i9^4\\Ci949
SYMPHONY HALL, BOSTON
SIXTY-EIGHTH SEASON, 1948-1949
CONCERT BULLETIN of the
Boston Symphony Orchestra
SERGE KOUSSEVITZKY, Music Directoi
Richard Burgin, Associate Conductor
with historical and descriptive notes by
John N. Burk
COPYRIGHT, 1949, BY BOSTON SYMPHONY ORCHESTRA, TtlC.
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
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[ 1102 ] SYMPHONIANA The DuVivier Murals Odd Paragraphs
THE DuVIVIER MURALS The seven cartoons for frescoes by Jobic DuVivier that are now on exhibi- tion in the Gallery were intended for a little church near Fontainebleau. The cartoons are now the property of the Newton College of the Sacred Heart, and await the construction of a suitable building in which they may be housed. They are described as follows:
The Annunciation is reminiscent of William Blake. The Blessed Virgin seems to be kneeling upon her bed. She is in a central medallion surrounded by a frieze of Cherubs, one of whom leans out of the frieze to kiss her. She is older than usual in art, with more strength than sweetness. The angel, dominantly red in colour, has a sinuous body and wind-blown hair surrounded by stars. On either side are Joachim and Anna bearing sheaves. At Anna's feet is the lion: at Joachim's, the uni- corn. The Woman Healed by Touching Christ's Garment. Here the woman drags herself on the ground. She has an expression of intense suffering. The Holy Ghost in the form of a dove in- spires her to touch the garment. Six figures crowding about the Lord repre- sent the multitude who thronged and pressed Him. One may conjecture that the man speaking to Him is Jairus, that the two on the right are the people who come to say: "Why dost thou trouble the Master any further?" The two on the left near the Lord are apparently disciples. And then there is one who may be a woman, at any rate the only one who is conscious that the miracle is taking place. She seems to have a special interest in the poor creature who is being healed is ; perhaps she her mother. Or it may be a man, in which case it is probably St. John, the most spiritually keen-sighted of the three who went in to Jairus' house. A strange decorative plant and animal, such as live only in the realm of the imagination, fill up the lower right-hand corner. Boston The Raising of Lazarus: Lazarus is Providence apparently dead, but his little soul, like Wellesley an eight-winged cherub, is returning to
[1103] him. Mary in classic drapery sits at the feet of Christ; Martha kneels beside the tomb. At the right are four dis- ciples, one of whom points with the horizontal index finger characteristic of Cnandlanaier s Vinci. Leonardo da Tremont and West Streets There are four pictures illustrating the parables, but two of them seem to be of the same parable, the Wheat and Cockle. Christ is in the centre telling the story. In the lower foreground of the picture the owner of the field and Th his man lie sleeping. To the left the enemy sows cockle. Between the sleep- // ers and Christ are bundles of wheat and cockle alternately, and to the right the Littl man with the torch who will burn the evil crop. 2) The second version does // not follow the Scripture story exactly, but there is no mistaking what is meant, Furs as it is marked: Good Seed and Cockle. The enemy walks in step with the sower of good seed, and as the one sows good seed in a rhythmic curve, the other in another rhythmic curve that terminates with great in the same point, sows cockle, a won- derful illustration of the mixture of fashion motives in our good actions. The figures are Mexican in appearance. The stacks of grain, the barns, the scythe and the importance sickle make an interesting pattern.
The Seed that Fell in Various Places: This has a more tranquil atmosphere suggestive of Millet. Christ with an- From Chandler's Salon other sower, perhaps a disciple, is in the right-hand corner in mundo conversatus with its enviable reputa- sparso verbi semine. His arm is, perhaps of set purpose, disproportionately long. tion for finest furs . . . The heat {la chaleur) comes down in scarves and capes and points through a yellow sky. A gleaner not unlike Millet's is in the foreground. jackets to caress the shoul- Three reapers are at the left. Four birds fly rhythmically to devour what falls ders of your suit, coat or by the wayside. dress with a lavish gesture The Men who Built Their Houses on of luxury! From mink dyed the Rock and on the Sand: Christ sits in Oriental cross-legged style in the squirrel ... to fitch centre. His left hand is clenched in strength; His right hand lets fall a ... to fabulous silver blue weak trickle of sand. All one side of the picture expresses strength; all the mink ... . other side, weakness. The one who hears and keeps Christ's words, the owner of the firm house, stands behind the strong hand of Christ, his eyes fixed on the FUR SALON head of Christ. He is not looking at his house which rises, a strong castle SECOND FLOOR (with a little French flag) on the rock behind him. The other poor fellow on the left has his back to Christ. He is looking with his arms lifted in despair at the downfall of his house. There are
[1104I three other figures in the picture, three spectators, one looking at each of the three main figures; but the one who is looking at the man whose house stands firm is pointing through him to Christ. In the foreground are building materials, a trowel and mortar. On the strong side a dog represents the animal world, on the weak side an acacia stands for vege- tative life. Louise Keyes, P.S.C.J. Newton College of the Sacred Heart.
ODD PARAGRAPHS "Beethoven's gigantic personality," Rimsky-Korsakov once wrote, "is a thing apart. His music embodies the powerful sway of a profound and inexhaustible orchestral imagination; but the execu- tion, so far as details are concerned, lags far behind the titanic conceptions. The trumpet parts stand out, the horns are given difficult and unfavourable in- tervals; the writing for strings is splen- did, the way in which the woodwinds are often used makes for fine colours; but the whole is such as to afford the student many occasions for bewilder- ment." • •
Once in my life I wish I might come to know the feeling of happiness that Schubert must have enjoyed when one of his melodies occurred to him. — Brahms. • •
Sibelius is reported to have said on his 80th birthday, "If you want to dis- cuss art you must talk to men of busi- ness. Artists only discuss money."
