Boston Symphony Orchestra Concert Programs, Season 72, 1952-1953

SYMPHONY HALL, BOSTON

HUNTINGTON AND MASSACHUSETTS AVENUES

Telephone, Commonwealth 6-1492

SEVENTY-SECOND SEASON, 1952-1953

CONCERT BULLETIN of the

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Richard Burgin, Associate Conductor

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

Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott

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T. D. Perry, Jr. N. S. Shirk, Assistant Managers

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THE HOUSE OF BOSTON FATHER FICTION TROUSSEAU

It is dangerous to tell a man of imagination that something cannot be done. The idea seems to have a bad effect on

him ; he will never rest until he has done

it. Shelley said that "poets are the un- acknowledged legislators of the world," and artists are the undetected creators of the human spirit, — undetected because

usually mistaken for crackpates. But if they are absurdly unqualified to function in our bread-and-butter society, that may be because they are so potent in their own world, the world of imagination.

Music, fortunately, still has to be written with a pen. But only wait, someone will invent a typewriting-machine at which anyone can sit after breakfast and write a symphony, a sonata, or a concerto in twenty-five minutes. During the short time, then, before this calamity occurs, let us examine the evidence.

There is plenty of it, and it goes to

show that if we no longer live in an age of great artistic creation, we do live in an era of superb performances, — performances of a grandeur never dreamed by the creators of the works themselves, — and that by setting up unheard-of standards they create the future of mankind. The evidence begins modestly. "Don poppy scattered Juan in Hell" is Act III of Shaw's "Man

and Superman." It is said to have begun embossed cotton, crisp and life as a Socratic dialogue on the theme fresh as a flower in May. of Henri Bergson's creative evolution.

Shaw printed it in his comedy as an in- White with aqua or claret terlude to be read, not played. That was poppies. Grosgrain belt and

in 1906. Nearly fifty years later it is bow to match. Sizes 1 to 20. lifted out, staged without scenery, played by four stars from coast to coast, and 22.95 is now obtainable in a phonograph recording. 416 Boylston St., Next, here in Boston the Symphony Boston Orchestra and the Harvard choirs per- 54 Central St., Wellesley formed Berlioz's Symphony "Romeo and Juliet." The composer himself had

[965] written in 1839 that the "tomb music" We have seen the process. It is per- would better be omitted as too difficult haps more easily discernible in the arts. for audiences to understand. Performers Artists create more ambitious designs and audiences here took it in their stride. for human performance than have ever Last week in New York came a per- before existed, and those creators them- formance of something supposedly un- selves often regard their works as little presentable in 1826. Beethoven's Quar- more than free fantasias of the imagi- tet in B-flat was originally composed nation. Then two or three generations with a grand fugue for finale, the com- later comes a crop of human beings who poser was then persuaded that it made say, "So you think we can't do that? the work too long and too difficult Well, watch us!" for listeners, so the fugue was published A thing is impossible until someone as a separate Quartet and he wrote a does it. If you do not want it done, never new and powerful last movement. A "tell a man of imagination that it is century and a quarter later the work is impossible. performed entire, and again the audi- (Editorial in the Boston Globe, March ence takes it in stride. Yet when those 21, 1953) the last six Quartets were new, in 1820's, Bernhard Romberg, an eminent violoncellist, turned his 'cello part up- HORBLITT AWARD side-down and wrong-end-to, remarking To Leo Smit wryly that it sounded as well one way Boston as the other. It was not until the 1880's "The Symphony Orchestra Merit Award" instituted in 1945 in Paris that they began to be played by are, Horblitt of has and to be understood for what they Mr. Mark Boston been the summit of all music. given for the year 1953 to Leo Smit in of his It takes time. It also took time for recognition musical compositions. Wagner's "Tristan and Isolde" which in The purposes of the award are "to foster the 1860's, after seventy-four rehearsals and promote the writing of symphonic as at the Vienna Opera, was abandoned compositions by composers resident in "unsingable and unplayable." Less than the United States by providing for a dozen years ago that work, together awards to be conferred from time to with three other Wagnerian operas once time in recognition of meritorious work thought similarly impracticable, were in that field, and thus to enlarge and said to have kept the Metropolitan enrich the fund of good music suitable Opera Company in New York from for rendition by symphony orchestras." going on the rocks. Leo Smit appeared as piano soloist In the 1880's Bach's "Matthew Passion this season in the Concerto by Alexei Music" and his B-Minor Mass could be Haieff. heard nowhere on this continent except Bethlehem, Pennsylvania, and even at EXHIBITION there only once a year, if that. They are now performed by choral societies from On view in the gallery are water coast to coast and even by ambitious colors by Karl Zeise. Mr. Zeise is a church choirs. member of the cello section of the Bos- "A lost battle," said Foch, "is a battle ton Symphony Orchestra. When this one thinks one has lost; the battle is orchestra travelled to Europe last May, won by the fiction that it is won." We he took his paint box with him, and speak too lightly of fiction, for fiction these paintings are the result. is the father of fact. "Thinking may be The pictures are on sale for the regarded as a fiction which helps us to benefit of the Orchestra's Pension Fund. live. For man lives by imagination." 'Phone Needham 3-1301M

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Twenty-first Program

FRIDAY AFTERNOON, March 27, at 2:15 o'clock

SATURDAY EVENING, March 28, at 8:30 o'clock

Prokofieff "Classical" Symphony, Op. 25

I. Allegro

II. Larghetto III. Gavotta: Non troppo allegro IV. Finale: Molto vivace

Tchaikovsky Violin Concerto in D major, Op. 35

I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo INTERMISSION

Honegger Symphony No. 2 for String Orchestra

I. Molto moderato

II. Adagio mesto III. Vivace, non troppo

Chabrier Bourree Fantasque

SOLOIST NATHAN MILSTEIN

REMINDER: The Friday Afternoon Concert next week will begin at 3:30. This program will end about 4:00 o'clock on Friday Afternoon, 10:15 on Saturday Evening.

