BOSTON SYMPHONY ORCHESTRA SIXTY-SEVENTH SEASON _ 1947-1948 Boston Symphony Orchestra [Sixty-seventh Season, 1947-1948] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Jerome Lipson Bassoons Richard Burgin, Siegfried Gerhardt Raymond Allard Concert-master Ernst Panenka Alfred Krips Violoncellos Ralph Masters Gaston Elcus Jean Bedetti Rolland Tapley Alfred Zighera Contra-Bassoon Norbert Lauga Jacobus Langendoen Boaz Piller George Mischa Nieland Zazofsky Horns Paul Cherkassky Hippolyte Droeghmans Willem Valkenier Harry Dubbs Karl Zeise James Stagliano Josef Zimbler Vladimir Resnikoff Principals Joseph Leibovici Bernard Parronchi Walter Macdonald Einar Enrico Fabrizio Hansen Harold Meek Daniel Leon Marjollet Eisler Paul Keaney Norman Carol Basses Harry Shapiro Carlos Pinfield William Gebhardt Georges Moleux Paul Federovsky Osbourne McConathy Willis Page Harry Dickson Ludwig Juht Trumpets Minot Beale Irving Frankel Georges Mager Frank Zecchino Henry Greenberg Marcel Lafosse Clarence Knudson Henry Portnoi Roger Voisin Pierre Mayer Gaston Dufresne Rene Voisin Manuel Zung Henri Girard Harry Herforth Samuel Diamond Henry Freeman Victor Trombones Manusevitch John Barwicki James Nagy Jacob Raichman Leon Gorodetzky Flutes Lucien Hansotte John Coffey Raphael Del Sordo Georges Laurent Josef Orosz Melvin Bryant James Pappoutsakis John Murray Phillip Kaplan Tuba Lloyd Stonestreet Vinal Smith Henri Erkelens Piccolo Harps Saverio Messina George Madsen Herman Silberman Bernard Zighera Oboes Elford Caughey Stanley Benson Hubert Sauvlet John Holmes Timpani Jean Devergie Roman Szulc Violas Joseph Lukatsky Max Polster Joseph de Pasquale English Horn Jean Cauhape Percussion Louis Speyer Georges Fourel Simon Sternburg Eugen Lehner Clarinets Charles Smith Emil Arcieri Emil Kornsand Victor Polatschek Albert Bernard Manuel Valerio Piano George Humphrey Pasquale Cardillo Lukas Foss Louis Artieres Charles Van Wynbergen Bass Clarinet Librarian Hans Werner Rosario Mazzeo Leslie Rogers 5»o SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-SEVENTH SEASON, i947~ 1 948 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 194/, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES or> the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen Francis W. Hatch John Nicholas Brown M. A. De Wolfe Howe Alvan T. Fuller Jacob J. Kaplan Jerome D. Greene Roger I. Lee N. Penrose Hallowell Raymond S. Wilkins Oliver Wolcott George E. Judd, Manager [1] Only you can decide Whether your property is large or small, it rep- resents the security for your family' s future. Its ulti- mate disposition is a matter of vital concern to those you love. To assist you in considering that future, the Shaw- mut Bank has a booklet: "Should I Make a Will?" It outlines facts that everyone with property should know, and explains the many services provided by this Bank as Executor and Trustee. Call at any of our 2 J convenient offices, write or telephone for our booklet: "Should I Make a Will?" The V^tional Shawmut Bank 40 Water Street^ Boston Member Federal Deposit Insurance Corporation Capital $10,000,000 Surplus $20,000,000 "Outstanding Strength" for 111 Tears §^@@@@@©©@@@@@@@^$^^«HS [2] y^<r%*$<rz+(r**^^<r%<#<r2<r*& SYMPHON1ANA Koussevitzky's Dream European Posters Unused Tickets KOUSSEVITZKY'S DREAM Reprinted from the "New Republic," September 1, 1947 The Berkshire Festival, which re- cently completed its tenth season, has become one of America's healthiest musical institutions. One record-break- ing Saturday night, more than 14,000 people, from Lenox aristocrats in Berg- dorf Goodman frocks and white suits to girls in dungarees and men in T-shirts, came to Tanglewood to hear Serge Koussevitzky conduct the Boston Symphony Orchestra in an all-Bee- thoven program. From 9,000 to 13,000, depending on the weather, attended the S^trikina a Vfew other nine Boston Symphony concerts. Any night you could easily spot licenses from a dozen states near your own car ^J^riah V (ote in the huge parking lot. When Kossevitzky started the Berk- shire Festival 10 years ago, we were The vamp rising towards told that he dreamed of making it an the lower hemline . American Salzburg. The tone of chi- chi implied by that description no longer the new wrap-around de- colors anyone's thoughts. Tanglewood has grown spontaneously into a center tail . the so comfort- so thoroughly American that any men- able open toe . the tion of its Americanism seems beside the point. The people have taken it much favored sling heel over, particularly the thousands who ... all in dove-soft suede stretch out comfortably on the lawn behind the 6,000 who have paid extra plus your choice of black, to sit on hard little camp chairs inside the music shed. The Tanglewood au- brown, wine or green. dience makes itself as much at home 17.95. as a summer-evening