Mmm U^ii ij SM^^ ^} BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON fk \^- X /(iii/zim/i ^77yy- \ ^-W f(^ SIXTY-NINTH SEASON 1949-1950 Eastman Theatre, Rochester Thursday Evening, October 20 Auspices Rochestlr Cimc Music Association Boston Symphony Orchestra [Sixty-ninth Season, 1949-1950] CHARLES MUNCH, Conductor RICHARD BURGIN, Associate Conduclor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond AUard Concert-master Jean Cauhap^ Ernst Panenka Alfred Krips Georges Foiirel Theodore Brewster Gaston Elcus Eugen Lehner Rolland Tapley Albert Bernard Contra - B assoon Norbert Lauga Emil Kornsand Boaz Piller George Zazofeky George Humphrey Horns Paul Cherkassky Louis Arti^res Harry Dubbs Charles Van Wynbergen Willem Valkenier James Stagliano Vladimir Hans Werner Resnikoff Principals Joseph Leibovici Jerome Lipson Harry Shapiro Siegfried Gerhardt Einar Hansen Harold Meek Daniel Eisier Violoncellos Paul Keaney Norman Carol Walter MacdonaM Carlos Pinfield Samuel Mayes Osbourne McConathy Alfred Zighera Paul Fedorovsky Harry Dickson Jacobus Langendoen Trumpets Mischa Nieland Nfinot Beale Georges Mager Hippolyte Droeghmans Roger Voisin Clarence Knudson Karl Zeise Principals Pierre Mayer Josef Zimbler Marcel Lafosse Manuel Zung Bernard Parronchi Harry Herforth Samuel Diamond Enrico Fabrizio Ren^ Voisin Leon Marjollet Victor Manusevitch Trombones fames Nagy Flutes |acob Raichman Leon Gorodetzky Lucien Hansotte Raphael Del Sordo Georges Laurent James Pappoutsakis John Coffey Melvin Bryant Phillip Kaplan Josef Orosz John Murray Lloyd S tones treet Piccolo Tuba Henri Erkelens George Madsen Vinal Smith Saverio Messina Herman Silbermao Oboes Hari'S Stanley Benson John Holmes Bernard Zighera Sheldon Rotenberg Jean Devergie Elford Caughey Joseph Lukatsky Timpani Basses English Horn Roman Szulc Georges Moleux Charles Smith Willis Page Louis Speyer Ludwig Percussion Juht Clarinets Irving Frankel Max Polster Manuel Valeric Henry Greenberg Simon Sternberg Attilio Poto Henry Portnoi Pasquale Cardillo Piano Gaston Dufresnc E\) Clarinet Lukas Foss Henri Girard Henry Freeman Bass Clarinet Librarian John Barwicki Rosario Mazzeo Leslie Rogers Eastman Theatre, Rochester SIXTY-NINTH SEASON, 1949-1950 Boston Symphony Orchestra CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor Concert Bulletin THURSDAY EVENING, October 20 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 Hojve John Nicholas Brown Roger I. Lee Alvan T. Fuller Lewis Perry Jerome D. Greene Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver AV^olcott George E. Judd, Manager T. D. Perry^ Jr. N. S. Shirk, Assistant Managers [»J BERKSHIRE FESTIVAL SCENE TAIVGLEWOOD — 1950 The Berkshire Festival for 1950 by the Boston Symphony Orchestra, Charles Munch conductor, is announced to be given at Tanglewood, Lenox, Massachusetts, for five weeks in July and August. Serge Koussevitzky, who remains Director of the Berkshire Music Center at Tanglewood, will conduct part of the Festival concerts. Those sending their names and addresses to Geo. E. Judd, Manager, Boston Symphony Orchestra, Boston 15, Massachu- setts, will receive all Festival announcements. Catalog of the Berkshire Music Center sent on request. l«l Eastman Theatre, Rochester Boston Symphony Orchestra CHARLES MUNCH, Conductor THURSDAY EVENING, October 20, «^ 8:15 o'clock Program Beethoven Overture to "Egmont," Op. 84 Beethoven Symphony No. 5, in C minor, Op. 67 I. Allegro con brio II, Andante con moto III. JAllegro; Trio IV. lAllegro INTERMISSION Piston Second Suite for Orchestra Prelude: Largo Sarabande: Andante Intermezzo: Allegro con brio Passacaglia (Adagio) and Fugue (Allegro energico) Ravel "Daphnis et Chloe," Ballet Suite No. 2 Lever du jour — Pantomime — Danse Generale I BALDWIN PIANO VICTOR RECORDS Rehearsal Broadcasts of the Boston Symphony Orchestra are given each Monday, 1-1:30 E. S. T., on the National Broadcasting Company Network. f 31 Sh© had such a cjsntle fac® After days and nights of horror, the they all have gentle faces. Yet how many smoke finally cleared away. Two hundred homes . how many /mj . have been lives were lost. Nearly one hundred thou- lost by such friendly things as these. sand persons were homeless. Over two In spite of all that has been done . thousand acres of booming Chicago were by our government, public officials, man- black, smoldering ruins. ufacturers, insurance companies, teachers, It was a two hundred million dollar public spirited persons . the annual fire loss . the worst fir-e in the history of loss to our country is nearly $700,000,000, our country. And what caused it all? A more than three times worse than the worst fire cow ... a nice, friendly, gentle cow. in our history. That is usually the case. The causes of The only hope is care . extreme care fire seldom seem vicious. The flicker on . not only during Fire Prevention the hearth . lights on the Christmas Week, but every day of our lives. Do all trees . the cigarette after coffee . you can to prevent fires, always. The Insurance Man Serves America The Employers' Group ^^^<^utafu:c C^^p/^^^^a^^^^ no MILK STREET, BOSTON 7, MASS. THE EMPLOYERS' LIABILITY ASSURANCE CORP., LTD. AMERICAN EMPLOYERS' INSURANCE CO. THE EMPLOYERS' FIRE INSURANCE CO. I 4 I CHARLES MtrNCH CHARLES Munch was born at Strasbourg, Alsace, Sept. 26, 1891. His father was the founder of the Saint Guillaume Chorus in Stras- bourg, and it was at home, under his father's guidance, that he first studied violin, harmony, and singing. He went to Paris before the first World War, and studied violin with Lucien Capet. In 1919 he was made professor at the Strasbourg Conservatory, and later conductor of the orchestra. He gained further experience in what was destined to be his career when he w^orked under Wilhelm Furtwangler at the Gewand- haus Concerts in Leipzig. He returned to Paris, where in 1930 he founded the Orchestre de la Societe Philharmonique de Paris. In 1937 he succeeded Philippe Gaubert as the conductor of the Societe des concerts du Conservatoire, M. Miinch, first visiting America in 1946, appeared as guest con- ductor of this and other orchestras. In the autumn of 1948, he con- ducted the Orchestre Nationale de la Radiodiffusion Francaise in a tour of the United States. 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 1810, 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 NEW ENGLAND CONSERVATORY OF MUSIC Harrison Keller, Director Malcolm H. Holmes, Dean SPECIAL CONCERTS 1949 - 1950 Conservatory Orchestra, Nov. 18 Conservatory Orchestra, Dec. 7 Conservatory Chorus and Orchestra, Dec. 16 Chamber Music Concert Jan. 25 Opera Workshop Concert, March 2 Conservatory Orchestra and Chorus, March 16 For further information, apply 290 Huntington Ave., Boston, Mass. [51 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 JULES WOLFFERS PIANIST * TEACHER Boston University College of Music 25 Blagden Street, Boston, Massachusetts AEOLIAN-SKINNER ORGAN COMPANY, INC. Boston, Massachusetts Builders of the Organs in Symphony Hall, Boston and Tanglewood, Massachusetts President — G. Donald Harrison Vice Pres. — William E. Zeuch [6] he depicted; if he had known them, he would have had hard work in utilizing them. "Had 1 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?" [copyui'"-hted] <^^^^) Here at Daytona Beach, with 2 3 miles Daytona 'Beach * of silvery sand, regal luxury awaits ^ ' r - It you at The Sheraton Plaza, directly .