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Home , Emil Paur, Henri Rabaud, Howard Hanson, Max Fiedler

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Tuesday, October 10, 1961 GEORGE LONDON, Baritone EXHIBITION Tuesday, November 14, 1961 BOSTON ORCHESTRA OF Charles Munch, Conductor PAINTINGS Wednesday, December 6, 1961 By JOHN DAY RUDOLF SERKIN Pianist November 10th through November 30th

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Page Three PROGRAM NOTES Historical and descriptive notes by 3584 WHITNEY AVE. JOHN N. BURK Mount Carmel COPYRIGHT BY BOSTON SYMPHONY ORCHESTRA, INC. 771telvitqaClwick4 Opp. Sleeping Giant Tel. CHestnut 8-2767 COHHTRY" ELEGY TO THE MEMORY OF MY CLOTHES FRIEND, , Op. 44 Our Clothes are Country and Casual Classic and in Good Taste By HOWARD HANSON For ten years we have proved this Born in Wahoo, Nebraska, October 28, 1896

Howard Hanson composed this Elegy for the 75th L anniversary of the Boston Symphony Orchestra, and it was performed by this Orchestra January 20-21, 1956. It was conducted by Charles Munch at a me- TIRED OF ORDINARY morial concert in the Berkshire Festival, on August 13, HORS D'OEUVRES? 1961. It was commissioned by the Orchestra and the Koussevitzky Music Foundation. The orchestra required Let Stenlia Specialties create includes 2 flutes and piccolo, 2 oboes and English horn, 2 , 2 bassoons, 4 horns, 3 trumpets, 3 trom- imaginative delicacies ... casseroles bones and tuba, harp, timpani and strings. and canapes to make The Elegy opens with an expressive melody entertaining easy presented by the strings, at first canonically, and in 3/4 time. This melody, varied in development, Phone Mrs. Humphrey FU 7-5672 is the basis of the piece. A section in 4/4 rhythm opening in the winds reaches a climax of inten- sity and subsides to a return of the original tem- po (teneramente con simplicita) to a pianissimo ending. Howard Hanson's parents, Hans and Hilma Hanson, were of Swedish descent. First taught by his mother, Mr. Hanson continued his studies in Luther College and the University School of Music of his native State. He studied composi- tion at the Institute of Musical Art in with , and later at the North- 3.8 western University School of Music at Evanston, under C. Lutkin and Arne Oldberg. Taking his degree in 1916, he taught at the College of the Pacific in San Jose, California. In 1921 he was elected to a three-year fellowship in composition at the American Academy in Rome. Returning to America in 1924, he was appointed director of the of the , New York, the position which he now holds. AN EXCITING NEW JAGUAR The 3.8 unites the vitality and spirit of a sports His First ("Nordic") Symphony was per- Boston car with the form and function of a family sedan. formed at the concerts of the Symphony A supreme achievement in performance, com- Orchestra, April 5, 1929, the conduct- fort, styling. This is a luxury car of modern ing. The Second ("Romantic") Symphony, com- dimensions. posed for the fiftieth anniversary year of this Orchestra, was first performed in that season Your Authorized Dealer (November 28, 1930), Serge Koussevitzky con- ducting. The Third Symphony had its first con- cert performance November 3, 1939, by this Or- BROWN Fr THOMAS chestra, the composer . The Fourth IMPORTS, INC. Symphony was introduced by this Orchestra December 3, 1943. The Fifth Symphony (Sin- 266 Whalley Ave • New Haven 11, Conn. (Continued on page 6)

