Cincinnati Symphony Orchestra 1971; #4 (Reel 1)

From Music Hall in Cincinatti another concert by the Cincinnati Symphony Orchestra of the 1970 71 season conducted by Thomas shipper. So this is my run but not today. And all bar talk program with the developmental four string orchestra the Concerto for Orchestra and John Browning a soloist in the can shatter number three. These concerts are recorded for National Public Radio by WG you see the diversity of Cincinnati station and are made possible by the cooperation of the Cincinnati Symphony Orchestra of the Cincinnati musicians Association and National Public Radio Bar talk of course a 20th century composer and one who is sometimes very difficult to listen to. However all three works on this program are among his easiest and among his most popular. We're going to begin with a developmental four string orchestra which he composed in 1939. This was a difficult time for bar talk. Of course Hitler and his threats made by talk a very fearful for the

future of his country. And so it's somewhat surprising that this is such a carefree work the second movement perhaps has some reflection of his feelings at that time. The work begins with a hungry and melody and violins going on to a second lyrical episode and using the concerto Grosso idea of the concertina or solo instruments against the repeal or a full orchestra. The subtle move much multa adagio has an air of dark melancholy. This is the section that may reflect bartók state of mind at the time of composition. The finale is a fast and rollicking dance craze of the field in its middle. Before coming to a brilliant close the applause greeting the soloists for this performance segment from the concert master Rosemary Waller second violin Erik Karlsson Viola y Christensen cello and Harry Reid they

all first chair players with the Cincinnati Symphony Orchestra. Bar talk in this work uses the concerto Grosso idea from the 18th century somewhat in the style of the Neil classist but it's been his own individual and highly original style found in it he exploits to the full the resources of the string orchestra all the techniques possible. BOB HAWKE himself made many advances and techniques for strings such as different ways of bowing and puts a capo in his string quartets advancing even further with various noise factors. We're waiting now Thomas shippers. This 970 71 season his first with the Cincinnati Symphony Orchestra by this time the Cincinnati audience quite taken with Mr. Schippers

his programs have been extremely interesting and of course he is one of the great conductors. Some more tuning going on. And here comes Thomas Jefferson the asylum claim the knowledge will be about talked of as a model for string orchestra. Where where. Where.

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This work composed in 1939. Perhaps the last movement is the one that most deserves the title of other models or some other and running sans drama shippers returning to the stage. He asks the solo ensemble to show the applause. Said nothing because filing. Is No. Longer such a violent House and the only way this thank you thank you thank you for your plea. Thanks thanks thanks and well equipped to take the solo part in just a few moments we will be hearing from our soloist on this program and that is the pianist John Browning John Browning made his debut with the Denver symphony at the age of 10. He played Mozart's coronation concerto not exactly a beginner's piece.

His audience was very captivated by him but his parents decided not to deprive him of a normal childhood. They let him study and mature away from the spotlight. He continued piano studies in Los Angeles with Lee Patterson attending public schools in Occidental College. Eventually he became a scholarship pupil of the famous teacher Madame Rosina Levine at Juilliard when he first came to national attention in 1954 as one of the Steinway Centennial awards in 1055 he won the Edgar M. love interest award one of the greatest awards in piano competitions and the following year he debuted with a New York Philharmonic. His career has done nothing but be good since that time. He's one of the outstanding young pianists noted for his force technique dexterity and his musical insight. This third piano concerto by Bob Hawke was in reality his last work. He completed all but the last 18 bars of the orchestration before his death.

At the same time he was also working on the Viola Concerto which was completed by T-bar surly after his death. But this was really his last. True work. He wrote it as a parting gift for his wife the pianist did a story he knew he was going to die. He knew the end was near. It was very hard just to work on this. It's was a labor of love Definitely. The premiere was held the following year and the reaction was favorable. Much has been made of the contrast between this and his earlier concertos numbers 1 and 2 which were both very much for cussing and regrets. This is lyrical mellow and lyrical but there's no compromise on Bartok's part. The first movement begins with a murmur and violins and billows and after this the piano plays a rhapsodic theme of a somewhat Roumanian character. The movement is consistently lyrical. It ends with a short coda the dissolves into the

flute. We often hear the term Nice music applied to bar talks music and the second movement. But our show didn't show so is a prime example of this. It opens with a kind of corral and on the night music that is well you can almost see the night when you hear the music. This also includes the church of insects and the call of birds. The piano plays the Baltimore oriole and the warblers are played by the clarinet and flute. POTOK had notated these bird calls on a trip to Asheville North Carolina in 1954 and then the Corolla comes back in the woodwinds accompanied by the piano. The finale Allegro Vivace is a fast moving longto with people I pursued similar in a way to the last movement of the devoted much of that we just are. Seeing now from the concertmaster. Stage to two New Yorkers.

They bought chalk and showed up for two pianos he had written quite a few years earlier and the performance of that was by himself and his wife did up a story. Now here comes John Rawlings. We're about to hear if we can shuttle number three for piano with orchestra by a lockbox on. Are. You.

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