BOSTON SYMPHONY ORCHESTRA
FOUNDED IN 1881 BY HENRY LEE HIGGINSON
% 'mi rf miiMi/ fr-—pr(i H #1 SIXTY-SEVENTH SEASON 1947-1948 John M. Greene Hall, Northampton [Smith College Department of Music] Boston Symphony Orchestra [Sixty-seventh Season, 1947-1948] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhap£ Ernst Panenka Alfred Krips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Rolland Contra -Bassoon Tapiey Albert Bernard Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey Horns Paul Cherkassky Louis Artieres Harry Dubbs Willem Valkenier Charles Van Wynbergen James Stagliano Vladimir Resnikofl Hans Werner Principals Joseph Leibovici Lipson Jerome Walter Macdonald Einar Hansen Siegfried Gerhardt Harold Meek Daniel Eisler Paul Keaney Norman Carol Violoncellos Osbourne McConathy Carlos Pinfield Jean Bedetti Harry Shapiro Paul Fedorovsky Alfred Zighera William Gebhardt Harry Dickson Jacobus Langendoen Trumpets Minot Beale Mischa Nieland Frank Zecchino Hippolyte Droeghmani Georges Mager Roger Voisin Karl Zeise Clarence Knudson Principals Josef Zimbler Pierre Mayer Bernard Parronchi Marcel Lafosse Manuel Zung Enrico Fabrizio Harry Herforth Samuel Diamond Leon Marjollet Ren6 Voisin Victor Manusevitch James Nagy Trombones Jacob Raichman Leon Flutes Gorodetzky Lucien Hansotte Raphael Del Georges Laurent Sord© John Coffey James Pappoutsakii Melvin Bryant Josef Orosz John Murray Phillip Kaplan Tuba Lloyd Stonestreet Piccolo Vinal Smith Henri Erkelens George Madsen Saverio Messina Harps Herman Bernard Zighera Silberman Oboes Stanley Benson Elford Caughey John Holmes Hubert Sauvlet Jean Devergie Timpani Joseph Lukatsky Roman Szulc Basses Max Polster Georges Moleux English Horn Willis Page Louis Speyer Percussion Ludwig Juht Simon Sternburg Irving Frankel Clarinets Charles Smith Emil Arcieri Henry Greenberg Victor Polatschek Henry Portnoi Manuel Valerio Piano Gaston Dufresne Pasquale Cardillo Lukas Foss Henri Girard Henry Freeman Bass Clarinet Librarian John Barwicki Rosario Mazzeo Leslie Rogers John M. Greene Hall, Northampton SIXTY-SEVENTH SEASON, i947" 1 948 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor Concert Bulletin MONDAY EVENING, March 15 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Henry B. Sawyer Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Lewis Perry N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [1] It works both ways . • . for a home or a business Whether it's for your home or your business our protection plan puts everything in good order insurance-wise. Based on a complete analysis of your needs, this plan tells you what you have and what you need in fire and casualty insurance. It makes it much simpler to get the protection best suited for you. It makes it easier to keep this protection up-to-date. Smart businessmen and homeowners both always rely on such a plan to get the best and most protection for their money. Ask your Employers' Group agent about it today. THE EMPLOYERS' GROUP One Liberty Square, Boston 7, Mass, The Employers' Group Man is The Man with the Plan [•] John M. Greene Hall \Smith Co/Iege] Northampton Boston Symphony Orchestra SIXTY-SEVENTH SEASON, 1947-1948 SERGE KOUSSEVITZKY, Music Director MONDAY EVENING, March 15, at 8:00 o'clock Program Malipiero Symphony No. 4 ("In Memooam") I. Allegro moderato II. Lento, funebre III. Allegro IV. Lento Kiiatchatourian Concerto for Violoncello and Orchestra I. Allegro moderato II. Andante sostenuto III. Allegro INTERMISSION Brahms Symphony No. 2 in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Adagietto grazioso, quasi andantino IV. Allegro con spirito SOLOIST EDMUND KURTZ BALDWIN PIANO VICTOR RECORDS [3] Class** F Hon eT V Cldss* ^ Cutaway drawing shows exclusive Float- ing Point construction. <&laiM* OUTPERFbRMS ANY NEEDLE YOU HAVE EVER HEARD in tonal reproduction in the preservation of records in eliminating record scratch and extran- eous noises in increasing needle life thousands of plays damage (ad- 1» in protection against needle The needle is mounted ditional insurance for longer record and in a useful record brush, needle life) and fitted into a beauti- ful Lucite utility pack- age (cigarette case size.) SPip Permium Metals Tip (Osmium Alloy) Floating Point €onst|uction THE CLASSIC has these Design Patented Features, "V" Groove Locking found only In Fldell- tone. : SYMPHONY NO. 4 ("IN MEMORIAM") By G. Francesco Malipiero Born in Venice, March 18, 1882 This symphony was composed by commission of the Koussevitzky Music Foundation and is dedicated to the memory of Mme. Natalie Koussevitzky. The orchestration includes