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Boston Symphony Orchestra Concert Programs, Season 70, 1950-1951

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Boston Symphony Orchestra Concert Programs, Season 70, 1950-1951 BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY Jy HENRY LEE HIGGINSON SEVENTIETH SEASON 1950-1 951 Sanders Theatre, Cambridge y^arvard University^ Sanders Theatre, Cambridge [Harvard University] SEVENTIETH SEASON, 1950-1951 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Fifth Concert TUESDAY EVENING, Marc/z 27 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [^] The Trustees of the BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director and SERGE KOUSSEVITZKY, Director BERKSHIRE MUSIC CENTER Jlnnounce the 1951 TANGLEWOOD SEASON BERKSHIRE MUSIC CENTER .... July 2-August 12 BERKSHIRE FESTIVAL BACH-HAYDN-MOZART . July 7 - July 22 in the Theatre-Concert Hall, Serge Koussevitzky conducting IN THE SHED:- Series A: Charles Munch Thursday Evening, July 26: Weber, Overture to "Oberon"; Schumann, Fourth Symphony; Berlioz, Fantastic Symphony. Saturday Evening, July 28: Beethoven, Overture to "Fidelio"; Brahms, Second Piano Concerto (Soloist: Claudio Arrau); Prokofieff, Sixth Symphony. Sunday Afternoon, July 29: Barber, Overture to "The School for Scandal"; Copland, "Quiet City"; Mennin, Fifth Symphony; Franck, Symphony in D minor. Series B: Thursday Evening, August 2 (Charles Munch): Schumann, Overture to "Genoveva"; Dvorak, Fourth Symphony; Ravel, Rapsodie Espagnole; Roussel, Third Symphony. Saturday Evening, August 4 (Charles Munch): Handel, Water Music; Strauss, "Don Juan"; Bartok, Music for Strings and Percussion; Saint-Saens, Third Symphony (with organ). Sunday Afternoon, August 5 (Eleazar de Carvalho): Guar- nieri, Second Symphony; Prokofieff, Second Piano Concerto (Soloist: Jorge Bolet); Moussorgsky-Ravel, Pictures at an Ex- hibition. Series C: Serge Koussevitzky Thursday Evening, August 9: Beethoven, "Missa Solemnis" (Soloists to be announced). Saturday Evening, August 11: Honegger, Fifth Symphony; Sibelius, Fifth Symphony; Tchaikovsky, Sixth Symphony ("Pathetique"). Sunday Afternoon, August 12: Brahms, Variations on a Theme by Haydn, Third Symphony, Second Symphony. For ticket information address Subscription Office, Symphony Hall, Boston 15, Mass. L Sanders Theatre, Cambridge \^5h[arvard JJniversity^ Boston Symphony Orchestra SEVENTIETH SEASON, 1950-1951 CHARLES MUNCH, Music Director FIFTH CONCERT TUESDAY EVENING, March 27 Program RICHARD BURGIN Conducting Beethoven Overture to Goethe's "Egmont," Op. 84 Chopin Concerto No. 2 in F minor, for Pianoforte and Orchestra, Op. 21 I. Maestoso II. Larghetto III. Allegro vivace INTERMISSION Brahms Quartet for Piano and Strings, in G minor, Op. 25 (Arranged for Orchestra by Arnold Schoenberg) I. Allegro II. Allegro ma non tanto III. Andante con moto IV. Rondo alia Zingarese SOLOIST JOSEPH BATTISTA BALDWIN PIANO RCA VICTOR RECORDS [3] OVERTURE TO GOETHE'S "EGMONT," Op. 84 By LuDwiG VAN Beethoven Born at Bonn, December 16 (?), 1770; died at Vienna, March 26,1827 Composed in i8io, the Overture (together with the incidental music) was first performed at a production of Goethe's play by Hartl in the Hofburg Theater in Vienna, May 24, 1810. IT is said that Beethoven hoped to get a commission for music to Schiller's "William Tell," and would have preferred it. Certainly there are no signs of half-heartedness in the "Egmont" music. The heroic Count of the Netherlands, champion of liberty and independence for his people, meeting death on the scaffold under an unscrupulous dictator, was an ideal subject for the republican Bee- thoven. His deep admiration for Goethe is well known. Without going into musical particularization, it is easy to sense in the overture the main currents of the play: the harsh tyranny of the Duke of Alva, who lays a trap to seize Egmont in his palace, and ter- rorizes the burghers of Brussels, as his soldiery patrol the streets, under the decree that "two or three, found conversing together in the streets, are, without trial, declared guilty of high treason"; the dumb anger of the citizens, who will not be permanently cowed; the noble defiance and idealism of Egmont which, even after his death, is finally to pre- vail and throw off the invader. Goethe in the autumn of 1775 happened upon a history of the Netherlands, written in Latin by Strada, a Jesuit. He was at once struck with the alleged conversation between Egmont and Orange, m which Orange urges his friend in vain to flee with him, and save his life. "For Goethe," writes Georg Brandes, "this becomes the con- trast between the serious, sober, thoughtful man of reason, and the genial, carefree soul replete with life and power, believing in the stars and rejecting judicial circumspection. Egmont's spirit is akin to his; he is indeed blood of