Boston Symphony Orchestra Concert Programs, Season 68, 1948-1949
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W fl'r. r^S^ BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON ^r /^:> ,Q 'iiil .A'^ ^VTSOv H SIXTY-EIGHTH SEASON 1948-1949 Carnegie Hall, New York Boston Symphony Orchestra [Sixty-eighth Season, 1948-1949] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhape Ernst Panenka Alfred Krips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Roll and Tapley Albert Bernard Contra-Bassoon Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey Horns Paul Cherkassky Louis Arti^res Harry Dubbs Charles Van Wynbergen Willem Valkenier James Stagliano Vladimir ResnikofiE Hans Werner Principals Joseph Leibovici Jerome Lipson Harry Shapiro Siegfried Gerhardt Einar Hansen Harold Meek Daniel Eisler Violoncellos Paul Keaney Norman Carol Walter Macdonald Carlos P infield Samuel Mayes Osbourne McConathy Alfred Zighera Paul Fedorovsky Harry Dickson Jacobus Langendoen Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmans Roger Voisin Karl Zeise Clarence Knudson Prijicipals Pierre Mayer Josef Zimbler Marcel La fosse Manuel Zung Bernard Parronchi Harry Herforth Samuel Diamond Enrico Fabrizio Ren^ Voisin Leon MarjoUet Victor Manusevitch Trombones James Nagy Flutes Jacob Raichman Leon Gorodetzky Georges Laurent Lucien Hansotte Raphael Del Sordo James Pappoutsakis John Coffey Melvin Bryant Phillip Kaplan Josef Orosz John Murray Lloyd Stonestreet Piccolo Tuba Henri Erkelens George Madsen Vinal Smith Saverio Messina Herman Silberman Oboes Harps Bernard Zighera Stanley Benson Holmes John Elford Caughey Sheldon Rotenberg Jean Devergie Joseph Lukatsky Timpani Basses Roman Szulc English Horn Georges Moleux Max Polster Louis Speyer Willis Page Percussion Ludwig Juht Clarinets Simon Sternburg Irving Frankel Manuel Valerio Charles Smith Henry Greenberg Attilio Poto Emil Arcieri Henry Portnoi Pasquale Cardillo Piano Gaston Dufresne E\) Clarinet Lukas Foss Henri Girard Henry Freeman Bass Clarinet Librarian John Barwicki Rosario Mazzeo Leslie Rogers SIXTY-EIGHTH SEASON, 1948-1949 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Second Concert WEDNESDAY EVENING, January 12 AND THE Second Matinee SATURDAY AFTERNOON, January 15 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 Roger I. Lee Alvan T. Fuller Lewis Perry Jerome D. Greene Henry B. Sawyer N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [1] SERGE KOUSSEVITZKY ANNIVERSARY FUND of the Boston Symphony Orchestra, Inc. The goal for this appeal, which will be the only appeal during this Anniversary Year, is $250,000 net after all expenses of the Orchestra for the current year have been met. This sum is approximately four times as much as the amount contributed by the Friends of the Orchestra during the past season. All who care to join in honoring Dr. Koussevitzky on his twenty-fifth year of service in the only manner he wants are invited to enroll as Friends of the Orchestra and Contributors to the Serge Koussevitzky Fund. To enroll, slnijAy send a check payable to Boston Symphony Orchestra, addressed to Fund Headquar- ters at Symphony Hall, Boston 75. "Big" gifts and small will be gratefully accepted and promptly acknowledged. Gifts received through January 5 are $118,318. Oliver Wolcott, Chairman FRIENDS OF THE ORCHESTRA Edward A. Taft, Chairman KOUSSEVITZKY ANNIVERSARY FUND All gifts to the Orchestra are tax deductible. Carnegie Hall, New York Sixty-third Season in New York Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director SECOND EVENING CONCERT WEDNESDAY, January 12 Program American Music Festival ScHUMAN American Festival Overture Foss Recordare (First perfnrnuinre in Xfir York. Conducted b\ the Composer.) Barber Concerto for Violin and Orchestra I. Allegro molto iiioderato IT. Andante sostenulo Til. Prc'sio. in molo pcipeiuo I N T E R M T S S T O N Coweet Hymn and Fuguing Tune No. 2 Pi.sTON Symphony No. 3 I. Andantino II. Allegro III. Adagio IV. Allegro SOEOIST RUTH POSSELT BALDWIN. piano VICTOR RECORDS The mu.sic of these programs is available at the Music Library, 58th Street Branch, the New York Public Library. The Boston Symphony Orchestra in Rehearsal is broadcast weekly on the N.B.C. Xetwoik (Station WNBC) Tuesday, 11:9,0-12:00 P.M. rs] THE KOUSSEVITZKY MUSIC FOUNDATION 1942: Nicolai Berezowsky — Symphony No. 4 Benjamin Britten — Opera, "Peter Grimes" Samuel Barber — Composition (in preparation) Bohuslav Martinu — Symphony No. 3 1943: Bela Bartok — Concerto for Or- chestra Igor Stravinsky — Ode William Schuman — Symphony for Strings William Bergsma — Second String Quartet Robert Palmer — String Quartet 1944: Darius Milhaud — Symphony No. 2 Aaron Copland — Symphony No. 3 Nikolai Lopatnikoff — Concertino for Orchestra Burrill Phillips — Overture for Orchestra, "Tom Paine" 194S: Olivier Messiaen — Symphony (in preparation) Heitor Villa-Lobos — Madona Howard Hanson — Piano Con- certo Lukas Foss — Capriccio for 'Cello and Piano Alexei Haiefif — Eclogue for 'Cello and Piano David Diamond — Symphony No. 4 Harold Shapero — Symphony (for Classical Orchestra) Nikolai Nabokov — "The Return of Pushkin" (Soprano and Or- chestra) 1946: Walter Piston — Symphony No. 3 Marc Blitzstein — "The Little Foxes," Opera (in preparation) 1947: Roy Harris — Symphony (in preparation) Francesco Malipiero — Fourth Symphony Arnold Schonberg — composition for symphony orchestra, narra- tor and chorus, "Survivor from Warsaw" Benjamin Britten — Symphony AT YOUR DEALER'S— A FULL SELECTION OF Bias Galindo — composition for FINE FIDELITONE NEEDLES instrument with piano (in prep- FIdelitone Supreme $2.50 aration) Fidelifone Master 1 .50 Earl George — composition for Nylon Fidelifone ] .25 instrument with piano (in prep- Fidelifone Deluxe 1 .00 Fidelifone Floofing Point 50c aration) Arioso (for 'Cello and Piano) r CKIllU/ Incorporated 1948: Randall Thompson — Symphony CHICAGO 26 Arthur Honegger — Composition for Orchestra [4] AMERICAN FESTR'AL OVERTURE By \\^ILLIAM Ho\VARD SCHUMAN Born in New York City, August 4, 1910 The American Festival Overture was composed in the summer of 1939 for fvvo special concerts of American music by the Boston Symphonv Orchestra, and first performed at the second of these concerts in Symphonv Hall, October 6, 1939. The orchestration is as follows: two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, four horns, tuo trumpets, three trombones and tuba", timpani, bass drum, cymbals, snare drum, xylophone, and strings. HE composer wrote as follows about his Overture on the occasion T of its first performance. "The first three notes of this piece will be recognized by some listeners as the 'call to play' of boyhood days. In New York City it is yelled on the syllables, 'Wee-Awk-Eee' to get the gang together for a game or a festive occasion of some sort. This call very naturally suggested itself for a piece of music being composed for a very festive occasion. From this it should not be inferred that the Overture is program music. In fact, the^dea for the music came to mind before the origin of the theme was recalled. The development of this bit of 'folk material,' then, is along purely musical lines. "The first section of the work is concerned with the material dis- cussed above and the ideas growing out of it. This music leads to a transition section and the subsequent announcement by the violas of a Fugue subject. The entire middle section is given over to this Fugue. The orchestration is at first for strings alone, later for wood winds alone and finally, as the Fugue is brought to fruition, by the strings and wood winds in combination. This climax leads to the final section of the work, which consists of opening materials para- phrased and the introduction of new subsidiary ideas. The tempo of the work is fast." The composer attended the public schools in New York, and gradu- ated with Bachelor of Science and Master of Arts degrees from Columbia University. He was the pupil of Max Persin in harmony, of Charles Haubiel in counterpoint, and studied composition in a more general sense with Roy Harris. He attended the Mozarteum Academy, in Salzburg, Austria. He taught for several years at Sarah Lawrence College, in Bronxville, New York, and is interested in problems of progressive education in relation to the arts. He held a Guggenheim fellowship (1939-40, 1940-41) . He has served as editor for G. Schirmer, Inc., and in 1945 became President of the Julliard School of Music. The music of AVilliam Schuman was first performed by a major orchestra when his Second Symphony was introduced in Boston, in February, 1939. The Third Symphony was introduced at these concerts in 1941. The Fourth Symphony, completed in 1942, has not been per- formed at these concerts. [5] , His "Prayer in Time of War" was first performed by this orchestra October 6, 1944, and his Symphony for Strings November 12, 1943. Mr. Schuman has also composed a William Billings Overture (1943) "Side Show for Orchestra" (1944), and a Violin Concerto (1946). His Secular Cantata No. 2, "A Free Song," for chorus and orchestra (which took the First Pulitzer Music Prize for 1943), a setting of Walt Whitman, was performed by this orchestra on March 26, 1943. He has also written for chorus with orchestra the First Secular Cantata, "This is Our Time," and a Prologue; choral music a capp^lla — a Choral Etude, Prelude, and "Truth Shall Deliver — A Ballad of Good Advice"; for chorus with piano accompaniment — ''Requiescat," and "Holiday Song." The Ballet "Undertow" was produced by the Ballet Theatre in 1945. Chamber music includes a Concerto for Piano and small orchestra, a quartetino for Four Bassoons, and three string quartets. The First Symphony, for 18 instruments, written in 1935, has never been pub- lished.