218 University of Illinois STAR COURSE THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY Music Director Auspices THE UNIVERSITY CONCERT AND ENTERTAINMENT BOARD and THE KRANNERT CENTER FOR THE PERFORMING ARTS Great Hall, Krannert Center for the Performing Arts Friday evening, May second Nineteen hundred sixty-nine Eight o'clock 49

L\\ 
•1t2i,) 
THE PHILADELPHIA ORCHESTRA 
EUGENE ORMANDY 
Music Director 
Auspices 
THE UNIVERSITY CONCERT AND ENTERTAINMENT BOARD 
and 
THE KRANNERT CENTER FOR THE PERFORMING ARTS 
Great Hall, Krannert Center for the Performing Arts 
Friday evening, May second 
Nineteen hundred sixty-nine 
Eight o'clock 

50 THE PHILADELPHIA ORCHESTRA Sixty-Ninth Season 1968-1969 EUGENE ORMANDY Conducting 51 PROGRAM "Entrance of the Gods into Valhalla" from "Das Rheingold". WAGNER Symphony No. IX, "Le Fosse Ardeatine".... WILLIAM SCHUMAN I Anteludium II Offertorium The teamwork and rapport developed through the years by Eugene Ormandy and THE PHILADELPHIA ORCHESTRA are a source of great satisfaction to music lovers everywhere, for Philadelphia has shown an eagerness to share its great orchestra with the rest of the world. No other orchestra has traveled so far (12,500 miles in an average season) or so often as the Philadelphia group, which has made history through its touring. In 1936, it made its first transcontinental tour; in 1949, the orchestra toured the British Isles in its first foreig pilgrimage; and in 1955, it made its first continental European tour. In addition to its special tours, each season it plays regular schedules in New York, Baltimore, Washington, and other Eastern cities. The fam of the orchestra has further spread through its recordings. Since its first sessions at Camden, in 1917, recordings have been an integral pa of its activities. The Philadelphia Orchestra has a larger recorded repe toire than any other orchestra. Through its more than two million miles of travel and its untold number of records sold, it has certainly earned the title of the world's best-known orchestra. III Postludium (Played without pause) INTERMISSION Symphony No. 1 in D Major, "The Titan".. I Langsam; gemachlich II Andante (Blumine) III Kraftig bewegt IV Feierlich und gemessen V Stürmisch bewegt The BALDWIN is the official piano of The Philadelphia Orchestra. The Philadelphia Orchestra records exclusively for RCA RED SEAL. THE PHILADELPHIA ORCHESTRA ASSOCIATION 230 South Fifteenth Street, Philadelphia, Pennsylvania 19102 BORIS SOKOLOFF, Manager Joseph H. Santarlasei, Assistant Manager Wayne Shilkret, Director of Publicity MALLER

) 
The teamwork and rapport developed through the years by E ugene 
Ormandy and THE PHILADELPHIA ORCHESTRA are a source oi 
great satisfaction to music lovers everywhere, fo r Philadelphia has 
shown an eagerness to share its great orchestra with the rest of the 
world. No other orchestra has traveled so far ( 12,500 miles in an 
average season) or so often as the Philadelphia group, which has made 
history through its touring. In 1936, it made its first transcontinental 
tour; in 1949, the orchestra toured the British Isles in its first foreign 
pilgrimage; and in 1955, it made its first continental European tour. In 
addition to its special tours, each season it plays regular schedules i
11 
New York, Baltimore, .. Washington, and other Eastern cities. The fanit 
of the orchestra has further spread through its recordings. Since it; 
first sessions at Camden, in 1917, recordings have been an integral part 
of its activities. The Philadelphia Orchestra has a larger recorded reper-
toire than any other orchestra. Through its more than two million 111i
1
\\ 
of travel and its untold number of records sold, it has certainly earne' 
the title of the world's best-known orchestra. 
THE PHILADELPHIA ORCHESTRA 
Sixty-Ninth Season · 1968-1 969 
EUGENE ORMANDY Conducting 
PROGRAM 
") I 
·· Entrance of the Gods into Valhalla" 
from "Das Rheingold" ... .. . ... . .. . .......... \\\\ ' AGXER 
Symphony No. IX, " Le Fosse Ardeatine" .. .. \\ VILLL\\M ScnuMA:N 
I Anteludium 
II Offertorium 
III Postludium 
I Played without pause) 
! XTERM lSSION 
~ymphony No. 1 in D i\\Iajor, "The Titan" ....... . ..... :-IAIILER 
I Langsam; gemachlich 
lI Andante ( Blumine) 
I II Kraftig bewegt 
I\\' Feierlich uncl gemessen 
\\ ' Stiirmisch bewegt 
The B.\\Ll)\\\\' I N is the official piano of The Philadelphia Orchestra. 
Th e Phil aclclphi a Orchestra records exclusively for RCA RED SEAL. 