"Albert Einstein, the top mathema- tician and atomic bomb authority, likes to relax with a violin. Recently he in- vited the renowned pianist, Artur Schnabel, to his home for a musical week-end. They were running through a rather involved Mozart sonata, and Einstein was having some trouble play- ing. Finally, after several explanations, Schnabel became irritated. He banged AT YOUR DIALER'S—A FULL SELECTION OF his hands down on the keyboard and FINE FIDELITONE NEEDLES groaned: "No, no, Albert. For heaven's Fidelitone Supreme $2.50 sake, can't you count? One, two, three, Fidelitone Master 1 .50 Nylon Fidelitone 1 .25 four. ..." Fidelitone DeLuxe. . 1 .00 Fidelitone Floating Point 50c Walter Winchell, November 22, 1945.
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[ 1106] Tribute to Koussevitzky
^'VmfsN^
At a small dinner in honor of Serge Koussevitzky held at
the Tavern Club in Boston on November 18, 1948, Boris
Goldovsky proposed a toast to Dr. Koussevitzky which is set
forth on the other side of this page. This is a tribute from one musician to another.
At a large testimonial dinner to be held at Symphony Hall on May 2 in honor of Dr. Koussevitzky, the Friends of the
Orchestra will present to Dr. Koussevitzky another tribute.
It will be in the form of a scroll bearing the names of all who,
at his request, have joined in making the biggest gift ever made to the Orchestra in its long history.
The scroll will include not only the 3,300 names of those who have already enrolled as Friends of the Orchestra, but in addition the names of all who desire to take the present opportunity to participate in this fitting tribute to our great Conductor.
To enroll, simply send a check to the Boston Symphony Orchestra, addressed to the Friends of the Orchestra, Sym-
phony Hall, Boston 15; or if you prefer to make your gift in
cash, the cash may be left at the Box Office. In either case an enrollment card will be issued promptly and gratefully.
Gifts during this Anniversary Year have ranged from $5 to $10,000. Such gifts are tax deductible.
April 1949
(over) A Toast
We are gathered here tonight to honor a great musician. It seems fitting on this occasion to turn our thoughts to the essence of greatness in music, particularly to the avenues of greatness available to the per- forming and practicing musicians other than composers. It seems to me that one can discern three levels of greatness in this realm and
I hope you will bear with me if I discuss them in some detail.
The first level is achieved by those few musicians who become famous as performing virtuosi. What they accomplish might be termed personal greatness. The world gasps in admiration before the extraordinary gifts of these musicians and their names become bywords of excellence in their chosen field. Dr. Koussevitzky has ac- complished this level of greatness long ago both as a double bass player and as a conductor. It is a wonderful and honorable accomplish- ment and most men consider themselves lucky if they reach that level.
There is however a further step which some exceptional men take. No longer content with personal excellence and personal acclaim, they seek wider horizons of activity and finally devote their lives to the greatness of music itself rather than to personal aggrandizement. I need not dwell on this phase of Dr. Koussevitzky's life since the speakers preceding me here tonight have discussed most capably his varied and extraordinary services to contemporary music, to young composers of all lands, and to the cause of music in general.
But there is finally still another level of greatness which can be reached in music. The names of those who achieve it are so few that often generations go by before a man has the calibre of mind and heart to fill the requirements. He is the man who can truly be called the architect of the future because, gifted with prophetic insight, he sets the trendsof musical thought and activities for many years to come. He plants the seeds of the future and influences younger men who then consider it their privilege to carry on the dreams and visions of the master in succeeding years.
May I propose a toast to the only man on the musical scene today
who truly deserves this title of "musical architect of the future" — Dr. Serge Koussevitzky. SIXTY-EIGHTH SEASON • NINETEEN HUNDRED FORTY-EIGHT AND FORTY-NINE
Twenty-second Program
FRIDAY AFTERNOON, April 8, at 2:30 o'clock
SATURDAY EVENING, April 9, at 8:30 o'clock
Beethoven Overture to "Coriolan," Op. 62 (after Collin)
Bernstein "The Age of Anxiety," Symphony No. 2, for Piano and Orchestra (after W. H. Auden)
C The Prologue Part 1 3 The Seven Ages (Variations I — VII) ( The Seven Stages (Variations VIII — XIV)
( The Dirge Part II j The Masque ( The Epilogue
(First performance) INTERMISSION
Strauss "Death and Transfiguration," Tone Poem, Op. 24
Ravel "La Valse," Choreographic Poem
SOLOIST LEONARD BERNSTEIN
BALDWIN PIANO VICTOR RECORDS
This program will end about 4:20 o'clock on Friday Afternoon, 10:20 on Saturday Evening.
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OVERTURE TO "CORIOLAN," Op. 62 (after Collin) By Ludwig van Beethoven
Born at Bonn, December 16 (?) , 1770; died at Vienna, March 26, 1827
Beethoven composed his overture on the subject of "Coriolanus" in the year 1807. It was probably first performed at subscription concerts of Prince Lobkowitz in Vienna, in March, 1807. The Overture was published in 1808, with a dedication to Court Secretary Heinrich J. von Collin. The orchestration is the usual one of Beethoven's overtures: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. The last performance by the Boston Symphony Orchestra in this series was on December 14, 1945. After "Fidelio," Beethoven was ambitious to try his hand at another opera, and entertained several subjects, among them a setting of Shakespeare's "Macbeth" for which Heinrich Joseph von Collin, a dramatist of high standing and popularity in Vienna at the time, wrote for him the first part of a libretto. Beethoven noted in his sketchbook: "Overture Macbeth falls immediately into the chorus of witches." But the libretto did not progress beyond the middle of the second act, and was abandoned, according to Collin's biographer,
Laban, "because it threatened to become too gloomy." In short, no opera emerged from Beethoven in 1807. But his association with Collin resulted in an overture intended for performance with the spoken tragedy "Coriolan." The play had been first performed in 1802 (then with entr'acte music arranged from Mozart's "Idomeneo") and had enjoyed a considerable vogue which was largely attributable
[ 1109] to the acting of Lange in the title part. The popularity of "Coriolan" had definitely dropped, however, when Beethoven wrote his overture on the subject. Thayer points out that the play was billed only once in Vienna between the years 1805 and 1809. The single performance was on April 24, 1807, and even at this performance Thayer does not believe that the Overture was played. Beethoven seems, then, to have attached himself to the subject for sheer love of it rather than by any set commission. The piece was accepted forthwith as a concert overture, and in this form became at once useful at the concerts, or "academies" as- they were called, where Beethoven's music was played. There has been speculation in print as to whether Beethoven de- rived his concept of the old Roman legend from Collin or Shakespeare.
