Albeneri Trio

Alexander Schneider

Violinist

Benar Heifetz

Cellist

Erich Itor Kahn

Pianist

2 Trio Concerts

Y. M. H. A. 92nd St. & Lexington Ave.

THERESA L. KAUFMANN AUDITORIUM

2 Wednesday Evenings

December 6-January 17

ADMISSION:

Members $1.20 and $1.50 incl. tax

Non-Members $1.50 and $1.80 incl. tax

# Albeneri Trio

## Alexander Schneider Violinist

became known to concert goers all over the world as second violinist of the Budapest String Quartet. He was born in Vilna, Russia in 1908 and began to play the violin when he was five years old. When he was ten he entered the Vilna conservatory and at sixteen he went to the Frankfort conservatory to study with Adolph Rebner. At nineteen, he was the concertmaster of the Symphony Orchestra in Frankfort, subsequently holding the same post in Saarbrücken and in Hamburg. During this time his own quartet played extensively in Germany. From 1932 to 1944 he was second violinist of the Budapest Quartet, which toured Europe, North Africa, the East Indies, Australia and America, with a success as yet unequalled by any chamber organization.

## Benar Heifetz Cellist

was born in Russia in 1900. He received his musical education at the St. Petersburg conservatory and at Professor Julius Klengel's Master-School in Leipzig, Germany. His first appearance as a soloist was at the age of twelve and he continued his solo career, touring Russia and Central Europe until 1926. It was then that he joined the Kolisch String Quartet in Vienna and with them concertized throughout the world. In 1939, Mr. Heifetz was appointed the first Solo Cellist of the Philadelphia Orchestra and he now holds that post with the N.B.C. Symphony Orchestra under Arturo Toscanini.

## Erich Itor Kahn Pianist

was born of Russian parents in Rimbach, Germany in 1905. In Frankfort-Main, he studied piano and composition at the conservatory, and later became a musical director of the state radio station. In addition, he concertized and toured extensively as soloist and ensemble player. From 1933 to 1941 he lived in Paris, but he continued his pianistic activity throughout many countries including France, England, Holland, Belgium, Italy and North Africa. In 1938-39 Mr. Kahn toured with Pablo Casals. Mr. Kahn is known, too, as the composer of many orchestral and chamber music works.

The members of the Albeneri Trio have long been regarded as outstanding ensemble players. Their respective associations with the world's foremost chamber music artists such as the Budapest Quartet, the Kolisch String Quartet, and Pablo Casals have won for them their wide and enviable reputations. Therefore the formation of the Albeneri Trio has aroused the most intense interest in their forthcoming season. The Albeneri Trio will be heard in the major cities and in New York in the concert series of the New Friends of Music and the YMHA.

Personal Representative PATRICIA TAYLOR
31 Beekman Place, New York 22

UOPWA-16-39

The YM-YWHA presents a

Concert of Works by
ERICH ITOR KAHN
and
W. A. MOZART

Tuesday Evening, April 29, 1958, at 8:40

PROGRAM

I

THREE "CHANSONS POPULAIRES" - - - - - - KAHN

1. J'ai repoussé la bonne rive

2. D'où vient que le soleil s'en est allé

3. Dessus l'herbe ferme

BETHANY BEARDSLEE, Soprano RUSSELL SHERMAN, Piano

II

THREE PAGANINI CAPRICES AS VIOLIN—PIANO DUOS KAHN

(Partie de Piano en Concert avec le Violon)

1. Caprice No. 9

2. Caprice No. 20

3. Caprice No. 17

GIORGIO CIOMPI, Violin WARD DAVENNY, Piano

III

MUSIC FOR TEN INSTRUMENTS AND SOPRANO - - KAHN

PART I: :Andante—Six Bagatelles

Andante leggiero

"Wie mir leide ist"

"Der Verstossene ist ohne Gnade"

"Alles Gedachte und alles Gesung'ne"

"O weites Paradies"

Quasi marcia notturna

PART II: Allegretto—Three Scherzi

Allegretto animato

"Atme Licht"

Allegretto vivace

PART III: Largo—Choral Prelude and Aria

Largo moderato

"Gar still und stiller fließt das Wandern"