TI lE P lllLADELPILI A ORCHESTRA ASSOCIATION 
230 South Fi fteenth Street, Philadelphia, P ennsylvania 19 102 
BORIS SO 1':OLOFF, :\\Ianage r 
Joseph H. Santarla,ci, Assi stant ).fanager 
Wayne Shilkret , Director of Publicity 

NOTES ON THE PROGRAM By JOHN BRIGGS "Entrance of the Gods into Valhalla" from "Das Rheingold" RICHARD WAGNER Born: Leipzig, May 22, 1813 Died: Venice, February 13, 1983 Das Rheingold, first of the four operas making up Wagner's "Ring of the Nibelungs" cycle, sets the train of events in motion when Alberich, a dwarf of the race of Nibelungs, descends into the Rhine and steals the gold that is guarded by three Rhine maidens. Through the power of the Rhinegold, he is soon able to enslave his fellow Nibelungs. In the next scene Wotan, chief of the gods, is admiring his new palace, Valhalla. The giants Fafner and Fasolt have built it for him, and in exchange Wotan has promised them Freia, the goddess of youth and beauty. Wotan, how ever, has no intention of carrying out his bargain; the gods depend for their immortality on Freia's golden apples. Loge, the cunning god of fire, has promised to find a way to release Wotan from his agreement. Loge does so by telling the giants of Alberich's golden hoard. Greed and the desire for power soon gain the upper hand. The giants agree to exchange Freia for the Nibelung gold. Meanwhile, they take Freia away as a hostage. The gods begin to age perceptibly. There is no time to lose. Wotan and Loge descend to the underground sweatshop where the Nibelung dwarfs, goaded by Alberich, are adding more and more gold to Alberich treasury. Alberich has forged a magic Ring from part of the gold, and has als obtained a magic helmet, the Tarnhelm, that enables him to assume any shape he chooses. The gods express skepticism; could Alberich, for example, change himself to a toad? Alberich does so, and is immediately trapped under Wotan's foo Alberich has no choice but to summon his Nibelungs, who climb up out of the earth laden with treasure. Alberich is philosophical; through the power the Ring he can soon obtain more gold to replace what he has lost. The god is piled high around Freia until she is almost hidden from sight. But there is still one chink through which her eye is visible. To close the gap, Alberich is obliged to add the Ring and Tarnhelm to the pile. He does so, calling down a curse upon the Ring and all its future possessors. Immediately the curse begins to take effect. The giants quarrel over div sion of the treasure. Fafner strikes his brother dead as the gods look on in horro Valhalla is now wreathed in storm-clouds. Donner, the storm god, leaps to a rocky height and begins to swing his hammer. The "Donner-theme" in the or chestra is hammered out by the brass. Lightning flashes and thunder rolls. Th tempest, however, is violent but brief. As it ends, the sky clears, and from Do ner's feet, as he stands on the summit, a dazzling rainbow bridge stretche across to Valhalla. The castle of the gods is seen in all its splendor in the ligh of the setting sun. The majestic Valhalla theme is heard in the brass, with a shimmering accompaniment by the strings and harps. As the gods begin their stately march over the rainbow bridge to their ne home, the melancholy song of the Rhine maidens, lamenting their stolen go floats up from the valley of the Rhine. Symphony No. IX, "Le Fosse Ardeatine" WILLIAM SCHUMAN Born: New York City, August 4, 1910 Now living in New York City William Schuman received his B.S. and Master's degrees from Colum University, where he studied counterpoint with Charles Haubiel and compositio with Roy Harris. After further study at the Mozarteum in Salzburg, he went to make his mark as professor and conductor at Sarah Lawrence College, exec tive of the music publishing firm of G. Schirmer, Inc., and president of th Juilliard School of Music. On January 1, 1962, he became president of Lincol Center for the Performing Arts, guiding the newly-launched Center throug crises ranging from the acoustics of Philharmonic Hall to the struggle control of the New York State Theatre. Last month Dr. Schuman submitted his resignation as president of Lincoln president emeritus, he will remain available as a consultant, "I Center, but, as don't know all the answers," he says, "but I know all of the questions." All through his busy carcer as educator and administrator, Dr. Schuman has composed prolifically. He has written nine symphonies, two cantatas, one of which won the Pulitzer Prize in 1943, a Concerto for Piano and Orchestra, string quartets, overtures and numerous short instrumental and choral works. Dr. Schuman's To Thee Old Cause, a work for oboe, brass, timpani, piano and strings, inspired in part by verses from Whitman's Leaves of Grass, had its first performance by Leonard Bernstein and the New York Philharmonic on October 3, 1968. The Symphony No. IX was commissioned by friends of the late Alexander Hilsberg in his memory, Mr. Hilsberg joined the violin section of The Phila- delphia Orchestra in 1926, and was named Concertmaster in 1942. In 1945 he also became Associate Conductor. During the 1950-51 season, he resigned as Concertmaster, remaining as Associate Conductor until May, 1952, when he went to New Orleans to conduct the orchestra there. He died on August 10, 1961. Of his new symphony, Dr. Schuman has written: "In none of my previous symphonies have I used an extrinsic or nonmusical program element. Therefore I would like, first, to attempt an explanation of why I have done so in Symphony No. IX. Precisely what is the relationship of the subtitle Le Fosse Ardeatine' (The Ardeatine Caves) to the music, and why do I so embroider the title of the work? "In the spring of 1967 my wife and I were in Rome and we had planned to visit Le Fosse Ardeatine because we had been advised that the memorial was a stunning architectural achievement, When we mentioned the proposed visit to our friends, the composer Hugo Weisgall and his wife, Nathalie, who were in residence that year at the American Academy, we learned the story of the events memorialized and of Mrs. Weisgall's special knowledge of the subject. "The subject, for all its horror, can be stated simply. Thirty-two German soldiers were killed by the underground in Rome on March 24, 1944. In reprisal the Germans murdered 335 Italians, Christians and Jews, from all walks of life. These victims were taken to the Ardeatine caves where they were shot. In an effort to conceal the atrocity, the bodies were then bomhed. A priest at the nearby Catacombs felt the vibrations of the detonations, and word quickly spread through Rome. When the Germans left the city there was a rush to the caves. "In a world of daily horrors, what is so special about this one, and why does it find itself the subject of