The point is of little consequence for the reason that both Shakespeare and Collin based their characters directly upon the delineation of Plutarch. Beethoven himself could well have been familiar with all three versions. His library contained a much^thumbed copy of Plutarch's Lives, and a set of Shakespeare in the translation of Eschenburg, with many passages underlined.
The tale of "Coriolanus," as related by Plutarch, is in itself exciting dramatic material (details of this tale have been questioned by histo-
rians) . Coriolanus, according to Plutarch, was a patrician general of the Romans, a warrior of the utmost bravery and recklessness who, single-
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[mi] handed, had led Rome to victory against the neighboring Volscians. Rome was at this time torn by bitter controversy between the patricians and the plebeians, who declared themselves starved and oppressed be- yond endurance. Coriolanus, impulsive, overbearing, scorned and openly insulted the populace in terms which roused the general anger, and when the military hero was proposed as consul, the senate was swayed by the popular clamor, and voted his permanent exile from Rome in the year 491 b.c. Swept by feelings of bitterness and desire for revenge, he took refuge with the Volscians, the traditional enemies of the Romans, and made compact with them to lead a campaign against his own people. The fall of Rome seemed imminent, and emissaries were sent from the capital to the Volscian encampment outside the city walls. Coriolanus met every entreaty with absolute re- jection. In desperation, a delegation of women went out from the city, led by his mother and his wife. They went to his tent and beseeched him on their knees to spare his own people. The pride and determina- tion of the soldier were at last subdued by the moving words of his mother, who pictured the eternal disgrace which he would certainly inflict upon his own family. Coriolanus yielded and withdrew the forces under his command, thus bringing the anger of the Volscian leaders upon his own head. He was slain by them, according to the version of Shakespeare; according to Collin, he was driven to suicide.
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[1113] Collin's treatment differs from Shakespeare's principally in that the action is concentrated into a shorter and more continuous period. Collin begins at the point where Coriolanus, banished from Rome, takes stormy leave of his family and marches furiously from the city. After this first scene, the entire action takes place within the Volscian lines. Shakespeare depicts Coriolanus as a lone and striking figure in the midst of constant crowd movement, spurring his legions to the capture of Corioli, the Volscian capital, or flinging his taunts against the Roman rabble as they threaten to throw him to his death from the Tarpeian rock. The character of Coriolanus is indelibly drawn by Shakespeare in the scornful and succulent oaths which he hurls at his enemies. The mother and wife become immediately human and en- dearing figures as Shakespeare presents them, and at the end, the nobil- ity and pathos of Volumnia* dominates the scene. Collin, on the other hand, holds Coriolanus as the central and dominating figure through- out. His characters in ajction are more idealized and formalized, as if in the manner of the Greek tragedians. Fate and avenging furies threaten and at last destroy him. There is a persistence of intense dramatic conflict within the soul of the all-conquering leader. Collin stresses the solemn oath of fealty until death which he has made to the Volscians and which his sense of honor forbids him to break, even
* Collin, strangely enough, transfers the name "Volumnia" from the mother to the wife.
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416 Boylston St., Boston 54 Central St., Wellesley [»"5] when he is confronted with the destruction of Rome, of his family, and of himself. The famous scene in which the inner struggle of honor, pride and love reaches its climax seems to be the direct subject of Beethoven's overture. The opening chords, proud, ferocious, im- placable, limn Coriolanus in a few bold strokes. The second subject, gentle and melodious, seems to introduce the moving protestations of his mother. The contrasting musical subject of Coriolanus recurs, at first resistant but gradually softening, until at the end there is entire capitulation. Richard Wagner, describing this music, saw the struggle between mother and son in this same scene as the subject of the overture. He wrote in part: "Beethoven seized for his presentment one unique scene, the most decisive of them all, as though to snatch at its very focus the true, the purely human emotional content of the whole wide-stretching stuff, and transmit it in the most enthralling fashion to the likewise purely human feeling. This is the scene between Coriolanus, his mother, and his wife, in the enemy's camp before the gates of his native city. If, without fear of any error, we many conceive the plastic subject of all the master's symphonic works as represent- ing scenes between man and woman, and if we may find the archetype of all such scenes in genuine Dance itself, whence the Symphony in
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[1116] truth derived its musical form: then we here have such a scene before us in utmost possible sublimity and thrillingness of content." The overstressing of literary concepts and allusions by the explainers of Beethoven has had abundant play in the "Coriolan" overture. But it would be hard to deny that the composer's imagination must have been illuminated by this heroic and kindred subject in the making of one of his noblest works. It is of course not hard to see in Coriolanus the figure of Beethoven himself. The composer must have felt strangely close to the Roman noble, infinitely daring, the arch individualist, the despiser of meanness and ignorance who, taking his own reckless Course, yielding to none, at last found himself alone against the world, clad in an armor of implacability which only one power could pene- trate — the tenderness of feminine persuasion.