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Page Five PROGRAM NOTES (Cont.) Now at our New Address fonia Sacra) was performed in Philadelphia, 16 Whitney Ave. • New Haven, Conn. February 18, 1955. In addition to the , Dr. Hanson's • SOHMER • WINTER PIANOS orchestral works include the symphonic poems • STORY & CLARK • ALLEN & KINSMAN North and West (1923), Lux Aeterna (1923), PIANOS Electronic ORGANS and Pan and the Priest (1926). There is an Or- gan (1926), and a suite from The Merry • Used GRANDS — Spinets & Upright Pianos Mount. This three-act opera to a libretto of Richard Stokes was produced by the Metropoli- EDDIE SARANEC MUSIC CENTER tan Opera Company in New York in 1932. Chor- 16 WHITNEY AVE. al works include The Lament of Beowulf (1925); Bus.: MA 4-2357 Res.: CH 8-0160 Heroic Elegy (1927); Songs from Drum Taps, after (1935), and a transcription for chorus and orchestra of Palestrina's Pope Marcellus Mass (1937). The Serenade for Flute, Harp, and Strings was performed by this Orches- tra October 25, 1946. Chamber works include a CARLETON G. SMITH piano quintet, a piano quartet, and a string quartet. A Piano Concerto, composed for the COMPANY Koussevitzky Music Foundation, had its first performance at the concerts of this Orchestra, Fine Floor Coverings December 31, 1948. • • • "IBERIA," "Images," for Orchestra, No. 2 15 WHITNEY AVENUE By CLAUDE DEBUSSY Tel. STate 7-0549 Born at St. Germain (Seine-et-Oise), France, August 22, 1862; died at , March 25, 1918 Debussy completed the "Rondes de Printemps" in 1909, "Iberia" in 1910, and "Gigues" in 1912. The three "Images" as published bore numbers in reverse order. "Iberia" was first performed by Gabriel Pierne at a grace b. jameson Colonne concert in Paris, February 20, 1910. It had its first performance in America, January 3, 1911, under , at a concert of the New York .. Custom 514illinery Philharmonic Society. The first performance in Boston was on April 21, 1911, by the Boston Symphony Or- chestra, , conductor. Debussy wrote to Durand, his publisher, on 152 Temple St. Room 410 May 16, 1905, of his plan to compose a set of "Images" (a conveniently noncommittal title) Elevator Service for two pianos, to be called I. "Gigues Tristes," II. "Iberia," 111. "Valses (?)" Before long the project had become an orchestral one, and the questioned "Valses" had been dropped. The two orchestral pieces were expected for the summer of 1906. They were not forthcoming. The mu- sician who could once linger over his scores at will, rewriting, refining, repolishing, while the world cared little, was now the famous composer of "Pelleas." Publishers, orchestras, were at his doorstep, expectant, insistent, mentioning dates. CO " Debussy was still unhurried, reluctant to give ON ME Pow) to his publisher a score which might still be bet- OMW tered. He wrote to Durand in August of 1906: -ffithivem, 01.67910 "I have before me three different endings for LUNCHEON • DINNER • COCKTAILS `Iberia'; shall I toss a coin — or seek a fourth?" Private facilities for groups up to To Durand, July 17, 1907: "Don't hold it against 350 persons. Always a parking place. me that I am behind; I am working like a la- (Continued on Page 8)

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THE NEWNEW HAVEN CHORALE

GUSTAVE MEIER, conductor. presents CHRISTMAS ORATORIO J. S. BACH

HELEN BOATWRIGHT, soprano SHIRLEY SUDOCK, mezzo soprano BLAKE STERN, tenor MARVIN HAYES, bass baritone

SATURDAY, DECEMBER 9th, 8:30 P.M. — WOOLSEY HALL

Tickets $2.00 — Students $1.00 at

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Page Seven PROGRAM NOTES (Cont.)

borer — and making some progress, in spite of .1.1.1.JLIALLUL11. terrible and tiring setbacks!" Two months lacer he promises that -Iberia- will be ready as soon as the "Rondes de Printemps," the third of the

YOURS FOR THE ASKING - Images." is "right and as I wish it." By Christ- mas of 1908, the first full draft of -Iberia" was The new Block Shop Christmas cata- completed, but the composer was by that time log of carefully selected age-graded involved in a project for an opera on Poe's Fall toys, including a poge of Toys for of the House of Usher, immediately followed by Adults. another operatic project which, like the first, came to nothing: "The Devil in the Belfry." The Block Shop is now mail order only. You will be able to shop at The movements are as follows: home through its 28-page catalog 1. "Par les rues et par les chernins" ("In the streets for the some high quality and dis- and byways"). 2Issez anime (dans un rhythme alerte