a symphony? To answer this I must describe, how- ever briefly and inadequately, the monument itself. After a walk through the caves, a visitor enters a large rectangular area. The roof is a thick concrete slab. On the dirt floor there are row upon row of individual, identical, contiguous coffins. On each coffin, in the Italian custom, is a picture of the victim, some fathers, sons, brothers, and a statement of occupation and age (ranging from the early teens to the sixties). Our visit was at the Easter and Passover season and each grave had fresh flowers. Somehow, confrontation with the ghastly fate of several hundred identifiable individuals was more shattering and understandable than the reports on the deaths of millions which, by comparison, seem abstract statistics. The mood of my symphony, especially in its opening and closing sections, is directly related to emotions engendered by this visit. But the entire middle section, too, with its various moods of fast music much of it far from somber, stems from the fantasies I had of the variety, promise and aborted lives of the martyrs, Candidly, however, there is no compelling musical reason for my adding to the title Symphony No. IX. The work does not attempt to depict the event realistically. And its effect on the emotional climate of the work could have hemained a private matter. My reason for using the title is not then, musical, but philosophical, One must come to terms with the past in order to build a future. But in this exercise I am a foe of forgetting. Whatever future my sym- phony may have, whenever it is performed, audiences will remember. without pause and developed as a continuum. The Anteludium begins quietly, "In purely musical terms, as noted above, the work is in three parts, played with a single melodic line separated by two octaves, played by the muted violins and 'cellos, The first section of this melody, which is eleven bars in length, con- tinues its development over a span of thirty-three bars. At the twelfth bar, how- ever, the some melody appears in the second violins and violas, one-half step higher in pitch, and at the twenty-third har the same melody begins again one- half step higher still in the strings and the pitch is raised one-hali step in each of 53

<;v 
NOTES ON THE PROGRAM 
By JOHN BRIGGS 
" Entrance of the Gods into Valhalla" from " Das Rheingold" 
RICHARD WAGNER 
Born: Leipzig-, May 22, 1813 
Died: Venice, February 13, 1883 
Das Rheingold, first of the four operas making up Wagner's "Ring of the 
Nibelungs" cycle, sets the train of events in motion when Alberich, a dwarf of the 
race of Nibelungs, descends into the Rhine and steals the gold that is guarded 
by three Rhine maidens. Through the power of the Rhinegold, he is soon able to 
enslave his fellow Nibelungs. 
In the next scene Wotan, chief of the gods, is admiring his new palace 
Yalhalla. The giants Fafner and Fasolt have built it for him, and in exchang; 
Wotan has promised them Freia, the goddess of youth and beauty. Wotan, ho11. 
ever, has no intention of carrying out his bargain; the gods depend for their 
immortality on Freia's golden apples. Loge, the cunning god of fire, has promised 
to find a way to release Wotan from his agreement. 
Loge does so by telling the giants of Alberich's golden hoard. Greed and the 
desire for power soon gain the upper hand. The giants agree to exchange F reia 
for the Nibelung gold. Meanwhile, they take Freia away as a hostage. The gods 
begin lo age perceptibly. There is no time to lose. 
Wotan and Loge descend to the underground sweatshop where the Nibelung 
dwarfs, goaded by Alberich, are adding more and more gold to Alberich's 
treasury. Alberich has forged a magic Ring from part of the gold, and has also 
obtained a magic helmet, the Tarnhelm, that enables him to assume any shape 
he chooses. The gods express skepticism; cou ld Alberich, for example, change 
himself to a toad? Alberich does so, and is immediately trapped under Wotan's foot. 
Alberich has no choice but to summon his Nibelungs, who climb up out oi 
the earth laden with treasure. Alberich is philosophical; through the power oi 
the Ring he can soon obtain more gold to replace what he has lost. The gold 
is piled high around Freia until she is almost hidden from sight. But there is 
still one chink through which her eye is visible. To close the gap, Alhericli 
is obliged to add the Ring and Tarnhelm to the pile. He does so, calling down a 
curse upon the Ring and all its future possessors. . . 
Immediately the curse begins to take effect. The giants quarrel over dll'I· 
sion of the treasure. Fafner strikes his brother dead as the gods look on in ho rror. 
Valhalla is now wreathed in storm-clouds. Donner, the storm god, leaps to a 
rocky height and begins to swing his hammer. The "Donner-theme" in the or· 
chestra is hammered out by the brass. Lightning flashes and thunder roll s. Thi 
tempest, however, is violent but brief. As it ends, the sky clears, and fro m Don· 
ner·s feet, as he stands on the summit, a dazzling rainbow bridge stretchc· 
across to Valhalla. The castle of the gods is seen in all its splendor in the light 
of the selling sun. The majestic Valhalla theme is heard in the brass, with 3 
shimmering accompaniment by the strings and harps. 
As the gods begin their stately march over the rainbow bridge to their uej 
home, the melancholy song of the Rhine maidens, lamenting their stol en gait 
floats up from the valley of the Rhine. 
Symphony No. IX, "Le Fosse Ardeatine" 
WILLIAM SCI-IUMAN 
Born: N"ew York City, August 4, 1910 
Xow living in Xew York City 
William Schuman received his B.S. and J\\faster's degrees from Colt11.1/; 
University, where he studied counterpoint with Charles }!:aubiel and comP0 ~/o• 
with Roy Harns. After further study at the :i\\Iozarteum m Salzburg, he wet ctt 
lo make his mark as prc:ife\_ssor and conductor at Sarah Lawrence College, e;XCth 
trv\_e \_of the music pubh~hmg firm of G. Schirmer, Inc., and president ~f1c1,lt J u1lharcl School of 1lfus1c. On January 1, 1962, he became president of Ltt 10 
Center for. the Performing Arts, guiding the newly-launched Center th~0 \\c 
cnses ranging from the acoustics of Philharmonic Hall to the struggle 
control of the New York State Theatre. 
st month Dr. Schuman submitted his resignation as president of Lincoln 
La but as president emeritus, he will remain available as a consultant. "I 
Ccu,te['now 'all the answers," he says, "but I know all of the questions." 
don \\11 through his busy career as educator and administrator, Dr. Schuman has 
' sed prolifically. He has written nine symphonies, two cantatas, one of 
coin!: won the Pulitzer Prize in 1943, a Concerto for Piano and Orchestra, 
,due quartets overtures and numerous short instrumental and choral works. 