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[968] "CLASSICAL" SYMPHONY, Op. 25 By Serge Prokofieff

Born at Sontsovka, Russia, April 23, 1891; died near Moscow, March 4, 1953

The first performance of the "Symphonie Classique" was in Petrograd, April 21, 1918, the composer conducting. Prokofieff arrived in New York in September, and in December the Russian Symphony Orchestra in New York played this symphony for the first time in America. It was introduced at the Boston Symphony concerts

January 26, 1927. The work is dedicated to Boris Assafieff, a writer on musical subjects whose pen name is "Igor Gleboff."

The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns,

2 trumpets, timpani and strings.

Written in 1916-17, considerably before "neo-classicism" set in, this symphony in miniature surely cannot be looked upon as a pledge to past ways. It might rather be considered a momentary dalliance with the eighteenth-century formula. It would probably be as mistaken to look for reverence in the "Symphonie Classique" as to

look for irreverence in it. Let us say that the composer had a single and passing impulse to weave his own bright threads into an old pattern. Prokofieff gives himself precisely the orchestra of Mozart or Haydn;

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he is punctilious in his formal procedure. He is also concise — so much so that the four movements occupy no more than eleven minutes — about half the usual duration of the symphonies which he took as model.

D major is the prevailing key. The first movement, with clipped

phrases, staccato and to the point, sets forth its themes, its development, its recapitulation and coda, all complete. The Larghetto is in simple rondo form, beginning and ending with a charming pizzicato in the strings, pianissimo, a mere accompanying figure which nevertheless lingers in the memory. The theme and its development has a suggestion of eighteenth-century ornamentation, but is in less serious vein. Prokofieff departs from the letter rather than the spirit of his models in choosing a gavotte instead of the rigidly customary minuet.

The Finale gives, naturally, a far greater freedom to his fancy, al-

though he sets himself a first theme upon the common chord which his forbears might have found quite in order and to their own purposes. The working out, recapitulation, and coda are virtuously observed. The episodic byplay turns up a sauce of "modern" wit which the periwigged masters could scarcely have approved.

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[971 ] CONCERTO FOR VIOLIN, in D major, Op. 35 By Peter Ilyitch Tchaikovsky

Born in Votkinsk in the government of Viatka, Russia, May 7, 1840; died in St. Petersburg, November 6, 1893

Composed in 1878, this Concerto was first performed at a concert of the Phil- harmonic Orchestra in Vienna, Adolph Brodsky, soloist, December 4, 1881. (Adolph Brodsky appeared as soloist with the Boston Symphony Orchestra November 28, 1891, playing Brahms' Concerto.) The first movement was played in Boston by Bernhard Listemann with pianoforte accompaniment on February 11, 1888, but the first performance in the United States of the whole work was by Maud Powell in New York, January 19, 1889. The first performance of the concerto in Boston was by Mr. Brodsky at a concert of the Symphony Orchestra of New York, Walter Damrosch conductor, in the Tremont Theatre, January 13, 1893. The second and third movements were played in Boston at a concert of the Boston Symphony Orchestra by Timothee Adamowski on December 2, 1893; the whole concerto was played at these concerts by Alexandre Petschnikov on January 27, 1900, Maud Powell on April 13, 1901, Karl Barleben, April 1, 1905, Alexandre Petschnikov, November 24, 1906, Mischa Elman, January 2, 1909, Fritz Kreisler, April 9, 1910; Kathleen Parlow, April 1, 1911; Anton Witek, January 24, 1914; Ferenc Vecsey, November 11, 1921; Efrem Zimbalist, April 25, 1924; Toscha Seidel, November 24, 1933; Mischa Elman, November 30, 1945, Erica Morini, October 18, 1946, Anshel Brusilow, January 4, 1952. The orchestral part of the concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. The dedication is to Leopold Auer.

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[973] Violinists have often advised, sometimes aided, composers in the writing of the solo part in concertos for their instrument; sometimes, too, one of them has carried a concerto composed under his judicious eye to performance and fame. Tchaikovsky was unfortunate in his soloist when he wrote his best-known piano concerto, and the same may even more emphatically be said about his Violin Concerto. The first violinist to come upon the scene was Tchaikovsky's young friend from Moscow, Joseph Kotek, who visited the composer at Clarens on the shore of Lake Geneva, in the early spring of 1878. Tchaikovsky was in the mood for music. He wrote Mme. von Meek on March 27 with enthusiasm about Lalo's "Symphonie Espagnole," in which he found "freshness, piquant rhythms, beautifully harmo- nized melodies." Lalo, said Tchaikovsky, was like his favorites Delibes and Bizet in that he "studiously avoids all commonplace routine, seeks new forms without wishing to appear profound, and, unlike the Germans, cares more for musical beauty than for mere respect for the old traditions." It would seem that Lalo's persuasive concerto had directed Tchaikovsky's creative ambitions to that form, for when Kotek took out his violin and Tchaikovsky sat at the piano, the principal manuscript in hand turned out to be the sketch for his new violin concerto. He had put all other plans aside to complete this

