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I. Didn't. The but.
Thank. You an. Hundred. And three.
Man. I EVER. Why.
Erode lightning. And. I
am. Willing. The end. Of. The boot. But. The book.
Yeah. Yeah but. A.
The AA. Or AAA. To AA. Or.
The FAA. The M. I l. O l. O l. O l. O s. Wow. Wow.
Wow. Wow. Wow. Wow. Wow. Wow. Wow. Wow. Wow. Wow. Wow. Every one's own assistant conductor of the orchestra still on the podium now trannies and powers for the audience again. Now concert master
Sigmund Ephron rises to meet Mr. Quinn's old both gentlemen shake hands. Arms will motions. For the orchestra members to stand. Now he walks on stage as music hall audience with a warm reception. We've heard the Symphony Number three of the Scotch symphony of Mendelssohn. Great friends will return. Right from the podium we're down bows to the audience. Now Mr.. JONES Will smiling. Leaves the stage. After intermission we're to hear the soloist you know playing them and the performance will be civilians been fair though in the minor. Preceding this ruckus bill will play to win Spiegel's merry prank by drone after station identification. Information was given over to an analysis of the work. By every one. At this
time he was briefly for station identification. Our guest on the intermission feature this week is assistant conductor of the Cincinnati Symphony Orchestra and the conductor of today's program. Mr. Collins Oh it was formally the personal assistant to the late PM on tour with whom he toured Europe in 1963 and since 1957 the conductor of the Santa Fe Opera where he conducted the world premiere of Shostakovich is the nose. Last summer today Mr. Quinn's over analyzes the complex motives of Strauss's Toyland Spiegel's Mary pranks the symphonic poem which will be played following this intermission. But first let us hear a recording of the work through the famous horn call. The question many people ask when they first hear the Strauss tone poem and the many who have
heard it many times is just what does oil and Spiegel mean. Here now is every quinze own. To answer the question and speak further of the work. Well the name of oil and Spiegel literally in German means hourglass and is said to come from an old German proverb which I read. Man sees his own faults as little as a monkey or to go back to the translation or an hour recognizes his ugliness and looking into a mirror. The original fellow till was a wandering mechanic of Brunswick about the end of the fifteenth century he was the hero of legend a tribute to Dr. Thomas Manor. He's a practical joker beyond our wildest dreams and in the book Island escapes the gallows and dies peacefully in bed but Strauss as I'm thoroughly hanged at the end. But within about theosis for good measure. Till in the tone Paul has two motives we can actually call him leitmotifs at this point because
Wagner of course. Composed. His great operatic works before this. Work which appeared at the end of the 19th century. The first. Light if of it in Spiegel is the horn call which we just heard. But he also has a prank he. Motive and here is how that sounds. Now these two the horn call that you just heard before and this prank emotive are actually the two leitmotifs that bind the entire. Tone poem together. Jill goes through various episodes through the whole. Tone poem. For example there's one funny occasion where he's riding on horseback and then he goes to the market where a woman has her pots and pans and then he takes a hot horse right through the marketplace and all the pots and pans go all over the place and then styles as a fun job. DeMatteis ing this and the orchestra. And then still
dressed as a priest. Has overflowing with morality. He comes along with this motive. Very pompous. And of course he isn't. But he makes a good pretense at it the only thing is retribution is somewhere back in his mind because there's a motive of fear of a bad ending. Because he's mocking religion and this occurs in the horns muted and the trumpets muted like this. This comes back at the end of the entire tone poem. What happens he goes through a love affairs and he's rejected and then he's in rage and so forth and so on goes all through the streets of in his episodes and finally he is caught by the bailiff. There's a huge snare snare drum roll at the end of the tone poem
and then we hear the justice motive. He doesn't care. He just whistles right up the court of justice. Again justice. Again. Just a whistle. To stroll through while he tries to be heard. Otherwise there's very little left. No more whistling. Brings back that motive. After he was dressed as a priest. Retribution motive
and here it comes again. He's up on the gallows. He's swinging. And here goes his neck. There's a last little quiver at the end and he's dead. But Strauss brings back a little epilogue and he himself says quote this. About 18 bar epilogue. What is a mortal. His humor remains. Eric Gonzo assistant conductor of the Cincinnati Symphony Orchestra. And on the podium for this program discussing oil and Spiegel's merry pranks.
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Cincinnati Symphony Orchestra
Bach, Bartok, and Brahms, part 2
Producing Organization
University of Cincinnati
WGUC (Radio station : Cincinnati, Ohio)
Contributing Organization
University of Maryland (College Park, Maryland)
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Episode Description
This program, the second of five parts, features the University of Cincinnati College-Conservatory Chorus performing with the Cincinnati Symphony Orchestra. Selections by Bach, Bartok, and Brahms are performed.
Series Description
This series presents performances by the Cincinnati Symphony Orchestra, conducted by Max Rudolf.
Broadcast Date
Media type
Conductor: Whikehart, Lewis E.
Performing Group: Cincinnati Symphony Orchestra.
Producing Organization: University of Cincinnati
Producing Organization: WGUC (Radio station : Cincinnati, Ohio)
AAPB Contributor Holdings
University of Maryland
Identifier: 66-12-9 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:26:45
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Chicago: “Cincinnati Symphony Orchestra; Bach, Bartok, and Brahms, part 2,” 1966-04-08, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed February 23, 2024,
MLA: “Cincinnati Symphony Orchestra; Bach, Bartok, and Brahms, part 2.” 1966-04-08. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. February 23, 2024. <>.
APA: Cincinnati Symphony Orchestra; Bach, Bartok, and Brahms, part 2. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from