, tnn~chuman's' T\_o Thee Old Cause, a wor½ for ,oboe, brass, timpani, pia\_no and 
Dr: • , inspired 111 part by verses from Whitman s Leaves of Grass, had its first 
5in ~g\\ance by Leonard Bernstein and the New York Philharmonic on October pcrtorn 
3, 19fi;e Symphony No. IX was ~ommissio\_ned by fri~n~s of t\_he late Alexander 
["!sberg in his memory. J\\fr. H1lsberg Jomecl the v10!111 se\_ct1011 of The P~1t!a-
I '1 · hia Orchestra m 1926, and was named Concertmaster 111 1942. In 194:i he ti became Associate. Conductor. :puring the 1950-51 \_ season, he resigned as 
t,;nccrtmaster, remam111g as Associate Conductor until\_ May, 1952, when he 
t to New Orleans to conduct the orchestra there. He died on August 10, 1961. 
"en Of his new symphony, Dr. Schuman has written: 
"In none of my previous symphonies have I used an extrinsic or nonmusical 
,ro!(ram element. Therefore I would like, first., to atteml?t an expl~nation of :,In· I have clone so in SymJ!hOf1Y No. IX. ~rec1sely what 1s the ~elat1onsh1p of 
the· subtit le 'Le Fosse Arcleat111e (The Arcleatme Caves) to the music, and why do 
I so embroider the title of the wo~k? . 
"In the spring of 1967 my wife and I were 111 Rome and we had planned to 
Yisit Le Fosse Arcleatine because we had been advised that the memorial was a 
stunning a rchitectural achievement. ~hen we rr:entic:inecl the p~·oposecl visit !O 
our friends, the composer Hugo We,sgall and his wife, Nathalie, who were 111 
residence that year at the American Academy, we learned the story of the events 
memoria lized and of Mrs. Weisgall's special knowledge of the subject. 
"The subject, for all its horror, can be stated simply. Thirty-two German 
soldiers were killed by the underground in Rome on J\\farch 24, 1944. In reprisal 
the Germans murdered 335 Italians, Christians and Jews, from all walks of life. 
These victims were taken to the Arcleatine caves where they were shot. In an 
effort lo conceal the atrocity, the bodies were then bombed. A priest at the nearby 
Catacombs fe lt the vibrations of the detonations, and word quickly spread through 
Rome. \\\\'hen the Germans left the city there was a rush to the caves. 
"[n a world of daily horrors, what is so special about this one, and why does 11 find r\_tself the subject of a symphony? To answer this I must describe, how-
Cl'cr bncflr \_and inadequately, the monument itself. After a walk through the 
rans, a visitor enters a large rectangular area. The roof is a thick concrete sl;:t' On the dirt floor there are row upon row of incliviclual identical, contiguous 
'/:11ms. On each coffin, in the Italian custom, is a picture' of the victim, some c: rrs, sons, brothers, and a statement of occupation and age (ranging from the 
c~~li teens l° the sixties). Our visit was at the Easter and Passover season and 
'~nrf{t"e 1ad fresh flowers . Somehow, confrontation with the ghastly fate of 
tlnn ~I ut1clred 1dent1fiable individuals was more shattering and unclerstanclable 
t:;tisti~~-
1 
cports on the deaths of millions which, by comparison, seem abstract 
. "The mo I r . . . . . . . 
d1rcctlv rcht0 \\ 0 my symphony, especially 111 its opemng and clos111g sections, 1s 
SC'ctiori 100' cc\_tl l~ emot~ons engendered by this visit. But the entire miclclle 
!ems from' 1t1 f rts vanous moods of fast music much of it far from somber, 
lllartyrs. Cantl1dtntas,;s. I had of. the variety, promise. and aborted lives of the 10 the\_ title Sym \\; ho~, e, er, there, 1s no compellmg mu sical reason f~r my aclclmg 
rcali~ttcalh-. \\ ony No. IX. 1he work does not attempt to depict the event 
brernau1e<1 a 1,· n its efTect on the emotional climate of the work could have lit I· ' nvatc matt '[ . . . . f P 1tlosophical O er. 11 Y reason for usmg the title 1s not then, musical, 
Philtre. But in th.is ne ~1L1S t come lo terms with the past in order to build a 
rnay ha,·c, ,i1i~~~r.cis1: I\_ am a foe of for?"etting. \_Whatever future my sym-
ith 11 I•1trely musical ~er it is performed, audiences will remember. 
