Cincinnati Symphony Orchestra; Beethoven, part 2

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conductor Max Rudolf shakes hands with the concert master the soloist Charles Breslin tenor and Malcolm Smith bass out of the audience. Now the orchestra members rise. To Rudolph and the soloist now leave the stage musical The first performance in Cincinnati this bar talk works. Thanks Charles Dressler and Malcolm Smith again come on stage accompanied by the conductor. They are joined by actor and the received lifetime record of the University of Cincinnati College Conservatory chorus. Around thanks. Now the quartet walked off the stage here at Music Hall. And after

station identification we present the intermission feature. Following this. The program concludes with the Brahms symphony number four. At this time we pause briefly. For station identification. Because the Bach and bar talk works which we have heard are so infrequently performed as our intermission feature on this program Maestro Max Rudolf has further words about these compositions. Mr. Rudolf first illustrates the Bach cantata number for the cantata number four. It's based on a religious religious poem by Martin Luther Bach changed some all through his words and it is interesting how we did it although it would lead too far

to go into these details at this time. It is as far as the musical form is concerned. A typical Caroll variation from. A past liked to use a chorale melody and to develop it in various ways for instance in his organ Korolev preludes which are famous and played quite frequently in a Protestant church services by ambitious organists to him to open the service. In this particular case where introduces the chorus he gives the what is called in technical terms the Qantas thermos which is the chorale melody to various voices while the other voices and the orchestra elaborate

on the motives which are often derived from the Koran melody itself which is so typical of this chorale variation from the work opens with a short orchestral introduction. Where the melody is not really obvious enough that we could say it is a variation yet although he uses one particular part of the melody in this introduction which is played by strings and organ then comes the first stanza which she calls a verse is one written for the entire chorus accompanied by strings organ and for wind instruments. At that time it was customary to have. Two to

use trombones and similar instruments to support the chorus in church. So we don't have the exact instruments which would be the equivalent for the back use. But our contemporary trombone players are so skillful and can manage fairly well although the instruments are so different the melody itself goes this way. Then the soprano pauses while the other voices are going on. Resuming after a few hours. Now they have follow no less than six hours without the melody until it's resumed again.

You would like to know probably what is going on in between. In between the other voices which were used in a rather intricate man I let me play a little bit. This is going on simultaneously with a melody so it is not easy to sing for the chorus and actually you need a specialized group which we are fortunate enough to have here at the Conservatory of Music. Now the second verse is the second stanza of Luther's poem utilizes only Sopranos and altos. Incidentally once in a while you will find a score where it is indicated that this should be performed by solo voices but I was definitely wrong. This work is written for a chorus throughout

all these stands should be sung by the group. Of course not a large group. It would be very wrong to utilize a big chorus for this work. The third step is for the tenors only while the violins and the orchestra play a lively melody like this should and so melody passage. Like a violin sonata then the next verse is written for the entire chorus where the the words the German words read as vi and tweak it was a very strange back up and illustrates the meaning of the words in a very drastic way of very lively passages in the chorus. Then the bassist sing alone one of the stanzas and finally a

Soprano's and tenors are used for a number where they are in the form of a canon follow each other and the conclusion is typically written back and some lacquered Caroll sung by the congregation and. Cause the melody again in the album. The last word

in which. I added the word at the end of each stanza. This city had not found but he added at the end of every verse it is a very impressive work and shows Bach's great. Choral setting in a very remarkable matter. Turning now to the content of profound talk we know that vi talked about it a great deal of his career to researching Hungary and folk songs. As to Rudolf did he incorporate any of these into his contact a profiler.