- Series
- Detroit Symphony Orchestra
- Air Date
- 1966-11-04
- Duration
- 00:14:22
- Episode Description
- This program, the first of four parts, presents part of a concert that included performances of pieces by Beethoven, Strauss, Cohn, and Brahms. The Detroit Symphony Orchestra is conducted by Paul Paray.
- Series Description
- Detroit Symphony Orchestra concert series, recorded at the Ford Auditorium on the Detroit Riverfront.
- Subject(s)
- Creator(s)
- University of Michigan (Producer)
- Contributors
- Detroit Symphony Orchestra (Performing Group)Paray, Paul, 1886-1979 (Conductor)
- Genre(s)
- Geographic Region(s)
- regions
- Time Period
- 1961-1970
[00:16 - 00:21]
National Educational radio presents the ninth in a series of broadcasts of regular subscription
[00:21 - 00:26]
concerts especially selected from the archives of the Detroit Symphony Orchestra.
[00:26 - 00:30]
Recorded by the 100 man organization and its permanent home the Henry an Edsel Ford
[00:30 - 00:34]
Auditorium located in Detroit's riverfront Civic Center.
[00:34 - 00:40]
Programs in this series are being produced by the University of Michigan broadcasting service for national
[00:40 - 00:45]
educational radio and regret in aid from the National Home Library Foundation. And
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in cooperation with management of the orchestra Committee of the symphony and the Detroit Federation
[00:50 - 00:55]
of Musicians. Concerts in the series are being conducted by
[00:55 - 01:00]
Sexton ending a prominent musical director and conductor of the orchestra Paul
[01:00 - 01:04]
Pillar a conductor emeritus and a vulture Poole associate conductor.
[01:04 - 01:11]
Today's conductor is popular and he has chosen to open the broadcast with the overture number
[01:11 - 01:16]
three two NRI by Beethoven. Ricard Wagner no
[01:16 - 01:21]
mean handed over Joyce and Buddy was himself said of this work. It is less the put you
[01:21 - 01:26]
to a music drama than the music drama itself. Critics agree that it is
[01:26 - 01:32]
indeed a masterful work dramatic and tightly condensed from the materials of the opera.
[01:32 - 01:37]
As its title implies this is the third overt You are written for the opera Fidelio which
[01:37 - 01:41]
was originally named Leonora first and only opera which in its
[01:41 - 01:46]
original version was given a very cool reception by Vienna audiences.
[01:46 - 01:51]
After four evasions for dead you assumed its present form in which it is generally considered an
[01:51 - 01:55]
unqualified success.
[01:55 - 02:00]
Harper a conductor emeritus now directs the Detroit Symphony Orchestra the first
[02:00 - 02:04]
work on today's broadcast. They'd all been Slan or old age or. Number three.
[02:04 - 02:17]
Oh.
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Lol.
[04:13 - 08:43]
Thanks.
[08:43 - 10:10]
It'll.
[10:10 - 11:52]
Hey.
[11:52 - 12:03]
Little.
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Eh eh.
[12:08 - 12:11]
Eh eh.
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I am
[13:19 - 13:25]
really.
[13:25 - 13:31]
Are an.
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Overture number. One. First.
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Half. For. Orchestra.
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Memory and that's before all the story I'm.
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Told why I'm deaf and transfiguration by God Strauss was created when the
[13:49 - 13:54]
composer was but 25 years of age it was an accomplishment of considerable
[13:54 - 13:58]
magnitude for a man of such tender years as composers creative lives go
[13:58 - 14:03]
to a structure to work of such scope maturity and power. Ever since its
[14:03 - 14:08]
premier performance with the composer conducting at Eisenach in 1900 death
[14:08 - 14:12]
and transfiguration has stood as a tour de force of brilliant organization
[14:12 - 14:18]
imaginative scoring and thematic material of more than usual consequence.
[14:18 - 14:18]
A.
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