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— Skn ;V. f«ta**r m 1 BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY % HENRY LEE HIGGINSON $ ^%j /(IIIMI M ^ H SEVENTY-SIXTH SEASON i95 6 " I 957 John M. Greene Hall, Northampton [Smitb College Department of Music] . Boston Symphony Orchestra (Seventy-sixth Season, 1956-1957) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster Albert Bernard George Zazofsky Contra-Bassoon Roll and Tapley George Humphrey Lipson Richard Plaster Norbert Lauga Jerome Vladimir Resnikoff Robert Karol Reuben Green Horns Harry Dickson Bernard Kadinoff James Stagliano Gottfried Wilfinger Charles Yancich Vincent Mauricci Einar Hansen Harry Shapiro John Fiasca Joseph Leibovici Harold Meek Earl Hedberg Emil Kornsand Paul Keaney Roger Shermont Violoncellos Osbourne McConathy Minot Beale Samuel Mayes Herman Silberman Alfred Zighera Trumpets Roger Voisin Stanley Benson Jacobus Langendoen Marcel Lafosse Leo Panasevich Mischa Nieland Armando Ghitalla Sheldon Rotenberg Karl Zeise Gerard Goguen Fredy Ostrovsky Josef Zimbler Bernard Parronchi Trombones Clarence Knudson Martin Hoherman Pierre Mayer William Gibson Louis Berger William Mover Manuel Zung Richard Kapuscinski Kauko Kahila Samuel Diamond Robert Ripley Josef Orosz Victor Manusevitch James Nagy Tuba Flutes Melvin Bryant K. Vinal Smith Lloyd S tones treet Doriot Anthony Dwyer Saverio Messina James Pappoutsakis Harps Phillip Kaplan William Waterhouse Bernard Zighera William Marshall Piccolo Olivia Luetcke Leonard Moss George Madsen Jesse Ceci Timpani Oboes Noah Bielski Everett Firth Alfred Schneider Ralph Gomberg Harold Farberman Devergie Joseph Silverstein Jean John Holmes Percussion Basses English Horn Charles Smith Harold Thompson Georges Moleux Louis Speyer Arthur Press Gaston Dufresne Clarinets Ludwig Juht Gino Cioffi Piano Irving Frankel Manuel Valerio Bernard Zighera Henry Freeman Pasquale Cardillo Henry Portnoi E\) Clarinet Library Henri Girard Bass Clarinet Victor Alpert John Barwicki Rosario Mazzeo John M. Greene Hall, Northampton SEVENTY-SIXTH SEASON, 1956-1957 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin MONDAY EVENING, November 12 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Talcott M. Banks, Jr. Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Charles H. Stockton Francis W. Hatch Edward A. Taft Harold D. Hodgkinson Raymond S. Wilkins CD. Jackson Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Thomas D. Perry, Jr., Manager Assistant Brosnahan, Assistant G. W. Rector \ J. J. Treasurer N. S. Shirk J Managers Rosario Mazzeo, Personnel Manager E0 THE WHITE HOUSE WASHINGTON September 28, 1956 Dear Mr. Cabot: The reports of the Boston Symphony Orchestra during its recent tour of Europe have given me great satisfaction. Whenever outstanding Ameri- cans like the men and women of the Boston Symphony display their talents to the people of other countries, the cause of international understanding is advanced. Since all people want peace, it is necessary for the people of all nations to correspond at all levels and work out methods by which we can gradually learn more of each other. The exchange of artists is one of the most effective methods of strengthening world friendship. Your orchestra has demonstrated this truth. I should add that it is gratifying to observe that the Boston Symphony Orchestra has developed, in typical American fashion, with the sponsorship and devoted support of private citizens. Please welcome home your musicians and distinguished conductors, Charles Munch and Pierre Monteux, and accept my congratulations on a job well done. Sincerely,sincerely, **-} Mr. Henry B. Cabot President The Boston Symphony Orchestra, Inc. Symphony Hall Boston, Massachusetts [2] SEVENTY-SIXTH SEASON • NINETEEN HUNDRED FIFTY-SIX AND FIFTY-SEVEN John M. Greene Hall [Smith College} Northampton MONDAY EVENING, November 12, at 8:00 o'clock Program Mozart Symphony in D major, "Paris," K. 297 I. Allegro assai II. Andantino III. Allegro Piston Symphony No. 5 I. Lento; Allegro con spirito; Lento II. Adagio III. Allegro lieto INTERMISSION Tchaikovsky Symphony No. 6, in B minor, "Pathetique," Op. 74 I. Adagio; Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamentoso Performances by this orchestra are broadcast each week on Monday evenings from 8:15 to 9:00 P.M. on the NBC Radio Network. BALDWIN PIANO RCA VICTOR RECORDS [3] TANGLEWOOD 195 7 The Boston Symphony Orchestra CHARLES MUNCH, Music Director The Berkshire Festival Twentieth Season CHARLES MUNCH, Conductor The Berkshire Music Center Fifteenth Season CHARLES MUNCH, Director