka” for the famous Diaghilev Ballet Russe and it has remained one of the most popular of ballets as well as of concert pieces. Although Petroushka can be enjoyed for its purely mu- sical qualities, it may be of interest to describe the puppet play which the four movements of the composition illustrate. 1. Village Fair. The first scene depicts the lively bustle of a typical Russian village fair with all its familiar figures׳; the drunken peasants, the teller-of- tales, the organ-grinder, the man who plays !ג musical box. We hear also the merry sounds of a brass band passing by and then drums and tympani announce the opening of the puppe* show which the puppet master (a magician) presents with a sweet cadenza on the flute. The three puppets appear before the curtain. Playing•, the magician coaxes them into life and Petroushka, the Moor and the Ballerina lose the rigidity of their wooden bodies and begin their famous “Danse Russe,” one of the most inspired melodies of the work. 2. In Petroushka’s House. 3. At the Moor’s. The second and third scenes deal with the tragedy that overtakes the three puppets now endowed with human life and passions. Pe- troushka and the Moor fight for the Ballerina’s favours and their wild dances convey the mutual hate and jealousy which consume them. Mean- while the coquette, to the strains of a sen- suous waltz, excites them more and more until they fight at which she swoons. 4. Village Fair (dusk). The last scene takes us to the Fair again where as dusk approaches the gaiety becomes more and more wild. The whole stage becomes a whirl of dancing figures. All at once everything is brought to a standstill as Petroushka rushes out of the puppet theatre pursued by the Moor who strikes him to the heart. Terrified at tne effects of his magic the puppet master appears and tries in vain to bring Petroushka to life. Nothing remains but to drag away the corpse while in the semi-darkness of the falling night the crowd, now quiet, disperses. The magician remains alone on the silent stage and then the ghost of the unhappy lover, Petroushka, appears on the roof of the theatre, mocking, beckoning and threatening his master until the magician runs from the scene in fear and dismay. cieuse, aussi enchanteresse que Ie printemps meme, I'eau de Cologne Spring possede et vous pretera la seduisante magie de la jeunesse. SPRINGS
THE PALESTINE ORCHESTRA Founder and President: BRONISLAW HUBERMAN Management: Prof. Leo Kestenberg, General Manager — S. B. Lewertofl, Genera/ Secretary LIST OF MEMBERS OF THE ORCHESTRA Violins: Bergmann, Rudolf (Leader) Bernstein, Josef Berzon, Raya Bor, Shlomo Borochow, Asher Fenyves, Lorand (Leader) Fliederbaum, Mieczyslaw Garter, Salomon Ginzbarg, Alfred Haftel, Henry (Leader) Gruenschlag, David Kaminski, Josef (Leader) Liftmann, Baruch Lunger, Alfred Polischuk, Basia Rogoff, Boris Silber, Ben-Ami Surowlcz, Jacob Sztyglic, Moshe Yam, Hella Violas: Bor, Chaim Fenyves, Alice Front, Jaroslaw Galimir, Ren6e Klecki, Mnacza Partos, Oedon (Leader) Rak, Marek Violoncelli: Bodenstajn, Chaim Ginzbarg, Boleslaw (Lead.) Katz, Albert Rakier, Mischa Salzmann, Theo (Leader) Vincze, Dr. Lasclo Weissgerber, Josef Basses: Boehm, Ernst Breier, Walter Levy, Rudolf Mirkin, Seev (Leader) Pinski, Mordechai Wenger, Abram Flutes: Engelsman, Salomon Hutorski, Hersz Toeplitz, Erich Oboes: Berger, Heinz Blez, Bram Seidner, Dr. Siegfried Clarinets: Karten, Gys Zimmermann, Heinrich Bassoons: Naparstek, Hersz Rudas, Imre Szulc, Leon Horns: Salomon, Horst Sprecher, Wolf Szulc, Bronislaw Wegmann, Zwi Trumpets: Feldmann, Zwi Hoenigsberg, Adolf Rakier, Mischa Sachs, Hans Trombones: Heller, Oskar Podemski, Michael Schiefer, Heinrich Tuba: Levy, Rudolf Harp: Szarvas, Klara Timpani: Ginzbarg, Bronislaw Segall, Israel Sommerfeld, Kurt Musicians’ Committee: j. Surowlcz (Inspector Chairman) Bronislaw Ginzbarg Erich Toeplitz. CRUISE ON THE NILE BY MOONLIGHT By s/s “DEMOCRACY” P. T. 35 per person AMERICAN BAR & SOFT DRINKS ON BOARD 0״ THURSDAY 30th April SATURDAY 2nd May FRIDAY 1st May SUNDAY 3rd May From 9 p.m. +o 1. 30 a.m. Please book your tickets in advance at your Hotel or at the AMERICAN LLOYD 24a, MADABEGH STREET - Immobilia Passage - TELEPHONE 54347 & 48442 SPEC/AL CONDUCTED TOURS TO LUXOR ■ ASSWAN - PALESTINE • SYRIA
