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Boston Symphony Orchestra Concert Programs, Season 63,1943-1944

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Boston Symphony Orchestra Concert Programs, Season 63,1943-1944 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-THIRD SEASON, 1943-1944 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1944, BY BOSTON SYMPHONY ORCHESTRA, J IK. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Jerome D. Greene . President Henry B. Sawyer . Vice-President Henry B. Cabot . Treasurer Philip R. Allen M. A. De Wolfe Howe )ohn Nicholas Brown Jacob J. Kaplan Reginald C. Foster Roger I. Lee Alvan T. Fuller Richard C. Paine N. Penrose Hallowell Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [705] @^TC @ "@t*^ ®« "@¥ @*W^ #* ttWT tt* @~»~ Estate Analysis iiOW have wartime changes affected your estate plans? A Shawmut Estate Analysis will help you determine whether • changes are necessary or desir- able. We invite your inquiry. TRUST DEPARTMENT The ZHational Shawmut Bank Member Federal Deposit Insurance Corporation Listen to John Barry with "Frontline Headlines" WNAC — Mondays, Wednesdays, Fridays at 7:45 p. m. [706] SYMPHONIANA Golschmann, Guest Conductor The Orchestra in New York The Visit to Hartford In Springfield GOLSCHMANN, GUEST CONDUCTOR Vladimir Golschmann is to make his first appearances in Boston as guest conductor of the Boston Symphony con- certs of next week and the week follow- ing. Mr. Golschmann has been the con- ductor of the St. Louis Symphony Or- chestra since 1931. He has appeared as A Junior Dandy Suit of rayon faille with cutout neckline and bracelet length sleeves. A fine lingerie jabot is guest with the principal orchestras oi sewn flat to a dickey, and tucked our East and West. lingerie rims the sleeves. Brown, Paris, of Russian He was born in navy, black 39.90 parents, on December 16, 1893. His father, Leon Golschmann, was a noted Sizes 9 to 17 writer and a mathematician. Vladimir SECOND FLOOR Golschmann received his musical edu- cation in Paris. After playing violin in a small orchestra there, conducted by Rabani, he began his career as conduc- tor when the Concerts Golschmann were organized in 1919. These concerts were continued for five seasons. Mr. Gols^h- ft m<*nn also conducted in Paris the Or- chestre Symphonique, the Concerts Pas- deloup, and the Cercle Musicale Uni> [?°7 1 versitaire at the Sorbonne. In subse- quent years he has conducted in Belgium, Under the New Norway, Portugal and Spain, directing for four seasons the Orquesta Sinjonica Silhouette of Bilbao. He conducted the Ballet Slim Russe of Diaghileff and the dance com- panies of Lois Fuller, Pavlova, the Swedish Ballet of Rolf de Mare, and the Italian Futurists Ballet. For three seasons (1928-30) he was conductor of the Scottish Orchestra in Glasgow and Edinburgh. He visited this country to be guest conductor of the New York Symphony Orchestra in 1924-25. Again he came here in 1930 and conducted the St. Louis Orchestra as guest. He was thenceforth engaged by this orchestra. ?%*,,. THE ORCHESTRA IN NEW YORK (The New York Times, January 9, 1944) By Olin Downes When the Boston Symphony Orches- tra, Dr. Serge Koussevitzky conductor, gave its second concert of the week yesterday afternoon in Carnegie Hall, the impression deepened of the entirely unique quality of the orchestra and the continually growing art of the conduc- tor. Of the Martinu violin concerto as such, which Mr. Elman as soloist re- peated on this occasion, much was said in these columns, following the New York premiere of two nights previous. The writer believes this work to be a Royale valuable addition to the very small Warner's LeGant number of violin concertos which are Sta-Up-Top significant to modern audiences. This impression was emphasized by The smartest girdle in the best qual- Mr. Elman's repeated performance, so itythat can be obtained under war-time masterly in point not only of per- restrictions. formance but of musicianship and The fine workmanship and detail of weight that one wonders how such a these superb foundations is in keeping difficult and individual score will fare with our jfurpose, in War or Peace, of with lesser interpreters of the future. offering only the best at whatever price But this question has another aspect your budget dictates. which brings us back to the principal GIRDLES - BRAS - LINGERIE matter of the present report—back to SWEATERS - SKIRTS - HOSIERY the orchestra and the conductor. DRESSES - HATS - SPORTSWEAR For the adequate presentation of the work an orchestral performance must follow closely if it does not equal the one provided by Dr. Koussevitzky. This element of the performance was in itself a monument to the musician's 50 TEMPLE PLACE art. At the same time it so unified all [7^8 1 participating agencies that the