" ׳ 1 ' ׳ ׳ י SOCIETE DE MUSIQUE D1GYPTE - CAIRO : SOCIETE DES CONCERTS D'SGYPTE - ALEXANDRIA PALESTINEORCHESTRA 2 SYMPHONY CONCERTS No. 1 CAIRO : Wednesday January 27th, 9.15 p.m. EWART MEMORIAL HALL ALEXANDRIA : Thursday January 28th, 6 p.m. ALHAMBRA THEATRE conductor GEORGE SINGER soloist FRANK POLLAK IM -----ALEXANDRIA : Sunday January 31 st, 3.45 p.m. ALHAMBRA THEATRE CAIRO: Monday February 1st, 9.15 p.m. EWART MEMORIAL HALL conductor GEORGE SINGER soloist JOSEF KAMINSKI FRANK POLLAK GEORGE SINGER JOSEF KAMINSKI SYMPHONY CONCERT TOUR ' < • -V !94 3
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NOTES ON THE FIRST CONCERT Overture to "The Magic Flute" Mozart 1756-91) MOZART’S opera, first performed in 1791, denoted a great and unending victory for the art of opera at that time. Through his music the Master has lifted this fairy-fantasy — written in the tase of the period — into the realms of the occult and the beautiful. And above all there is to be remarked as the basic thought in this work the victory of the higher forces of humanity over the lower. Even the Overture shows this conception. Power- ful chords by the winds open the Overture, symbolic of the kingdom of the magnanimous priest, Sarastro. These solemn sounds introduce a Fugato in Allegro-Tempo. Its sharply ac- centuated sequence of sounds are developed in the form of a Sonata, As well as the solemn introduction the running hustlebustle of the Fugato gives a foretaste of this unique opera in which are combined into one organic whole the most heterogeneous elements of style, pop- alar, burlesque. fantastic and superhuman strength. Antonii Chorale is shown in undiminished strength. In each of these variations developed with the highest technical mastery, the theme is shown in ever new lights. And through the appearance of the varied soulful moods the eight Variations are rounded into a unified form like the classic symphony. Following the sinister, spirit-like tones of the last Variation the work is crowned by a Finale. Here appears in the basses, eighteen times reiterated unchanged, a transformation of the chief theme, a so-called Ostinato. This ground bass is then tossed about by the other instruments in a variety of ways, thus creating within the great Variation a new and independent set of little variations. Variations on a Theme by Haydn (Chorale St. Antonii) Johannes Brahms (183397־) W ITH this work Brahms has presented us not only with one of the most important of Variation-Compositions but also with one of the greatest orchestral works known. The Theme is based on an old Pilgrims’ Song and he first used it in a Divertimento for Winds (not published till 1932). This simple melody, breathing the spirit of faith has been transformed by Brahms into 8 gigantic variations in which — a sign of the congenial creative power of both the musical geniuses, Haydn and Brahms — the original force of ’the old St. Concerto for Piano and Orchestra Maurice Ravel (1875-1937) I^HIS Concerto is Ravel’s penultimate work. He followed this with a piano concerto for orchestra and left hand, which was the ־ final composition of his life. The work being performed today is in three movements. In spite of its tempestuous torrent of sound -it always keep its relation to a definite key, that of G Major. The first move- ment is built up in the classical sonata form. Two contrasting themes appear and the reprise concludes with a cadenza on the piano, which is written over the second theme. The middle, slow movement is composed in the form of a song. It begins with a long, expressive solo for piano. Here there is an interesting, poly, rhythmic effect which is arrived at by the melody being in 3/4 time while the accompaniment is in 6/8 time. At the end this melody returns in the English Horn as solo and has a background brilliant passages on the piano. The concluding movement, a Rondo, is a kind of Perpetuum mobile. Here the piano is used as a percussion instrument, as is sometimes the case in the works of modern composers and in consequence new effects are obtained. POUR TOUT CE QUI A TRAIT A VOTRE AMEUBLEMENT : ACHAT DE MEUBLES NEUFS OU D'OCCASION, LOCATION DE MEUBLES, VENTE DE MOBILIER A L׳AMIABLE OU PAR VOIE D'ENCHERES AUX MEILLEURES CONDITIONS, Adressez-vous a !'expert commissaire - priseur GEO. MAVROKEFALO 14, Rue DaramaHi - Cheikh Hamza Telephone 58159 LE CAiRE