by Helena rubinstein SOLE AGENTS: LA PETITE REINE Cairo - Alexandria - Port-Said
ן . ן FIRST CONCERT PROGRAMME CAIRO: Wednesday 15th April, at 9.15 p.m. EWART MEMORIAL HALL ALEXANDRIA: Thursday 16th April, at 4 p.m. ALHAMBRA THEATRE Conductor: GEORGE SINGER Ouverture “Iphigenia in Aulis''............................ Christoph Gluck (1714-87) Symphony No. 4 in B flat major, op. 60 Ludwig van Beethoven (1770-1827) Adagio — Allegro vivace Adagio Allegro vivace Allegro ma non troppo INTERVAL Ma Mere I’Oye (Mother Goose) ■5 Children’s Pieces Maurice Ravel (1875-1937) 1. Pavane of the Sleeping Beauty (Lent) 2. Hop-O־My-Thumb (Tres Modere) 3. Ugly Duckling, Empress of the Pagoda (Mouvement de Marche ) 4. The Talks between Beauty and the Beast (Mouvement de valse modere) 5. The Fairy Garden (Lent et grave) “Petroushka'' — A Burlesque in 4 Scenes • • Igor Stravinsky (b. 1882) 1. Village Fair 2. In Petroushka’s House 3. At the Moor’s 4. Village Fair (Dusk) I
SECOND CONCERT PROGRAMME ALEXANDRIA: Sunday 19th April, at 4 p.m. ALHAMBRA THEATRE CAIRO: Monday 20th April, at 9.15 p.m. EWART MEMORIAL HALL Conductor־ CRAWFORD McNAIR ELLA GOLDSTEIN in Alexandria GEORGES THEMELI in Cairo The Suite from the Water Music George Frederick Handel (1685-1759) Allegro ^arr' Hamilton Harty) Air Bourree Hornpipe Andante Allegro deciso Concerto No. 5 in E flat major (The Emperor) for Piano and Orchestra Ludwig van Beethoven (1770-1827) Allegro Adagio un poco mosso Rondo Allegro INTERVAL Symphony No. 4 in E minor, op. 98 • • Johannes Brahms (1833-97) Allegro non troppo Andante moderato Allegro giocoso Allegro energico e parsiorato Soloists ASPYRONE MISR aeus I Produit de la SOCltTE MISR POUR L'iNDUSTRIE PHARMACEUTIIJUE, U.E
NOTES ON THE SECOND CONCERT Conductor: CRAWFORD McNAIR Soloists: ELLA GOLDSTEIN in Alexandria and GEORGES THEMELI in Cairo Suite from the Wafer Music George Frederick Handel Handel's “Water Music” י was written — as indeed was 90% of his works — for an English audience. The occasion was a unique and thrilling■ one, George, the Elector of Hanover, was arriving in state at West, minster on the Royal Barge for his coronation as King of England. His barge was accompanied by several boatloads of musicians who had been engaged to play music especially written for the occasion by Handel. The suite which was played won imme- diate approval and was thereafter known as the “Water Music.” essential that he should regain the goodwill of his royal master. George, Elector of Hanover, several years before he was ihvited to become King of England, had engaged Handel as his Kapellmister at the Hanoverian Court. Handel had obtained leave of absence for a short visit to England. When in England he had obtained pro- long^ation of his leave but had finally tried his loyal master’s patience to such an extent that he was peremptorily demanded to return. Life in England, however, appeared to be so much to Handel’s taste that he disregarded the royal summons, became naturalised as an Englishman and settled down as organist to the Duke of Chandos and devoted his time to writing opera in the Italian manner for the benefit of his English audiences at Covent Garden. His