BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HI 1955 1956 SEASON Veterans Memorial Auditorium, Providence Boston Symphony Orchestra (Seventy-fifth Season, 1955-1956) 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 George Zazofsky Albert Bernard Contra-Bassoon Rolland Tapley George Humphrey Richard Plaster Norbert Lauga Jerome Lipson Robert Karol Vladimir Resnikoff Horns Harry Dickson Reuben Green James Stagliano Gottfried AVilfinger Bernard Kadinoff Charles Yancich Einar Hansen Vincent Mauricci Harry Shapiro Joseph Leibovici John Fiasca Harold Meek Emil Kornsand Violoncellos Paul Keaney Roger Shermont Osbourne McConathy Samuel Mayes Minot Beale Alfred Zighera Herman Silberman Trumpets Jacobus Langendoen Roger Voisin Stanley Benson Mischa Nieland Leo Panasevich Marcel Lafosse Karl Zeise Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Clarence Knudson Leon MarjoUet Trombones Pierre Mayer Martin Hoherman William Gibson Manuel Zung Louis Berger William Moyer Kauko Kabila Samuel Diamond Richard Kapuscinski Josef Orosz Victor Manusevitch Robert Ripley James Nagy Flutes Tuba Melvin Bryant Doriot Anthony Dwyer K. Vinal Smith Lloyd Stonestreet James Pappoutsakis Saverio Messina Phillip Kaplan Harps William Waterhouse Bernard Zighera Piccolo William Marshall Olivia Luetcke Leonard Moss George Madsen Jesse Ceci Oboes Timpani Noah Bielski Ralph Gomberg Roman Szulc Alfred Schneider Jean Devergie Everett Firth Joseph Silverstein John Holmes Percussion Basses English Horn Charles Smith Georges Moleux Louis Speyer Harold Farberman Gaston Dufresne Clarinets Harold Thompson Ludwig Juht Gino Cioffi Piano Irving Frankel Manuel Valeric Bernard Zighera Henry Freeman Pasquale Cardillo Henry Portnoi E\) Clarinet Librarians Henri Girard Bass Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Victor Alpert, Ass't Veterans Memorial Auditorium, Providence SEVENTY-FIFTH SEASON, 1955-1956 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Fourth Concert TUESDAY EVENING, February 28 with historical and descriptive notes by John N. Burk The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President . Vice-President Jacob J. Kaplan Richard C. Paine . Treasurer Talcott M. Banks, Jr. C. D. Jackson John Nicholas Brown 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 Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Thomas D. Perry, Jr., Manager G. W. Rector Assistant ( J. J. Brosnahan, Assistant Treasurer N.S. Shirk ( Managers Rosario Mazzeo, Personnel Manager [1] THE PIANO OF GREAT ARTISTS the instrument for your home No other piano has the Steinway's glowing voice, its commanding presence and its resistance to depreciation. 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Allegro energico (Composed for the 75th Anniversary of the Boston Symphony Orchestra) Beethoven Overture, Leonore No. 2 Performances by the orchestra are broadcast each week on Monday evenings from 8:15 to g:oo P.M. on the NBC Network. The Friday afternoon concerts at 2:15 and Saturday evening con- certs at 8:30 are broadcast direct by Station WGBH-FM. BALDWIN PIANO RCA VICTOR RECORDS CSl ADAGIO AND FUGUE IN C MINOR FOR STRINGS, K. 546 By Wolfgang Amadeus Mozart Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791 Mozart wrote the fugue at first for two pianofortes, December 29, 1783 (K. 426). In June, 1788, in Vienna, he arranged the piece for strings, adding an intro- duction. It was performed at the concerts of the Boston Symphony Orchestra November 25-26, 1910, Max Fiedler conducting it (according to the program) for the first time in Boston. MOZART, living in a musical age which was harmonically and melodically inclined, was seldom required to compose strict fugues. Masses for the Church called for fugal choral writing, and a great quantity of church music by Mozart, of which his C minor Mass is an outstanding example, is proof in itself of his contrapuntal abili- ties (and yet a traditional master like Padre Martini found Mozart's church music a compromise with the severities of the past). Mozart brought the fugue up to date for eighteenth century uses by giving it the fluent play found in his Overture to The Magic Flute, or in the finale of his "Jupiter" Symphony where all the customary fugal manipulations, cleverly concealed, can be detected by the ex- pert.* The Fugue in C minor, like others which he wrote in his * Mozart, like Beethoven, turned out "canons" for diversion. Sometimes he lifted tfiem to higher purposes, as in his wind octet in C minor. PEOPLE AHEAP OF THE TIMES FLY AIR FRANCE CHARLES MUNCH. 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The harmonic treatment, and more especially the enharmonic changes, are of extraordinary beauty and depth, and occasion remarkable effects of suspense and climax. Most admirable is the art with which the character of the movement as an introduction is maintained, and the defiant style of the following fugue clearly indicated, at the same time that the mind is tuned to a pitch of longing and melancholy which makes the entry of the categorical fugue a positive relief and stimu- lant." [copyrighted] c 2 H 4 6 E Chic Clothes z t FOR H A E EVERY Y L R OCCASION I E s S E T Jones Warehouses, Inc. For more than 60 years rendering an exceptionally fine service in Furniture Storage, and in Dependable Moving both local and long distance. M.nnh^r. 59 CENTRAL ST., PROVIDENCE, R. I. Aero IT''Mayflower 1-0081 Nation-wideM .. 'A GA Moving Service 'Rhode Island's Largest Household Storage Firm" [61 SINFONIA CONCERTANTE in E-flat, for Oboe, Clarinet, Horn AND Bassoon, with Orchestra, K. 297b (Appendix, No. g) By Wolfgang Amadeus Mozart Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791 Composed in Paris between April 5 and 20, 1778, the score of this work dis- appeared without performance. A copy was found in the State Library in Berlin and was published in the collected edition of Mozart's works in 1886. It was also edited by Professor Friedrich Blume for the Eulenburg edition of miniature scores in 1928. The accompanying orchestra calls for 2 oboes, 2 horns, and strings. THIS music is the very definition of the title (which is more accurate than "Konzertantes Quartett" as it was first published). Like the Konzertante Sinfonie for Violin and Viola (K. 364) , it is sym- phonic in its expanse, in the character of the development. At the same time it is a concerto grosso by the setting of the solo quartet, which is a sort of concertino against the orchestral tutti. The quartet is a unified group rather than a succession of soloists — a Harmonie- musik, where the individual voices are alternated, blended, interlaced, backed by the accompanying orchestra or relieved by the predominant string tone of the tutti. Only in the adagio, where the melodic line is NEW INTERIORS 680 no. main street • providence rhode island • jockson 1-6042 FINE CONTEMPORARY FURNISHINGS FOR THE HOME AND OFFICE MODERN FURNITURE FABRICS CARPETING LAMPS ACCESSORIES INTERIOR PLANNING [71 lengthened in time, does each soloist have his extended phrase while accompanied by his fellows.