Detroit Symphony Orchestra; Tchaikovsky, Ravel, and Dvorak, part 1

National Educational radio presents the 12th in a series of broadcasts of regular subscription concerts especially selected from the archives of the Detroit Symphony Orchestra. Recorded by the 100 man organization and its permanent home the Henry and it's a Ford Auditorium in Detroit specific center. The programs in this series are being produced by the University of Michigan broadcasting service for national educational radio and regret in aid from the National Home Library Foundation and in cooperation with management and the orchestra Committee of the symphony and the Detroit Federation of Musicians. What today's broadcast. Our conductor seeks to elling as a program to the overture fantasy Romeo and Juliet by Tchaikovsky. This week. Number two from Daphnis and Chloe by Ravel. And to conclude the Symphony Number two in D minor by voice shot. Among Tchaikovsky's two most popular pieces of program music on Don today are his over at your 1812 and the work we are about to hear. You know what your Fantasia

Romeo and Juliet. The work in the composer's own words is an obituary Fantaisie after Shakespeare its contents are quite obviously a program acting. In the composition one can trace the course of the drama beginning with a solemn portray to Friar Laurence and continuing through a vivid picture of the warring Montagues and Capulets the two young lovers their parting and death and finally a moving up of the ESAS. Romeo and Juliet in the fall of 1869. Its premier took place in Moscow in the spring of the following year. Then that summer 1870 strike up speak completely rewrote the way while travelling in Switzerland. It's demanding now conducts the Detroit Symphony Orchestra in the first work on today's broadcast. The overture from Daisy Romeo and Juliet by Tchaikovsky 8. I am.

One. On one. Let's. See.

Lou. Lou. What. What.

Yes. Let's.

When we.

Enter. For the. Floyd orchestra six to Emily. Thank you. A

little thank you. Romeo. Doing. It is one of the paradoxes of musical history. The musician who of all others is generally considered to be the most typically French should have been of Swiss and Basque descent. But this is only one of several paradoxes in the artistic life of Maurice Ravel. For him music was a kind of ritual having its own laws to be conducted beyond high walls within a kind of magic circle sealed off from the outside world and impenetrable to an authorized intruders. Nothing extraneous to the music itself could be tolerated. Igor Stravinsky once likened Dr. L to a Swiss watchmaker. This week number two from the ballet deftness and Chloe the next work on today's broadcast is called by many critics the composer's finest achievement. It was the direct result of a commission by the Russian Tiago lef and given ravel in one thousand nine when he was in Paris the AGA

left had long looked upon this fable by the Greek storyteller longus as an ideal ballet subject. But then a libretto adaptation which Ravel used was by folk in. Ravel was far from pleased with folk eans planned for the ballet and proved a most difficult collaborator. He took three years to compose the work and from the descriptive phrase in the title a choreographic symphony and three movements. It's evident that the composer thought of the music as the most important element of the Diogo life commission. For various reasons none of which concerned the quality of the music. The premier performance was anything but a rousing success. But the two orchestral suites derived from the original score are concert favorites everywhere. Here now is the Detroit Symphony Orchestra 610 Allen conducting in a performance of Maurice Ravel's this week number two from Daphnis and Chloe.