Symphony No. 7 in A Major, op. 92 Ludwig van Beethoven (1770-182/) EETHOVEN began the sketch for this work in 1809 but brought it to a close only in 1812, hearing it successfully performed tor the first time in the following year. He considered it one of his best productions and indeed the bright ((Seventh״, so richly endowed with serenity and radiant humour, has at all times and everywhere met with the greatest popularity. . The Symphony begins with an ample ana festive introduction, elaborated almost to the extent of an independent movement. This m- troductlon is followed by the principal first movement, a «Vivace» whose main theme in 6/8 time is exceptionally impressive through its pointed dancing rhythms. The second part, an Allegretto, is an inspired piece of music. in a It lias always been a favourite with the musical public and we know from memoirs and news, papers of the time that it was regularly re- quested «da capoa at first performances. From the somewhat melancholy theme of marchlike character rises a counter-theme which passes from the violas and violoncellos to the violins. It is in D Major. The Allegretto fades away with the first march motif alternatively taken up by various Instruments. The third movement, a Presto, again calls forth all the high spirits of unrestrained mirth. It consists of three sections full of rhythmic buoyancy. Long-held tones of the violins are characteristic of the Interlude that appears twice in the progress of the Presto. The Finale, an «Allegro con brios is a powerful outburst of rhythmic energy. Its chief melody is simple but impressive in its driving unrest. Together with the foregoing parts It motivates Richard Wagner's definition of this work as an «Apo. theosis of the Dance»־ NOTES ON THE SECOND CONCERT Symphony in E flat Major, "The Eroica" op. 55 Ludwig van Beethoven (1770-1827) BEETHOVEN originally dedicated his third symphony, completed in 1804 to the then Consul Napoleon. When the «Emperor» be- came sovereign, the republican-minded com- poser withdrew his dedication and gave the work the non-committal title of «In memory of a Hero». Much has been said and written about the «Eroica» but better than any description of its contents is it to allow this colossal work to make its direct musical effect on the hearer. The famous principal theme of the first move- ment gains significance through its terrific energy. In the manifold characterisations to which it is submitted in the working-out, the idea of «struggle» remains constant. Even in the heroic opening movement the dark pictures are not less richly painted than the jocund. It is ever one of Beethoven’s most successful artistic methods to stress the conflict between the powers of darkness and ‘light and thus make the latter s victory all the more impressive. The celebrated, long-spunt-out Marcia fundbre creates a world of music of its own. Its C minor plaint belongs to the most heart-rending tone-poems in the whole of musical literature. After its sounds cease, the tragic features of the work cease also. And with the gracious and kindly Scherzo the work! of light is opened. In the Trio of this movement, hastening by in the quickest and most transparent of passages, we hear the horns in those famous tones which are so agreeable to the listener and so trying to the players! The quick closing-movement is, like the first, sustained by an impressive theme which is elaborated in a number of variations. In its development a second soulful theme plays an ever greater role and, appearing in the Andante, induces a reflective spirit and thus makes the fol- lowing jubilant Finale even more powerful in its effect. (Continued on page 10)