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[ 1117] "THE AGE OF ANXIETY," Symphony No. 2, for Piano and Orchestra (after W. H. Auden) By Leonard Bernstein
Born in Lawrence, Massachusetts, August 25, 1918
Although Leonard Bernstein read W. H. Auden's poem, The Age of Anxiety; a Baroque Eclogue,* not long after its appearance, and was moved to musical thoughts, he wrote the actual orchestration in the present year, completed the score through the first set of variations (according to a note in the manuscript) February 9, and the entire score March 20. At the end of the last page he has written: "NYC — first day of spring!" The orchestration requires two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contra-bassoon, four horns, three trumpets, three trombones and tuba, timpani, glockenspiel, celesta, harp, pianino
(small upright piano) , various percussion instruments, and strings. The score is inscribed: "For Serge Koussevitzky — in tribute." It was perhaps an accident that the sections of the poem fell into place in a symphonic sequence: introduction and variations, slow movement, scherzo, finale. The composer disavows any planned at- tempt to translate W. H. Auden's tortured picture in prose and verse of
the age which is our own into instrumental music. Yet such he believes was the result, as will be seen in his contribution to this program which follows.
* Published 1946 by Random House, Inc.
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Member of the Federal Deposit Insurance Corporation [1119] NOTES ON "THE AGE OF ANXIETY" By Leonard Bernstein Auden's fascinating and hair-raising "eclogue" began immediately to affect me lyrically when I first read it in the summer of 1947. From that moment the composition of a symphony based on The Age of Anxiety acquired an almost compulsive quality; and I have been writ- ing it steadily since then, in Taos, in Philadelphia, in Richmond, Mass., in Tel-Aviv, in planes, in hotel lobbies, and finally (the week preceding the premiere) in Boston. The orchestration was made dur- ing a month-long tour with the Pittsburgh Symphony.
I imagine that the conception of a symphony with piano solo emerges from the extremely personal identification of myself with the poem. In this sense, the pianist provides an almost autobiographical protagonist, set against an orchestral mirror in which he sees himself, analytically, in the modern ambience. The work is therefore no "con- certo," in the virtuosic sense, although I regard Auden's poem as one of the most shattering examples of pure virtuosity in the history of British poetry. The essential line of the poem (and of the music) is the record
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[1121] of our difficult and problematical search for faith. In the end, two of the characters enunciate the recognition of this faith — even a pas- sive submission to it — at the same time revealing an inability to relate to it personally in their daily lives, except through blind acceptance.
No one could be more astonished than I at the extent to which the programmaticism of this work has been carried. I had not planned a "meaningful" work, at least not in the sense of a piece whose mean- ing relied on details of programmatic implication. I was merely writ- ing a symphony inspired by a poem and following the general form of that poem. Yet, when each section was finished I discovered, upon re- reading, detail after detail of programmatic relation to the poem — details that had "written themselves," wholly unplanned and uncon- scious. Since I trust the unconscious implicitly, finding it a sure source of wisdom and the dictator of the condign in artistic matters, I am content to leave these details in the score. For example, I recently discovered, upon re-examining the "Masque" movement, that it actually strikes four o'clock! Now there is no men- tion of four o'clock in the poem; there is only the feeling that it is very late at night, that everyone is tired, that the jokes are petering out, and that everyone is valiantly trying to keep them going. So we
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81 Arlington Street PAINES O F OS TON find the music petering out, while the celesta strikes four as naively as day and the percussion instruments cheerfully make a new stab at energetic gaiety. I was pleasantly surprised to find this in the score,
since I had not really "written"' it. It had simply been put there bv some inner sense of theatricality.
If the charge of "theatricality" in a symphonic work is a valid one, I am willing to plead guilty. I have a deep suspicion that ever)' work
I write, for whatever medium, is really theater music in some way; and nothing has convinced me more than these new discoveries of the unconscious hand that has been at work all along in The Age of Anxiety. I have divided Auden >ections into two large parts, each con- taining three sections played without pause. A brief outline follows:
Part One:
(a) The Prologue finds four lonely characters, a girl and three men, in a Third Avenue Bar, all of them insecure, and trying, through drink, to detach themselves from their conflicts, or, at best, to resolve them. They are drawn together by this common urge and begin a kind of symposium on the state of man. Musically the Prologue is a very short section consisting of a lonely improvisation by two clarinets,
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[1127] echotone, and followed by a long descending scale which acts as a bridge into the realm of the unconscious, where most of the poem takes place.
(b) The Seven Ages. The life of man is reviewed from the four per- sonal points of view. This is a series of variations which differ from conventional variations in that they do not vary any one common theme. Each variation seizes upon some feature of the preceding one and develops it, introducing, in the course of the development, some counter-feature upon which the next variation seizes.- It is a kind of musical fission, which corresponds to the reasonableness and almost didactic quality of the four-fold discussion.
(c) The Seven Stages. The variation form continues for another set of seven, in which the characters go on an inner and highly sym- bolic journey according to a geographical plan leading back to a point of comfort and security. The four try every means, going singly and in pairs, exchanging partners, and always missing the objective. When they awaken from this dream-odyssey, they are closely united through a common experience (and through alcohol) , and begin to function as one organism. This set of variations begins to show activity and drive and leads to a hectic, though indecisive, close.
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[1128] The Steinway
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Part Two:
(a) The Dirge is sung by the four as they sit in a cab en route to the girl's apartment for a nightcap. They mourn the loss of the "colossal Dad," the great leader who can always give the right orders, find the right solution, shoulder the mass responsibility, and satisfy the universal need for a father-symbol. This section employs, in a har- monic way, a twelve-tone-row out of which the main theme evolves. There is a contrasting middle section of almost Brahmsian romanticism, in which can be felt the self-indulgent, or negative, aspect of this strangely pompous lamentation. (I sometimes feel that the most ap- propriate musical version of the Dirge should have been a raucous blues)
(b) The Masque finds the group in the girl's apartment, weary, guilty, determined to have a party, each one afraid of spoiling the others' fun by admitting that he should be home in bed. This is a kind of scherzo for piano and percussion alone (including harp, celesta, glockenspiel, and xylophone) in which a kind of fantastic piano-jazz is employed, by turns nervous, sentimental, self-satisfied, vociferous. The party ends in anticlimax, and the dispersal of the actors; in the music the piano protagonist is traumatized by the in- tervention of the orchestra for four bars of hectic jazz. When the or- chestra stops, as abruptly as it began, a pianino in the orchestra is continuing the Masque, repetitiously and with waning energy, as the Epilogue begins. Thus a kind of separation of the self from the guilt
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[ 1131] of escapist living has been effected, and the protagonist is free again to examine what is left beneath the emptiness.