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[975] one, and he wrote to his publisher Jurgenson on April 20: "The violin concerto is hurrying toward its end. I fell by accident on the idea of composing one, but I started the work and was seduced by it, and now the sketches are almost completed." He did complete his sketch the next day, ran through it with Kotek, who was still there, but before beginning on the scoring, he wrote an entirely new slow movement. Tchaikovsky sent a copy of the Concerto to Mme. von Meek before its publication. With the canzonetta she was "delighted beyond de- scription," but evidently the first movement did not entirely satisfy her, for Tchaikovsky wrote on June 22 — "Your frank judgment on my violin concerto pleased me very much. It would have been very disagreeable to me, if you, from any fear of wounding the petty pride of a composer, had kept back your opinion. However, I must defend a little the first movement of the concerto. Of course, it houses, as does every piece that serves virtuoso purposes, much that appeals chiefly to the mind; nevertheless, the themes are not painfully evolved: The plan of this movement sprang suddenly in my head, and quickly ran into its mould. I shall not give up hope that in time the piece will give you greater pleasure."

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46 T TAVE you observed," Delver Forfax, the X J. ace observer, queried, "how often genius takes form through the stimulation of some lesser personality? Somehow, he possesses the special qualities which hasten the flowering of budding genius. He is like the simple catalytic agent which touches off certain important chemical reactions.

"A case in point is the teacher who was most important in helping Debussy to crystallize the grains of impulse and thought which resulted in music which was to become known as unmistakably 'De- bussyan.' "Among officials and teachers at the Paris Con- servatory, young Debussy was Exasperation per- sonified. That is, with the exception of one teacher, who was born in New Orleans, U.S.A. There he spent his boyhood, received his first musical training, GUIRAUD and saw his first operatic composition staged. He was Ernest Guiraud, son of a French musician who was active in the French Opera, for which the Creole city long was famous. Settling in France in his 'teens, Ernest became a brilliant student at the Paris Conservatory, won the Grand Prix de Rome, continued to make quite a mark as a composer. After a professorship in harmony and accompaniment at the Conservatory, he was appointed Professor of Composition. Claude Debussy, boy student who was proficient in piano, exceptional in solfege, and obstreperous in harmony, became his composition student. "They took to each other. On the surface, that seemed surprising. The pupil was seventeen, brilliant but disorganized, an utter rebel. The teacher was forty-three, brilliant and well-organized, but mentally flexible, a discreet rebel. In his own compositions he showed mastery of instrumentation—a subject on which he published a treatise—and daring harmonies which he introduced without creating a pronounced sensation. "Guiraud was one faculty member who was able to get along with young Claude. He listened with understanding to the supposed ravings of the young- ster. And he gained the boy's confidence, respect, and heed for advice. He got Claude to show first that he could work within the bounds of discipline, then strike for freedom. "Much was accomplished in conversations outside the class-room—at regu- lar lunch-time debates, and in the course of long walks at night. "In the end, Debussy the juvenile rebel student became Debussy the unique French master—thanks to the reasoned approach to freedom that came to him from New Orleans through Ernest Guiraud." [977] Tchaikovsky dedicated the new concerto to his friend Leopold Auer, head of the violin department at the St. Petersburg Conservatory,

hoping of course that Auer would introduce it in Russia. Auer, how-

ever, shook his head over the score, pronounced it unreasonably difficult. Nearly four years passed without a performance. At length, a

third violinist, Adolph Brodsky, saw the music and took it in hand. He obtained the assent of Hans Richter to give the music a hearing at the concerts of the Philharmonic Orchestra in Vienna. After this

performance (December 4, 1881) there were loud hisses, evidently directed against the music, which subsided only when Brodsky, to increased applause, returned three times to bow. Eight out of the ten reviews were what the translator of Modeste Tchaikovsky's life of

his brother has called "extremely slashing." The phrase is surely not too strong for the vicious condemnation by Eduard Hanslick. His review has gone down into history as a prime instance where the learned Doctor said the wrong thing with all the emphasis his sharp wit could muster:—

"For a while the concerto has proportion, is musical and is not without genius, but soon savagery gains the upper hand and lords it to the end of the first movement. The violin is no longer played; it

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The composer, particularly sensitive at that time to public criticism, was deeply hurt by the vicious attack which he remembered word for word for the rest of his life. One wonders whether the objections, spoken and written, to music of such obvious popular appeal could have been mostly due to its novelty, to the certain freedom with which

Tchaikovsky treated the sacrosanct form. The greater likelihood is that the performance failed to convey a clear or favorable impression of the piece. Despite its admitted (too freely admitted!) difficulties, Richter allowed only a single rehearsal in which most of the time

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[979] was spent in straightening out numerous errors in the parts. The players' coolness towards the concerto was not lessened by this cir- cumstance, and their performance was accordingly dull routine. Richter wished to make cuts, but the youthful champion of Tchaikovsky held his own. In fact Brodsky, writing to the composer shortly after the first performance, stoutly defended the abused piece:—

"I had the wish to play the Concerto in public ever since I first looked it through. That was two years ago. I often took it up and often put it down, because my laziness was stronger than my wish to reach the goal. You have, indeed, crammed too many difficulties into it. I played it last year in Paris to Laroche, but so badly that he could gain no true idea of the work; nevertheless, he was pleased with it. That journey to Paris which turned out unluckily for me — I had to bear many rude things from Colonne and Pasdeloup — fired my energy (misfortune always does this to me, but when I am fortunate then am I weak) so that, back in Russia, I took up the concerto with burning zeal. It is wonderfully beautiful! One can play it again and again and never be bored; and this is a most important circum- stance for the conquering of its difficulties. When I felt myself sure of it, I determined to try my luck in Vienna. Now I come to the point where I must say to you that you should not thank me:

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[981] X should thank you; for it was only the wish to know the new concerto that induced Hans Richter and later the Philharmonic Or- chestra to hear me play and grant my participation in one of these concerts. The concerto was not liked at the rehearsal of the new pieces, although I came out successfully on its shoulders. It would have been most unthankful on my part, had I not strained every nerve to pull my benefactor through behind me. Finally we were admitted to the Philharmonic concert. I had to be satisfied with one rehearsal, and much time was lost there in the correction of the parts, that swarmed with errors. The players determined to accompany everything pianissimo, not to go to smash; naturally, the work, which demands many nuances, even in the accompaniment, suffered accordingly."