BETHANY BEARDSLEE, Soprano FRANK BRIEFF, Conductor

Flutes: SAMUEL BARON, ANABEL BRIEFF

Oboes: JFROME ROTH, RONALD ROSEMAN

Clarinets: DAVID GLAZER, HAROLD FREEMAN

Bass Clarinet: PAUL HOWLAND

Horn: RAYMOND ALONGE

Cello: ALEXANDER KOUGUELL

Double Bass: JESSE TEIKO

INTERMISSION

QUINTET FOR PIANO, OBOE, CLARINET, HORN
AND BASSOON IN E FLAT MAJOR, K. 452 - - MOZART

Largo—Allegro moderato

Larghetto

Allegretto

FLORENCE KIRSCH, Piano

JEROME ROTH, Oboe

DAVID GLAZER, Clarinet

RAYMOND ALONGE, Horn

ARTHUR WEISBERG, Bassoon

Notes to the Works of Erich Itor Kahn

I

The *Trois Chansons Populaires* belong to a series of three works which Erich Itor Kahn wrote on folk tunes from the French province of Brittany; the other two being the *Petite Suite Bretonne* for chamber orchestra and *Les Symphonies Bretonnes* for large orchestra. In an analysis of the latter work, the composer has given us a few indications which are valid actually for the whole group. We should like to quote a few of these remarks:

"The melodic material . . . is based on themes from the folklore of the Britanny province in France, as they were collected mostly by the composer himself and mostly written as transmitted to him by natives of this country. However the aim of this composition is not a folkloristic one. The musical material is treated according to its own demands and with purely musical intentions, as the composer treats his own themes."

It is indeed quite remarkable to observe in what radical fashion Kahn uses the "ready-made" material and how he manages to draw entirely personal and highly original consequences from it. The case of the *Trois Chansons* is a very interesting one in other respects too. The composer had actually worked out the themes in the form of a short song cycle for voice and piano without having a poetic text to work from. This text was then written a *posteriori* by a friend, by the poet Joseph Leibowitz, once the complete musical setting was achieved.

René Leibowitz

II

Three Caprices of Paganini
(with added concertante piano parts
by ERICH ITOR KAHN)

The Caprices of Paganini had always attracted Kahn, but it was the violinist Samuel Dushkin, with whom he often concertized, who crystallized this interest by asking him to write bril-
liant piano parts for the three Caprices, No. 9 (E major), No. 20 (D major) and No. 17

(E flat major). Kahn jumped at the chance to freshen up these time-honored "war-horses" of the violinistic repertory. He did so most convincingly by adding piano parts which are in no sense mere "accompaniments," but are just as much fun to play for the pianist as are the original Caprices for the violinist. The many witty little ideas which sparkle in these piano parts add a new fascination to the old favorites and thus justify the clever arrangements.

I. CAPRICE No. 9

The "trumpet-calls" of the violin, with their persistent, etude-like rhythm of two sixteenths and an eighth, are counterpointed by more varied rhythmic treatment of these same note-values in the piano. Unexpected harmonies are often added to the rather simple original melody. For example, a straightforward melodic phrase A-E-C (triple-stop)-B-A suggests to Kahn not the expected A minor triad, but a seventh-chord, F sharp-A-C-E, followed by a C minor triad. Or a dominant triad, B-D sharp-F sharp, in the violin may have a dissonant augmented fifth (F double sharp) added to it in the piano. Thus Kahn places, as it were, a Romantic picture in a contemporary frame, yet without real incongruity.

The original form of the Caprice (A-B-A-C-A, or, in terms of keys, E-e-E-a-E) is faithfully preserved, though Kahn adds to the recurrences of the principal theme a degree of variety which is absent from Paganini's original composition. In the A minor section, the listener will enjoy the sparkling interchange of short thirty-second-note passages between piano and violin.

II. CAPRICE No. 20

A two-measure "prelude" in the piano introduces the idea of a pedal-point on D—an important feature of the first section of Paganini's composition—and also suggests the tuning of strings with its successive sounding of tones a fifth apart (D-A-E-B). In the sequel,

a dancing dotted rhythm, not present in the
original, points up the gaiety of the piece.
Paganini's rather "square" meter is lightened
by Kahn's subtle play with the possibilities of
alternating and combining six-eighths and three-
quarter meter, as well as with phrases which
overlap the bar-line. In the lengthy B minor
middle section, Kahn introduces many inter-
esting counter-figures in the piano. The octave
double-stops in the violin are often echoed
in the piano, sometimes at unexpected pitches.
The first section (with the exception of
Kahn's added introduction) is repeated with-
out change.

### III. CAPRICE No. 17

After the rhapsodic, cadenza-like opening,
Kahn introduces imitation (at first strict, later
free) of the violin's flamboyant thirty-second-
note flourish, followed by more deliberate
eighth-notes, usually in double-stops of thirds
or sixths. The C minor middle section, with
its steady movement in sixteenth-notes, is also
enlivened by imitation in the piano, which
gives it somewhat the aspect of a three-part
Bach Invention. The recapitulation is un-
changed, and the Caprice finishes off in grand
style, with the requisite triple-stops in the
violin and thundering octaves in the left hand
of the piano. It is all very much in the Ro-
mantic spirit of virtuosity, which Kahn has
here "updated" with his characteristic wit
and skill.

