Concert program for a performance by Russian-born American pianist Vladimir Horowitz as part of the Celebrity Concerts 1945-46 season. Performed were works by Bach-Busoni, Schumann, Prokofieff, Chopin, Samuel Barber and Liszt.
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CELEBRITY CONCERTS 1945-46 The RECORD SHOP Phil Hart, Mgr. Presents Vladimir HOROWITZ Pianist IN THE PORTLAND AUDITORIUM Tuesday, 20 November 1945 AT 8:30 P. M. PROGRAM TOCCATA, C major Bach-Busoni Prelude — Adagio — Fugue ARABESQUE Schumann SONATA, No. 7, Op. 83 Prokofieff [Composed in 1942] Alle gro inquieto Andante caloroso Precipitato 7-8 INTERMISSION TWO MAZURKAS C-sharp minor B minor TWO ETUDES C-sharp minor, Op. 25 F major, Op. 10 WALTZ, A minor, Op. 34, No. 2 Chopin EXCURSIONS, Op. 20 Samuel Barber Un poco allegro In slow blues tempo Allegro molto HUNGARIAN RHAPSODY, No. 6 Liszt Steinway Piano — Victor Records — Exclusive management: ANNIE FRIEDBERG, 251 West 57 St.. New York 19. N. Y. THIS Seventh Sonata of Prokofiefi, one of the most recent of a number of compositions in big forms wkicb have emanated from Russia in the midst of her gigantic straggle on the battlefield, bears the date 1939-42. In point of chronology and perceptible, evolutions of style it follows immediately upon the heels of the Sixth. Sonata, opus 82, by tbe same composer, finisbed in 1939, which Mr. Horowitz introduced in America three seasons ago. But there are fresh developments in tbe new work. It is more concentrated than tbe earlier Sonata, being in three movements instead of four. These separate movements are strongly contrasted, yet they bear the impress of an underlying unity and emotional sequence. The expression is not merely formal but subjective, and entirely free of the satirical note which has been a frequent characteristic of Prokofieff's creative past. There is even, in this slow movement, a passage of tone-painting in the romantic vein, with the harmonic reverberations so strikingly evocative of the clamor of tolling bells—an effect beloved of many Russian composers, but not conveyed in any instance that the writer recalls with the degree of technical resource and imagination shown by Prokofiefi in these pages. And in the finale, with its unusual and persistent rhythm, and its joyous accumulation of strength, some might find a tightening of emotional horizons and the prescience ol a better day. Tbe opening movement is in grim earnest. Its turbulent and tragical character is presaged by the tempo indication— "Allegro inquieto"~and tbe swirling unisons and savage march rhythms which constitute tbe first theme. The second theme— dofente — introduced after some quiet chords by a repeated E-flat echoing like a distant trumpet call, is more melodic and elegiac in char- acter. Is it officiously interpretive to discover in this music the tonal reflex of the profound and terrible realities driven home in an artist s consciousness by the experiences of a merciless war? Prokofieff might readily disclaim any such connection. He has never been a man or an artist to wear his heart on his sleeve. He might instead state, with a measure of justified complacency, that he was only attempting to imbue his music with a high tension and dynamism through the employment of special juxtapositions of rhythms, intervals and keys. Or, again, he might remark upon the modern ear's expanding conception of what is called melody. He could say that his melodic voices traversed tonal territories hitherto forbidden or restricted to tbe overlordsbip of sanctioned harmonic command; that, released from such thralldom to traditional bases, be could draw a freer and more intensive melodic line than composers of other days. It is for the listener to decide whether this concept of melody and of harmonic relations is satisfactory and interesting to him. A glance at the printed page establishes beyond argument the composer's mastery of his means and the presence of a style which, while pianistically effective, is the very essence of stark and uncompromising purpose. The second movement is more subjective, warmly melodic and