(c) The Epilogue. What is left, it turns out, is faith. The trumpet intrudes its statement of "something pure" upon the dying pianino: the strings answer in a melancholy reminiscent of the Prologue: again and again the winds reiterate "something pure" against the mounting tension of the strings' loneliness. All at once the strings accept the situation, in a sudden radiant pianissimo, and begin to build, with the rest of the orchestra, to a positive statement of the newly-recognized faith.
Throughout the Epilogue the piano-protagonist has taken no part, but has observed it, as one observes such development on a movie- screen, or in another human personality. At the very end he seizes upon it with one eager chord of confirmation, although he has not himself participated in the anxiety-experience leading to this fulfil- ment. The way is open; but, at the conclusion, is still stretching long before him.
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[1133] 'TOD UND VERKLARUNG" ("DEATH AND TRANSFIGURA- TION"), Tone Poem, Op. 24 By Richard Strauss
Born at Munich, June 11, 1864
"Tod und Verklarung" was first performed from the manuscript, the composer conducting, at Eisenach, June 21, 1890, when his "Burleske" was also first heard. Anton Seidl gave the first American performance with the Philharmonic Society of New York, January 9, 1892. Emil Paur introduced it at the Boston Symphony concerts, February 6, 1897. The most recent performance in this series was November 22, 1946.
The tone-poem is dedicated to Friedrich Rosch and scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, double-bassoon, four horns, three trumpets, three trombones, tuba, timpani, two harps, gong, strings.
TTThen "Death and Transfiguration" first appeared, an unrhymed * * poem was printed in the score, giving a more explicit story than Strauss, always reticent about such matters, usually attached to his symphonic poems. The verses were unsigned but were soon discovered to be from the pen of none other than Alexander Ritter, the militant champion of Wagner and Liszt, who had recruited
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[ 1134] the youthful Strauss at Meiningen to the cause of "programme music."
The verses, it was found out, were actually written after the music
had been composed, and were inserted in the score as it went to the printer. The analyst forthwith questioned the authenticity of the words as a direct guide to the music. But surely Strauss and Ritter must have been too intimately associated at this time not to have a clear understanding. It was Ritter who had goaded the brilliant young musician to set his back firmly upon symphonies and sonatas, and fly the banner of "Musik als Ausdruck." Assuming that the older man could hardly have done more than help the younger one to find himself, the fact remains that Strauss, embarking upon programme music with the "Aus Italien" which he called a "symphonic fantasia," in 1886, made quick and triumphant progress with three symphonic poems: "Mac- beth," "Don Juan," and "Tod und Verklarung," all within the space of three years.*
* Strauss wrote of Ritter: "His influence was in the nature of the storm-wind. He urged me on to the development of the poetic, the expressive in music, as exemplified in the works of Liszt, Wagner and Berlioz. My symphonic fantasia, 'Aus Italien,' is the connecting link between the old and the new methods."
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The work divides naturally into four parts:
1. In a dark room, silent except for the ticking of the clock, is a dying man. He has fallen asleep and is dreaming of childhood. 2. The struggle between life and death begins anew.
3. He sees his life over again. He remembers childhood, youth, and the strivings of manhood after ideals that are still unrealized. 4. From heaven comes to him what he had vainly sought upon earth, "Welterlosung, Weltverklarung": "World-redemption, world-transfiguration. '
The poem of Alexander Ritter has been paraphrased as follows:
A sick man lies upon his mattress in a poor and squalid garret, lit by the flickering glare of a candle burnt almost to its stump. Ex- hausted by a desperate fight with death, he has sunk into sleep; no sound breaks the silence of approaching dissolution, save the low, monotonous ticking of a clock on the wall. A plaintive smile from time to time lights up the man's wan features; at life's last limit, dreams are telling him of childhood's golden days.
But death will not long grant its victim sleep and dreams. Dreadly it plucks at him, and once again begins the strife; desire of life against might of death! A gruesome combat! Neither yet gains the victory;
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["37] earth he sought in vain, from heaven it greets him: Deliverance,
Transfiguration I
"Death and Transfiguration" had a wide vogue in its early days.
Bulow admired it with reservations — "a very important work in spite of sundry poor passages, and also refreshing." Professor Niecks, dis- cussing programme music, considered it "the most musical of all Strauss' programmes." Ernest Newman, in his book of 1908, praised this tone poem as Strauss' nearest approximation to "a perfect fusion of matter and style," truly symphonic in thematic development, show- ing "quite a Beethovenian unity and breadth of conception." Mauke pointed out that here, if anywhere, Strauss heeded the ways of Liszt, and made his score upon the model of "Tasso." The piece, for the benefit of its earlier hearers, was minutely dissected, thematically catalogued bit by bit. Wilhelm Mauke, Strauss' most industrious analyst, wrote a description sixteen pages long, with twenty-one examples in notation. Max Steinitzer disapproved Mauke's "un- Straussian distillations."
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MUSICAL CRITICISM: ROME, 1779 By Michael Kelly
The Irish tenor (1762-1826) who became the friend of Mozart and sang the first Basilio in Figaro in Vienna in 1786 was reported an able singer, and is known to have been an engaging raconteur through his Reminiscences of Michael Kelly (edited by Theodore Hook, and published in the year of his death) . In the following excerpt are the observations of a lad of sixteen who has found his way from Dublin to Rome for the placing of his voice and the beginning of a career, but who is learning at least as much about Italy's operatic ways, and her people in general.