crowd in Central Park. Yet everyone comes to listen, and everyone respects the music. There have been three phases in Koussevitzky's master plan for Tangle- wood. First, he established summer con- certs by his orchestra, both to extend • Boston the best music into the vaction area ~ • Wellesley and to provide additional work for his players. In the first two seasons the ^5 Z*Wto%J) (T*v$*kJ)+<Z^®r%J) C^ [3] concerts were given in relatively sim- ple surroundings near Stockbridge. The second phase of the plan was realized when the festival acquired a permanent home by being given the present beautiful grounds near Lenox, Massachusetts, overlooking the Stock- bridge Bowl and the Taconic moun- tains beyond. Money was raised to con- struct three buildings from designs by Eliel Saarinen — the big music shed, shaped like a wedge of pie, and smaller halls for stage productions and cham- ber music. The aspect of the plan closest to Koussevitzky's heart, however, was the formation, just before the war, of the Berkshire Music Center. With this school, which he directs with the as- sistance of Aaron Copland and Leon- ard Bernstein, Koussevitzky is en- deavoring to strike a new level of summer musical education, with inten- sive and expert training in performance, theory and composition. With discern- ment and artistic integrity, he has brought together a faculty of high-rank- ing composers and practical musicians who also know how to teach. As if to prove that his seventy-third birthday was of no consequence, Kous- sevitzky conducted the four concerts I heard with a vigor and inspirational quality unusual even for him. Berlioz' "Harold in Italy" symphony gained greater structural cohesiveness than he had given it before, without sacrificing any of its flamboyant orchestral theat- ricalism. In the course of a complete cycle of the Beethoven symphonies he Corduroy gave the fourth symphony a symmetry a king's choice, tailored to a queen's taste in our wonderful breakfast-to-dinner house and an eloquence that were close to coat. perfection. The ninth symphony, with Red . Toast . the choral finale for once raised to its Blue . Chartreuse $25 full magnificence by Robert Shaw's re- markable student chorus, had taken on a new and less mannered character in Koussevitzky's mind, and the music gave The Trousseau House of Boston that wonderful and rare sense of com- 416 BDYLSTDN STREET ing to life for the first time. No less WELLES LEY ~ HYANNIS ~ PALM. BEACH remarkable in its way was Leonard [4] Bernstein's conducting of Stravinsky's '""s/% "Le Sacre du Printemps," so urgent in rhythmic power and so clear in articula- tion that it may be a long time before we hear the work played this well again. The daily student programs covered an immense range of music, new and old, and though supported by much smaller audiences, were in their way as valuable as the Boston Symphony concerts. A unique project was the first American production of Mozart's opera "Idomeneo." The vagaries of a complicated plot and the lack of printed parts of the music have kept this touch- ing and supremely melodious score out of the ordinary operatic repertory. Boris Goldovsky, head of the opera de- partment at the Berkshire Music Cen- ter, painstakingly and intelligently pre- pared the performing version that was if used at Tanglewood. *-"" EUROPEAN POSTERS The first exhibition of the season, now on view in the First Balcony Gal- *» / lery, is lent the by Boston Museum of Jk Fine Arts. It is a collection of European ^ ;ll \ posters of the late nineteenth century, 4 forerunners of an art which has since 0* developed. The following artists are V represented: Cheret, Manet, Toulouse- Lautrec, Bonnard, Vallotton, Walter Crane, Millais, ,o I Beardsley, Brangwyn, and others. UNUSED TICKETS Season ticket holders who at any time are unable to attend a particular con- H cert will confer a double favor by leav- ing their tickets at the Box Office, or t telephoning the location. They will so ep enable a visitor to Boston or a non- subscriber to hear the Orchestra in a 1 solidly subscribed season. These tickets 3*0 will be resold for the benefit of the Orchestra. fKeeT [5] Safe . but are they Sound? Sound investment management tain the services of an experienced today is more than a full-time job team^ constantly working for your for one person. investment guidance. To make sure the securities you A request for our booklet, own are those of well-managed "Investment Management," will enterprises in forward-looking bring you information on our in- fields calls for teamwork by many vestment services. persons thoroughly experienced in research and analysis. No individual investor could hope to find the time to visit in WORTHY OF YOUR TRUST person the managements of com- panies scattered throughout the Old Colony United States .