tinctive toys you have had in the mail precis). past. Phone or write for your copy. "Les parfums de la suit" ("The fragrance of the night"). Lent et rereur. El_CCIC Slier III. "Le matin d'un jour de fete" ("The morning of a festival day"). Dans an rhythme de marche lointaine, CATAUCG alerte et joyeuse. There was a considerable expression of dis- satisfaction with "Iberia- in Paris, when it was first heard. "Half the house applauded furious- 11 Whitney Ave. ly," reported a newspaper correspondent, "whereupon hisses and cat calls came from the ST 7-6584 other half. I think the audience was about equal- ly divided." There was also much critical dis- favor, while certain individuals pronounced roundly in favor of "Iberia." Manuel de Falla, a Spanish purist who might well have frowned upon a quasi Spanish product of France, smiled upon this piece in an article THE printed in the Chesterian: "The echoes from the villages, a kind of

sez'illana — the generic theme of the work — TANDEM which seems to float in a clear atmosphere of scintillating light; the intoxicating spell of An- dalusian nights, the festive gaiety of a people RECORD SHOP dancing to the joyous strains of a banda of gui- 86 WALL ST. • SP 7-8319 tars and bandurrias . all this whirls in the air, approaches and recedes, and our imagination is Downstairs from George & Harry's continually kept awake and dazzled by the pow- er of an intensely expressive and richly varied

music. . . ." All L.P.'s listed in Schwann Catalogue sold SYMPHONY IN C MINOR, No. 1, op. 68 at 20 - 25% discount. By Born in , May 7, 1833; died in , April 3, 1897 Imports for the Discophile The First Symphony of Brahms, first sketched in 1856, was completed in 1876, and had its initial per- HOURS: formance on November 4 of that year at Carlsruhe, Otto Dessoff conducting. Weekly 9 A.M. — 9 P.M. It is not without significance that Brahms re- Saturday 9 A.M. — 6 P.M. quired fourteen years to complete his First Sym- phony and that only in his forty-second year was Open until midnight on concert nights he ready to present it for performance and pub- lic inspection. An obvious reason, but only a (Continued On Page 13)

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Page Ten Tuesday Evening, November 14, at 8:30

Second Concert of the Woolsey Hall Concert Series

Season 1961-62

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

_f.09 tam

HANSON Elegy in Memory of Serge Koussevitzky, Op. 44

DEBUSSY Iberia ("Images," No. 2)

