Detroit Symphony Orchestra; Wieniawski, Prokofiev, and Sibelius, part 3

You're listening to the fourth 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 and regret in aid from the national home library fund. Today's concert is being conducted by Paul to Poole associate conductor of the orchestra is coming from the stage of the Henry and it's a Ford Auditorium in Detroit. The one hundredth anniversary of the birth of Seville yes was celebrated worldwide in 1985. During the three decades of silence preceding his death in one thousand fifty seven. Something of a legend grew up around civilians and his music and this legend has partly drawn attention to what is an essential in him and partly obscured the real picture of him as a composer. In his earlier life there were many factors likely to contribute to the birth of such a legend. To rise to universal greatness from the cultural life that especially as far as music was concerned was in its infancy signified a process of national evolution that went on for decades and was

experienced at all levels of society. The significance was particularly felt during the breakthrough of the national spirit between one thousand eight hundred and one thousand twenty eight during the time Finland gained its independence in one thousand seventeen civilians became something of a national hero when it was at the same time that he went through one of his most difficult and lonely and profound personal crises. His standing as a national hero was consolidated by the worldwide sympathy for his country at war which is music attracted during the critical situation of the winter of 1939 in 48. There's been considerable discussion about whether somebody is a modern composer or just a late romanticist. Be that as it may his music many critics feel is definitely that of a symphony in the Beethoven tradition. Rather than that of a medalist in the Schubert tradition. In the first symphony which we're about to hear even the influence of Tchaikovsky is discernible but a greater interest critic Philip Hale points out is the fact that the work is the sound of a powerful unique and new voice that has new things to say. He is not ashamed of

screaming outbursts or sudden contrasts. The themes in the first symphony of quite well-defined in sharp contrast to those in the later works which often evolve from fragments of the opening passages. Materializing and recognisable themes only as the music progresses. The Symphony Number one of the minor Opus 39 was composed in 1909 by this time somebody else was already a figure in his native Finland and behind him where such works as Finlandia and Saga and other nationalistic tone poems for orchestra. Symphony Number one is in the conventual of four movement modes one civilians discarded completely before too long. The first movement is andante ma non troppo Allegro energy call this is followed by the conventional slow movement andante mana in trouble and the third movement Allegro is followed by the concluding finale. You know I was voted associate conductor of the Detroit Symphony Orchestra. We are about to hear the concluding words on today's concert was opening number one in the minor Opus

39. By. The bed. Re.

Hey hey. Oh. You're.

You're. You're. You're. You're. Nothing and. You're. Why.

Lou. Lou. The book. And.

The third law. But that.

At the end. Oh.

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Lose. Lose. Lose. Ya. A.