With Oltt \_Pause and cle r ms, as noted ~hove, the work is in three parts, played 
11<1 ,a 11
111gl" 111elodic ? oped as a con tmuum. The Anteludiwn begins quietly, 
llue~e. Os. The first s~nr separate\_cl by two octaves, played by the muted violins 
r, 1~; <lcvdop111ent o~-~~
11 of this mel\_ocly, which is eleven bars in length, con-
r in ''?tnc 111elody a a spa:1 of thirty-three bars. At the twelfth bar, how-
,tep hl!llch, and at t!PP~ar s 111 l~e second violins and violas, one-half step 1gher still in ti le 1".enty-th,rd bar the same melody begins again one-
1e stnngs and the pitch is raised one-half step in each of 
~:r 

the succeeding entrances during the first section of the work. Gradually other elements are introduced through a variety of developmental techniques. "The music of the Anteludium leads without pause, but with identifiable tran sition, to the Offertorium, which section forms the bulk of the work. The mood are varied and range from the playful to the dramatic. This music is fast wit the exception of several short contrasting interludes which always return to the fast tempo. The climax of the Offertorium is reached with an even faster temp and a sonorous climax for full orchestra, with three pairs of struck cymba employed in rhythmic patterns. "The music of the Postladium at first echoes, in slow tempo, some elements of the climax just heard. Finally the opening theme of the symphony is again stated, but in an even slower tempo than at first. The setting is different and the melody, although again played by the strings, is harmonized in the trombones and tuba. New figurations are introduced and reference is made to the music of the Offertorium. The symphony draws to a close with a long, freely-composed, quie ending characterized by an emotional climate which sums up the work and eventually leads to a final concluding outburst. "The work was begun in July of 1967 in Greenwich, Connecticut, and virtu ally completed during the fall and winter in New York. The final pages were scored in Rome on March 27, 1968, after a second visit to the monument which enhanced, if anything, the impressions of a year earlier." Symphony No. 1 in D Major, "The Titan" GUSTAV MAHLER Born: Kalischt, Bohemia, July 7, 1860 Died: Vienna, May 18, 1911 When Mahler conducted the first performance of his Symphony No. 1 at Budapest in 1889, it was not called a symphony at all; it was merely entitled Symphonic Poem in Two Parts. Six years later, for a performance at Weiman the composer at the urging, he said later, of friends who felt it would aid listeners to a better understanding of his work-supplied a brief programmatic outline of the symphony. Its title, said Mahler, was to be The Titan, since its mood and content had been inspired by the novel of that name written by Jean Paul Richter in 1803 A brief outline sketched the programmatic significance of the work:. PART I: FROM THE DAYS OF YOUTH. YOUTH FLOWERS AND THORNS 1. Spring Without End. The introduction represents the awakening of nature al dawn. 2. A Wreath of Flowers. 3. Under Full Sail. PART II: COMMEDIA UMANA 4. Funeral March in the Style of Callot. [Jacques Callot, seventeenth-century etcher and engraver, was one of the great masters of baroque fantasy and the grotesque.] The following is to serve as an explanation if necessary. The composer found the inspiration for this piece in a humorous Callot illustration in a fairy-tale book well known to all children in South Germany. The picture, The Hunter Funeral Procession, shows the beasts of the forest escorting the coffin of a dead hunter to the grave. The hares are pallbearers. The band is made up of gyps musicians and music-making cats, frogs and crows. Deer, foxes and other feathered and four-legged animals of the woods accompany the procession in comical postures. The mood of the movement is alternately ironically gay and gloomily brooding. This movement is followed immediately by 5. Dall' Inferno al Paradiso the sudden outcry of a "deeply wounded heart Nearly everything about the Weimar performance was unfortunate. Mahle had only a single inadequate rehearsal in which to prepare his big, complex score The acoustics of the Weimar Court Theatre in those days were "wretched." An Mahler's annotations puzzled some hearers instead of enlightening them. In the fourth movement, for example, the double-basses introduce the fa- miliar children's round, Frère Jacques, in the minor mode to serve as the funeral march. What, some listeners wondered, had Brother Jacques to do with such Dante-like titles as Commedia Umana and Dall' Inferno al Paradiso? Or with The Titan? Or the "deeply wounded heart?" To many hearers, the elements of Mahler's score seemed an odd, incongruous mixture. Bruno Walter recalled that after the first performance "a cry of indignation arose from the German press, denouncing the work as a crime against law and arder in the realm of symphonic music. Only a few voices had greeted it with enthusiasm and acknowledged it as a bold work of genius, as a conquest of a new land in the territory of music." Disappointed by his Weimar failure, Mahler revised the symphony and re- moved its descriptive titles. He omitted the Wreath of Flowers movement ("Blumine" in German) entirely. When the symphony was published in 1899, it appeared as a work in four movements, without titles. Mahler presented the manuscript of his original five-movement version to a favorite student and lifelong friend, Jenny, Feld Perrin. The manuscript re- mained in the possession of her family until 1959, when it was acquired by an American collector, Mrs. James M. Osborn. Mrs. Osborn then presented the manuscript to the New Haven Symphony Orchestra. The first American per- formances of the long-missing "Blumine" movement were by that orchestra, with Frank Brieff conducting. The publication of "Blumine" in 1968 made it possible for listeners at last to hear the symphony as Mahler originally conceived it. The First Symphony is intimately bound up with Mahler's song-cycle for baritone and orchestra, Songs of a Wayfarer. The second of the cycle's four songs is the principal subject of the opening movement of the symphony. The movement begins with a grave introduction portraying "the awakening of nature at early morning." Over a long pedal-point on A natural, distant fan- fares sound in the trumpets and clarinets. A clarinet plays a cuckoo call. Then. the 'celli and double-basses introduce the melody of the song: "I went across the fields this morning; dew was still on the grass." The tune is taken up by the horns. The music builds to a fortissimo, dies down, and the material of the introduction reappears in modified form. Then the horns introduce a new subject in the tonic key of D major. A counter-subject immediately follows in the 'celli, and Mahler begins to develop his musical materials with great skill and inventiveness. A big crescendo leads to a repeti- tion of the fanfares of the introduction, and the recapitulation begins with the horn theme in D major. Blumine opens quietly (Andante, C major) with strings tremolandi. A theme introduced quietly by the trumpet is taken up and elaborated by other instruments. In the middle section of the movement the tempo quickens, and the music grows more animated. A resumption of the original tempo brings the movement to its quiet close. Although not so labeled in the score, the third movement follows the design of the classical Minuet that evolved into the Scherzo of Beethoven's symphonies. It is three-part form, an opening section followed by a Trio and a repetition of the opening section. It has not the boisterous, explosive energy of the Beethoven Scherzi; its easy-going quality suggest the Austrian folk-dances called Ländler. The fourth movement introduces the hunter's funeral procession. "Frère Jacques" sounds in the minor; then cymbals and bass drum introduce a section in which the violins play "col legno" literally, "with the wood," i.e., with their bows upside down. This passage is marked "Mit Parodie." Mahler is doing what Beethoven did in the Pastoral Symphony and Mozart did in Musical Joke- making fun of the playing of amateur musicians. In this case, they are the gypsies marching in the hunter's funeral procession. The middle section of the movement is based on another song from the "Wayfarer" cycle, "My Sweetheart's Two Blue Eyes." Again "Frère Jacques is heard, growing fainter as the hunter's funeral procession fades into the distance. The final movement opens with a tremendous fortissimo that is in abrupt contrast to the quiet fourth movement. It is said that at the first performance of the finale, a lady in the audience was so startled that she jumped from her seat and dropped "all her possessions. The orchestral storm presently gives way to a contrasting lyrical section. There is an unexpected modulation into D major and a long crescendo builds up to bring the work to its dramatic conclusion, UNIVERSITY OF ILLINOIS MUSIC LIBRARY

the succeeding entrances during the first section of the work. Gradually oth 
clements are introduced through a variety of developmental techniques. ' 
"The music of the Anteludi1w1 leads without pause, but with identifiable tr 
sition, to th e Oflertorium, which section forms the bulk of the work. The mo 
are varied and range from the playful to th e dramatic. Thi s music is fast wi 
the exception of several short contrasting interludes which always return to 1 
fast tempo. The climax of the Ojferlorium is reached with an even faster telTI 
and a sonorous climax for full orchest ra, with three pairs of struck cyn1h 
employed in rhythmic patterns. 