his blood." The poet wrote his play scene by scene in the ensuing years, completing it in Rome in 1787. It has been objected that the Egmont of history was not the romantic martyr of Goethe; that he was a family man who was com- pelled to remain in Brussels as the danger increased, because he could not have fled with all of his children. Yet Goethe stated, not un- plausibly, in 1827, that no poet had known the historical characters he depicted; if he had known them, he would have had hard work in utilizing them. "Had I been willing to make Egmont, as history informs us, the father of a dozen children, his flippant actions would have seemed too absurd; and so it was necessary for me to have an- other Egmont, one that would harmonize better with the scenes in which he took part and my poetical purposes; and he, as Clarchen says, is my Egmont. And for what then are poets, if they wish only to repeat the account of a historian?" [COPYWflHTED] [4] CONCERTO NO. 2 IN F MINOR, FOR PIANOFORTE AND ORCHESTRA, Op. 21 By Frederic Chopin Born at Zelazowa-Wola, near Warsaw, February 22, 1810; died in Paris, October 17, 1849 Composing his F minor Concerto in 1829, Chopin first performed it in Warsaw, March 17, 1830. The accompaniment requires two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, trombone, timpani, and strings. The Concerto has been played at these concerts with the following soloists: Miss AdMe Margulies, March 3, 1883; Mme. Madeline Schiller, November 24, 1883; Miss Amy Marcy Cheney (Mrs. Beach), March 28, 1885; Mme. Fanny Bloomfield (Mrs. Bloomfield-Zeisler), February 26, 1887; Vladimir de Pachmann, February 21, 1891; Mrs. H. H. A. Beach, January 23, 1892; Miss Antoinette Szumowska (Mme. Szumowska) , April 6, 1895; Richard Burmeister (orchestration, and cadenza for first movement, by Burmeister), March 20, 1897; Mr, de Pachmann, October 29, 1904; Mr. Paderewski, April 22, 1905; Carlo Buonamici, November 19, 1910; Josef Hofmann, January 6, 1912; Guiomar Novaes, April 12, 1917; Jan Smeterlin, February 7, 1936; Witold Malcuzynski, February 2, 1945. CHOPIN wrote his two piano concertos within a year of each other, when he was hardly twenty. The F minor concerto was actually the first, although the second in order of publication (1836). The composer was not long out of school when, in 1829, ^^ wrote this concerto. He had still much to learn of the world, having only a few times submitted his talents as pianist to the impersonal scrutiny of the general public and the professional critics. As a sensitive and emotional artist, he was surprisingly developed for his age, for he had played the piano with skill and delicate taste from early child- hood. He could improvise to the wonderment of numberless high- born ladies, not only in the parochial native warmth of the Warsaw mansions, but in other parts as well. Although his Opus 1, a rondo. NEW ENGLAND CONSERVATORY OF MUSIC Harrison Keller, Director Malcolm Holmes, Dean Courses leading to Diploma, Mus.B., Mus.M., and Artist's Diploma Opera Department Church Music Boris Goldovsky Everett Titcomh Music Education Popular Music Leta F. Whitney Wright Briggs For further information, apply to the Dean 290 Huntington Avenue, Boston, Mass. Announcing Fifth Anniversary METHUErV MEMORIAL MUSIC HALL with its world renowned organ 1856 — Built in Germany for Boston Music Hall 1897 — Installed by Edward F. Searles in Present Location in Fabulous Serlo Hall 1946 — Reconstructed by Aeolian-Skinner Company Spring Concerts — April 25, May 23, June 5, 7 Route 28 — Methuen, Massachusetts [5] had been published only five years before, he had been ministering to the adoring circle about him with affecting waltzes, mazurkas, and polonaises, even from the age of ten, or before. He had only just returned from a visit to Vienna, his first real venture beyond Polish borders. There, he gave, with considerable success, two public recitals, and wrote home in elation, telling every detail. His letters of this time are abundant in ardor and effusive senti- ment. He had reached that stage of youthful idealism which nour- ishes secret infatuations, and confides them to one's most intimate friend. Youth's flaring passions at nineteen, sometimes regarded as inconsequential, had in this case a direct and tangible expression — the lavghetto of the Concerto in F minor. Chopin lavished his affec- tion and his confidences at this time upon his friend Titus Woycie- chowski, whom he addressed in his profuse and not unspirited letters as "My dearest life." Writing to Titus from Warsaw (October 3, 1829), he dismissed all thoughts of Leopoldine Blahetka, a fair pianist of twenty whom he had met in Vienna, and confessed a new and deeper infatuation. "I have — perhaps to my misfortune — already found my ideal, which I worship faithfully and sincerely.
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