Detroit Symphony Orchestra Wagner, Mozart, Tchaikovsky, part 1
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National Educational radio presents a series of broadcasts of regular subscription
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concerts especially selected from the archives of the Detroit Symphony Orchestra.
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Recorded by the 100 man organization and its permanent home the beautiful Henry and
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Edsel Ford Auditorium located in Detroit's new and impressive riverfront
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Civic Center. The programs in this series are being produced by the
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University of Michigan broadcasting service for national educational radio. Under a grant
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in aid from the National Home Library Foundation.
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And in cooperation with management and the orchestra Committee of the symphony and the Detroit
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Federation of Musicians. Concerts in the series of 13
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broadcasts will be conducted by 610 Elling. The brilliant young Swedish
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musician now a permanent musical director and conductor of the orchestra. Paul Parr
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a distinguished French musician musical director and conductor of the orchestra for 10
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years from one thousand fifty two to one thousand sixty two. And now a conductor emeritus.
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And of all to associate conductor.
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Today's concert will be conducted by Paul Perai and will include the overjoyed Teuton wiser
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by Ricardo Wagner a concerto for flute harp and orchestra by Mozart
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featuring Alys Yaki harpist and Albert Tipton flutist
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and will conclude with the Symphony Number 4 in F Minor by Tchaikovsky.
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The pope or a conductor emeritus of the Detroit orchestra since 1962 is
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unquestionably one of the world's great conductors whatever one turns in a
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vast and demanding profession of conducting. There is ample and conclusive evidence of this man's
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ability and outstanding achievement. Misuari has conducted most of the
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celebrated orchestras of the world during his ten years with the Detroit orchestra.
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He was invited again and again to conduct the New York Philharmonic and the Pittsburgh Symphony and
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his appearances before the Philadelphia Boston and Cleveland where frequent
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under parade direction Detroit enjoyed a position as a center of symphonic music not equal
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since the days of the much beloved us of the relevant church.
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The orchestra was chosen as the official orchestra of the Western festival the oldest festival in the
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country. At which post they succeeded Leopold Stokowski and Eugene Armande
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and the Philadelphia Orchestra. Critics call the orchestra's first appearance at the
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festival triumphant and subsequent appearances at Webster have been no less
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successful.
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The list of achievements is much longer but one more on our must be mentioned here under
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Perry's direction the orchestra made a number of recordings on the Mercury label the several
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grom pre disc which resulted where significant honors indeed.
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Yet the greatest testimonial lies perhaps in the fact that many critics insist that some of these recordings
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of the show song symphony shrubbery Aiza Spanier The Sorcerer's Apprentice by DO cause the
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funk symphony and rebels love aleph sub most frequent mention remain
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definitive ones in an era when a pressing is often dated only months after its
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introduction.
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Today's concert begins with Wagners overjoyed to turn wiser for 18
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years parade was first conductor of the Paris Opera where his specialty was the Wagnerian
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repertoire. In this context the performance we are about to hear takes on
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a special significance.
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The applause is for me as your father a as he stepped to the podium to begin today's concert
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performance a record Magnotta overtures.
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I'm
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you.
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I'm.
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Yeah.
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Why.
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Will. You.
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What.
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What.
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What.
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The old.
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News.
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The old. The
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old.
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Blue.
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Blue.
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Blue. Blue. Oh
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OK.
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The.
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Letter.
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And.
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Let. Us. Let.
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Let. Let.
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Let. Let.
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Let.
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Oh OK.
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All right.
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Thank God that they come through the floorman overtures of life by the car
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plugged. In the 100 band approach to New York. From the
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fall of the. Roman to. The Henry.
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Ford.
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The Detroit Symphony has always had its full share of exceptionally fine solo
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artists many of them fulfill extensive concert engagements in addition to their
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orchestral services and each season several of them are heard with the orchestra as part of
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the regular subscription concerts. Today's program features Allee's Yaki
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harpist and Albert Tipton flutist in a performance of Mozart's concerto for flute and
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harp in C major. Circle two ninety nine. This
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work which occupies a unique position in concert literature was written in April of Seventeen
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seventy eight during the composer's a second trip to Paris Mozart
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and then only twenty two years of age it already was already the possessor of a reputation
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throughout much of Europe was commissioned to write the work by the Duke to gain
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favor to the Parisian court and an accomplished flutist.
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Mozart was further engaged to give lessons in composition to the duke's daughter who was a pianist and a
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harpist. This was not an unmixed blessing. In a letter to his father
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Leopold he praised her ability as a performer stating that she could play her entire
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repertory of over 200 pieces by heart but that he despaired of ever being able to
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teach her anything about composition wrote Mozart. She's terribly stupid
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and terribly lazy. If he hasn't any ideas and she really hasn't got
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one. And then all is in vain. It's strange but
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true that boat's art had an outspoken aversion to both the flute and the harp as a solo
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instruments. But this did not prevent him from creating a work which breeds the gay carefree spirit
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of the Serenade music of the day. Mozart completed the Commission on July
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30 first but four months later he wrote again to his father lamenting the fact that the
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Duke has had my concerto for flute and harp for four months now and he hasn't yet deigned to play it.
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The content of a flute and harp is in three movements the opening movement is a spirited Allegro
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it is followed by a graceful Romanza like Andantino which leads into the Rondo
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finale. Another spirited Allegro movement.
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Hospice leaves Yaki and flutist down picked up to now from the front of the stage with
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conductor Paul parade. The performance of the concerto for Peter Parker in C
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Major by Mozart.
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Or.
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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.