"The mu sic of the Posthidinm at fir st echoes, in slow tempo, some eleme 
of the climax just heard. Finally the opening theme of the symphony is ag 
stated, but in an even slower tempo than at fir st. The settin g is different and t 
melody, although again played by the strings, is harmonized in the trombones a 
tuba. New figurations are introduced and refe rence is made to the music of t 
Oflertorimn. The symphony draws to a close with a long, freely-composed, qui, 
ending characterized by an emotional climate which sums up the work a 
eventually leads to a final concluding outburst. 
"The work was begun in July of 1967 in Greenwich, Connecticut, and virt 
ally completed during the fall and winter in New York. The final pages we 
sco red in Rome on March 27, 1968, after a second visit to the monument whi 
enhanced, if anything, the impressions of a year earlier." 
Symphony No. l in D Major, "The Titan" 
GUSTAV 1IAHLER 
Born: Kalisch!, Bohemia, July 7, 1860 
Died: Vienna, ?. fay 18, 1911 
When Mahler conducted the first performance of his Symphony No. 1 
Budapest in 1889, it was not call ed a symphony at all; it was merely entitl 
Symphonic Poem in Two Parts. Six years later, for a performance at Weim 
the composer - at the urging, he said later, of friends who felt it would 
listeners to a better understanding of his work- suppli ed a brief programma 
outline of the symphony. 
Its title, said 1Iahler, was to be The Titan, since its mood and content h 
been inspired by the novel of that name written by Jean Paul Richter in 181 
A brief outline sketched the programmatic significance of the work: 
PART I: FR01I THE DAYS OF YOUTH. 
YOUTH FLOWERS AND THORNS 
1. S pring Witho1tt End. The introduction represents the awakening of 
dawn. 
2. A Wreath of Flowers. 
3. Under Full Sail. 
PART II: CO:'IIMEDIA U:'IIANA 
4. F1tneral March -in the Style of Ca/lot. 
[Jacques Callot, seventeenth-century etcher and engraver, was one of t 
great masters of baroque fantasy and the grotesque.] 
The following is to serve as an explanation if necessary. The composer fou 
the in spiration for this piece in a humorous Callot illu stration in a fairy- I 
book well known to all children in South Germany. The picture, The Hwite 
Fnne1-al Procession, shows the beasts of the forest escorting the coffin of a de 
hunter to the grave. The hares are pallbearers. The band is made up of gyp 
mu sicians and music-making cats, frogs and crows. Deer, foxes and oth 
feathered and four-legged animals of the woods accompany the procession 
comical postures. The mood of the movement is alternately ironically gay a 
gloomily brooding. 
This movement is followed immediately by 
5. Dall' l'llferno al Paradiso - the sudden outcry of a "deeply wounded hc;irt 
Nearly everything about the Weimar performance was unfortunate. Mahl 
had only a \_single inadequate rehearsal in which to prepare his big, complex sco 
The acoustics of the Weimar Court Theatre in those days were "wretched." A 
:'If ahler's annotations puzzled some hearers instead of enlightening them. 
th movement for example, the double-basses introduce th e fa-
In the 1 round, Frer; Jacques, in the minor mode to serve as the\_ funeral ihar cinl '. r\\ some listeners wondered, had Brother Jacques to do with such 
11\\rch- \\\\ h'.1tl' . as Co11w1edia U111a11a and Dall' lnfern o al Paradiso? Or with 11"' 1·1·' l1 cs ' cl d 1 ?" 1' l l 1 f 1 iantc:. u,L, Or the "deeply woun e 1eart. \_ o many 1earers, t 1e e cments o 7"'1, 7 111111 • • seemed an odd, incongruous mixture. 
\\[ahkr's sc~!/' lter recalled that after the first performance "a cry o[ indi gna tion 
· Hr\_uno th~ German press, denouncing the work as a crime against law and 
•1ro,c I roT . calm of symphonic music. Only a few voices had greeted it with 
~rdcr (n \_tit: 1·1cl acknowledged it as a bold work of geniu s, as a conqu est o[ a 
I -1-1sm a f • ,. cnt ,us ' · - the territory o music. 
