The Concertgebouw Orchestra of Amsterdam

Yeah. from Amsterdam National Educational Television. Welcome you to a concert at the world-famous concert about. The word means concert hall and stands for one of the oldest in the old world. For this program, the renowned concert about orchestra will be conducted by Bernard Heitzing its permanent conductor since 1961. The program will include examples of major 19th century schools of music, the Germanic represented by Beethoven's Coriolanus overture, the Russian

represented by Chikovsky's Romeo and Juliet Overture, and the French by Berlios Rousing Roman Carnival overture and a portion of Revel's ballet music for Daftness and Chloe. The Coriolanus of Beethoven's overture is not the tragic hero of Shakespeare's play, but the hero of a drama by Josef von Kulling, a contemporary of Beethoven. Kulling's play begins with Coriolanus' banishment from Rome. In search of revenge, he leads an army against his native city, only the entreaties of his mother and his wife subdue his warring spirit. It is this scene between the proud, wrathful egomaniac and his kin that involve Beethoven's musical genes. And now, Bernard Heitzing conducts the Amsterdam concert about orchestra in Beethoven's Coriolanus overture.

The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture.

The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture.

The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture.

Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture.

The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture.

The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture.

The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. The Coriolanus of Beethoven's overture is not the tragic hero of Beethoven's overture. In a moment, our concert will continue with the Romeo and Juliet overture by Chekowski. Shortly before Chekowski began this composition, he had experienced an unsuccessful love affair. In the winter of 1869, Chekowski and all of Moscow were captivated by the talents of opera singer Desiree Arto. Chekowski became engaged to Arto, but still debated whether to marry an itinerant singer.

Arto settled everything by eloping with a baritone in her company. The following summer, Chekowski began work on his overture Romeo and Juliet based upon the Shakespearean tragedy. The idea for the piece was suggested by Botticarev, the opinionated mentor of the St. Petersburg Group of Composers, which included Rimsky Korsakov, Borodin and Mazzorksky. Two Chekowski, Botticarev suggested this plan, an introduction of the religious motif suggesting Friar Lawrence, and then the main structure, the strife between the Montague's and Capulets, described as a raging allegro with sword cuts, and the contrasting theme of the romance. The overture was to end in chords of grief and lamentation. The Jultic Chekowski conceived a composition based upon Romeo and Juliet that pleased Botticarev and himself as well.

The Amsterdam concert goodbye orchestra conducted by Bernard Heitzing, now plays Chekowski's Romeo and Juliet overture. The Eiffel Tower

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. . . . . . . . . . . . . . . Our concert will continue in a moment with Rebell's Suite number two for the ballet, Daphne's and Chloe, the concluding work of this program. The concert goodbye orchestra is world-famous for what New York Times critic Harold Schoenberg describes as a fine-meshed organization and those silken strings. Organized in 1888, the orchestra is known such illustrious conductors as Villa Mangleberg, Pierre Monteur and Bruno Walter. After World War II, it was Edward V. Bynum who restored the power and brilliance

to the concert goodbye orchestra and continued as its leader until his untimely death during an orchestra rehearsal in 1959. Maestro Heitzing succeeded Edward V. Bynum, first as co-conductor of the orchestra with Eugen Jochem and then as permanent and sole conductor since 1964. Heitzing had studied conducting with Ferdinand Lightner of the Stuttgart Opera after his violin studies at the Amsterdam Conservatory. At age 26, he climbed from the violin section of the Radio Philharmonic Orchestra to its podium. In 1961, at the age of 32, he became co-conductor of the concert goodbye. Now, Bernard Heitzing leads a performance of the music from the third act of the ballet, Daphnis and Chloe. The sweet number two for the ballet, Daphnis and Chloe,

by Maurice Rubin. Earlier pieces on this program by the Amsterdam Concert Goodbye under Bernard Heitzing were Beethoven's Coriolena Sovature, Chakowsky's Romeo and Juliet Overture and the Roman Carnival Overture by Barriott. This concert has been given in the 19th century building of the Concert Gabao in Amsterdam. This is NET, the National Educational Television Network. This has been an of NET, the National Educational Television Network.

This is the National Educational Television Network.