I. Par les rues et par les Chemins (Through the Highways and Byways)

II. Les Parfums de la nuit (The Fragrance of the Night)

III. Le Matin d'un jour de fete (Holiday Morning)

INTERMISSION

BRAHMS Symphony No. 1, in C minor, Op. 68

I. Un poco sostenuto; allegro

II. Andante sostenuto

III. Un poco allegretto e grazioso

IV. Adagio; allegro non troppo, ma con brio

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Page Twelve PROGRAM NOTES (Cont.) possible acquisition for his neo-German strong- hold at Weimar. contributing reason, was the composer's aware- This violent mood found expression in the D ness of a skeptical and in many cases a hostile minor Piano Concerto, first conceived as a sym- attitude on the part of his critics. Robert Schu- phony in 1854. Two years later, similarly in- mann had proclaimed him a destined sym- clined, he sketched what was to be the opening phonist, thereby putting him in an awkward movement of the C minor Symphony. The Con- position, for that was in 1854 when the reticent certo required four years to find its final shape. composer was young, unknown, and inexperi- The Symphony took much longer because the enced. When two years later he made his first composer had far to go before he could satisfy sketch for a symphony he well knew that when his own inner requirements. Another composer he came forth with one he would be closely would have turned out a succession of sym- judged as a "Symphoniker," accused of presum- phonies reflecting the stages of his approach to ing to take up the torch of Beethoven, whose full mastery. Brahms would not commit himself. Ninth Symphony had in the course of years had It was not until 1872 that he took up his early nothing approaching a successor. Brahms was sketch to re-cast it and compose the remaining shaken by this thought. The most pronounced three movements by 1876. skeptics were the Wagnerians who considered The Symphony thus became a sort of summa- the symphonic form obsolescent. A symphony tion of fourteen years of growth. Some of the by Brahms would be a challenge to this point early stormy mood was retained in the first of view. Brahms, hesitant to place a new score movement. The slow movement and scherzo beside the immortal nine, was nevertheless am- with their more transparent coloring were a ma- bitious. His symphonic thoughts inevitably took tured reflection of the lyric Brahms of the or- broader lines, sturdier sonorities, and more dra- chestral variations. The finale revealed the matic proportions than Schubert's, Schumann's Brahms who could take fire from Beethoven's or Mendelssohn's. sweep and grandeur and make the result his He approached the form cautiously and by own. In the same tonality as the Fifth Sym- steps, not primarily because he feared critical phony, Brahms' First begins darkly, proceeds attack, but because, being a thorough self-ques- with dramatic power, and in the last movement tioner, he well knew in 1856 that he was by no emerges Beethoven-wise in a resplendent C ma- means ready. As it turned out, fourteen years was jor. Brahms was aware that there would be deri- the least he would require for growth in charac- sive comparisons. He knew that the broad hymn- ter, artistic vision, craft. These fourteen years like C major theme would be called an imitation give us plentiful evidence of such growth. From of the theme of Beethoven's Ode to Joy. The the point of view of orchestral handling, the character was similar, the shape of the notes was stages of growth are very clear indeed. His first not. He faced such comparisons knowing that orchestral scores, the two serenades (1857-1859), his Symphony followed but did not imitate were light-textured, of chamber proportions as Beethoven — its strength was his own. Its if growing from the eighteenth century. The D strength was also the strength of integration, so minor Piano Concerto, completed after a long pervasive that the movements, traversing the gestation in 1858, had grandeur of design, was at earlier and the intermediate Brahms, became a first intended as a symphony, and became in coherent unity. effect a symphonic concerto, a score in which the Brahms first yielded the manuscript of his composer could not yet divorce himself from Symphony to Otto Dessoff in Carlsruhe on its the instrument of his long training and immerse completion in 1876, to give himself a prelim- himself entirely in the orchestral medium. The inary sense of reassurance. He sought the favora- Haydn Variations of 1873 show that he had by ble setting of a small community, well sprinkled this time become a complete master of orchestral with friends, and nurtured in the Brahms cause. writing but indicate that he was not yet ready "A little town," he called it, "that holds a good to probe beneath the surface of agreeable and friend, a good conductor, and a good orchestra." objective lyricism. Brahms' private opinion of Dessoff, as we know, Nevertheless the earlier Brahms of 1856, the was none too high. But Dessoff was valuable as Brahms of twenty-three, was already the broad a propagandist. He had sworn allegiance to the schemer whose tonal images were often dark, Brahms colors by resigning from his post as con- ductor of the Vienna Philharmonic because often wildly impetuous. He was then in his Brahms' Serenade in A major was refused. A "storm and stress" period, when he was deeply few years before Dessoff at Carlsruhe, there had disturbed by the misery of the Schumann couple been Hermann Levi, who had dutifully implant- whom he loved, anxious for the master in the ed Brahms in the public consciousness there. The last stages of his insanity, concerned for the dis- audiences at Carlsruhe very likely felt honored traught "Frau Clara." This was the openly ro- by the distinction conferred upon them — and mantic Brahms who had not yet acquired a were in equal degree puzzled by the Symphony sobering reserve in his music, who was at the itself. moment looked upon hopefully by Liszt as a (Continued on Page 15)

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Page Fourteen PROGRAM NOTES (Cont.) Concert Calendar