The Romans assume that they are the most sapient critics in the world; they are certainly the most severe ones: — they have no medium,
— all is delight or disgust. If asked whether a performance or a piece has been successful, the answer, if favourable, is, "b andato al settimo cielo," — "it has ascended to the seventh heaven." If it has failed, they say, "b andato al abbisso del inferno," — "it has sunk to the abyss of hell." The severest critics are the Abbes, who sit in the first row of the pit, each armed with a lighted wax taper in one hand, and a book of the opera in the other, and should any poor devil of a singer miss a word, they call out, "bravo, bestia," — "bravo, you beast!"
It is customary for the composer of an opera to preside at the piano-
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forte the first three nights of its performance, and a precious time he has of it in Rome. Should any passage in the music strike the audience as similar to one of another composer, they cry, "Bravo, il ladro," — "bravo, you thief"; or, "bravo, Paesiellol bravo, Sacchini!" if they suppose the passage stolen from them, "the curse of God light on him who first put a pen into your hand to write music!" This I heard said, in the Teatro del Altiberti, to the celebrated composer Gazzaniga, who was obliged to sit patiently at the pianoforte to hear the flattering commendation. Cimarosa, who was their idol as a composer, was once so unfortunate as to make use of a movement in a comic opera, at the Teatro del La Valle, which reminded them of one of his own, in an opera composed by him for the preceding carnival. An Abbe started up, and said, "Bravo, Cimarosa! you are welcome from Naples; by your music of tonight, it is clear you have neither left your trunk behind you, nor your old music; you are an excellent cook in hashing up old dishes!" Poggi, the most celebrated buffo singer of his day, always dreaded appearing before those stony-hearted critics; however, tempted by a large sum, he accepted an engagement at the Teatro del La Valle. He arrived in Rome some weeks previous to his engagement, hoping to
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[1140] make friends, and form a party in his favour; he procured introduc- tions to the most severe and scurrilous, and thinking to find the way to their hearts through their mouths, gave them splendid dinners daily. One of them, an Abbe, he selected from the rest, as his bosom friend and confidant; he fed, clothed, and supplied him with money; he confided to him his terrors at appearing before an audience so fastidious as the Romans. The Abbe assured him, that he had nothing to fear, as his opinion was looked up to by the whole bench of critics, and when he approved, none dare dissent. The awful night for poor Poggi at length arrived; his fidus Achates took his usual seat, in his little locked-up chair, in the pit. It was agreed between them, that he was to convey to Poggi, by signs, the
feeling of the audience towards him; — if they approved, the Abbe was
to nod his head; if the contrary, to shake it. — When Poggi had sung
his first song, the Abbe nodded, and cried, "Bravo! bravissimo!" but in the second act, Poggi became hoarse, and imperfect; the audience
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This produced roars of laughter, and poor Poggi retired, never to appear again, without even exclaiming, "Et tu, Brute," which he might most appropriately have applied to his guardian crony. ^j^7\r^Ss COLUMBIA long playing microgroove records MOSHER MUSIC Inc. writeWKiit FORi-ukujilist 181 Tremonf st#i opp# |ostOB Common Mailed Free Each Month Liberty 2-7672 COOLEY'S INC. Established 1860 CHINA and GLASS TRAYS GIFTS KE 6-3827 34 NEWBURY STREET BOSTON MRS. ROBERT BARTON'S GARDEN SHOP 75 GRANITE STREET, Off Rte 140 FOXBORO, MASSACHUSETTS FOXBORO 498 Wedding Presents Antiques Antique Boxes a Specialty Unusual things for Flowers and Gardens [1142] "LA VALSE," Choreographic Poem By Maurice Ravel Born at Ciboure, Basses- Pyr6n£es, March 7, 1875; died at Paris, December 28, 1937 It was in 1920 that Ravel completed "La Valse." The piece was played from the manuscript at a Lamoureux concert in Paris, December 12, 1920. The first per- formance by the Boston Symphony Orchestra was on January 13, 1922. The most recent performance in the Friday and Saturday series was November 23, 1945, when Paul Paray conducted. The orchestration calls for three flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contra-bassoon, four horns, three trumpets, three trombones and tuba, timpani, side drum, bass drum, cymbals, tambourine, castanets, crotales,* tam-tam, glockenspiel, two harps, and strings. The score was published in 1921, and dedicated to Misia Sert. Philip Hale supplies this note: "The crotalum (from Greek, Krotalon) was a rattle, whether of split reed, pottery, or metal, a sort of castanet. It has also been defined as con- sisting of two little brass plates or rods, which were shaken in the hand. The word 'crotaT in Irish antiquities was applied to a small erlobular or pear-shaped bell or rattle. Wotton in his Dictionary of Foreign Musical Terms defines 'crotales' as a species of clapper, usually made of wood. They have been used by Massenet and other composers. For a long and learned description of the 'Krotalon' see F. A. Lampe 'De Cymbalis Veterum' (Utrecht, 1703). As employed by Ravel in 'The Waltz,' the crotales are to be taken as small cymbals a little thicker than those known as antique." $ierre=4fflarcel announces the enlargement of the Jfacial £s>alcm at 7 Newbury Street under the supervision of <§race Jfafatan and additional experienced operators (New Air Cooling System) Attractive Bedspreads and Linens for Spring ~mr IMpoie protfjerg, 3nc- „ . g>pectaltete in TLintnti EST. in 1766 400 BOYLSTON ST., BOSTON London Dublin Washington, D. C. Magnolia Hyannis ,, r 43i considerable part of the music by Ravel has been used for ballet A purposes by Diaghileff and others, although it can be positively said only of "Daphnis et Chloe" that the composer directly designed his score for Diaghileff's Ballet Russe. "Daphnis et Chloe" was not conspicuously successful as a ballet. A certain air of mystery hangs over Ravel's intentions in writing "La Valse." Alfredo Casella has stated: "La Valse was composed with the thought of a dance produc- tion, but Ravel had no exact idea of a choreographic production." Yet Serge Lifar, who was close to Diaghileff, has told more on this subject.