two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones and tuba, bass drum, tambourine, and strings. The following communication has been received from Mr. Malipiero, together with the manuscript score of his new symphony (the themes quoted are reproduced from his own script) When Serge Koussevitzky commissioned my Fourth Symphony for his Foundation, he could not have chosen a more propitious moment for entrusting a musician with the task of writing an elegy. This ter- rible post-war period is a huge cemetery in which is brought together all that is no more, so that one's soul has been disposed to draw into itself and make its own the grief of a friend. The dedication of this Fourth Symphony to the memory of Natalie Koussevitzky is the best guide for listening to "In Memoriam." It was very gratifying to me to receive from Serge Koussevitzky, after delivery of the completed score, a letter with these words: "Your Sym- phony is infused with human anguish 1 and with great sorrow. In the future it will remain not only a link with the memory of my wife, but also as a recollection of the tragic years which we have lived and con- tinue to live." The fact is, the house in Asolo, where the Fourth Symphony was written, miraculously escaped destruction. The war ended two hun- dred paces from its door. Death had spared it. To understand the great tragedy which we have gone through, one should bear in mind that it is a miracle that we are still alive. In reaching this understanding it is difficult to account for the great forces which now weigh on us with a strange doggedness, as if to humiliate the spirit, and kill those who have succeeded in surviving, and who know that all they have lost will never return. Where and how to find comfort? By seeking to keep in touch with all that once existed and has been taken from us, but still belongs to us. The four movements of this Fourth Symphony ("In Memoriam") may be defined as: The First and Third, Hope; the Second and Fourth, Resignation. The first theme of the first movement {Allegro moderato) : r^r? is obviously energetic; the theme which dominates the whole symphony: [5 I : appears for the first time in the middle of the first allegro, but almost seems a derivative of the same theme as it returns in the middle of the second movement, although it actually takes shape in the first movement — that is to say, the idea of the elegy rules the subconscious of the composer. In the first movement the themes may appear diverse; for example, there is a certain resurgence of the one which appears in the thirteenth measure: -J gj .' gp i Phi but the musical dissonance is linear, and is developed with that logic which was spontaneous in Italian music (until, in the first half of the eighteenth century, we recall the sonatas of Domenico Scarlatti) . The ideas succeed each other, balance or contrast, never turn back, do not spread themselves out in development — one evolves from the other without ever becoming a theme prepared for elaboration. The second movement (Lento funebre) needs no comment: "" 7 . f -^ 7 r !#||.: ||-fj It is truly funereal, notwithstanding the almost pastoral theme (meas- ures 188-193) Do not the shepherds perhaps weep for their nymphs? The third movement (Allegro in uno, ben ritmato) : NEW ENGLAND CONSERVATORY OF MUSIC Harrison Keller, Director Malcolm H. Holmes, Dean New appointments for 1947-1948: Richard Burgin, Violin Lorna Cooke deVaron, Chorus Willis W. Fay, Pianoforte Walter Piston, Composition Seminar Ernst Possony, Voice and Opera Felix Wolfes, Repertoire (coaching) For further information, apply to the Dean 290 Huntington Ave., Boston, Mass. [6] j Mro i iniCT jflwafc may be considered as a conventional symphonic scherzo — what would one do if there were no justification for its presence? We must react against grief, against pessimism, so that this third movement represents a parenthesis, an intoxication, a need of seeking oblivion. The rhythm is insistent, it reveals almost a fixed idea, which one seeks to drive away in order to forget. To a young Venetian, a mountain seems an unreal thing. A lagoon is a horizontal concept; a mountain, vertical. Upon the water, a sound finds no stopping place, and is lost. On the other hand, the echo is the musical essence of the mountain. A funeral passes close to the mountain stream. The priest at the head of it, then the cross, the corpse, and the procession in Indian file so as not to wander from the path winding among the rocks. They seem like ants straying among the rocks. The bell of the Alpine church accompanies with its tolling the chanting of the faithful. A theme was inspired in me by the sound of those bells, a theme which I have been unable to elude: For thirty-six years it has remained in my mind, until the day when I found its rightful place in the fourth movement of this Fourth Symphony. For thirty-six years I already had known what sor- row is. Two wars had passed close to me, inexorably. I had not for- gotten this simple theme confined within the space of an octave:* * Where this theme appears in the fifth bar by the English horn over low violas ponticello, there is inscribed : "Estate 1910, Valle del Cis mon. Passa il corteo di un funerale al suono di una campana lontana." 