Detroit Symphony Orchestra; Berlioz, R. Strauss, and Respighi, part 4
If you want to the second in a series of broadcasts of regular subscription concerts especially selected from the archives of the Detroit Symphony Orchestra produced by the University of Michigan broadcasting service for national educational radio one regret in aid from the National Home Library Foundation today's concert is being conducted by Paul Pillar a conductor and musical director of the orchestra from one thousand fifty two to one thousand sixty two and now conductor emeritus from the home of the Detroit orchestra in the Henry an Edsel Ford Auditorium in the city's civic center. Don Juan Opus 20 was the first of the tone poems by Ricard Strauss to be published and with it the composer quite literally leapt to the attention of the world. Fortunately Strauss lived long enough until 1049 to see himself become a classic and to find himself in the words of the musicologist called guttering are virtually a monument to his own great past. Although Don Juan was the first a tone poem to be published it was the composer's third
creation in this form. It was first the Brahms Ian us Italian written in 1906 followed by Macbeth composed during the same year and on into 1887 Don Juan followed in 1888. It's a work full of youthful exuberance thought by many critics to be surpassed by later works and considered by some to be his most inspired orchestral score. Don Juan is based on the story of the amorous adventures of a legendary Spanish libertine who first appears in a play from the year 16:30 Strauss once confessed. I am unable to write without a program to guide me. Some years later Gustav Mahler said that recount Strauss was indeed a literary man almost as much as a musician. The very design of his music was consciously conditioned by literary thought frankly paralleling the story line. By a liberal application of sheer genius. Strauss was able to produce a work which did not force the listener to remain constantly absorbed in the details of the action. Desperately looking for the moment when the hero does this or that.
It's the ability to join story and music in a perfect union which sets Strong's apart from most of the other composers of tone poems. As further evidence of the composer's expert use of literary inspiration we have the fact that Strauss did not give an exact and detailed programme attic outline to Dawn why. The Detroit Symphony is now heard in a performance of the ON POINT gone one by records for parade conduct from the stage of the history of a record up at 4am in Detroit. A. In a.
The only thing.
I am. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.
You're going to. Lose. Yeah but. The end. Little.
A little. Prayer. And. Ooh. Ooh.
Ooh. Ooh. Nothing. A little. Little.
Oh OK. Oh. Oh. Oh. Oh. Oh oh. Oh. Oh oh ok. Lose.
The end. The end. Oh. Yeah.
Louie. Louie. Louie.
Louie. Louie. Why.
But because one. Of our. Reports from the orchestra the band of the conductor America. The final word on today's concert from Detroit 10 minutes before the auditorium was by the
Italian composer or Torino risk Beaky Frisbee is considered by many musicologists and critics to be the only 20th century Italian symphony ist who has managed to carve out a permanent place for himself in the standard repertory. The reason we are told is not hard to find. He was a master of the post Wagnerian orchestra and instrumental technician who belongs in the august company of Rimsky-Korsakov records Strauss Stravinsky and bravo. His most popular work is a trilogy of symphonic poems that celebrates the past and present glories of Rome his adopted city. He was actually born in Bologna and. Works in this trilogy on the fountains of Rome. Roman festivals and finally the pines of Rome. The pines of Rome which will conclude our concert today was premier in Rome in December of 1994 but was not heard United States until January of 1996 on the 14th of January 1926 the New York Philharmonic performed it in Carnegie Hall. And the very next day or speak he himself
conducted the work in Philadelphia with the Philadelphia Orchestra. For that performance the composer wrote that the pines of Rome uses nature as a point of departure for the purpose of recalling memories and visions. The century old trees which dominate so characteristically the Roman landscape become testimony for the principal events in Rome and like. Paul Pillar a will now conduct the Detroit Symphony Orchestra in a performance of the symphonic poem the pines of Rome by speaking of.
- Detroit Symphony Orchestra
- Producing Organization
- University of Michigan
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
- Episode Description
- This program, the fourth of four parts, presents part of a concert that included performances of pieces by Berlioz, R. Strauss, and Respighi. The Detroit Symphony Orchestra is conducted by Paul Paray.
- Series Description
- Detroit Symphony Orchestra concert series, recorded at the Ford Auditorium on the Detroit Riverfront.
- Broadcast Date
- Media type
Conductor: Paray, Paul, 1886-1979
Performing Group: Detroit Symphony Orchestra
Producing Organization: University of Michigan
- AAPB Contributor Holdings
University of Maryland
Identifier: 66-42-2 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
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- Chicago: “Detroit Symphony Orchestra; Berlioz, R. Strauss, and Respighi, part 4,” 1966-09-15, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed March 3, 2024, http://americanarchive.org/catalog/cpb-aacip-500-k9316p12.
- MLA: “Detroit Symphony Orchestra; Berlioz, R. Strauss, and Respighi, part 4.” 1966-09-15. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. March 3, 2024. <http://americanarchive.org/catalog/cpb-aacip-500-k9316p12>.
- APA: Detroit Symphony Orchestra; Berlioz, R. Strauss, and Respighi, part 4. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-k9316p12