In gratitude to his soloist-champion, Tchaikovsky wrote to Jurgen- son (December 27, 1881):— "My dear, I saw lately in a cafe a number of the Neue Freie Presse in which Hanslick speaks so curiously about

my violin concerto that I beg you to read it. Besides other reproaches

he censures Brodsky for having chosen it. If you know Brodsky's address, please write to him that I am moved deeply by the courage shown by him in playing so difficult and ungrateful a piece before a most prejudiced audience. If Kotek, my best friend, were so cowardly

and pusillanimous as to change his intention of acquainting the St.

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116 BOYLSTON STREET 181 TREMONT STREET Petersburg public with this concerto, although it was his pressing

duty to play it, for he is responsible in the matter of ease of execution of the piece; if Auer, to whom the work is dedicated, intrigued against me, so am I doubly thankful to dear Brodsky, in that for my sake he must stand the curses of the Viennese journals."

In spite of its poor start, and in spite of the ill will of Hanslick (Philip Hale wrote that he "was born hating program music and the Russian school"), the Concerto prospered. Other violinists

(notably Carl Halir) soon discovered that there lay in it a prime vehicle for their talents. This, too, in spite of the continuing censure of Leopold Auer. Tchaikovsky wrote in the Diary of his tour of 1888: "I do not know whether my dedication was flattering to Mr. Auer, but in spite of his genuine friendship he never tried to conquer the difficulties of this concerto. He pronounced it impossible to play, and this verdict, coming from such an authority as the Leningrad virtuoso, had the effect of casting this unfortunate child of my imagination for many years to come into the limbo of hopelessly forgotten things."

Mr. Auer was approached by the Musical Courier of New York many years later for a full explanation of his stand, and he wrote from St. Petersburg (January 12, 1912): "You have requested me to explain the true circumstances relating

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[985] to Tchaikovsky's violin concerto, in so far as it concerns myself. I am glad to do this, not only in the interests of truth, but also in order to put an end to the various stories so constantly appearing in newspaper reports and concert programs in connection with public performances of the concerto. "When Tchaikovsky came to see me one evening, about thirty years ago, and presented me with a roll of music, great was my astonishment on finding that this proved to be the violin concerto, dedicated to me, completed and already in print. My first feeling was one of gratitude for this proof of his sympathy toward me, which honored me as an artist. On closer acquaintance with the composition, I regretted that the great composer had not shown it to me before committing it to print. Much unpleasantness might then have been spared us both. I must add here that at this time I had taken over the conducting of the symphony concerts of the Imperial Russian Musical Society, and that this work was absorbing nearly all my time and musical energies. "Warmly as I had championed the symphonic works of the young composer (who was not at that time universally recognized), I could not feel the same enthusiasm for the violin concerto, with the exception of the first movement; still less could I place it on the same level as his strictly orchestral compositions. I am still of the same opinion. My delay in bringing the concerto before the public was partly due to this doubt in my mind as to its intrinsic worth, and partly that I found it would be necessary, for purely technical reasons, to make some slight alterations in the passages of the solo part. This delicate and difficult task I subsequently undertook, and re-edited the violin

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[986] solo part, and it is this edition which has been played by me, as also by all my pupils, up to the present day. It is incorrect to state that 1 had declared the concerto in its original form technically unplayable. What I did say was that some of the passages were not suited to the character of the instrument, and that, however perfectly rendered, they would not sound as well as the composer had imagined. From this purely aesthetic point of view only I found some of it impracticable, and for this reason I re-edited the solo part. "Tchaikovsky, hurt at my delay in playing the concerto in public and quite rightly too (I have often deeply regretted it, and before his death received absolution from him), now proceeded to have a second edition published, and dedicated the concerto this time to Adolf Brodsky, who brought it out in Vienna, where it met with much adverse criticism, especially from Hanslick. The only explanation I can give of the orchestral score still bearing my name in the dedication is that when the original publisher, Jurgenson, of Mos- cow, to suit the composer, republished the concerto, he brought out the piano score in the new edition, but waited to republish the orchestral score until the first edition of it should be exhausted. This is the only way I can solve the problem of this double dedication. "I should like to thank you for giving me this opportunity of going into the matter and putting the facts before the public. The concerto has made its way in the world, and after all, that is the most important thing. It is impossible to please everybody. (Signed) L. Auer."

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[987] NATHAN MILSTEIN

Nathan Milstein was born in Odessa, on December 31, 1904. His first teacher was Stoliarski. At the age of ten he went to St. Peters- burg to study in the Conservatory there, and entered the class of Leopold Auer. The young man toured Russia with his friend, Vladimir Horowitz, and the pianist's sister, Regina, who played his accompani- ments. The concerts seem to have been far from profitable, for, leaving his country in 1925, "he arrived in Berlin without a violin, without money, without connections." He soon found a patron and an instrument, and gave a highly successful recital, which was followed by appearances in Paris and other European cities. His last master was Eugene Ysaye, with whom he practiced his "repertory" in Brussels. Mr. Milstein first came to this country in the autumn of 1929, and since that time has made a number of tours of the United States, South America, and Europe, appearing with the principal orchestras. He was soloist with the Boston Symphony Orchestra on March 13-14, 1931, playing the Concerto of Brahms, on March 20-21, 1936 (Men- delssohn), and on March 21-22, 1941 (Stravinsky).