THE PALESTINE ORCHESTRA Founder and President: BRONISLAW HUBERMAN Management : Prof. Leo Kestenberg, General Manager — S. B. Lewertoff, Genera/ Secretary LIST OF MEMBERS OF THE ORCHESTRA VIOLINS : Bergmann, Rudolf (Leader) Bernstein, Josef Berzon, Raya Bor, Shlomo Borochov, Asher Fenyves, Alice Fenyves, Lorand (Leader) Fliederbaum, Mieczyslaw Garter, Salomon Gruenschlag, David (Leader) Haftel, Heinrich (Leader) Kaminski, Josef (Leader) Kochmann, K.U. Liftman, Baruch Lunger, Alfred Petroshanski, K. Polischuk, Basia Rogoff, Boris Silber, Ben-Ami Surowicz, Jacob Sztyglic, Moshe Yamm, Hella VIOLAS : Bor, Chaim Fenyves, Alice Front, Jaroslaw Galimir, Renee Klecki, Mnacza Partos, Oedoen (Leader) Rak, Marek Schloss, E. Steinberg, W. Swerdloff, Judith VIOLONCELLO : Bodenstajn, Chaim Ginzbarg, Boleslaw (Leader) Katz Albert Meyerson, M. Rakier, Mischa Salzmann, Theo (Leader) Vincze, Dr. Laszlo Weissgerber, Josef EASSES : Boehm, Ernst Breier, Walter Jacobowsky, Jehuda Mirkin, Seev (Leader) Pinski, Mordechai Wenger, Abram FLUTES : Engelsman, Salomon Hutorski, Herz Toeplitz, Eric OBOES : Berger, Heinz Blez, Bram Seidner, Dr. Siegfried CLARINETS : Karten, Gys Kochmann, P. Zimmermann, Heinrich BASSOONS ; Naparstek, Herz Rudas, Imre Szulc, Leon HORNS : Salomon, Horst Sprecher, Wolf Szulc, Bronislaw Wegman, Zwi TRUMPETS : Feldmann, Zwi Hoenigsberg, Adolf Rakier, Mischa Sachs, Hans TROMBONES : Heller, Oskar Jacobowsky, Yehuda Schiefer, Heinrich HARP : Szarvas, Klara TIMPANI : Ginzbarg, Bronislaw Segall, Israel Sommerfeld, Kurt MUSICIANS COMMITTEE : I. Surowicz (Chairman and Orchestra Inspector) S. Mirkin E. Toeplitz FOR BEST WATCHES AND BEST REPAIRS Specialist for 37, Sharia Kasr El Nil "V ACHERON & CONSTANTIN" and "PATEK, PHILIPPE & Cie" watches
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FIRST CONCERT PROGRAMME CAIRO: Wednesday 27th January, at 9.15 p.m. EWART MEMORIAL HALL ALEXANDRIA: Thursday 28th January, at 6 p.m. ALHAMBRA THEATRE Conductor: GEORGE SINGER Soloist: FRANK POLLAK (pianoforte) 1. Ouverture Io the "Magic Flute"....................................................... Mozart 2. Variations on a Theme by Haydn, op, 56 a...............................Brahms Theme: Chorale St. Antonii 1. Poco piu animato 2. Piu vivace 3. Con moto 4. Andante con moto 5. Vivace 6. Vivace 7. Grazioso 8. Presto non troppo Finale Andante 3. Concerto for Piano and Orchestra................................................. Ravel Allegramente Adagio assai Presto INTERVAL 4. Symphony No. 7 in A Major, op. 92...............................Beethoven Poco sostenuto; Vivace Allegretto Presto Allegro con brio JOAILLIER 26, Hetr^ (flail. csdlexandtie. MM
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SECOND CONCERT PROGRAMME ALEXANDRIA: Sunday 31st January, at 3.45 p.m. ALHAMBRA THEATRE CAIRO: Monday 1st February, at 9.15 p.m. EWART MEMORIAL HALL Conductor: GEORGE SINGER Soloist: JOSEF KAMINSKI (violin) Symphony No. 3 in E flat Major, op. 55, "The Eroica" ■ Beethoven Allegro con brio Adagio assai (Marcia funebre) Scherzo Finale; Allegro molto INTERVAL "Under the Spreading Chestnut Tree" Variations on an Old English Tune.............................. Weinberger "Poeme” for Violin and Orchestra, op. 25.............................. Chausson Three Pieces from the "Damnation of Faust"...............................Berlioz Valse des Sylphes Menuet des Follets Marche Hongroise SPEND your LEAVE in LUXOR and ASSWAN PALESTINE and SYRIA For particulars, apply to AMERICAN LLOYD 26A, Madabegh Street (Immobilia Build. ) - Phone 54347-48442 - CAIRO