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: KE nmore 6-9495 Residence: MAlden 6-6190 JULES WOLFFERS PIANIST - TEACHER 256 HUNTINGTON AVENUE BOSTON [7] Recording exclusively for RCA Victor, he brings you a wealth of his greatest performances for encore after encore! Among them: • Symphony No. 9 in D Minor — Beethoven. With Frances Yeend, sopra Eunice Alberts, contralto; David Lloyd, tenor; James Pease, bass; the Berkshire Music Festival Chorus, Robert Shaw, directing and the Boston Symphony Orchestra. Album DM-1190, $9. Also on non- breakable records, Album DV-12, $17. • Francesco da Rimini, Op. 32 — Tchaikovsky. The Boston Symphony Orchestra. Album DM-1179. $4. (Suggested list prices exclusive of taxes, subject to change without notice. "DM" and "DV" albums available in manual sequence at $1 extra.) NO PHONOGRAPH? You're missing golden hours! Hear the superb new Victrolas (T.M. Reg. U.S. Pat. Off.) Radio Corporation of America. THE WOR GREATEST ARE m IE NE TO THE RCA VICTOR SHOW STARRING ROBERT MERRILL 2 PM SUNDAYS, OVER WBZ. [9] Six variations follow: They are perhaps wordless reflections upon the desolation of this our life. The Symphony ends with the return of the theme in its original form, and I hope that Serge Koussevitzky was right, and that it will be truly "infused with human suffering and great sorrow." These confessions should be considered the analysis which a com- poser may make of his own work, but not as a prearranged program. (Signed) G. Francesco Malipiero. A communication from Mrs. Malipiero received when her husband's Second Symphony was performed by this orchestra describes Asolo as "a quiet country resort, an hour from Venice, where the composer has lived since 1923. . , . Asolo, very remote from the world, cut away from it by the fact that the nearest railway depot is twenty kilometers away, has always exercised a subtle fascination on artists. "Browning stayed there and wrote his Tippa Passes' with Asolo as a background, and the great actress, Eleanore Duse, lived her last years — her quiet, peaceful years of old age — in Asolo/' [copyrighted 1 CONCERTO FOR VIOLONCELLO AND ORCHESTRA By Aram Khatchatourian Born in Tiflis, June 6, 1903 This concerto, composed in 1946, had its first performance in Moscow on Novem ber 25 of that year. The accompanying orchestra includes two flutes, two oboes, two clarinets and bass clarinet, two bassoons, four horns, two trumpets, timpani, military drum, bass drum, cymbals, harp and strings. nr»HE first movement, Allegro moderato, in common time, is the long- -* est and most fully developed. It opens with an orchestral intro- duction broad in character. A bass clarinet solo introduces the soloist proper, who plays the principal subject to a light and rhythmic accom- paniment. In a meno mosso section the orchestra alone gives forth the second theme, the soloist then elaborating it. There is a long cadenza, a development, and a full-bodied close. The second movement, Andante sostenuto in triple time, has an orchestral introduction with flute solo and harp glissandos. The 'cello solo enters Molto cantabile, with a sinuous theme repetitious in char- acter and ornate in the Oriental fashion. The soloist, who is at first accompanied by the strings only, yields the theme to the violas and bassoons. This movement reaches a climax, subsides in the restatement of the earlier matter, and leads without break into the final Allegro in 4-4 time. In the finale the soloist plays for the most part a reinforcing or obbligato role with repeated figures. The main theme is stated by [10] the 'cello at once. It proceeds on a driving rhythm. The second theme, which the orchestra introduces, is expansively melodic and suited to the 'cello. Khatchatourian is the son of a bookbinder in Tiflis. The indications are that his musical aptitude was not awakened by experience as a child. It was not until he was nineteen that he entered the music school of Michael