thumbnail of Cincinnati Symphony Orchestra; Beethoven, part 3
Transcript
Hide -
This transcript was received from a third party and/or generated by a computer. Its accuracy has not been verified. If this transcript has significant errors that should be corrected, let us know, so we can add it to FIX IT+.
He did at certain points especially when it comes to the hunting scene. However the beginning of the work is certainly not reminiscent of folk songs. It shows what nowadays is called tone clusters. I can illustrate this very easily. The words which are first songs. Once there was an old man and it is double chorus eight voices. And this is what you're going to hear. All the seven notes sung simultaneously. It's a very peculiar very original atmosphere you have to sound very
softly. And this then is followed by a melodic phrase but again in call it's not one part of the chorus sings to the words who's treasure nine sons Fayad study was. So the part of the chorus the female voice is saying. This is not sounding together with a counter voice in chords by the male voices and the total effect is this. With. All the cogs mix. So by talk was creating his tone clusters with voices
instead of instruments in this case that's right. Now as I said there is a hunting theme and it is written in a kind of God. And this hunting theme begins in the chorus tenors and songs like this. This could easily be influenced by a folk song. The idea of the story on which the poem is based is quiet. We must call mysticism because there is the old man who had seven sons and disobeyed So they were transformed into a stag's. You know it's a fairy tale. But for bad talk we know this had a
much deeper meaning. He felt that the link between the human being and nature should it was expressed in the story and the music. When it is not. Forceful as for instance the hunting songs is frequently mysterious and it is not what we call a work which an extrovert kind of mean as it is rather an intricate kind of music. And for this reason typically who definitely was an introvert himself. But it is a work of great beauty. Very original both with regard to vocal setting and orchestration. Music Director Max Rudolf speaking of the Bach cantata number four and contained a profile of Bela Bartok.
They're now back at Music Hall in Cincinnati for the completion of this program the Orchestra will play the Brahm's Symphony Number four in the minor Brahms composer this is his last symphony during the summers of 1884 in 1885. First public performance was at mine again. On October 25th 1885 the composer conducting. The first movement starts quietly and unobtrusively but. Builds to heroic heights. Second Movement has an opening theme reminiscent of mediæval mood. The third is a vigorous and rollicking one which features an occasional sudden plunge into the bass similar to that in the Mendelssohn Scouts Ode to a Midsummer Night's Dream. The finale has been called the crown of the work. Brahms used here an ancient dance form the Passacaglia. We await the appearance of conductor Max Rudolf. Thank you now comes into
view. From the podium. Thank just a few moments we're to hear the Cincinnati Symphony Orchestra perform the symphony number for. The miners. Ninety eight Thank you my honest Brahms. To. The end.
Yeah. Yeah. Yeah you. Yeah. Lead. The way.
Yeah.
Please note: This content is only available at GBH and the Library of Congress, either due to copyright restrictions or because this content has not yet been reviewed for copyright or privacy issues. For information about on location research, click here.
Series
Cincinnati Symphony Orchestra
Episode
Beethoven, part 3
Producing Organization
University of Cincinnati
WGUC (Radio station : Cincinnati, Ohio)
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-nz80qd20
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-nz80qd20).
Description
Episode Description
This program, the third of four parts, features the Cincinnati Symphony Orchestra joined by pianist Claudio Arrau; and the College-Conservatory Chorus of the University of Cincinnati. Selections composed by Beethoven are performed.
Series Description
This series presents performances by the Cincinnati Symphony Orchestra, conducted by Max Rudolf.
Broadcast Date
1966-04-15
Topics
Music
Media type
Sound
Duration
00:16:54
Credits
Conductor: Rudolf, Max, 1902-1995
Performer: Arrau, Claudio, 1903-1991
Performing Group: Cincinnati Symphony Orchestra.
Producing Organization: University of Cincinnati
Producing Organization: WGUC (Radio station : Cincinnati, Ohio)
AAPB Contributor Holdings
University of Maryland
Identifier: 66-12-10 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:16:56
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Cincinnati Symphony Orchestra; Beethoven, part 3,” 1966-04-15, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 21, 2024, http://americanarchive.org/catalog/cpb-aacip-500-nz80qd20.
MLA: “Cincinnati Symphony Orchestra; Beethoven, part 3.” 1966-04-15. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 21, 2024. <http://americanarchive.org/catalog/cpb-aacip-500-nz80qd20>.
APA: Cincinnati Symphony Orchestra; Beethoven, part 3. 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-nz80qd20