Arizona republican., 1920-01-26
PROGRAM NOTES ON
 ORCHESTRA CONCERT
 HERE NEXT THURSDAY

| For the DeneI1I Of students ana music lovers who will attend the mati- nee and evening performances of the Minneapolis symphony orchestra, which vii, play at the high school audito- rum Thursday, January 29, Eugene Redewill, local manager, has prepared a series of program notes on the two programs to be rendered.
 The following notes are on the mati- nee program. The notes on the eve ming program will appear in another issue of the Arizona Republican. 1 Symphony No. 6, Pastoral" in F
 major, Op. 6S G770-1s2O ! Ludwig van Beethoven
 When this symphony was last per- formed at a Friday night concert, the program contained the following his toricai analytical notes, written by l Caryl B. StorrS:
 | Beethoven is so illustrious a mas ter Of absolute music that his few eN- cursions into the realm of program music. or music that tells a story, are of intense and important interest His principal work along this line is the sixth of his nine symphonies, to which massive composition he gave the title | Pastoral, and to the movements of which he added brief descriptive titles, as may be seen by referring to the program on preceding page. Sup porters of the belief that music may
  to depict incidents as we'll as broad feeling and emotions, will find in Beethoven only partial ally. The master approached the task of writing symphony that should tell a story with some hesitance and a realization Of the limitations of his narrative me- dIum. We find that his intention, when this symphony was first conceived. concerned itself with creation of a work without any definite program. In one Of his sketch books he wrote the title, 'Sinfonia Characteristics, or Rec ollections of Country Life Scrawled at the side of the page were the an- notations, the nearer should be per mitteo to discover the situations for himself; he who has ever conceived an idea of country life ought to be able. without many indications, to think Of the authors meaning and lastly, this expression of truth and wisdom: Carried too far, all delineation in in Strumental music loses an epigram which certain modern composers might well have framed and hung on the walls of their studios.
 At a later period Beethoven re- considered his intention of allowing the hearers of his symphony to dis cover its pictures for themselves and gave each movement its subtitle. Still later he modified this concession to program music rather quaintly by writing under the name of the work the phrase: More an expression of feeling than of painting
 How truly in this work Beethoven transmitted the atmosphere and spirit Of the woods and fields into music is readily felt; and so universal are the truths it utters that each listener will follow, despite the subtitles, the composers first direction that the nearer should be permitted to dis cover the situations for himself.' To Beethoven the music depicted. no doubr the forests, streams and mead ows near Vienna, through which he was so passionately fond of walking and where he jotted down for the first time many musical themes and motives that later were worked out in immortal compositions. But one does not need to have been in Austria to feel | the beauty and truth of this master | To those who listen to it | tonight, the situations will be some |! favorite glen, flowery mead, singing brook. dimpling lake or rushing wood l land of Minnesota; for it depicts the | country, not country, and it's only | definite pictures are those that its iu- truth throws upon the screen | of personal memory
 Beethoven probably conceived the general scheme of this symphony in 1906, though actual work upon it was not begun until the autumn of 1907. Much of the music was composed in the wooded districts between Heiligen- stadt and Grinzing, near Vienna. The f'rst production took place at a con- cert given by Beethoven in the Theater m der Wien, December p, 1908. This concert also marked the first perfor- nance of the c minor symphony The is scored for two flues. picolc. two oboes, two clarinets, two oassoons, two horns, two trumpets. TWO trombones. kettledrums and strings.
 Fantasy for Harp and Orchestra.
 :. DuDOiS II
 This composition by Thedore Dubois. Il a distinguished French composer, was written in 1903. On the occasion of Il it's performance in Chicago. in 1906. he program contained the following 
 "As its title implies, the work is en- -irely free in point of both form and II It consists of a rhapsodicaI II treatment Of sundry simple but attrac- i've themes, of a quasi-folksong char l'