To receive further announcements, write to Festival Office, Symphony Hall, Boston [4] SYMPHONY IN D MAJOR ("PARIS"), NO. 31 (K. 297) By Wolfgang Amadeus Mozart Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791 Composed in Paris in 1778, this symphony had its first performance at a Concert Spirituel under the direction of Jean Le Gros on June 18 of that year. The first performance of the symphony at the concerts of the Boston Symphony Orchestra was October 28, 1887, under the direction of Wilhelm Gericke. Arthur Nikisch performed it April 28, 1893; Emil Paur, November 8, 1895; Wilhelm Gericke, January 13, 1898, and Serge Koussevitzky, October 26, 1945. The score calls for the following instruments in pairs: flutes, oboes, clarinets, bassoons, horns, trumpets, together with timpani and strings. Mozart, aged twenty- two, arrived with his mother in Paris on March 23, 1778, and stayed there until September 26. The Mozart family had built great hopes on the success of Wolfgang in the French capital. What he wanted (and was never to succeed in having) was a permanent remunerative post, preferably that of Kapellmeister, which provincial Salzburg had not offered him. Nor were the available musicians at Salzburg inspiring to compose for. "For the last five or six years," wrote Mozart to a Salzburg friend, with a Parisian perform- ance perhaps ringing in his memory, "the Salzburg orchestra has always been rich in what is useless and superfluous, but very poor in what is necessary, and absolutely destitute of what is indispensable." At Mann- heim, whence he had just come and which possessed the finest orchestra in Europe, Mozart had probably first awakened to the full possibilities of the symphonic medium. "The discipline that rules this orchestra!" he had written to his father. "They behave themselves quite differently, have good manners, are well dressed, and don't soak themselves in taverns." The young man realized clearly enough that the broad road to suc- cess in Paris was not the symphonic road but the opera. The Gluck- Piccini controversy still held everyone's attention, although Gluck had triumphed by that time. Mozart was not interested in taking sides: he was as careful to preserve beauty of melody as the dramatic verities, and instinctively he would have sacrificed neither. He was ready to adapt his style to the French language and the French taste, but he never obtained in Paris more than half a promise of a French libretto, nor any definite prospect of a performance. Mozart arrived in Paris with very little money, after nine and a half days of tedious travelling from Mannheim. His mother, who was with him, wrote home: "During the last two days we were choked by the wind and drowned by the rain, so that we both got soaking wet in the carriage and could scarcely breathe." And so they arrived in a strange city, where Mozart, making calls and lacking cab fare, picked his way over paving stones slippery with early spring mud. Mozart's mother was a care and a burden, for she merely sat alone in their dark lodgings day [5] after day and complained of increasing ailments. On July 3 she suc- cumbed to a disease as unidentifiable as many were in those days, and Mozart for the first time directly witnessed the spectre of death. His father, unable to leave Salzburg, had realized that the boy, too sensitive, too impulsive, too trusting, had none of the qualities needed to back up his talents, push his advantage, and make himself known or even noticed in a foreign land. As Baron Grimm, the most helpful friend of Mozart in Paris, wrote to Leopold: "He is too good-natured, listless, easily gullible, too little occupied with the means which can lead to fortune. One can never come through in this town without resource, enterprise and audacity." The long letters constantly exchanged between father and son (the postage eating into Mozart's diminishing savings) are full of cautions and admonitions on the one hand, expres- sions of filial devotion and bitter discouragement on the other. The Baron Grimm was the one person who introduced Mozart in favorable places. He took him to Noverre, Director of Ballet at the Opera, who spoke of an opera and allowed Mozart to provide numbers for a ballet ("Les Petits Riens"), the production of which gave him no credit. His one fruitful meeting was with Le Gros, the Director of the Concert Spirituel, the famous ultra-aristocratic subscription concerts, given in Lent when the theaters were closed, which were later to perform symphonies of Haydn and ultimately

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