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[988] TEN YEARS AT TANGLEWOOD By Ralph Berkowitz

[Reprinted from "Etude," February, 1953)

The Dean of the Berkshire Music Center gives a highly interesting behind-the-scene view of the details involved in getting 400 students lined up for their summer musical experiences. At nine o'clock on a Monday morning last July, some 400 music * students from all corners of the earth began a six week session of study at Tanglewood — a place-name which has achieved more fame than any other musical center in our country. Tanglewood, with its literary associations going back for a century, has now become a source of vital interest to students of music in Ankara, Rio de Janeiro, Tel- Aviv, and Los Angeles. At no time in America's musical growing-up has a school accomplished so much so quickly, nor have influences made themselves so apparent as those emanating from Tanglewood's Berkshire Music Center. The Berkshire Music Center, Serge Koussevitzky's name for the music school he founded in association with the Berkshire Festival,

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[989] which had begun the Boston Symphony Orchestra summer concerts in the Berkshire Hills a few years earlier, has recently completed its tenth anniversary session. It may be interesting to share a behind-the-scene view of what hap- pens in order to get 400 students to begin their summer of musical experience on that Monday in early July. Work on the 10th session began directly after the last concert of the Berkshire Festival more than a year ago. Soon after the 10,000 listeners' applause had stopped re- verberating in the great Shed, while the Boston Symphony musicians were slowly packing their travel trunks and crews began their usual after-concert cleaning-up of Tanglewood's vast rolling lawns, the school's Faculty Board met in the Library for the last time that summer. This meeting of Charles Munch who was to become the Music Center's director, with Aaron Copland, Leonard Bernstein, Boris Goldovsky, William Kroll, Hugh Ross, Richard Burgin, Thomas Perry, the executive secretary, and myself, consisted of a critical estimate of the school's work and a man by man platform of what ought to be done for the following summer's musical planning.

It is necessary to understand that music study at Tanglewood does not consist of getting lessons in voice or on one's instrument. It was Koussevitzky's view that qualified young musicians should come to-

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[990] gether for ensemble work of a type which no private teacher or conservatory could offer. So that from the numerous chamber-music groups up through the larger choruses, the opera productions and the student symphony orchestra, the young musician at Tanglewood is constantly in a milieu which his winter study is not likely to afford him. The summer's work is, therefore, in no sense a form of competition with private or conservatory study, but rather a pendant which broadens the future musician's horizon. The Berkshire Music Center's five departments each in their way offer this type of music-making. Department One is the chamber music and orchestral division of the school. An oboe student in Cleveland, let us say, has heard of Tanglewood and wants to come there to play in the Orchestra. He writes to Symphony Hall in Boston, where each mail from November on brings queries and requests for acceptance. Application forms are sent along with word that an audition committee from the Berkshire Music

Center will be in Cleveland's Severance Hall on April 17th from 1 to 4 o'clock. As the weeks go by oboists in Chicago, New York, Tulsa and Dallas also apply. With one of the letters will come a recom- mendation from a 1946 conducting student at Tanglewood that this boy in Kansas City is a terrific talent and looks like a coming first oboe for any major orchestra. Several former oboe students' applica-

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[99 l 1 tions also roll in toward spring and a few European students apply as well. Guileless in spirit and armed with forms, audition reports and lots of orchestral music, a committee leaves Boston in April for a

few weeks of auditions in an area bounded by Toronto, St. Louis

and Baltimore. Duly on April 17th at 1 o'clock they are in Severance Hall in Cleveland and among violinists, sopranos, trumpets and tubas the oboe applicant appears. He plays a movement of a Handel Concerto in which the warmth and steadiness of his tone are apparent. The stylistic treatment of the music shows a natural refinement. The

quick movement is dashing and spirited, but articulation of some

passages is rather lacking in control. He is asked to read some music at sight. Has he had orchestral experience? No. He has only been studying three and a half years. An oboe part of a Mendelssohn

Symphony is placed before him. Rhythmically weak but tonally a good

result. Another try at it. This time much better rhythmically but as

the passage goes along the steadiness of tone is lost. How about a

try at some Brahms? The first reading is poor. A few moments to look at it and then talent shines through again. A grasp of the style, good tone, some difficult rhythms well achieved. In about ten minutes the auditors know whether this young musician

is likely to hold his own in a first-rate student orchestra. Does he

have the solid make-up for the first desk? Is he flexible enough? Is his mastery of the instrument up to following a conductor's stick in an unfamiliar work? Can he learn quickly? Is he a weak talent well-taught or a fine talent poorly-taught? Will he be able to take part in a woodwind quintet working on Hindemith in the afternoon following a morning of orchestral rehearsal of Beethoven and Stravinsky?

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[992 ] A few weeks later in Boston, having listened to several hundred applicants in more than a dozen cities, their audition reports bearing the tale of talents high and low, the auditors begin to weed out the unprepared as well as the too professional. When the oboe division is considered, it is done in collaboration with Louis Speyer, the faculty member from the Boston Symphony Orchestra represent- ing that instrument. It is necessary to choose five oboists—two of whom shall also play the English Horn—from the many who tried out, and also, of course, from those too far away to have been able to travel to an audition city.