Brahms himself conducted the Symphony in The School of Music — Yale University Mannheim a few days later, and shortly after- wards in Munich, Vienna, and Breslau. There was no abundance of enthusiasm at these early performances, although Carlsruhe, Mann- SERIES SEASON 1961-1962 heim and Breslau were markedly friendly. In Leipzig a group of resident adherents and such Five Evening Concerts at 8:30 P.M. loyal visitors from elsewhere as Frau Schumann, SPRAGUE MEMORIAL HALL Joachim, and Stockhausen gave weight to the (College and Wall Streets) occasion, established at a general rehearsal, and sealed by a post-concert banquet. In Vienna the work got, on the whole, good notices. In Munich Wednesday, October 25 considerable hostility was to be expected, for Munich had become a Wagnerian redoubt. Kal- AMADEUS QUARTET beck hazards that the applause was "an expres- sion of relief" when it had at last ended. The Tuesday, November 21 Symphony reached England where it was heard LENOX QUARTET in Cambridge on March 8, under Joachim; Lon- don on April 16. Tuesday, January 23 Brahms had by then won public esteem, hav- JUILLIARD QUARTET ing proved his choral ability with A German Tuesday, February 27 Requiem, and had enjoyed marked success with smaller works. A full-sized symphony was re- NEW YORK BRASS QUINTET garded as a real test. Many found a stumbling Tuesday, April 3 block in the First Symphony, and these included some of Brahms' friends, who spoke of disunity LASALLE QUARTET in it, and disharmony. Even Florence May, his adoring ex-pupil and biographer, wrote of "shrill, clashing dissonances" in the introduc- FACULTY RECITALS 1961 - 1962 tion. Levi, the conductor who had been his loyal All events are open to the public promoter as conductor at Carlsruhe, found the without charge except as indicated. middle movements out of keeping with the more weighty and solidly scored first and last. Only Sprague Memorial Hall (8:30 P.M.) Hans von Bulow among the current conductors NOVEMBER 2, 1961 was an unqualified enthusiast. Time has long *Bruce Simonds since dissolved lingering doubts and vindicated NOVEMBER 30, 1961 the initial judgment of the Symphony's creator. Blake Stern No doubt the true grandeur of the music, now so patent to everyone as by no means formidable, JANUARY 4, 1962 would have been generally grasped far sooner, *Ralph Kirkpatrick had not the Brahmsians and the neo-Germans JANUARY 12, 1962 immediately raised a cloud of dust and kept their Donald Currier futile controversy raging for years. JANUARY 30, 1962 The First Symphony soon made the rounds of Broadus Earle and Ward Davenny , enjoying a particular success in Ber- Sonata Recital lin, under Joachim (November 11, 1877). In FEBRUARY 9, 1962 March of the succeeding year it was also heard Jack Litten in Switzerland and Holland. The manuscript was carried to England by Joachim for a perform- MARCH 7, 1962 ance in Cambridge (March 8, 1878) and another Seymour Fink in London in April, each much applauded. The APRIL 6, 1962 first performance in Boston had taken place Jan- Ward Davenny uary 3, 1878, under Carl Zerrahn with the Har- Battell Chapel (4:00 P.M.) vard Musical Association. When the critics called it "morbid," "strained," "unnatural," "coldly DECEMBER 3, 1961 elaborated," "depressing and unedifying" Zer- Charles Krigbaum rahn, who like others of his time knew the spirit APRIL 15, 1962 of battle, at once announced a second perform- Charles Krigbaum ance for January 31. Georg Henschel, an intrepid •Admission charge friend of Brahms, performed the C minor Sym- phony with other works of the composer in the TICKET OFFICE IN THE Boston Symphony Orchestra's first year. Looms TEMPLE OF MUSIC, 101 Orange St.

Page Fifteen RUDOLF SERKIN Although he is eagerly sought by impresarios from one end of the world to the other, he has Rudolf Serkin, one of the most popular pian- chosen to concentrate his concert activities in ists ever to appear as soloist on the Woolsey Hall North America and Europe. He has, however, Series will return to the local concert platform played in South America, Iceland, Israel and on Wednesday evening, December 6, to give the India, and his more-than-thirty Columbia Mas- third concert of the current series. Although terworks Records carry his art to the remote Woolsey Hall Series concerts are scheduled for corners of the earth. Tuesday evenings whenever possible, it was ne- cessary to accept a Wednesday evening on this occasion owing to Mr. Serkin's limited number CHARLES MUNCH OF ALSACE of concerts in the this season, and no Tuesdays were available. For many years, music critics, reporters, musi- cians and countless others have vied to forge

phrases in homage to Rudolf Serkin — the man as well as the musician. For LIFE Magazine, he "looks like a scholar and plays like an angel." For the Chicago Tribune's Claudia Cassidy, "Ser- kin is a man consumed by an inner fire. When he plays, he achieves something warm and rich and genuinely exciting." For The New York Times' Howard Taubman, a recent Serkin re- cital again "showed why he ranks as one of the great pianists of our day. Here was playing that