11e11· land 111 •ntccl by his Weimar failure, Mahl er r evised the symphony and re-
])is~lt0:1c,criptive titles. He omitted th e TVreath of F/ow~rs movement 
n,1\_cn·cd .1;;, .. in German) entirely. \\,\\/hen the sy1~phony was publi shed 111 1899, 
( Hil 111111 1 as a work in four movements, without titl es. it apPr,r .' jlfcscntecl the manuscript of his ori gina l five-movement version to a 
. \_ \\ a 1 ~;11clcnt and lifelong friend,\_ J enn)' Fe~d Perrin.\_ The manuscript re-t;not tt{ i1; the possession of her family unttl 19:;9, when it was acquired by an 
niainc\_, collector 1Irs. James 11. Osborn. 1Irs. Osborn then presented tf1e 
\\mcncan t tr, the New Haven Symphony Orchestra. The first American per-
1!1a1111''reips O . the long-missing "Blw11i11e" movement were by that orchestra, " ·ith t ormanc • . 
Frank Bric fT concluctmg;, . ,, . . . . 
The publication o[ Blumm~ . 111 1968 made 1t\_ possible fo r h steners at last to 
1 . th e sy1111>ltony as :'lfahler ongmally co ncc1vecl 1t. itarThe First Symphony is intimately bound up with Mahler's song-cycle for 
haritone and orc~cstra, :jongs of a 1Vqyfare1-. The second of the cycle's four 
song-sis the principal subJ ect of the opernng movement of the symphony. 
· ;rhc movement begins with a grave introduction portraying "the awakening 
of nature at early morning." Over a, long pedal-point on A natural, di stantJan-
farcs souncl in the trumpets and clannets. A clarinet plays a cuckoo cal l. Then 
the 'cclli ancl double-basses introduce th e melody of the song: "I went across 
the field s th is morni ng; dew was still on the grass." 
The t11nc is taken up by the horns. The music builds to a fortissimo , dies 
down, and the material of the introduction reappears in modified form. Then the 
horns introduce a new subject in the tonic key of D major. A counter-subj ect 
immediately follows in the 'celli, and 1Iahler begins to develop hi s musical 
material s with great skill and inventiveness. A big crescendo leads to a repeti-
tion of the fanfares of the introduction, and the recapitulation begins with th e 
horn theme in D major. 
JJ/u 111i1 1e opens quietly (Andante, C major) with strings tre111ola11di. A 
theme intn,d11ced qu ietly by the trumpet is taken up and elaborated by other 
1nst~umcnts. In the middle section of the movement the tempo quickens, and the 
music g-rows more animated. A resumption of the original tempo brings the 
mo,·ement to its quiet close. 
1\\lth ou~h not \_so labeled in the score, the third movement fo ll ows the desi gn ff \_the classical 1I111uet that evolved into the Scherzo of Beethoven' s symphonies. 
1t is thr~c- part form, an opening section followed by a Trio and a repetition of kt~ opci'.11\_1g section .. It has ~ot the boi sterou s, exp\_losive energy of th e Beethoven 
· c 1~i:z1, its casy-go111g quality suggest the Austrian folk-dances called La11dler. 
r . 1 h~, fourth movement introd uces the hunter's funeral procession. "Frere '\\'9hes sou\_nds in the minor; then cymbals and bass drum introduce a section in 
1'.0
11
' the Ytolins play "col legno" -literally, "with the wood," i.e. , with their l't~i\\ up 5 iclc rlo~vn. This passage is marked ".M£t Parodie." Mahler is doing what 
n~ak· oven cl tel 111 the Pastoral Symphony and Mozart did in A Alusical Joke -K)\\lsi~; 1 fun ~[ t\\1e playing of amateur mu sicians. In this case, they are th e · Th nar\_ching 111 the hunter's funeral procession. 
"\\\\'·i ,f c 11~)ddlc section of the movement is based on another song from th e 
is 1; ~a a,er cycle, "My Sweetheart's Two Blue Eyes." Again "Pri!re Jacques" 
distai;c~<-' growing fainter as the hunter' s funeral procession fade s into the 
The final mo · h d f . . h . . contrast t ' ycment opens wit a tremen ous ortiss11110 t at 1s 111 abrupt 
the fin~l c O t11c quiet fourth ~ovement. It is said that at the fir st pe rformance of and droi ' al ,~dy 111 the audience was so startled that she Jumped from her seat 
rontrasti\\Pcc 1 ~ll her possessions." The orchestral storm presently gives way to a a long ·crclg Ydical section. There is an un expected modulation into D maj or and 
seen o bmlds up to bring the work to its dramatic conclusion . 
UNIVERSITY OF ILLINOIS. 
