Music from Rochester Program 65 of 65
[00:06 - 00:11]
This is music from Rochester a series of concerts be courted at the Eastman School of Music of the
[00:11 - 00:16]
University of Rochester. Music from Rochester is made available to national educational
[00:16 - 00:21]
radio by Xerox Corporation and station WB f b.
[00:21 - 00:26]
Rochester New York. And now to tell us about tonight's concert. Here is our
[00:26 - 00:27]
host Richard feat.
[00:27 - 00:34]
This week Richard Fried of the University of Rochester at the Eastman School of Music introducing another
[00:34 - 00:38]
Eastman School concert in our series of performances by students soloists and
[00:38 - 00:43]
ensembles at these men school. Tonight's program brought to you through the
[00:43 - 00:48]
cooperation of the Rochester musicians Association local 66 of the American Federation of
[00:48 - 00:52]
Musicians is a concert by the Eastman Philharmonia under the direction of
[00:52 - 00:57]
Willis page. The program includes the Rite of Spring by Igor
[00:57 - 01:02]
Stravinsky and three staples of the basic repertory Beethoven's Fifth
[01:02 - 01:07]
Symphony and Leonore overture number three and Paul do cuz scared so the Sorcerer's
[01:07 - 01:11]
Apprentice. The Leonora overture number three is the last of the
[01:11 - 01:16]
four overture as Beethoven wrote for his only opera the Fidelio overture in
[01:16 - 01:21]
E-flat is the one used as a curtain raiser while the three Leonora overture is
[01:21 - 01:26]
all in C Major have simply entered the concert repertory in their own right. The third
[01:26 - 01:32]
is also of course traditionally performed between the two scenes of the second act of the opera.
[01:32 - 01:37]
It's a compact powerful tone poem summing up the drama of the opera
[01:37 - 01:42]
and including a reference to florist on the Indus they've been free to start again.
[01:42 - 01:46]
Here is the music now the Leonora over juror number three Opus 70 to 80 of
[01:46 - 01:50]
Beethoven. Willis page conducting the Eastman Philharmonia.
[01:50 - 02:32]
In the book.
[02:32 - 03:36]
Accountable.
[03:36 - 03:42]
Iraq.
[03:42 - 03:57]
Thank.
[03:57 - 03:57]
You.
[03:57 - 04:59]
Her.
[04:59 - 07:03]
You.
[07:03 - 07:09]
Know who.
[07:09 - 07:12]
You. Are.
[07:12 - 07:27]
Lou.
[07:27 - 08:06]
Low.
[08:06 - 08:09]
Ah.
[08:09 - 08:51]
Milk.
[08:51 - 10:51]
The B.
[10:51 - 11:48]
The beyond. Where.
[11:48 - 11:56]
You.
[11:56 - 11:56]
Are.
[11:56 - 13:08]
The but.
[13:08 - 13:14]
What.
[13:14 - 13:18]
Is. The
[13:18 - 13:33]
purpose. Yeah.
[13:33 - 13:40]
The old.
[13:40 - 13:43]
The old.
[13:43 - 14:12]
Why.
[14:12 - 15:12]
Beethoven's Leonora overture number three he played by the Eastman Philharmonia under the
[15:12 - 15:17]
direction of Willis page in any listing of
[15:17 - 15:22]
the basic repertory the basic symphony would have to be the Beethoven fifth.
[15:22 - 15:27]
Its familiarity is so taken for granted in fact that it really isn't programmed with anything like the frequency
[15:27 - 15:32]
one might expect when one does hear it. The reasons for its basic position are
[15:32 - 15:37]
brilliantly clear and we feel hear it now. The four movements of the Beethoven
[15:37 - 15:42]
Symphony Number 5 in C Minor Opus 67 Willis page
[15:42 - 15:43]
conducting the Eastbourne Philharmonia.
[15:43 - 18:55]
Man.
[18:55 - 19:19]
I.
[19:19 - 19:19]
Can't.
[19:19 - 19:45]
The boy.
[19:45 - 20:24]
The boy.
[20:24 - 20:29]
The boy.
[20:29 - 20:46]
The
[20:46 - 20:51]
boy.
[20:51 - 21:44]
Man.
[21:44 - 21:45]
Man.
[21:45 - 23:26]
Oh.
🔍
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.