introspective in character tban tbe tempestuous measures wbicb have preceded. It opens with a nostalgic song which weaves through different voices of the harmony and undergoing various extensions and modulations, swells to a climax almost orchestral in sonorities which employ much of the range of the piano, with the clashing hell effects to which reference has been made. These sounds, as the music subsides, seem to echo from far and near. and they give place to the return of tbe melody which opened the movement. Of the final section of this Sonata, which is in the nature of a toccata, it may be said that the progress is in the inverse direction to that ordinarily taken by tbe composer of the classic form. The concluding section of such a structure is often the most extended if not elaborate portion of tbe whole. The growth of the work here under discussion is precisely in the opposite order. Each movement, as regards both tonality and thematic material is simpler than the preceding. There may even be a psychological connotation in this process. The opening movement despite its concision, is of the three the most variegated in its material and can easily be unsettling at first hearing, to the listener's sense of key. This is communicative of its mood of agitation and conflict. In the second movement, considerably simpler in outline, there is a corresponding clarification of basic tonalities. The finale is a movement virtually concentrated upon a single idea, a single tonality—that of B-flat—and a single, unflagging, inexorable rhythm. This rhythm is 7-8, with the irregular grouping of beats that tlie measure demands, and the movement is to all apparent intents and purposes an example of sheer momentum and unemotional design. But in this pure play of rhythm companioned by a degree of dissonance which gives a sharp additional thrust to its drive, is to be felt an inspiring affirmation of power. It is power. It is power that might turn the wheels and gears of a relentless oncoming tank, or. better, and nearer tbe context, a rhytkm which would be the song of the machines repairing devastations and refashioning the civilization of a liberated world. By Olin Downes. The following Victor Red Seal records by Vladimir Horowitz are currently listed; those marked with an asterisk are either in stock or likely to be during the coming weeks. *BRAHMS: Concerto No. 2 in B flat, opus 83, with NBC Symphony, Arturo Tos-canini conducting. (M-740; $6.50) *TCHAIKOVSKY: Concerto No. 1 in B flat minor, with NBC Symphony, Arturo Toscanini conducting. (M-800; $4.50) RACHMANINOFF: Concerto No. 3 in D minor, with London Symphony, Albert Coates conducting. (M-117; $5.50) LISZT-BUSONI: Paganini Etude in E flat HOROWITZ: Danse Excentrique (1468; $.75) *CHOPIN: Etudes in C sharp minor and G flat; Mazurka in C sharp minor. (14140; $1.00) *CHOPIN: Mazurka in C sharp minor HOROWITZ: Variations on Themes from Carmen. (1327; $.75) CHOPIN: Scherzo in E major. (14635; $1.00) * LISZT: Sonata in B minor. (M-380; $3.50) *A VLADIMIR HOROWITZ PROGRAM, including "Dumka" (Tchaikovsky), "La Ricordanza" Variations (Czerny), and "Danse Macabre" (Saint Saens— Liszt—Horowitz) (M-1001; $3.50) In addition to the above records by Vladimir Horowitz, we wish to call to your attention the following notable recorded performances by outstanding pianists: ARTUR SCHNABEL in Beethoven's Piano Concerto No. 4 in G major. (VM 930; $4.50) ARTUR RUBINSTEIN in Grieg's Piano Concerto in A minor. (VM-900; $3.50) ROBERT CASADESUS in Schubert's Piano Sonata in A major, opus 120. (CX-236; $2.50) CLAUDIO ARRAU in Beethoven's Variations in F major (op. 34) and E flat ("Eroica," op. 35) (VM-892; $4.50) EDWIN FISCHER in Bach's Clavier Concerto in D minor. (VM-252; $3.50) WILHELM BACHAUS in Brahms' Intermezzi and Waltzes (VM-321; $4.50) ALEXANDER BRAILOWSKY in Moussorgsky's "Pictures at an Exhibition" (VM-861; $4.50) RUDOLF SERKIN in Beethoven's "Emperor" Concerto No. 5 in E flat. (CM-500; $5.50) The RECORD SHOP PHIL HART, Manager 808 S. W. Alder at Park
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November 20, 1945