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B-208 PROKOFIEFF: Sonata for Flute

and Piano, Opus 94

Doriot Anthony Dwyer, Flute / f é

Jesus Maria Sanroma, Piano

Doriot Anthony Dwyer is an “incredible flutist.” Not that she possesses supernatural powers, as did the title character in Walter Piston’s ballet, “The Incredible Flutist.” But she has often cast a spell over her listeners, and her list of achievements for a woman so young is truly incredible.

First and foremost she is the first flutist of the Boston Symphony Orchestra, thus holding one of the most coveted positions in one of the world’s greatest orches- tras. Three seasons ago (1952-53) she succeeded the eminent Georges Laurent upon his retirement, a polished musician whom, as a girl, she had dreamed of emulating.

Within three weeks after joining the Boston Sym- phony she was chosen by Charles Munch, the conductor, to be the soloist in the Bach Suite in B minor. Last season she was the featured performer with the orchestra in Jacques Ibert’s Flute Concerto. She has played these works both in Boston and at the Berkshire Music F esti- val at Tanglewood. :

Doriot Anthony (in private life Mrs. Thomas F. Dwyer) has been extremely active in chamber music circles, having appeared with Rosalyn Tureck, pianist; | Martial Singher, baritone; Eula Beal, contralto; Louis Kaufman, violinist; and the American Art Quartet. She is also a member of the newly-formed Boston Woodwind Quintet (made up of the five principal players of the woodwind section of the Boston Symphony Orchestra).

When she was in southern California, where for six years she was second flutist of the Los Angeles Phil- harmonic, she also appeared in the Coleman Chamber Series in Pasadena, in the Evenings-on-the-Roof concerts, in the Carmel Bach Festival, and in the Ojai Festival. In 1946 she was hired by Bruno Walter to be the first flutist of the Hollywood Bowl Symphony Orchestra. She was also the first flutist in many radio, film, and ballet orchestras. 2 .

Since coming to Boston she has appeared in her own recitals, plus those given by the Harvard Musical Asso-

_ ¢iation and the Cambridge Society for Early Music.

Se ass

When it was known that Georges Laurent would retire from the Boston Symphony, Charles Munch audi- tioned many American flutists. Boston music lovers, as well as the Boston critics, were astonished to learn that Mr. Munch had hired Miss Anthony for the position— not that they questioned his judgment or her ability. They were simply surprised that the honor was won by a woman.

“T heard many players,” Mr. Munch told the press, “but I heard none that could compare with this young lady.”

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aos a Lame i AEP tages oston RECORDS:

BOSTON RECORDS ; Symphony Chambers |

246 Huntington Ave. Boston 15, Mass.

ROUSSEL: Trio for Flute, Viola and Cello, Opus 40

| Doriot Anthony Dwyer, Flute Joseph de Pasquale, Viola

Side 1

Miss Anthony’s playing is remarkable for the fullness of her tone. Whereas in many orchestras the flute is all but lost, in the Boston Symphony it sings forth with an independence that is a joy to the ear. Her breath control is apparently equal to the longest phrases; her technique utterly secure. What is more, she is cool-headed—never nonplused by the spotlight of a solo. Yes, she is truly an “incredible flutist” !

Prokofieff Flute Sonata in D major, Opus 94 Prokofieff’s Opus 94 is a “Janus” sonata that holds

a flute to the lips on one face or tucks a violin under the chin of the other. That is to say, there are two versions —the original for flute and piano, and a revision for violin and piano. |

This sonata appeared in 1943, an effusion of pure lyricism that poured forth after the composer had created “the stark and furious images of the Seventh Sonata, the Second Quartet, and ‘The Ballad of the Unknown Boy,’” to quote Israel Nestyev, Prokofieff’s biographer.

Doriot Anthony now gives us, in association with Boston Records, the first recorded performance of the Sonata in D major, Opus 94, as it was originally con- ceived for flute and piano. Listeners who compare Miss Anthony’s performance with those by Josef Szigeti, Isaac Stern, or Ruggerio Ricci, will find the sonata quite different in character when played by flute than by violin. The flute is naturally mellifluous, whereas the violin is more declamatory, employing harmonics, pizzicati, and some doublestops.

