Cincinnati Symphony Orchestra 1971; #9 (Reel 1)

From a music hall in Cincinnati another concert from the 1970 71 season by the Cincinnati Symphony Orchestra conducted by Thomas shippers. This is Myron Bennett on today's program the Bach Brandenburg Concertos number four and the brook Violin Concerto Number One. Both these featuring Isaac story guest artist on today's program and following intermission the Adagio from the symphony number eight in C Minor by Brooklyn. These concerts were recorded for National Public Radio by U.S. diversity of Cincinatti station and are made possible by the cooperation of the Cincinnati Symphony Orchestra. The Cincinnati musicians Association and National Public Radio. Back in the days when Bach was working as it has been and is now musicians were not all as totally secure in their jobs. At the time. Bach was working for the Prince of old. And he was an enthusiastic musical amateur but he took a wife who was totally

deaf and dumb in matters of music. And Bach thought. That his position might not last very long and so. He sent to the Margrave of Brandenburg a group of charity that he had been working on for several years in the hope that the Margrave would look favorably on him if he did need a job. Well evidently the concertos were never played at Brandenburg but they undoubtedly were. And there is not any record that Bach ever received any money for the works but he did make use of the music later in Leipzig. The fourth Brandenburg was transcribed into a concerto in a major. And like so much of Bach's greatest music the Brandenburg Concerti were neglected until the revival of interest in his work in the 19th century. Today of course they're recognised as masterpieces. This work is written in the old concerto Grosso form in which a big body of instruments but a piano Tootie on the back bench place alternately with a

smaller group of solo instruments called the concertina. The material of the first movement is supplied chiefly by the soloists solo violin and two flutes. The first movement is presented in three sections. The third is an exact repetition of the first. The main theme is pastoral and character stated at once by the solo group the long second section is remarkable for its inventive use of the solo violin flutes and its a labyrinth development the applause greeting signal from the master of the facilities of the school. The second movement is andante was aptly described by Bach's biographer as a beautiful and grave piece in mournful measures. The finale is in strong contrast the basis of the movement is a fugue and a brilliant one outstanding is the virtual So solo violin part the sum of violin part will be played by Isaac Stern two flute

parts George Hambrecht and Rochelle grazer. The harpsichord continual played by the moto harpsichordist in residence at the College Conservatory of Music. Tuning is through and now we're awaiting the appearance of Thomas shippers and Isaac Stern. The work does abound and so the passages for the violin and the variety of forms of the different different movements give opportunity for both rapid technical passages and especially in the Andante section. The beauty of tone possible on the violin. Here they are. It. Was. On the ship.

They do look somewhat there at the local group you know. Of course the smaller ensemble is necessary for the Brandenburg Concerti just about half the stage is filled with people this time. I. The now we are ready we will hear the Bach Brandenburg Concertos number four in G major. What. Am.

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thank you. A. Groundbreaking ceremony will. Be made with eyes of us throughout this. Film I suppose you know what I experience. THANK YOU THANK YOU THANK YOU. Thank you played by the Russian Most of the audiences you guys experience me. Hugh

thanks a special artist. THANK YOU THANK YOU THANK YOU. Artistry THANK YOU THANK YOU THANK YOU. Robin. Very much right to life. Thank you very much. Thank you really thank you. Ice storm is furious again. About. And in a few moments. The story. Thank you thank you. Thank you. Mine. Is an American violinist like you guys throughout the world is one of the great

artists of our century. Although he plays more than one hundred concerts each season on at least three continents He is also one of America's most distinguished private citizens. The lines not only his prestige but his active help to many cultural and philanthropic endeavors. He is president of Carnegie Hall. And in fact he led the drive to save that historic going to try him which was slated for destruction parking lot. Is a member of the National Arts Council and President of the America Israel cultural foundation. And Isaac Stern has served as an unofficial musical ambassador for our country and all parts of the world. He also offers unfailing advice and encouragement to many young artists. He was born in Russia but brought by his parents to San Francisco and he was less than a year old at six he began studying the piano. But two years later switched to violin. His major teacher was the late blind or a concert master of the San

Francisco Symphony. And Isaac Stern made his debut with Mr. Blinder in the Bach double violin concerto when he was 15. In one thousand thirty seven he made his New York debut and in a few seasons he was numbered among the handful of top violinists. Recently the London Times said he belongs to that great company a virtual sea around whose names legends have grown in the course of history. The work we're going to hear is the Max Brooks Violin Concerto Number one in G minor Opus 26. Max Brook died in 1920 at the age of 83. He was very well known in the 1870s and 80s and he held a number of them Porton posts but he seemed to be a figure of the past. Before he died. Today very little of his music is played in the exceptions are the Scotties fantasy for violin atop the Kol Nidre for cello. This is still very popular Violin Concerto Number One. Which was

completed in 1866. But after it was completed Brooke was dissatisfied with it and sure of it he sent it to the violinist Joseph short with a request for his advice and criticism. In a note he suggested that the work was perhaps more like a fantasy than a concerto. But in return the manuscript together with many suggestions for a vision and he reassured that he had chosen the correct title. He said I find that the title concerto is fully justified. The different sections are brought together in beautiful relationship and yet this is the principal thing. There is sufficient contrast. There are breaks with tradition in this work. The first was the avoidance of sonata form in the first movement and I got a motor auto instead. Brooke wrote an elaborate prelude or introduction. This is connected without pause to the fully developed slow movement Adagio. And this adagio movement is considered by

many to be one of the loveliest moments in all of violin literature. And the finale Allegro energy is in the ground virtuoso tradition it has an opening theme and tiredly and double stops and it goes on from there. Another break with tradition is that there are no extended town accompanied by Jenson. Isaac Stern on stage no. The orchestra at the largest drinking the poison they bought from the local chateau when they greet Mr. STERN. Now more tuning for the so the violin. And in just a moment. We will be hearing the Violin Concerto Number one in G minor Opus 26 by Brooke Isaac Stern soloist Thomas Shipp

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Very much. Thank you Cincinnati. Thank you. For your audience. You mentioned before that not many. Groups compositions are still played the day before when. The. Two of you.

Guys extruded. Thank you. Guys it's. The book. Violin Concerto Number one in the mind of. People. That concludes the first half of this concert by the Cincinnati Symphony Orchestra. The few moments we were touring with the second half. On the second half. Of the Adagio from Symphony Number eight you see mine. We will pause right now for station identification. This is NPR National Public Radio.

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