All things considered, the Cleveland oboe student is written to, telling him that five oboes have been selected for Tanglewood and that he is not among them, but that his talent and ability have placed him on an alternate list and in the event that someone should drop out, etc. etc. Ten days later one of the accepted oboists writes that, delighted as he is to have been honored by our acceptance and much as he has been looking forward to spending a summer in

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[993 ] Tanglewood, he has just been offered a job playing for the summer opera in New Orleans and since he needs the money badly he hopes we are not too inconvenienced by his withdrawal at this time, very

truly. Alternate lists are brought out and a telegram goes to Cleve-

land. Our young applicant has made it. The choice of all the other orchestral students takes place in a like manner. Auditions, recommendations by astute musicians, attend- ance at a previous Tanglewood session, requests from UNESCO, the winning of a National Federation of Music Clubs' contest—from these and similar sources the 40 violins, 12 violas, 10 cellos, 10 contra- basses, 5 flutes, 5 oboes, 5 clarinets, 4 bassoons, 8 French Horns, 5 trumpets, 5 trombones, the tuba, 3 harps, and 5 percussion students are assembled for work under Leonard Bernstein. All the orchestral students are given scholarships but will be obliged

to pay for their living expenses, which in the dormitories is $175. The tuition scholarship in the value of $150 is part of the Tanglewood Revolving Scholarship Fund, and each student signs a promise of will- ingness to repay a like amount when his circumstances will permit, so that other orchestras will be able to assemble in the Shed in years to come. This intricate procedure of putting a student orchestra together

from all points of the compass during the spring weeks, is matched by other departments and divisions of the school.

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[994] Department Two, the choral department, is assembling with a two- fold purpose. It must form a class of choral conductors for work with Hugh Ross, and a Small Choir of 40 to 50 choral singers that will form the nucleus of the great Festival Chorus which will perform later with the Boston Symphony in the Berkshire Festival.

Department Three is devoted to Composition. It is the most restricted in numbers and accepts students of what one might call post-graduate level. After examining a mountainous heap of scores, about twenty composers were accepted in 1952 for study with either Aaron Copland, Luigi Dallapicolla or Lukas Foss. The list of former instructors invited from Europe who have been associated with Copland in Tangle- wood's Department Three is extraordinarily strong in the varied influences which young American composers have faced. Past summers have seen such figures as Hindemith, Lopatnikoff, Honegger, Mil- haud, Messiaen, and Ibert in residence at the Berkshire Music Center. The Opera Department—Department Four—of necessity becomes one of the most complex problems of assembly. In order to function as a complete opera theatre, students are accepted for work here in stage directing, scenic design, costuming and lighting. Student coaches and stage directors are interviewed. Boris Goldovsky, the opera's Head, and other faculty members such as Paul Ulanovsky and Felix Wolfes listen NEW ENGLAND CONSERVATORY OF MUSIC A College of Music Harrison Keller, President Malcolm Holmes, Dean Faculty of the Conservatory includes the following members of the Boston Symphony Orchestra RAYMOND ALLARD GEORGES FOUREL ERNST PANENKA RICHARD BURGIN ALFRED KRIPS JAMES PAPPOUTSAKIS PASQUALE CARDILLO MARCEL LAFOSSE CHARLES SMITH GINO CIOFFI ROSARIO MAZZEO ROGER VOISIN JOSEPH DE PASQUALE GEORGES MOLEUX ALFRED ZIGHERA PAUL FEDOROVSKY BERNARD ZIGHERA FERNAND GILLET JOHN W. COFFEY GEORGES LAURENT WILLEM VALKENIER For further information apply Dean, 290 Huntington Ave., Boston

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[995] to hundreds of singers in various parts of the country. Those accept- able are assigned to one of three divisions—Active, Associate, or Au- ditor—depending upon vocal ability, knowledge of operatic repertoire, and character type. Audition reports, applications, supplementary forms with height, weight, studies, and operatic repertoire, song repertoire, questionnaires, and numerous letters, swell the opera department's files quickly. By June first they are enormous. But by that time there are about fifty singers and around thirty students chosen for the other divisions of coaching, stage directing, and scenic design. These are all briefed by letter during June concerning the productions they will work on during the summer. At that Faculty Board meeting more than a year ago, one of the things most discussed was the choice of a suitable musician to head De- partment Five. Many musicians and educators were considered as possible for this invitation until the field was narrowed down to a California composer—Ingolf Dahl.

Tanglewood's Department Five is the division to which musical ama- teurs and the less advanced student are invited. It also is intended for the music teacher from Arkansas who wants a clean sweep of new musical excitement and the New York teacher who want to relax under an elm and listen to the Boston Symphony Orchestra rehearsing in the KATHLEEN UHLER ADAMS Teacher of Pianoforte Accompanist Appointments for Summer study and next Autumn 862 Beacon Street Boston, Mass. Co. 7-1026

