Cincinnati Symphony Orchestra 1971; #7 (Reel 2)

Bill. We're back in Music Hall in Cincinnati for the seventh concert in the 1970 71 series by the Cincinnati Symphony Orchestra. On the second half of the program Eric Cohen's old conducting American soul the resident conductor of the Cincinnati orchestra. And the guest soloist is a mill below us. The great Russian pianist was born in Odessa Russia will be count piano studies at the Odessa Institute of Music and Drama at the age of 5. At 13 he created a sensation with his first public recital. And soon entered the Odessa conservatory. And there he was heard by Arthur Rubenstein and Rubenstein is reported to have said if he ever comes to America I might as well pack my bags and go. Well honors and contests winning that of course followed. And it seemed that a brilliant concert career was underway but World War 2 intervened.

And Gilels was limited to performing only in Russia and teaching at the Moscow Conservatory. When the war ended he began concertizing in Eastern Europe London Paris Headley Switzerland Holland Belgium and finally in 1955 the United States. In fact he was the first major subfield musician to play in the United States since because here in the 1920s. And he was received with nothing but praise. Since then girls has returned to the U.S. for concert appearances every few years. The reviews are always good. If not better. During one of his recent visits the New York Times critic Harold Schonberg wrote when Mr. girls first played here it was obvious that he was a major talent. Now it would be insulting to describe it as a talent. He is one of the supreme pianists of our day. We're going to hear him playing the Beethoven Piano Concerto Number Four in G. Opus 58.

This concerto was begun by Beethoven an eighteen hundred and five first performs an eight thousand nine hundred seven with the composer has sort of west. It's a relatively small orchestra. Two clarinets are added to the. Orchestra that Beethoven used in the second Biala concerto as well as trumpets and tempering in the final movement. It broke tradition in many ways. This is probably the earliest instance in which the solo instrument actually precedes the orchestra. Although it is not the first example of the saw that was playing before the orchestral exposition. The opening is also famous because of the quite unexpected key in which the orchestra responds to the pianos opening statement. And the work is full of untraditional touches of this nature. The first movement in particular has an intimate wayward quality which engages the attention all the more for its lack of formality. It's a suburban example of ideas creating a form rather than being contained within them.

The slow movement surprisingly short and it scored only four strings and the soloist. It's a most unusual dialogue with the strings in unison for most of the time playing forte and someplace to Cardo. But the piano reply's piano and multo cantabile way. With continuously moving harmonies to form the most complete contrast imaginable. There have been many interpretations given to this such as Orpheus taming the Fury's or feminine guile defeating brute force or art contrail ignorance. It doesn't really matter that this movement lends itself to these interpretations. All we know for certain is that the orchestra is tamed to submission by the humility and beauty of the counterpart and the two become reconciled in peace as the movement has. Done the finale begins. And it seems that we are plunged into cold water of a sudden. It begins. Well it seems like the wrong key of C major. And

once again it's in rondo form full of lively ideas and short condemns us for the soloist. The trumpets in temp an e add their edge to the orchestral interpretations as the piano numbly springs from one thing to the next it seems oblivious to the struggles of the Andante. But then masterpieces are like that. And so this is the work that we are going to hear in just a few moments. Girls besides being constantly on concerts such as this with autistic also loves chamber music and performs regularly with any program and it's the slope of Alaska Public Radio. Now here's Mr. Goodloe most really plans on the Cincinnati Symphony Orchestra. We will now hear Beethoven's piano concerto number four in G. Opus 58. Wow

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Coming. In or going to Ellsworth the Cincinnati Symphony Orchestra performing the Beethoven Piano Concerto Number. Four. In the order will. Be one of the great. Rival. Appearing here with this one from the Symphony Orchestra under Windsor. Girls once again.

Thank you. Very enthusiastic. Thank you. Of a feeling bionic and federal number four and the Opus 58 one of the great king fellows of all time. What's more here comes a miracle. Thank you. Again thank you. Thank. You to read me clapping.

And thank you thank you because. This type of. Modern. Style of applause will. Be coming. More and more normal. Countries. Thank you. Thank thank you for coming on again AMERICAN MORNING. Thank you thank you Melissa. Excellent performance from historic Thera criminal conduct.

Thank you. Reza thank you. This has been another counselor to me writing 70 71 series by the Cincinnati Symphony Orchestra Thomas fritters music director. These concerts were recorded for National Public Radio by W.G. U.S. the University of Cincinnati station. And are made possible by the cooperation of the Cincinnati Symphony Orchestra. The Cincinnati musicians Association and National Public Radio. Recording and production by David Thompson and your announcer Myron bought it. This is NPR National Public Radio. A.