* In 1917, five years after the production of "Daphnis et Chloe," Diaghileff approached Ravel for another ballet, this time on a subject by the Italian poet Cangiullo. Ravel accepted the offer, but nothing was forthcoming. When he composed "La Valse" in 1919-1920 he must have submitted it to Diaghileff, for, if Lifar is correct, the score was rejected by the Russian impresario as unfit for staging. "La Valse was the cause of a definite break between Ravel and Diaghileff," *Maurice Ravel et le Ballet by Serge Lifar, "Homage a Maurice Ravel," Special Number of La Revue Musicale, December, 1938. SINCE 1832 ^ LOCAL and DISTANT Price Range to Serve All Information Upon Request Serving OFFICES & CHAPELS All Religions CENTRALLY LOCATED 1 k J. S. Waterman & Sons F. E. Palmer, Florist Est. — 1886 Eleanor M. Yeager, Proprietor 131 Newton Street Brookline 46, Mass. LOngwood 6-2300 "Flowers leave part of their fragrance in the hand that bestows them" [ "44] 1873-1949 There is no reference so powerful as a list of customers whose patronage has been continuous over a long period of years. The Ellis list goes back in some cases for nearly three-quarters of a century. In 1873 we were producing quality printing . . . pioneering in excellence and service long before printing reached its present stage. What safer guide could there be for to- day's buyer than to make his purchases where permanency of patronage has proved the value of our experience and our knowl- edge of fine printing. <^ea.x. w. sea* &>. LIberty 2-7800 • 272 Congress St., Boston Ellis Excellence Since 1873 UNUSED TICKETS First with Two-Way Radio Season ticket holders who at any time are unable to attend a particular concert will con- fer a double favor by leaving their tickets at the Box Office. or telephoning the location. They will so enable a visitor to Boston or a nonsubscriber to hear the Orchestra in a sol- idly subscribed season. These tickets will be resold for the Boston Cab benefit of the Orchestra. 6-5010 KEnmore 6-5010 [ 1145] writes Lifar, and adds that this rupture was never healed; when as late as 1925 Diaghileff extended his hand to Ravel, Ravel refused it. Ravel has said nothing about intending this music for Diaghileff. In his autobiographical sketch (published in the special issue of "La Revue Musicale" referred to above) , Ravel has only this to say about "La False'*: "After Le Tombeau de Couperin my health prevented me from composing for a considerable period. I resumed composition to write La False, Poeme Choregraphique, the idea for which first came to me before La Rapsodie Espagnole. I conceived this work as a kind of apotheosis of the Viennese waltz, in which there is mingled in my thoughts the impression of a deceptive and fateful vortex. I placed this waltz in the setting of an Imperial palace about 1855. This work, in which my intention was essentially choreographic, has not been staged except at the theatre in Anvers and in ballet performances by Mme. Rubinstein/' The indefatigable Ida Rubinstein "visualized" "La False" in 1928. Ravel based his "poeme choreographique" upon measures which one of the Strausses might have written, but used them with impli- cations quite apart from the light abandon and sweet sentiment which old Vienna offered him. Ravel gives the tempo indication: "Movement of a Viennese waltz," and affixes the following paragraph TO KENTUCKY HOSPITALITY ONE key turns in the door of a gracious Kentucky home. The other key unlocks to your enjoyment the favorite Bonded Bour- bon of Kentuckians... robust in flavor, with distinctive bouquet. Enjoy the genuine sour mash Bourbon Kentuckians prefer. Ask for 010 FITZGERALD today. OLD FASHI0NED..^f^iT^^4 OLDFITZGERALD 100 PROOF [1146] to his score: "At first the scene is dimmed by a kind of swirling mist, through which one discerns, vaguely and intermittently, the waltzing couples. Little by little the vapors disperse, the illumination grows immense ballroom filled with dancers; the blaze I brighter, revealing an of the chandeliers comes to full splendor. An Imperial Court about 1855." Misia Sert, who received the dedication, is the painter who designed the scenes for Richard Strauss' Ballet, "The Legend of Joseph," as produced by Diaghilev's Ballet Russe. Raymond Schwab, listening to the first performance in Paris, dis- cerned in the music an ominous undercurrent. "To the graces and languors of Carpeaux is opposed an implied anguish, with some Prod'homme exclaiming 'We dance on a volcano.' " H. T. Parker described the gradual definition of the waltz rhythm from "shadowy, formless spectres of dead waltzes, drifting through gray mists. . . . "Then ensues a succession, as it were, of waltzes. The waltz sen- suous and languorous, the waltz playful and piquant, the waltz sentimental, the waltz showy, the waltz strenuous — the waltz in as many variants and as many garbs as Ravel's imagination and re- source may compass. Like sleep-chasings, waltz succeeds waltz; yet Ravel is wide-awake in the terseness with which he sums and charac- terizes each, in the vivid and artful instrumental dress every one receives. ... Of a sudden, the chain of waltzes seems to break. Fragments of them crackle and jar, each against each, in the tonal air. The harmonies