dismay can well be imagined when he learned that the Elector of Hanover whom he had treated in such an off-hand manner, was to come to En- gland to be King. It is pleasing• to know, however, that his Water Music went far to removing the royal displeasure and to reinstating him in the favour of the King. Concerto for Piano and Orchestra in E flat Major "The Emperor" No. 5, op. 73 Ludwig van Beethoven Beethoven completed the E flat concerto in 1809, a turbulent year in Vienna, for the French occupied the city fr m May 12 to October 14 and life became difficult for the citizens Bee- thoven suffered from the restrictions imposed and his resentment against Napoleon increased It is related that one day when he saw a French officer pass the coffee house where he was seat- ed, he cried out. shaking his fist: “If I as a general know as much about strategy as I the composer know about counterpoint, I would o-ive you something to do”. The work is supposed to have been, performed for the first time in public m Leipzig on November 28, 1811, with Friedrich Schneider as the pianist. A resounding tonic chord of E flat for full orchestra introduces the first movement, follow- ed by a rhapsodic cadenza for the piano, with later, the strings, bringing In the chief subject rhe second subject is given out pianissimo and staccato by the strings and then legato by the. horns. When the solo instrument re-enters it is with a chromatic scale leading to a trill on the tonic that ushers in lavish treatment of the first and second subjects. The movement ends with a mighty crescendo. Instead of making way for tile soloist to extemporise a cadenza, as waa the custom of the time, Beethoven expressly forbids anything of the sort and proceeds td furnish one himself and to have the orchestra accompany the latter part of it. The second movement consists mainly of quasi-varlatibns on the hymn-like theme given out immediately by the strings, the violins being muted. But there is a second theme, of contem- platlve character, introduced softly by the violins. A whispered hint from the piano of the first theme of the following movement leads over without a break to the concluding Rondo The end is particularly brilliant. Symphony No. 4 in E minor Op. 98 Johannes Brahms ׳This symphony was writ- ten in 1884/5, during a summer holiday in a small Styrian Alpine village. ׳This is a monumental work not so much because of its ex- ternal form as because of its deep intensity. What Joachim, the great friend of Brahms, called “poly- phonous texture” — the in- termingling of romantic tone texture with contra- punctal elements — is indispensable for the understanding of this inspired type of symphony. It is this which gives Brahms’ style its special form and hi*, historical inch- nation its greatest creative value. The first movement, in a tense atmosphere is built up on a small, twofold motive. The slow movement, in a martial key of exceptional beauty, reveals to the fullest advantage Brahms’ love of the past. Contrary to the other three symphonies, this third movement is not in the form of a Minuet but of a Scherzo. The final move- ment, one of the greatest pieces of music ever writ־ ten by Brahms, is in the form of a Passacaglia Its theme, on which are based 32 variations, is taken from Bach’s Cantata No. 150. The stupendous tonal architecture of the variations crowns the whole work as the living token of a tradition which itself points the way to the future.
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UNE NOUVELLE CIGARETTE PAPASTRATOS Fabriquee avec des tabacs de Virginie re^us de fraiche date et minutieusement doses. Printed by S.O.P., Sh. Galal, Cairo (1942).
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