soloist, the conductor and every member of the orchestra in thought and deed were one. And this was only congruous with the prevailing character of both the now that a southern memorable concerts Dr. Koussevitzky sojourn is most likely and the orchestra he has molded have given within a week in this city. One to mean a military had thought that the orchestra had not camp deep in the heart very much room for improvement. Well, of Tennessee (or Texas either the fresh impression of its sonor- ity has unduly altered the perspective, or Georgia . .) warm or it is in fact an orchestra yet finer weather clothes must this season than last. Meanwhile what be practical impresses us as the unceasing develop- and func- ment of the conductor—unpredictable tional ... as well as as we often find him to be, always beautiful . changeable and unreckonable and never static—grows at least upon one reporter. This reference is particularly to Dr. our Cabana Shop Koussevitzky's final performance yester- offers pinafores, play- day of the Brahms Second symphony suits, shorts, slacks, —an achievement only possible to a man born with genius in the culminating bathing suits, beach- years of a most industrious and artis- coats . and for tically intense lifetime. urban life, there are The slow movement of the symphony, for example, had a loftiness of mood, a suits, gay print greatness of line and a sheer beauty and dresses, and dark depth of thought that were transporting. clothes punctuated The whole conception, indeed, took the w^ith color . listener into another sphere. It would be an indulgence to discuss it movement by movement, but for a reader who was crisp southern not there this would be excessive and clothes now . for those who heard it in some degree superfluous. But there was the sense, doubling easily as for those present, of the summation of summer clothes long centuries of human experience and later . versatility dauntless effort which at last had pro- duced that symphony, and the wonder is the keynote of of a beauty so evolved and alembicated, this year's collec- the whole revealed by a high priest who tion ... in keeping, reverently and comprehendingly ad- ministered his office. of course, with the trend of the times. THE VISIT TO HARTFORD {Hartford Courant, January 6, 1944) By T. H. Parker The Boston Symphony Orchestra, con- ducted by Dr. Serge Koussevitzky, was heard in the Bushnell Symphonic Series at the Memorial Auditorium Wednesday evening. It was a great night at the Bushnell Memorial last evening. Dr. Koussevit- zky and the Boston Symphony were in their rarest form. The urge to make music was vehemently upon them. The conductor's face was wreathed with in- i "too ... [7°9l spiration, shone with beatitude in the Handel, with imperiousness in the Sho- stakovich and with triumph in the Brahms. All night long he sang his songs, the composers' songs to his men, ministered to them player by player, presents beamed at their responses, moulded the music bar by bar with his hands. And when at the end of the concert, fol- lowing a soaring and burning perform- M^sie la Carte ance of the Second Symphony, he turned a to the audience, he faced them like a Caesar and received an imperial trib- ute. KOUSSEVITZKY It had been a superlative program in the first place, for Dr. Koussevitzky RECORDINGS is the master exponent of the three composers whom he had selected. His Handel is unmatched, being mad? of The music you love . when and living music and not empty architec- ture, elegant without pomposity and how you want it . as played by impressive without the "East Lynne" the Boston Symphony Orchestra touches which feature the readings or ALBUMS transcriptions so many conductors are whipping up these days for both Handel 685—Stravinsky—Capriccio $2.63 and Bach. 566—Prokofieff—Peter and the The ecstatic panorama which Dr. Wolf $3.68 Koussevitzky and the Boston disclosed in the Larghetto section of the Handel 294 Mendelssohn Italian — — last night was like little on this earth. Symphony #4 $3.68 Giving his exclusive attention to the 319—Schubert—Symphony #8 first strings for bars at a time, he shaped in B Minor $3.68 every measure on the air, placed every note, marked the level of every voice. 327 Tschaikowsky Sym- — — The spell which was upon Dr. Kous- phony in F Minor $5.78 #4 sevitzky in those moments, and which 730—Brahms—Symphony #4 he in turn put upon his men, was little in E Minor $5.25 short of remarkable. Yet although it riveted the attention, curiously enough 795—Mozart—Symphony #29 $5.25 it heightened rather than obtruded upon 870—Liszt—Mefisto Waltz $2.63 the effect of the music. It was an ex- 352—Ravel—Bolero $2.63 perience of being doubly in two superb presences, that of the composer and that 347—Tschaikowsky—Romeo of a superlative re-creator.
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