roughen; there are few euphonies; through a surface-brilliance, harsh progressions jut; that which has been sen- suous may, for the instant, sound ugly. As some say, here is the music For Discriminating Theatre Goers * Boston Tributary Theatre* REPERTORY PRODUCTIONS (A Friday and Saturday Evening Series) • April 22, Shakespeare's comedy "Merchant of Venice" • April 23, Matinee & Eve., Shakespeare's "A Midsummer Night's Dream" • April 29—30, Ben Jonson's hilarious farce "Volpone" • May 13-14, Wm. Saroyan's Play "Jim Dandy" Productions staged and lighted by Eliot Duvey Settings designed by Matt Horner Children's Theatre Plays Adele Thane, Director * Tues., April 19, at 2 :30, "Hansel and Gretel" * Sat., April 23, at 2 :30, "A Midsummer Night's Dream" * Sat., April 30, at 2 :30, "Heidi" * Sat., May 14, at 2 :30, "Hansel and Gretel" Season Subscriptions: $4, $6, $8, $12 Box Office Prices: 60c, 90c, $1.20, $1.80 Tel. CO 7-0377 Performances at New England Mutual Hall [ "47 ] that imaginative minds write in this world of the aftermath of war. . . . On the surface, the sensuous glow and glint of neurotic rap- ture — 'Dance that ye may not know and feel.' Below the surface, and grating rude and grim upon it, are stress and turbulence, de- spairs and angers equally ugly, and, maybe, nigh to bursting. A troubled 'apotheosis,' then, in these culminating measures of the waltz in this world of ours." Bequests made by will to the BOSTON SYMPHONY ORCHESTRA, Inc. will help to perpetuate a great musical tradition. Such bequests are exempt from estate taxes. [1148] THE BOSTON UNIVERSITY CHORUS Of 300 Voices Will Present Handel's Oratorio "fulia* jWaccabaeus;" At Symphony Hall, Wednesday, April 20, 8:15 p.m, Professor JAMES R. HOUGHTON, Conductor Orchestral Accompaniment By 35 BOSTON SYMPHONY MUSICIANS Tickets at Symphony Hall, $1.00, $1.50, $2.00, $2.50, $3.00 — plus tax EXHIBITION OF PAINTINGS BY SYMPHONY SUBSCRIBERS i. You are invited to submit not more than three paintings for an exhibition to be held in Sym- phony Hall next autumn. 2. Paintings in any medium may be submitted, but should not be less than about 8 by 10 inches in size, exclusive of frame and mat. 3. The paintings will be selected by a jury. As the amount of wall space available is limited some exclusions may have to be made to allow proper hanging, apart from the question of merit. 4. Exact dates and further details and an entry blank will be found in the first two programs of next season. [ "49] BERKSHIRE FESTIVAL, 1949 TANGLEWOOD, LENOX, MASSACHUSETTS Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director PROGRAMS SERIES A Vivaldi Orchestral Concerto in D minor Thursday Eve- Strauss "Death and Transfiguration" ning, July 28 _, ; Brahms Symphony No. 2, in D major Beethoven Overture to "Egmont" Beethoven Piano Concerto No. 4, in G major Saturday Eve- (Soloist: Claudio Arrau) ning, July 30 Liszt A Faust Symphony (In commemoration of the 200th Anniversary of the birth of Goethe) Leonard Bernstein, conducting Sunday After- Schumann Overture to "Manfred" Schumann Symphony No. in minor noon, July 31 4, D Stravinsky "Le Sacre du Printemps" SERIES B Tchaikovsky Serenade for String Orchestra _ _. Tchaikovsky Violin Concerto Thursday Eve- (5o/o ^. v Jascha Hd£ ' NING, AugUSt 4 "i Tchaikovsky Symphony No. 4, in F minor Roussel Suite in F major Milhaud Violoncello Concerto No. 2 Saturday Eve- (Soloist: Gregor Piatigorsky) Messiaen "L'Ascension" ning, August 6 Franck Symphony in D minor Eleazar de Carvalho, conducting William Schuman Symphony for Strings Sunday After Villa-Lobos Mandii-Carara noon, August 7 Strauss "Thus Spake Zarathustra" SERIES C Leonard Bernstein, conducting Symphony Thursday Eve- Schubert No. 4 ("Tragic") ning, August 1 1 Shostakovitch Symphony No. 7 Haydn Symphony in G major, No. 88 Saturday Eve- Britten s m hon with Chorus ning, August 13 ;.••••;••;•• y P y (First performance) C. P. E. Bach Concerto for Orchestra Copland "Quiet City" Sunday After- Debussy "La Mer" NOON, AugUSt 14 Beethoven Symphony No. 5, in C minor Extra Concerts — Bach-Mozart Programs July 16, 17, 23, 24. For further information apply at subscription office, Symphony Hall. 1150] 4 SIXTY-EIGHTH SEASON • NINETEEN HUNDRED FORTY-EIGHT AND FORTY-NINE Next week the Orchestra will give concerts in Philadelphia, New York, New Brunswick and Brooklyn. The next regular pair of concerts will take place April 22 and April 23. Twenty-third Program FRIDAY AFTERNOON, April 22, at 2:30 o'clock SATURDAY EVENING, April 23, at 8:30 o'clock Bruckner Symphony No. 7, in E major I. . Allegro moderato II. Adagio: Sehr feierlich und langsam III. Scherzo: Allegro; Trio: Etwas langsamer IV. Finale: Bewegt, doch nicht schnell INTERMISSION Wagner A Siegfried Idyll Wagner Overture to "Tannhauser" BALDWIN PIANO VICTOR RECORDS This program will end about 4:25 o'clock on Friday Afternoon, 10:25 on Saturday Evening. Rehearsal Broadcasts of the Boston Symphony Orchestra are given each Monday, 1:30-2 WBZ, on the National Broadcasting Company Network. Scores and information about music on this program may be seen in the Music Room of the Boston Public Library. [ 115 1 1 MUSICAL INSTRUCTION WADSWORTH PROVANDIE TEACHER OF SINGING Symphony Chambers 246 Huntington Avenue Boston, Massachusetts Accredited in the art of singing by Jean de Reszke, Paris, and in mise en scene by Roberto Villani, Milan Studio: Kenmore 6-9495 Residence: Maiden 2-6199 JULES WOLFFERS PIANIST - TEACHER 256 HUNTINGTON AVENUE RAYEL GORDON SELMA PELONSKY TEACHER OF PIANIST - TEACHER PIANO AND VOICE Group and individual instruction Studied Voic« with Madams Felicia Kaszowska — Teacher of Lotte Lhhmann 87 Ivy Street, Brookline, Massachusetts Studio 109 Sewall Avenue, Brooklini Aspinwall 7750 BE 2-7333 CONSTANTIN HOUNTASIS VIOLINS MAKER AND REPAIRER. OUTFITS AND ACCESSORIES 240 HUNTINGTON AVENUE Opposite Symphony Hall KEnmore 6-9285 [ 1152]