Cincinnati Symphony Orchestra 1966 Papaioannou, Prokofieff, Busoni, and Bruch, part 3
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Our intermission feature on this program brings to the microphone conductor Max Rudolf who
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will speak briefly of the two compositions to follow the Rondo I like an
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escrow of it with your boys only and the Violin Concerto Number
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one of Mark's broke Mr. Rudolf now with
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words of bows on me.
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He has written quite a bit of music including from the stage. In
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fact this rather sharp work it's only 12
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minutes it takes its origin from
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his stage work and shadow opera by the name of our Les
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Keno which is
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the plot just a typical plot of the car may get out of there with the
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Harlequin and the wife and husband a
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holic in this after all the others you know and then in the small town there is
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the doctor. Priest and they have a
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duet and you know it's this kind of background which you find in God
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only comedies. We did this work many
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years ago in a German opera company. So I liked it very much at that time.
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This is one of the reasons why I selected this in order to commemorate the
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zone and Iversen. It starts with the main motive
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of the opera and the trumpet plays it.
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This is the main motive and it's a very witty lively work
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with kind of quite a bit of counterpoint to
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rockets but rhythmically very strong. And as a special
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feature towards the end whose only quotes are
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the backstage singing of other like you know.
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Throughout the work I'm like you know it is not written for a
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singer but for an actor.
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And in fact it was written originally from a very famous European after
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my c who was Italian but he was bilingual and he appeared
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both in Italy and in Germany. He could. As an actor both
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speaking German or Italian which was quite an accomplishment and said of
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and this was written for him he played the role of I'd like a note which was a speaking role
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except for this one back stage
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short serenade which goes like this.
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You know which is very typical of the general style. So
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we are going to have our gifted young local
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singer Sam Jordan to sing this. So backstage.
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This program will close with the Violin Concerto Number one of Mark's
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book.
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Again Mr. Rudolf but it was solid to drive a musician
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romantic so he knew his business thoroughly and this
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concert is a very beautiful rock it starts with a well known phrase.
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Then Thomas then they're.
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Very famous of course it's a slow movement where the second thing
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is really beautiful.
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So this is really in the best tradition. And there's a good
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reason why this work has survived
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after so many years and still lie by the side and it's and the public.
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We are now back at Music Hall. Since December 1964 when the
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American opera Society in New York performed his prodigious opera Doctor follows it with
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Fischer-Dieskau in the title role. There's been an upsurge of American interest in bows on his
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work in the Rondo and the tenor voice of Sam Jordan is heard near the end of the work from
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behind the stage in the same way that I like you know his voice is heard in the
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opera.
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Now conductor Max Rudolf appears on in just a few moments we are to hear the first performance by the sun. Now the
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orchestra told Rondo I liken this golf Opus 46 my foot
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was on me.
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Boom.
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Yes.
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You and.
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Anyone.
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You.
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Think thank. You thank. You think.
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Think.
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Think. Think.
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Yes.
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No.
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I don't.
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Yes.
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For her.
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Randall I like the new school. I was on it.
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Thank you Dr Rudolph shakes hands with concertmaster Sigman after
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thanking our wants.
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Thank offstage
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thank you much.
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Only briefly as it turns out. Thanks to Rudolph now the
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Sports Center Sam Jordan was of course. Thank you. Members
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arrived thank you Jordan.
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Thanks music royalty and
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thank
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you Mark thank you.
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First performance by the Cincinnati orchestra.
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Thank you and this was only centennial year of
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Rondo. I like an Esco thanks.
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Yeah.
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This program has been transcribed using automated software tools, made possible through a collaboration between the American Archive of Public Broadcasting and Pop Up Archive. Please note that no automated transcription is perfect nor is it intended to replace human transcription labor. If you would like to contribute corrections to this transcript, please contact MITH at mith@umd.edu.