had everything — perfect control, luminous po- etry and blazing temperament." For the New York Herald Tribune critic, he is simply "the greatest living pianist, equalled by no other pi- anist and no other interpretive musician." Rudolf Serkin is an American citizen, but his background as well as his artistry make him a true citizen of the world. Of Russian parentage, he was born in 1903 in Eger, Bohemia (now It is sometimes claimed that the culture of ). He was educated in Vienna, Alsace, lying between those two great musical where he studied piano with Professor Richard countries, France and Germany, bred in the tra- Robert and composition with Arnold Schonberg, ditions of both, has a balance and fullness of its and at the age of 12 he made his debut, with the own. Charles Munch, who was born and grew Vienna Symphony. It was in , when he was up in Strasbourg, is the personification of this in his mid-teens, that he began his professional double culture. His father was a staunch Alsatian career, under the guidance of the late famous with a name derived from the German Monch, violinist Adolf Busch, whose only daughter, meaning "Monk." His mother, Celestine Simon, Irene, Serkin married in 1935. The family moved was of pure French blood — the daughter of a to Switzerland in 1927, and then to America in Protestant minister in Paris. 1939. Today, with Mrs. Serkin and their children, To those who know Charles Munch person- the pianist makes his home in Philadelphia, ally, he is Gallic to his fingertips. His devotion where he is head of the Curtis Institute piano to the music of Berlioz, Debussy, Roussel or department. In the summers they move to their Honegger is well known. On the other hand, farm in Guilford, Vermont. He is artistic director the music of Bach is his Bible, a natural result of the Marlboro School of Music and Festival. of a boyhood closely surrounded by the music Since 1950, he also has been an integral part of of that master, conducted by his father Ernest in the Casals festivals, first in Prades and then in Strasbourg, his uncle Eugene in Mulhouse, per- Puerto Rico. formed and studied by Albert Schweitzer as or- It was in 1933, before a special, invited audi- ganist in both towns. ence at the Coolidge Festival in Washington, Charles Munch was conscripted as technically D.C., that Serkin first played in the U.S. He made a German citizen in the First World War. Dur- his public debut here in 1936, with the New ing the Second War he held his post as conductor York Philharmonic; as the late Olin Downes re- of the Paris Conservatory Orchestra with com- ported in The New York Times, "rarely at a plete independence, secretly contributing to the Toscanini concert has such enthusiasm after the underground resistance. He holds the rank of performance of a concerto been witnessed . . . Commander in the Legion of Honor. Toscanini himself joined in the applause." Since His musical training benefited by the classical then Serkin has assumed a unique place in our tradition at Strasbourg, and at Leipzig where he musical life, playing year after year with our had valuable experience in the Gewandhaus Or- greatest orchestras, on our most important con- chestra. Yet he had studied violin with Lucien cert courses and at our famous summer festivals. Capet in Paris, became a conductor in Paris,

Page Sixteen

presiding over the Lamoureux, Conservatory and era and the Orchestra's owner bowed to inevitable French National Broadcasting Orchestras. France change. The Orchestra, in this country where claims in him its foremost spokesman among music is not state supported, became what all or- conductors, and while giving his loyalty to chestras had to be: a public trust, the property France, he remains an artist of international af- and responsibility of the community it served. filiations and tastes. The newly formed Board of Trustees engaged from Paris for the 1918-1919 sea- HISTORY OF THE son. , who now returns from time to time as a valued and beloved conductor emeri- BOSTON SYMPHONY ORCHESTRA tus, was in charge from 1919-1924. The 81st season of the Boston Symphony Or- In 1924, Serge Koussevitzky began what was chestra is being celebrated this season. The Or- to be the longest term for a single conductor — chestra holds a seniority of two years over the twenty-five years. Koussevitzky brought with him Concertgebouw of Amsterdam and is junior to the European repertoire plus an encouragement the pioneer orchestras of London, Leipzig, Vien- to the American composer which resulted in a na and Paris. new era for the Orchestra. The names of the Or- In 1881, an orchestra of the highest European chestra and its conductor seemed inseparable standards was a point of aspiration in the United when, in 1948, he retired. He died June 4, 1951 States. It required a man with imagination, en- and is buried in the village of Lenox (Massachu- terprise and an intense love of music to start setts) near Tanglewood. such a project. As a music student in Vienna, Charles Munch, one of the foremost musicians Henry Lee Higginson, of Boston, was exposed in France, was appointed Music Director of the to the Viennese traditions and devotion to Beet- Orchestra, in the autumn of 1949. He is more hoven, Mozart and Schubert. After his return than a French artist: Strasbourg, his native town, from Europe and when he had acquired the has two languages and lies between two cultures, means, Mr. Higginson proceeded to build some- his mother was French, his father was Alsatian. thing that this country had never known: a Doctor Munch, a relative by marriage to his fel- `permanent' orchestra which would devote its low Alsatian, Albert Schweitzer, and an inheri- sole energies toward ideal performances of sym- tor of a catholic musical tradition from his phonic music. He spent his fortune in this project family, has further enhanced the Orchestra's and after thirty-seven years he was happy to reputation in his eleven seasons as Music Director. leave a heritage far richer than a fortune in dol- lars alone. Mr. Higginson assembled the best musicians available in the United States and Europe and he engaged a young German conductor, George !cycle Center Henschel. The first concert was held in the Bos- ton Music Hall on October 22, 1881. Wilhelm The home of genuine