Dika Newlin

## III

The MUSIC FOR TEN INSTRUMENTS AND SOPRANO is one of Kahn's most extended works and also one which occupied him over an amazingly long period of time. The origin of the score is to be found in two song cycles for voice and various instruments, the first one of which begun as early as 1927 (on poems of the German medieval poet, Spervogel). The second cycle, begun shortly afterwards, uses a poem by the Chinese poet Li Po (8th century) as well as a poem by

Kahn himself. The final version (1953) is
actually a condensation of these two first en-
deavors. Since the composition of the work
begun at an early age, and since it was con-
stantly taken up again over the long period,
it is quite evident that the final result should
show many technical and stylistic facets. Thus,
the first part *andante* sub-titled "Six Baga-
telles," which is based on the first cycle,
represents a relatively simple stage of tonal
expression. Nevertheless, a certain increase of
the complexity of means may be observed. An
instrumental introduction (which uses seven
instruments) is followed by four vocal pieces
(using few instruments). The last piece is
again for instruments alone and uses the
same body as the introduction. The second part,
*allegretto*, sub-titled "Three Scherzi," is far
more complex. It utilizes a very free tonal
technique and includes two instrumental pieces
surrounding one vocal piece. The first scherzo
is written for six instruments only; the re-
maining two pieces as well as the rest of the
work are written for the complete instrumental
body (two flutes, two oboes, two clarinets, bass
clarinet, horn, cello and double bass). Finally,
the last part, *largo*, contains two important
pieces: *choral prelude* (instruments alone)
and *aria* (poem by Kahn). The twelve-tone
technique is adopted here.

It is important to observe that the various
facets (both technically and stylistically) to
which we have referred do not in any way
constitute discrepancies. Actually, perhaps the
most remarkable feature of the work consists
in the extraordinary unity of its inspiration.

René Leibowitz

Notes for W. A. Mozart Quintet K. 452
"... I have written two big concertos, and
then a Quintet for oboe, clarinet, horn, bas-
soon and pianoforte which received extraor-
dinary appiause. I myself consider it the
best work I have written in my entire life. I
wish you could have heard it! ..."

(Mozart to his father, April 10, 1784)

Steinway Piano

Staff for the YM-YWHA:

DAN BUTT, Stage Manager

HERBERT BARRETT MANAGEMENT, Inc.

ALAN BRENT, Assistant Stage Manager

The YM-YWHA is a constituent society of the
Federation of Jewish Philanthropies
whose support makes possible
the Y's extensive cultural program.

412

Three "Chansons Populaires" by E. I. Kahn
Poems by Joseph Leibowitz

I.

J'ai repoussé la bonne rive
Dans mon bâteau je suis dressé,
Et sous mes pieds la peau est vive
Du sable doux, souvent presse.
Au creux des vents venus de loin
Je cherche en vain les arômes
d'antan.
Vide est la voile et tourne en
rond
Dessus la mer sans fond.
Avant de regagner la berge
Il faut encore ramer longtemps;
Et que la vague point submère
Pauvre égaré de l'océan.
Et tire haut, et chante doux,
Rame mon fou, que te cuisse la
peau.
Le jour viendra d'amour
Sur la vague poindra le jour.

II.

D'où vient que le soleil s'en est
allé
Au loin sur les roseaux?
Le mien - oui, mon roseau il s'est
félé -
D'où vient le cri d'oiseau?
Un nuage sourd silence autour me
tient
Pour me couvrir de son linceul,
D'où vient que je suis seul?
Le sol est froid, les herbes ont
tremblé
Berger n'a plus de toit.
Le vent venu du fond de la valée
A laissé mon arbre tout nu.
Le vent est froid, le coeur est
gros,
Berger n'a plus de voix pour son
troupeau,
Le troupeau n'entend plus ma voix.
D'où vient que le flûter de mon
oiseau
Au loin s'est envolé?
Ma main ne serre plus que mon
roseau,
D'où vient le son félé?
Silence autour, perdu le jour
le mien,
Oui, mon troupeau il s'est enfuit,
D'où vient la grande nuit?

I.

I thrust back the friendly shore,
In my boat I stand erect,
And beneath my feet the skin is
still vivid
With the touch of the soft sand.
In the hollow of the winds that
came from far away
In vain I search for the fragrances
of past times.
The sail is empty and turns in cir-
cles
Above the groundless sea.
Before reaching the bank
I must row for a long time;
And the wave hardly submerges
The erring wretched-one of the ocean.
Pull high, sing softly,
And row, my madman, till your skin
is scorched.
The day of love is coming,
From the wave it will break forth.

