Detroit Symphony Orchestra; Beethoven, Strauss, Cohn, and Brahms, part 1

National Educational radio presents the ninth 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 an Edsel Ford Auditorium located in Detroit's riverfront Civic Center. 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 of the orchestra Committee of the symphony and the Detroit Federation of Musicians. Concerts in the series are being conducted by Sexton ending a prominent musical director and conductor of the orchestra Paul Pillar a conductor emeritus and a vulture Poole associate conductor. Today's conductor is popular and he has chosen to open the broadcast with the overture number three two NRI by Beethoven. Ricard Wagner no mean handed over Joyce and Buddy was himself said of this work. It is less the put you

to a music drama than the music drama itself. Critics agree that it is indeed a masterful work dramatic and tightly condensed from the materials of the opera. As its title implies this is the third overt You are written for the opera Fidelio which was originally named Leonora first and only opera which in its original version was given a very cool reception by Vienna audiences. After four evasions for dead you assumed its present form in which it is generally considered an unqualified success. Harper a conductor emeritus now directs the Detroit Symphony Orchestra the first work on today's broadcast. They'd all been Slan or old age or. Number three. Oh.

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really. Are an. Overture number. One. First. Half. For. Orchestra. Memory and that's before all the story I'm. Told why I'm deaf and transfiguration by God Strauss was created when the composer was but 25 years of age it was an accomplishment of considerable magnitude for a man of such tender years as composers creative lives go to a structure to work of such scope maturity and power. Ever since its premier performance with the composer conducting at Eisenach in 1900 death and transfiguration has stood as a tour de force of brilliant organization imaginative scoring and thematic material of more than usual consequence. A.