NOTES ON THE SECOND CONCERT (continued from page 4) "Under the Spreading Chestnut Tree" - Variations and Fugue on an Old English Tune jaromir Weinberger (b. 1896) THERE is no better way of introducing this work than by quoting the preface written by the composer himself and in condens- ed form is as follows: «In the summer of 1938 white visiting a theatre on the French Riviera, I saw a newsreel featuring the King of England at a summer camp. He was surrounded by many young people who were joined by him in the singing of a so-called «gesture» song: Under the spreading chestnut tree When I held you on my knee, Oh, how happy we could be, Under the spreading chestnut tree. Later on when I came to New York, I wrote Variations and Fugue on this theme and finish, ed the score in March, 1939. oTheme: Under the spreading Chestnut Tree» — the period is in eight bars. The melody itself is very well constructed, leading to a climax in the middle of the tune. First Variation: «Her Majesty’s Virginal» __ this Variation is built in the form of a canon. Second Variation: «The Madrigalists» — The madrigal was one of the favourite forms during the 15th and 16th centuries. This Variation pays homage to the English composers of this early form of music. Third Variation: «The Black Lady» — he- roine of Shakespeare’s sonnets. Fourth Variation: «The Highlanders» — Some years ago while spending sometime in London a strange music awakened me. This was the first time I had ever heard the music of bag. pines en masse. Fifth Variation: «Pastorale» — An old classic painting in the British Exhibition in the Louvre in Paris provided the imagination for this varia- tion. Sixth Variation: «Mr. Weller, Senior, discusses widows with his son. Samuel Weller, Esq.» — The 23rd chapter of Charles Dickens’ «Pickwick Papers» establishes the classical! example for a stubborn generalisation. Seventh Variation: «Sarabande for Princess Elizabeth, Electress Palatine and Queen of Bo- hemia» — Elizabeth Stuart (1596-1662) was a lady of unusual beauty and education. The composition ends with a Fugue, having a subject of eight bars. "Poeme'\ for Violin and Orchestra, Op. 25 Ernest Chausson (1855-1899) ' .............................. worKs or Ernest Chausson whom a tragic accident brought to an untimely end in June, 1899. Chausson combined in himself the best cha- racteristics of the C6sar Franck school: a sen. sitive sense of sound and great surety of form. The «Poeme» was written in 1896: It is a tightly constructed work in one movement and lasts about 15 minutes. Because of its very attractive solo part it enjoys the highest pop- ularity with most violinists. It opens with a «Lento e misterioso» in sinister E Hat minor with a short orchestral prelude. Then the solo violin appears with the main theme which is immediately taken up by the orchestra. A brilliant cadenza for the solo violin immediately follows on the Tutti which leads to an emotionally-moved Tempo (Animato). The momentum increases more and more and the movement becomes ever broader till again in the slow time of the commencement, «Poco lento». the chief theme appears as the high point in the full Tutti of the Orchestra. The piece, which began in minor rings ל ס sweet and dreamy in the key of E flat Major. Three Orchestra Pieces From "The Damnation of Faust" Danse des Sylphes; Menuet des Toilets; Marche Hongroise Hector Berlioz (1803-1869) atcracrea tne artist who in his own life had a Faust-like battle to fight and in ’ the «Damnation» he makes use of a series of scenes which he had already written in his youth. For the text of the composition he very often uses the very words of Goethe’s famous «Faust» but Berlioz always does this in his personal, free manner. This brilliant but somewhat dis- integrated work had no success at the first hearing and only established itself with time. To-day orchestras mainly perform single pieces which through their musical inspiration and their fascinating instrumentation are of infinite vivacity. The transparent Dance of the Sylphes with its graceful waltz rhythm, the plastic effect of the Will-O-the-Wisp dance and the famous «Rackoszy March» are convincing examples. Particularly the last named piece which Berlioz wrote after a visit to Hungary in tribute to that country belongs in its compelling rhythm and its effective towering construction among the most beloved works of the whole concert lite- rature. Notes by Dr. ELSE LEWERTOFF
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