Gnessin at Moscow. (Gnessin was once a pupil of Rimsky-Korsakov.) Khatchatourian studied the violoncello for two years. But soon composition absorbed him. He evidently lost no time in acquainting himself with musical literature in all its vast extent. Gerald Abraham writes of him ("Eight Soviet Composers") as "in the position of an eager, intelligent child who has just been given the run of a toy shop. It is really difficult to imagine oneself in the place of this young man in his early twenties, intensely musical, very gifted, yet who was belatedly making the acquaintance of the great composers all more or less at the same time. And as was quite natural it was the newest and gaudiest toys in the shop that caught his fancy first; like many other young musicians with fuller cultural backgrounds, Khatchatourian discovered music through contemporary music and only later developed a love of the classics. At that time, the late nineteen twenties, the younger Russian musicians had not been isolated from their Western contemporaries by the Chinese Wall erected to shut out foreign formalism, intellectualism, and pessimism; there was free and healthy artistic intercourse between Russia and her not-yet- Nazified Western neighbors. The young Khatchatourian was par- ticularly attracted by Ravel and the Central-European 'expressionists/ and their influence is said to be very strongly marked in some un- published pieces written at this period; it is still evident, in fairly mild forms, in the Clarinet Trio, and in still more mature works. But although orthodox Soviet critics shake their heads sorrowfully over these modest little crops produced by the wild-oat sowing of 1928-29, it must be said emphatically that the real Khatchatourian is far from being an 'advanced' composer as we understand 'advanced modernism' in Western Europe. "The reasons for this retreat from modernity are probably complex. CONSTANTIN HOUNTASIS VIOLINS APPRAISALS • EXPERT REPAIRING • ACCESSORIES 240 HUNTINGTON AVENUE Opposite Symphony Hall Ken. 9285 1 ) ig4-8 Berkshire Festival Fourteen Concerts by THE BOSTON SYMPHONY ORCHESTRA SERGE KOUSSEVITZKY, Music Director G. E. JUDD, Manager In the Theater-Concert Hall ' Sunday afternoon, July 18 Tuesday evening, July 20 Extra Concerts (Two Programs) Sunday afternoon, July 25 ( Repetition of July 20 Program (BACH, MOZART) Tuesday evening, July 27 Repetition of July 18 Program In the Music Shed — Thursday evening, July 29 Saturday evening, July 3 SERIES A Sunday afternoon, August 1 Thursday evening, August 5 Saturday evening, August 7 SERIES B Sunday afternoon, August 8 Tuesday evening, August 10 Extra Concert -TCHAIKOVSKY Thursday evening, August 12 Saturday evening, August 14 SERIES C Sunday afternoon, August 15 [12] ; MUSIC TO BE PLAYED AT THE BERKSHIRE FESTIVAL, 1948 In the Theatre-Concert Hall — Serge Koussevitzky con- ducting — two programs (each to be repeated in the following week) devoted to the music of Bach and Mozart. Series A Symphonies by Beethoven (Fifth), Brahms (Second), Mahler (Second, "Resurrection"), Piston (Third), Haydn; Bach — Third Suite, Hindemith — "Mathis der Maler." Series B Beethoven — Sixth Symphony ("Pastorale"); Shostakovitch — Fifth Symphony; Berlioz — "Symphonie Fantastique"; Strauss — "Don Quixote" ('Cello Soloist: Gregor Piatigorsky) Stravinsky — "Oedipus Rex"; Villa-Lobos — "Madona"; Falla —"El Amor Brujo." Extra Concert, August 10 Tchaikovsky Program. Series C Beethoven — Third Symphony ("Eroica"); Schumann — First Symphony ("Spring"); Stravinsky — "Petrouchka" (com- plete); Sibelius — Second Symphony; Weber — Overture to "Der Freischutz"; and a major choral work (to be announced). For ticket information apply Festival Office, Symphony Hall, Boston. [*3] , No doubt the fundamental reason was Khatchatourian's discovery of his true creative self, which is essentially lyrical. He is intensely interested in folk-music, not only the music of his own Armenian race but that of the neighbouring peoples — not as a student of musical ethnography, but as a creative artist; even as a student he is said to have written some remarkable songs in the Turkoman, Armenian and Turkish idioms; and, despite the example of Bart6k, love of folk-music is not easily reconciled with advanced modernism. But it is not im- probable that this natural tendency was strengthened first by the later phase of Khatchatourian's musical education and then by official frowns on modernism in music." Khatchatourian left Gnessin's school in 1929 for the Moscow State Conservatory, where he studied until 1934. Here he still had the benefit of Gnessin's instruction, but also of Myaskovsky and Vassilenko. On graduating from the Conservatory he had composed a Dance for violin and piano in 1926, the Clarinet Trio (referred to above) in 1932, a Dance Suite for Orchestra in 1933, and his First Symphony (completed in 1934) . In the following year he wrote the Piano Con- certo widely known in this country.