II.

Why did the sun advance
So far on the reeds?
Yes, my pipe has cracked -
From where sounds the cry of the
bird?
A muffled cloud surrounds me with
silence
And covers me with its shroud,
Why am I so lonesome?
The earth is cold, the grass
trembles,
The shepherd is without refuge.
The wind that flew from the depth
of the valley
Left my tree bare.
The wind is icy, the heart is
heavy,
The shepherd has lost his voice,
The flock cannot hear it anymore.
Why did the whistle of my bird
disappear in the distance?
My hand only clasps my pipe,
What produces this cracked tone?
Stillness around me, lost is my day,
Yes, my herd has run away,
From where comes this long night?

### III.

Der Verstossene ist ohne Gnade.
Wie bitter die Hölle doch ist:
Kein Schein von Sonne oder Mond,
Kein Wind ihn kühlet frische und
lind,
Auch kein Sternlein blinket;
Nur Qualen ringsum was er fühlt -
Und für den fernen Himmel welches
Sehnen.

### IV.

Alles Gedachte und alles Gesung'ne
Tiefen und Höhen offenbar an Dir,
Herr,
Das lebt durch Deine Hände.
Alle irdische Macht immer nur kann
Durch Dich streben zu dem Ende.
Alles Gewachs'ne und alles Ver-
steinte,
Anstieg und Abgrund das ist Dir,
o Herr, kund,
Das birgt in Deinen Händen.
Alle heilige Schar nie könnte
Dich genug preisen an ein Enden.

### V.

O weites Paradies!
Ein lichtes Haus Dich ziert,
Ein goldner Weg dorthin führt.
Die Mauern die sind Sternenschein,
Da pflanzte unser Herr hinein
Das schönste Edelgestein.
O lichtes Haus!
Nur einer tritt dort ein,
Der ganz von allen Sünden reinlich
rein.

## Part II. Poem after Li-Po (8th century) by E. I. Kahn

### VIII.

Atme Licht -
Und Schein wird Angesicht.
Oh, der Duft ist wahr -
Verträumtes Jahr!
Wenn ich manchmal zögernd bin
Zieht mich schon die Wolke hin.
Wenn ich treibend durch sie fahr'-
Hebt mich Schar.
Verträumtes Jahr!

### III.

The repudiated is without mercy.
How bitter is Hell:
Deprived of a glimmer from the
sun or the moon,
Of the mild touch of a cool and
refreshing wind,
Or without a little blinking star.
The tortures around him are the
only ones he feels -
And limitless is his longing for
the distant Paradise.

### IV.

All that is thought, all that is
sung,
Depths and heights are revealed
to Thee, Lord,
They live through Thy hands.
All earthly forces can always only
Through Thee strive to the end.
Every growth and all that has ceased,
Summit and abyss are known to Thee,
o Lord,
They rest in Thy hands.
No holy flock could ever
Praise Thee enough till an end.

### V.

O remote Paradise!
A shining house adorns thee,
A golden path is leading there.
The walls are built from the beams
of stars,
Our Lord seeded it
With dazzling precious stones.
O house of light!
Only the ones can enter it
Who are purified of all sins.

### VIII.

Breathe in the light -
And it takes form.
Oh, the fragrance is real -
Year of dreams!
If sometimes I am tarrying
The cloud draws me further.
When I drift through it -
The flock lifts me.
Year of dreams!

Part III. Poem by E. I. Kahn

XI.

Gar still und stiller fliesst
das Wandern,
Du grüssest Ufer von Verdeck.
Das Ein begibt sich schon dem
Andern,
Verstrickt in liebliches Geneck.
Die Länder staunen Dir entgegen,
Benetzt von letztem Flatterton
Und, wie des Weges erster Segen,
Tropft Labung von des Bundes Tron.
Und stets lebend'ger wird das
Schweigen
Und immer einsamer der Blick.
Es klingt Gestirn, klingt von
den Zweigen,
Klingt hin und her und schon
zurück.
Da stehst Du auf und bist bereitet,
Da wendest Du Dich irgend tief,
Da ist Dein derber Sinn bescheidet,
Da stehst Du wir der Gott Dich
rief.

XI.

The flow of wandering quiets
From the deck you greet the shore.
One is longing for the Other,
Entangled in a loving teasing.
You glance astonished at the lands
Still touched by the last trem-
bling tones.
And, like a first blessing of
the journey,
The drops of freshness fall from
heaven.
More pronounced is the silence
And always lonelier the landscape.
The stars vibrate, the sounds
come from the boughs,
And reverberate back and forth.
Then you are standing readied
And turn, deeply moved in your
heart,
You are waiting in acceptance
For the call of the Lord.