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[996] distance. I brought this challenge of the heterogenous group to Ingolf Dahl in California last September, and a month later we again met in New York with Aaron Copland, Hugh Ross, and Thomas Perry to plan a workable musical activity for Department Five—renamed the Tanglewood Study Group. Enrollment in the Study Group is simple; it only requires the ability to read music. In order to keep to a well-defined and not over-ambitious project—the music to be studied—sung and played—was restricted to 16th to 18th century compositions and simple modern ones adaptable to groups of various sizes. Here the amateur flutist—during the rest of the year an industrial engineer, and the violist who teaches mathematics at a large university—could indulge in serious music-making under expert guidance, for fun. Another factor which sought to m?ke the Tanglewood Study Group a serious musical holiday was to permit two-week and four-week enrollment in it, as well as for the usual six weeks of the session. The no who joined the work with Ingolf Dahl also sang in the Festival Chorus under Charles Munch, listened to Boston Symphony rehearsals and had, as it were, a constant bird's-eye view of Tanglewood's numerous activities. The nature of Tanglewood's activities— its 40 or so student concerts, its lecture courses—is one of the dominant problems during the winter months of planning. Leonard Bernstein says he would like the student orchestra to play Strauss' "Don Quixote" at one of its weekly concerts. Fine. But will we have a cellist strong enough for the solo part? Mr. Munch plans the

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[997] Berlioz "Requiem." Will our brass students be capable of taking part in the extra bands which the score requires? Will the choral repertoire take cognizance of the newest trends in choral writing and still give conductors and singers enough of the classic repertoire? William Kroll suggests that an American work be included on each of the six chamber- music concerts. Is the talent available in the Department to undertake this? Hugh Ross would like to include a new work on a Small Choir program which needs 13 instruments. Can some students of orchestra and chamber-music find time for this? The opera department's major production will be Mozart's "Titus." The orchestra for it is small and needs few winds. What work can be found for the remainder of the orchestra now largely woodwinds and brass? The Heifetz Award, the Piatigorsky Prize, the Wechsler Award must be given to worthy talents at the end of the session. Are they appearing in the enrollment? The winter meetings in New York and Boston for such problems and for the discussion of ideas which occur to thinking musicians seeking as a group to carry out an ideal, makes the year go by quickly. Tan- glewood's ideal is a living and working in music by a body of musicians and music students seeking to further the art they serve, and also to further the art of this country. For those of us who work for Tanglewood there is not much time to slow down. July 1953 and Tanglewood's eleventh session are almost here.

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[998] SYMPHONY FOR STRING ORCHESTRA By Arthur Honegger

Born in Le Havre, March 10, 1892

The Symphonic pour Orchestra a Cordes is dated 1941. It was published in 1942 with a dedication to Paul Sacher* and has been performed by him in Zurich and other Swiss cities. The first American performance was by the Boston Symphony Or chestra, December 27, 1946, Charles Munch conducting. Dr. Koussevitzky conducted it in the Friday and Saturday series, October 31 and November 1, 1947, and again on October 8, 1948. The most recent performances in this series were on April 25-26> 1952-

at the end of the printed score is written, "Paris, October, 1941." xjL Willi Reich, writing from Basel for the Christian Science Monitor,

May 19, 1945, remarked that the Symphony for Strings "embodies much of the mood of occupied Paris, to which the composer remained faithful under all difficulties." The first movement opens with an introductory Molto moderato,

* Paul Sacher is the conductor of the orchestra of the Collegium Musicum Zurich, founded in 1941. It was for him and his orchestra that many important works have been recently composed.

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[999] pp, with a viola figure and a premonition in the violins of things to come. The main Allegro brings full exposition and development. The introductory tempo and material returns in the course of the movement for development on its own account and again briefly before the end. The slow movement begins with a gentle accompaniment over which the violins set forth the melody proper. The discourse is intensified to ff, and gradually subsides. The finale, 6/8, starts off with a lively, rondo-like theme in duple rhythm, which is presently replaced by another in the rhythmic signature. The movement moves on a swift impulsion, passes through a tarantella phase, and attains a presto coda, wherein the composer introduces a chorale in an ad libitum trumpet part, doubling the first violins. (The choral theme is the composer's own.)

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See Your Electrical Dealer, Plumber or Edison Shop! BOSTON EDISON COMPANY "BOURRZE FANTASQUE/' for Pianoforte (Orchestrated by Felix Mottl) By Alexis Emmanuel Chabrier

Born in Ambert (Puy-de-Dome), France, on January 18, 1841; died in Paris, September 13, 1894

Composed as a piano piece in 1891, the "Bourree Fantasque" was orchestrated by Felix Mottl, and first performed under his direction at Karlsruhe in February, 1897.

The instrumentation of Felix Mottl calls for 2 flutes and piccolo, 2 oboes and English horn, 2 clarinets, 4 bassoons, 3 trumpets, 3 trombones and tuba, timpani, snare drum, triangle, cymbals, tambourine, 2 harps and strings.

It was first performed at the concerts of this orchestra, March 3, 1899, and last performed at the Friday and Saturday concerts, November 30 — December i, 1945, when Paul Paray conducted.

Chabrier composed his Bourree Fantasque for the pianist Edouard

Risler, and, inscribing the score to him, sent it with a letter say- ing "Mon petit, I am sending you a piece which contains for each note an entire problem to resolve." A later pianist, Alfred Cortot, emphasized the true originality of this work, pointing out that no piano music in its particular vein precedes it while much is found to have followed.

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[ 1002 ] Georges Servieres, Chabrier's principal biographer, describes the Bourree Fanlasque as the composer's homage to his native Auvergne, whence the bourree as a dance is thought to have originated. Desay- mard goes so far as to find in it "macabre imagination and a ballet of Death, rustic and danced in wooden shoes, with here and there a touch of mysticism." Felix Mottl also orchestrated Chabrier's Trois Valses Romantiques. The Bourree Fantasque was also orchestrated by Charles Koechlin, and produced in Paris under the direction of Albert Wolff, March 14, 1924.