* There are also a "Poem about Stalin" (1938) for orchestra and chorus, and the Ballet "Gayane" (1943) .f The Violin Concerto (1940) ; the Second Symphony (1945) and the Suite "Masquerade" have been performed in this country. Khatchatourian has written numerous patriotic pieces, such as a "March to the Heroes of the Patriotic War," and a "Marching Song about Stalin" for band. He has characterized his Second Symphony as a "symphony of wrath which reflects the feelings of the Soviet people, waging a struggle for the bright future of humanity." His Ballet "Gayane," the Western popularity of which may well have something to do with his present status of disfavor, was awarded a Stalin prize in money, which the composer forthwith returned for use in building a tank for the Red Army. The State has taken good care of its favored composers, and assured them a living with leisure to compose. Khatchatourian once described the special provision for him and his fellows in time of war: "In the spring of 1943, the Soviet Government placed a country mansion near the town of Ivanovo at the disposal of Reinhold Gliere, Dmitri Shostakovitch, and myself. The summer we spent there was highly pro- ductive for all of us. Dmitri Shostakovitch lived in a small cottage on the fringe of a forest, and he wrote his Eighth Symphony there. October The Piano Concerto was performed at the Boston Symphony concerts 29, 1943, on both occasions. and repeated April 21, 1944. William Kapell was the soloist item in the Boston Pops repertory. The fA suite from this Ballet has become a regular at the Pops, June 26, 1945. Violin Concerto had its first American performance r Ml Reinhold Gliere, a representative of our older but never aging genera- tion of composers, wrote his Fourth Quartet. I worked on my Second Symphony in C major. It is not program music, but it reflects my reaction as a musician and a citizen to the trials through which our country is passing. The day I began my work on the third movement, a Scherzo, five school girls from Ivanovo came to visit me in my se- cluded cottage, and brought me a bunch of field flowers. They were shy and attractive, with their braids crowned by enormous wreaths of corn flowers and rye. They seated themselves demurely around the piano, gazing at me with expectation. I played for them some of my piano music. They thanked me and soon disappeared into the sunlit fields." A characterization of Khatchatourian over the signature of his col- league, Dmitri Kabalevsky, appeared in VOKS, Soviet bulletin for cultural relations with foreign countries: "Wherein lies the force of Khachatourian's music which, in such a comparatively short time, has won such attention of listeners and executants, placing him in the forefront ranks of modern composers? It is art, replete with life, born of love for country, for its remarkable people, its rich nature. "The especially attractive features of Khachatourian's music are in its rootings in national, folk I" ».s Captivating rhythmic diversity of dances of the peoples ot Trans-Caucasia and inspired improvisa- tions of ashugs — bards — such are the roots from which have sprung the composer's creative endeavours. In the interlinking of these two principles there grew Khachatourian's symphonism — vivid and dynamic, with keen contrasts, now enchanting in their mellow lyricism, now stirring in their tensity of dramatism. "For this composer folk music forms the initial creative impulse. Taking the seed of folk music, he develops it, resting on the principles of European — in the first instant, Russian — classic symphonism. With its markedly expressed national character, the composer's crea- tions constitute a most interesting page in the history and develop- ment of Russian musical art." [copyrighted] EDMUND KURTZ Edmund Kurtz was born in St. Petersburg in 1911, but left Russia in his boyhood, studying with Fritz Espenhagen in Berlin, Julius Klengel in Leipzig, and Diran Alexanian in Paris. After tours in the Eastern Hemisphere, he came to America in 1936. He was first 'cellist of the Chicago Orchestra until the spring of 1944, and has since devoted his career to solo performance. He introduced Milhaud's Second Violoncello Concerto (dedicated to him) at New