Gericke became conductor in 1884 — he departed Raleigh English Bicycles in 1889 but returned to lead the Orchestra again GIFT from 1898 to 1906. Artur Nikisch was conductor THE IDEAL CHRISTMAS

for the seasons of 1889-1893 — suc- Accessories for all bicycles ceeded him and was in charge until the close of the 1898 season. was appointed con- BICYCLE CENTER ductor in 1906 and, except for four seasons 1144 Chapel Street (1908-1912) when Max Fiedler was in charge, he MA 4-0342 was the conductor until the spring of 1918. The First World War brought the end of an

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Page Seventeen Boston Symphony Orchestra

(Eighty-first Season, 1961-1962) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor

PERSONNEL VIOLINS VIOLAS FLUTES TRUMPETS Richard Burgin Joseph de Pasquale Doriot Anthony Dwyer Roger Voisin Concert-master Jean Cauhape James Pappoutsak is Armando Ghitalla Alfred Krips Eugen Lehner Phillip Kaplan Andre Come Albert Bernard Gerard Goguen George Zazofsky PICCOLO Rolland Tapley George Humphrey George Madsen TROMBONES Joseph Silverstein Jerome Lipson Vladimir Resnikoff Robert Karol OBOES William Gibson Harry Dickson Reuben Green Ralph Gomberg William Moyer Gottfried Wilfinger Bernard Kadinoff Jean de Vergie Kauko Kahila Einar Hansen Vincent Mauricci John Holmes Josef Orosz Earl Hedberg Joseph Leibovici ENGLISH HORN Roger Shermont Joseph Pietropaolo TUBA Minot Beale Herman Silberman CLARINETS K. Vinal Smith Samuel Mayes Stanley Benson AAlfred Zighera Gino Cioffi Leo Panasevich Manuel Valerio TIMPANI Jacobus Langendoen Sheldon Rotenberg Pasquale Cardillo Mischa Nieland Everett Firth Fredy Ostrovsky E Flat Harold Farberman Noah Bielski Karl Zeise BASS CLARINET Martin Hoherman PERCUSSION Clarence Knudson Bernard Parronchi Rosario Mazzeo Pierre Mayer Charles Smith Richard Kapuscinski BASSOONS Manuel Zung Harold Thompson Robert Ripley Sherman Walt Samuel Diamond Winifred Winograd Arthur Press Ernst Panenka William Marshall Louis Berger Matthew Ruggiero Leonard Moss John Sant Ambrogio HARPS William Waterhouse CONTRA BASSOON Bernard Zighera Alfred Schneider BASSES Richard Plaster Olivia Luetcke Victor Manusevitch Georges Moleux Laszlo Nagy Henry Freeman HORNS PIANO Ayrton Pinto Irving Frankel James Stagliano Michel Sasson Henry Portnoi Charles Yancich Bernard Zighera Lloyd Stonestreet Henri Girard Harry Shapiro LIBRARY Julius Schulman John Barwicki Harold Meek Raymond Sird Leslie Martin Paul Keaney Victor Alpert Gerald Gelbloom Ortiz Walton Osbourne McConathy William Shisler

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