MU51C LIBRARY, 

36 57 VIOLINS PHILADELPHIA ORCHESTRA PERSONNEL 1968-1969 SEASON EUGENE ORMANDY, Music Director and Conductor WILLIAM SMITH, Assistant Conductor Norman Carol Concertmaster David Madison Associate Concertmaster William de Pasquale Associate Concertmaster Morris Shulik Owen Lusak David Grunschlag Frank E. Saam Frank Costanzo David Arben Barbara de l'asquale Max Miller Jacob Stahl Ernest L. Goldstein Herbert Light Meyer Simkin Louis Gesensway Cathleen Dalschaert. Irvin Rosen Robert de Pasquale Armand Di Camillo Joseph Lanza Julia Janson Isadore Schwartz Jerome Wigler Norman Black Irving Ludwig George Dreyfus Larry Grika Manuel Roth Benjamin Sharlip* Louis Lanza Stephane Dalschaert Luis Biava VIOLAS Joseph de Pasquale James Fawcett Leonard Mogill Gabriel Braverman. Sidney Curtiss Darrel Barnes Leonard Bogdanoff Paul Ferguson Wolfgang Granat Irving Segall Donald R. Clauser Charles Griffin *Deceased VIOLONCELLOS Samuel Mayes Elsa Hilger Harry Gorodetzer Francis de Pasquale. Joseph Druian William Saputelli Winifred Mayes Bert Phillips Barbara Haffner Marcel Farago Lloyd Smith Santo Caserta BASSES Roger M. Scott Ferdinand Maresh Neil Courtney F. Gilbert Eney Carl Torello Wilfred Batchelder Samuel Gorodletzer Michael Shahan Emilio Gravagno FLUTES Murray W. Panitz Kenneth E. Scutt Kenton F. Terry John C. Krell, Piccolo OBOES John de Lancie Stevens Hewitt Charles M. Morris Louis Rosenblatt English Horn CLARINETS Anthony M. Gigliotti Donald Montanaro Raoul Querze Ronald Reuben Bass Clarinet BASSOONS Bernard H. Garfield. John Shamlian Adelchi Louis Angelucci Robert J. Pfeuffer Contra Bassoon HORNS Mason Jones Nolan Miller Glenn Janson HORNS, cont'd John Simonelli Herbert Pierson Leonard Hale. TRUMPETS Gilbert Johnson Donald E. McComas Seymour Rosenfeld Samuel Krauss TROMBONES Glenn Dodson Tyrone Breuninger M. Dee Stewart Robert S. Harper Bass Trombone TUBA Abe Trochinsky TIMPANI Gerald Carlyss Michael Bookspan BATTERY Charles E. Owen Michael Bookspan Alan Abel Manuel Roth CELESTA, PIANO AND ORGAN William Smith Marcel Farago HARPS Marilyn Costello Margarita Csonka LIBRARIAN Jesse C. Taynton PERSONNEL MANAGER Mason Jones STAGE PERSONNEL Edward Barnes, Mana Theodore Hauptle James Sweeney PHOTO PUBLICITY Adrian Siegel BROADCAST RECORDING ENGINEER Albert L. Borkow, Jr. THE SCHOOL OF MUSIC FACULTY CONCERTS

PHILADELPHIA ORCHESTRA PERSONNEL 
1968-1969 SEASON 
EUGENE ORMANDY, Music Director and Conductor 
WILLIAM SMITH, Assistant Conductor 
VIOLINS 
Norman Carol 
Concertmaster 
David Madison 
Associate Concertmaster 
William de Pasquale 
Associate Concertmaster 
1Iorris Shulik 
Owen Lusak 
David Grunschlag 
Frank E. Saam 
Frank Costanzo 
David Arben 
Barbara de Pasquale 
l\\Iax l\\liller 
Jacob Stahl 
E rnest L. Goldstein 
Herbert Light 
)!eyer Simkin 
Louis Gesensway 
Cathleen Dalschaert 
Irvin Rosen 
Robert de Pasquale 
Armand Di Camillo 
Joseph Lanza 
J ulia Jan son 
Isadore Schwartz 
Jerome Wigler 
Norman Black 
Irving Ludwig 
George Dreyfus 
Larry Grika 
)Ianuel Roth 
Benjamin Sharlip* 
Louis Lanza 
Stephane Dalschaert 
Luis Biava 
VIOLAS 
Joseph de Pasquale 
James Fawcett 
Leonard )Iogill 
Gabriel Bra,·erman 
Sidney Curtiss 
Darrel Barnes 
Leonard Bogclanoff 
Paul Ferguson 
\\ \\'olfgang Granat 
Irving Segall 
Donald R. Clauser 
Charles Griffin 
Deceased 
VIOLONCELLOS 
Samuel Mayes 
Elsa Hilger 
Harry Gorodetzer 
Francis de Pasquale 
Joseph Druian 
William Saputelli 
\\Vinifred l\\Iayes 
Bert Phillips 
Barbara Haffner 
:Marcel Farago 
Lloyd Smith 
Santo Caserta 
BASSES 
Roger M. Scott 
Ferdinand l\\laresh 
Neil Courtney 
F. Gilbert Eney 
Carl Torello 
Wi lfred Batchelder 
Samuel Gorodetzer 
)Iichael Shahan 
Emilio Gravagno 
FLUTES 
l\\Iurray W. Panitz 
Kenneth E. Scutt 
Kenton F. Terry 
John C. Krell, Piccolo 
OBOES 
John de Lancie 
Stevens Hewitt 
Charles 11. )!orris 
Louis Rosenblatt 
English Horn 
CLARINETS 
Anthony l\\L Gigliotti 
Donald l\\Iontanaro 
Raoul Querze 
Ronald Reuben 
Bass Clarinet 
BASSOONS 
Bernard H. Garfield 
John Shamlian 
Adelchi Louis Angelucci 
Robert J. Pfeuffer 
Contra Bassoon 
HORNS 
l\\lason Jones 
Nolan l\\[i llcr 
Glenn Janson 
HORNS, cont 'd 
John Simonelli 
Herbert Pierson 
Leonard Hale 
TRUMPETS 
Gilbert Johnson 
Donald E. )IcComas 
Seymour Rosen feld 
Samuel Krauss 
TROMBONES 
Glenn Dodson 
Tyrone Breuninger 
>I. Dee Stewart 
Robert S. Harper 
Bass Trombone 
TUBA 
Abe Trochinsky 
TIMPANI 
Gerald Carlyss 
)Iichael Bookspan 
BATTERY 
Charles E. Ower 
)Iichael Bookspan 
Alan Abel 
)Ianuel Roth 
CELESTA, PIAN O 
AND ORGAN 
William Smith 
)farce! Farago 
HARPS 
)Iarilyn Costello 
)Iargarita Csonka 
LIBRARIAN 
Jesse C. Taynton 
PERSONNEL M ANAG ER 
)Iason Jones 
STAGE PERSONN EL .; 
Edward Barnes, )fani-
Theodore H auptle 
James Sweeney 
PHOTO PU BLICITY 
Adrian Siegel 
plr-i(j 
BROADCAST RECO R 
ENGINEE R fr• 
Albert L. Bork0 ''' • · 
'( 
SCHOOL OF MUSIC FACULTY CONCERTS