York Phil- harmonic concerts (November 28-29, 1946) . Efrem Kurtz conductor of the Kansas Philharmonic, and Arved Kurtz, violinist and director of the New York City College of Music, are his brothers. [15] SYMPHONY NO. 2. IN D MAJOR, Up. 73 By Johannes Brahms at Born Hamburg, May 7, 1833; died at Vienna, April 3, 1897 The Second Symphony was composed in 1877, and first performed in Vienna on December 30 of the same year. A performance followed at Leipzig on January 10, 1878, Brahms conducting. Joachim conducted it at the Rhine Festival in Dusseldori and the composer led the symphony in his native Hamburg, in the same yeai. France first heard it at a popular concert in Paris, November 21, iatio. ihe fiisi American performance was given by Theodore Thomas in New York, October 3, 1878. The Harvard Musical Association introduced it to Boston on January 9, 1879 Jt was then that John S. Dwight committed himself to the much quoted opinion that "Sterndale Bennett could have written a better symphony." Sir George Henschel included this symphony in the orchestra's first season (February 24, 1882). The most recent performance in this series was on January 17, 1946, when Bruno Walter conducted. The orchestration: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, strings. after withholding the uncompleted manuscript of his First Sym- Xx phony for fourteen years, Brahms followed it with another in short order. The First he gave to Carlsruhe for performance Novem ber 4, 1876. Almost exactly a year later Brahms entrusted his Second to the more important Vienna Philharmonic, through which, on December 30, 1877, Hans Richter first disclosed it to the world. Brahms, who in his obscure twenties had been proclaimed by Schumann as the destined custodian of the symphonic tradition, bore his responsibility with unease. Knowing full well that the Weimarites were awaiting his first attempt at a symphony with poised and sharp- ened pens, he approached the form with laborious care, revising and reconsidering, doubly testing the orchestral medium. But when that assertion of sheer mastery, the first Symphony, had come to pass, the composer, despite acrid remarks in some quarters, had every reason for self-confidence. The Second came forth with apparent effortlessness and dispatch. Brahms sought no advice this time, but surprised his friends with a full-rounded manuscript. Since Brahms did most of his composing in the summer season, when he was free from the distraction of concerts, we may assume that the summer of 1877, which he spent at Portschach, gave birth to his most sunny, open, and mellifluous score. When he discovered this lovely spot on the Worther See in Carinthia, he wrote: "Portschach is most exquisitely situated, and I have found a lovely, and apparently, pleasant abode in the Schloss! You may tell everybody just simply this; it will impress them. But I may add in parenthesis that I have just two little rooms in the housekeeper's quarters; mv piano could not be got up the stairs, it would have burst the walls." When visitors became so frequent as to impede his work, he was forced to retire to a more secluded dwelling on the lake shore. He spent two more summers at Portschach, and there poured forth, besides the symphony, the Violin Concerto, the first Violin Sonata, and the two Rhapsodies for piano. Op. 79. Returning there from his Italian journey of 1878, he made his first sketches for the Pianoforte Concerto in B-flat. Tt was with reason that he wrote to Hanslick from this spot: "So many melodies fly about, one must be careful not to tread on them." [copyrighted] r i6i SYMPHONY HALL, BOSTON Tuesday Eve., April 27 at 8:30 PENSION FUND CONCERT BY THE ^Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director BEETHOVEN'S "Missa Solemnis" Assisted by the HARVARD GLEE CLUB AND RADCLIFFE CHORAL SOCIETY (G. WALLACE WOODWORTH, Conductor) SOLOISTS (To be announced) Tickets: $2, $2.50, $3, $3.50, $4, $4.80 (Tax included) BORIS Serge Koussevitzky GOLDOVSKY Arthur Fiedler pianist and composer, says: Jesus Maria Sanroma Leonard Bernstein "Congratula- tions for devel- Claudio Arrau oping this most Benno Moiseiwitsch — these satisfactory pi- anoforte—the new Baldwin." are but a few of the Mr. Goldovsky will appear as guest internationally famous artist with the Springfield Sym- phony Orchestra on Tuesday, artists acclaiming the March 30 Baldwin . . . also makers of the Acrosonic! Leading artists the world over acclaim the Baldwin for its superb orchestral tone, magnificent reso- nance, exacting response. 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