The melodies of this sonata follow the line of clas- sical elegance; the harmonies employ the colors of the contemporary palette. It is rhapsodic in the first move- ment, witty in the second, and dancelike in the finale. Bernard Shaw, writing to the Musical Digest in 1948, describes the sonata as “a humorous: masterpiece of authentic violin music”; and Nicolas Slenimsky, in his “Music Since 1900,” points out that Shaw was unaware that Prokofieff originally wrote it for flute.

The late Sergei Prokofieff (1891-1953) was the Titan of contemporary Russian music. Sergei Eisenstein, the noted Russian film director who made “Alexander Nevsky” and “Ivan the Terrible” (with musical scores by Prokofieff) evaluates the composer in visual terms.

“One can see the early Prokofieff in the pictures produced by the most extreme tendencies of modern painting,” he writes. “Occasionally he reminds one of the elegantly audacious Matisse. More often—of the early Picasso’s harsh arrogance. Less often—of Rouault’s frank coarseness. At the same time there is often some- thing in him resembling the sculptured texture of a bas-relief.”

But in the D major Sonata we find the later Prok- ofieff—a mellowed Prokofieff, a composer whose music has mellowed in much the same way as have the later works of Matisse, Picasso, Rouault, and Utrillo.

Samuel Mayes, Violoncello

DORIOT ANTHONY DWYER

Miss Anthony is to be commended for giving us a disk of a hitherto unrecorded work by this master; but _ even more, she is to be praised for her excellent perform- ance. Her partner in this recording is Jesus Maria Sanroma, the noted pianist who, at the last count, had appeared with the Boston Symphony 101 times and with the Boston Pops 155 times, making 256 times in all!

Roussel Trio for Flute, Viola, and Cello, Opus 40 In this performance Miss Anthony is joined by two

other first-desk players of the Boston Symphony—Joseph de Pasquale, violist, and Samuel Mayes, cellist. Both men are noted for their polished, opulent tone, and both have appeared as soloists in concertos with the Boston Symphony.

Albert Roussel (1869-1937) was a French composer whose style is related to the impressionists, yet it is not the misty impressionism of dreams, half-recalled memo- ries, or myths. Roussel’s impressionism was more rugged, more earthy—its head was in the stars but its feet were on the ground. Some of his later scores indicated that he may have been sympathetic with the aims of Les Six, the group of younger French composers who turned their backs to impressionism in favor of more realistic sources of inspiration.

His Deuxieme Trio, Opus 40, was composed in September, 1929, in less than 15 days. In the opening Allegro graciozo we find the grace of youth—a buoyant, lighthearted interplay of the instruments. The Andante is songful and soulful, the long phrases of the flute and viola entwined in graceful poetry. In the Allegro non troppo we find a scherzo mood in which the flute leads a spirited chase. It is a masterwork of twentieth-century chamber music.

HAROLD ROGERS, Music Critic The Christian Science Monitor

“EMINENT AMONG VIRTUOSI" Jesus Maria Sanroma was born in 1903, in Puerto

Rico, of Catalonian parents. He was sent to this country in 1917 by the Puerto Rican Government to complete his musical education at the New England Conservatory of Music. His teachers have been Mme. Antoinette Szu- mowska in Boston, Alfred Cortot in Paris, and Artur Schnabel in Berlin. In 1924 he made his recital debut in Boston, and 1°26 lis orclesiral debut with Serge iC ousse- vitzky and the Boston Symphony Orchestra. After tour-

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ing Europe, he became the official pianist of the Boston Symphony Orchestra, and in that capacity partook in the first performances of Hill’s Concertino: Dukelsky’s Dedi- caces, Piston’s Concertino; the first performances in America of Honegger’s Concertino, Stravinsky’s “Cap- riccio,” Ravel’s Concerto.

In 1943 Mr. Sanroma resigned from these duties to devote himself to concert tours of both Americas.

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