Chabrier is one of the instances of a musician of undoubted talent who embraced another vocation than music until middle age. He showed a great musical aptitude even as a child, but studied law according to the tradition of his provincial and bourgeois parents, securing a position of Ministry of the Interior at twenty. Not until he was forty years old did Chabrier definitely and wholly devote himself to music. He was a self-made musician who took lessons from one teacher or another in violin, piano and composition, but entered no conservatory and acquired no official sanction to a professional standing.

FRIENDS OF CHAMBER MUSIC, INC. Musical Director: Josef Zimbler Final Concert by the ZIMBLER STRING SINFONIETTA (Members of the Boston Symphony Orchestra) PROGRAM: Concerto Grosso in G minor Fr. Geminiani Arioso Elegiaca, Op. 91 Gardner Read (Dedicated to the Zimbler Sinfonietta) First Performance Sonata for Violins, Celli and Doublebass G. Rossini First performance in Boston Intermission Concerto for String Orchestra A. Ratvsthorne First performance in United States

"Double Concerto" in D minor J. S. Bach Soloists: G. Zazofsky and E. Kornsand, Violinists

Jordan Hall, Boston

WEDNESDAY, APRIL 8, 1953, 8:30 P.M. Remaining tickets now on sale at Jordan Hall $3.60, $2.40, $1.80, $1.20 (tax inc.)

[ 1003 ] His first efforts were two operettas, but his first conspicuous success was his orchestral rhapsody Espana, which he composed after a trip to Spain in 1883. Thereafter bad luck pursued the composer. His only opera, Gwendoline, disappeared from the boards after two performances in 1886 when the Theatre de la Monnaie in Brussels went bank- rupt. His comic opera Le Roi malgre lui was put on at the Opera- Comique in the spring following, but after three performances the

Opera-Comique was destroyed by fire. An opera Briseis was never completed. He attended a revival of Gwendoline shortly before his death, but a tragic paralysis was already upon him, and according to the report of friends who were by his side, he did not recognize his own music. Chabrier's obvious talent, his charm as a pianist, his sparkling wit which often had an edge, and his underlying seriousness of purpose in the pursuit of perfection of style — these qualities made him the center of a considerable circle. There were the musicians d'Indy, Dukas, Chausson, Faure, Messager, Charpentier; the writers Daudet, de Goncourt, Zola, Mendes, Rostand, Verlaine.

Bequests made by will

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perpetuate a great musical tradition.

Such bequests are exempt from estate taxes.

[ 1004 ] NOTICE OF MEETING of the FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

The nineteenth Annual Meeting of the Friends of the Orchestra will be held in Symphony Hall on Wednesday afternoon, April 8., 1953, at four o'clock for the trans- action of such business as may properly come before the meeting.

Mr. Munch with members of the Orchestra will present a short program of music. At the conclusion of the music the Trustees will receive our members at tea in the upper foyer.

Membership in our Society carries the privilege of attending this meeting, which we hope will be the largest on record. If you have not already joined you may do so now at the Box Office. OLIVER WOLCOTT Chairman, Friends of the Boston Symphony Orchestra

To the Trustees of Boston Symphony Orchestra, Inc. Symphony Hall, Boston

I ask to be enrolled as a member of the Friends of the Boston Symphony Orchestra for the year 1952-1953 and I pledge the sum of $ for the current support of the Orchestra, covered by check herewith or payable on

Name

Address

Checks are payable to Boston Symphony Orchestra

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[ 1006 ] SEVENTY-SECOND SEASON, NINETEEN HUNDRED FIFTY-TWO AND FIFTY-THREE

twenty-second Program

FRIDAY AFTERNOON, April 3, at 3:30 o'clock

SATURDAY EVENING, April 4, at 8:30 o'clock

Bach The Passion According to St. Matthew

Soprano: Mariquita Moll

Contralto: Florence Kopleff Tenor: Herbert Handt

Bass: Gerard Souzay

Bass: Paul Matthen

Harpsichord: Daniel Pinkham Organ: E. Power Biggs

HARVARD GLEE CLUB AND RADCLIFFE CHORAL SOCIETY G. Wallace Woodworth, Conductor

(There will be an intermission between Parts I and II)

This program will end about 5:55 o'clock on Friday Afternoon, 10:55 on Saturday Evening.

Scores and information about music on this program may be seen in the Music Room of the Boston Public Library.

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[ 1007] MUSICAL INSTRUCTION

JULES WOLFFERS Instruction and Courses for Pianists and Teachers Coaching for those preparing public appearances

1572 BEACON STREET, WABAN 68 BI 4-1494

DAVID BLAIR McCLOSKY TEACHER OF SINGING BARITONE VOCAL THERAPIST BOSTON UNIVERSITY COLLEGE OF MUSIC, BOSTON, MASS. DIRECTOR: PLYMOUTH ROCK CENTER OF MUSIC AND DRAMA, INC. By Appointment CO 6-6070

LEONARD ALTMAN Teacher of Pianoforte

135 Newbury Street, Boston, Mass.

KE 6-5183 GA 7-3294

JAMES GRAY PIANIST TEACHER

Associate of the late Felix Fox

169 Bay State Rd. Mondays Tel. Circle 7-7661

LOUISE SCARABINO, Soprano Teacher of Voice — Piano

583 Beacon Street Commonwealth 6-2049 Boston, Mass. Evenings

Rhodora Buckle Smith DR. ROSE W. SHAIN VOICE TEACHER — COACH TEACHER OF SINGING Member—National Association Teachers of Singing 122 Bowdoin St., Boston 4 Stedman St. Dean Vocal Dipt. Brookline, Mass. Staley College CA 7-2142 Tel. AS 7-2503 Brookline, Mass.

[ 1008 ]