Concerts Reviewed

(asterisk indicates premiere)

March 7, 1947 (Conservatoire, Dinu Lipatti)

Toccata in C Major, BWV 564, Johann Sebastian Bach

Sonatas, Domenico Scarlatti

Sonata no. 21, “Waldstein,” op. 53, Ludwig van Beethoven

Ballade, op. 52, Fryderyk Chopin

Nocturne, op. 27, no. 2, Fryderyk Chopin

Grande Valse Brillante, op. 18, Fryderyk Chopin

Le Tombeau de Couperin, Menuet and Toccata, Maurice Ravel

March 9, 1947 (Théâtre du Châtelet, Concerts Colonne)

Die Zauberflote, K. 620, “Overture,” Wolfgang Amadeus Mozart

Violin Concerto, Adam*

Snegurochka [The Snow Maiden] (extracts), Nikolay Rimsky-Korsakov

Concerto for three pianos, F major, K. 242, Wolfgang Amadeus Mozart

Concerto for three harpsichords, D minor, BWV 1063, Johann Sebastian Bach

March 13, 1947 (Théâtre des Champs-Elysées, Orchestre National)

L’Apocalypse selon St-Jean, Jean Françaix

Variations for brass and strings, op. 54, Marcel Mihalovici

March 16, 1947 (Théâtre du Châtelet, Concerts Colonne)

Le Roi d’Ys, “Overture,” Edouard Lalo

Piano Concerto no. 2, C minor, op. 18, Serge Rachmaninoff

Trois esquisses, op. 31, André Ameller

Quatre pièces espagnoles à danser, Raoul Laparra*

Cuatro piezas españolas, Manuel de Falla

Triana, Isaac Albeniz

March 16, 1947 (Théâtre des Champs-Elysées, Société des Concerts)

Orchestral Suite no. 3, D major, BWV 1068, Johann Sebastian Bach

Piano Concerto no. 5, “Emperor,” E-flat major, op. 73, Ludwig van Beethoven

Mathis der Maler, Paul Hindemith

March 23, 1947 (Théâtre du Châtelet, Concerts Colonne)

Ramuntcho, “Overture,” Gabriel Pierné

Rapsodie malgache, Raymond Loucheur

Piano Concerto, Fryderyk Chopin

La Fête du printemps, Paul Le Flem

Suite in D major, Johann Sebastian Bach

March 23, 1947 (Théâtre des Champs-Elysées, Société des Concerts)

Symphony no 8, “Unfinished,” D. 759, Franz Schubert

Cello Concerto, B minor, Op. 104, Antonín Dvorak

Pan Keou, Alexander Tcherepnin

On 29 March, it will be ten years since Karol Szymanowski died. It is sufficient to reread the Stabat Mater, the Mazurkas, Harnasie to know that his work lives on. That is all that matters, no doubt. But this assurance does not console us. We are increasingly aware of the emptiness that his death hollowed out. His absence leaves us impoverished. And today, before speaking of his work, which has time on its side, we would like to turn to the memory of him, while we can still hear his often-veiled voice, and still see his beautiful, fine face, his gaze alternately so near and yet so distant.