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^BOSTON 1 /fe SYMPHONY 1 ORCHESTRA
FOUNDED IN 1881 BY M HHENRY LEE HIGGINSON VETERANS MEMORIAL
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EIGHTY-FIRST SEASON 1961-1962 ;
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THE CONDUCTOR: MUNCH THE ORCHESTRA: BOSTON ... and their artistry is im- mortally inscribed in "these four treasured albums' to own and to enjoy always.* In Living Stereo and Mon- aural Hi-Fi. @ rca\1ctor@ The most trusted name in sound EIGHTY-FIRST SEASON, 1961-1962
Boston Symphony Orchestra
CHARLES MUNCH, Music Director
Richard Burgin, Associate Conductor
CONCERT BULLETIN
with historical and descriptive notes by
John N. Burk
The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.
Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer
Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Sidney R. Rabb C. D. Jackson Charles H. Stockton E. Morton Jennings, Jr. John L. Thorndike Henry A. Laughlin Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft
Thomas D. Perry, Jr., Manager
Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMP HO NY HALL BOSTON 15
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[4] EIGHTY-FIRST SEASON NINETEEN HUNDRED SIXTY-ONE -SIXTY-TWO
Three Hundred and Sixty-second Concert in Providence
Second Program
TUESDAY EVENING, November 28, at 8:15 o'clock
RICHARD BURGIN, Conductor
Molssorgsky Prelude to Khovanshchina
Rachmaninoff Piano Concerto No. 2, in C minor, Op. 18
I. Moderato II. Adagio sostenuto III. Allegro scherzando INTERMISSION
Shostakovitch Symphony No. 5, Op. 47
I. Moderato
II. Allegretto
III. Largo
IV. Allegro non troppo
SOLOIST GARY GRAFFMAN Mr. Graffman plays the Steinway Piano
By order of the Chief of the Providence Fire Department, smoking is allowed only in the ticket lobby and the lower lobby of the auditorium.
BALDWIN PIANO RCA VICTOR RECORDS
[5] "KHOVANSHCHINA": PRELUDE TO ACT 1 By Modest Petrovich Moussorgsky
Born in Karevo, in the government of Pskov, March 21, 1839; died in St. Petersburg, March 28, 1881
Moussorgsky wrote the larger part of the opera "Khovanshchina" between the years 1872 and 1875, working on it intermittently through the remaining six years of his life. His colleague, Rimsky-Korsakov, filled out and fully orchestrated the score in 1881. The first performance was at St. Petersburg in 1885. There was a performance in Moscow in 1897. The instrumentation of the Prelude calls for 2 flutes, 2 oboes, 2 clarinets, 2 bas- soons, 4 horns, timpani, harp, tam-tam, and strings.
4 4 \7~ hovanshchina is a formidable name, especially when written as X\- ' Chowanschtschina' in the German transliteration" (so writes Oskar von Riesemann, in his readable life of Moussorgsky). "The word (the accent is on the first 'a') looks as if it were invented to display the tongue-twisting properties of the Russian language. The last syllables hiss like a brood of snakes. What is the meaning of this monstrous word? Nothing much — its sense is more innocent than one would fancy. The last syllables are only a contemptuous suffix in Russian, like '-ery' in English. When the young Czar Peter (not yet 'the Great') was told of a plot that the two Princes Khovansky had formed against him, he dismissed the whole affair with a contemptuous shrug, and the word 'Khovanshchina!' and gave orders to let the matter drop. The
After tonight's concert,
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[6] 'dropping' meant that the two Princes Khovansky, father and son, were publicly hanged; but otherwise the conspiracy had no further result, so far as the Russian Empire was concerned." Moussorgsky devised a different end for each of them, to suit his dramatic purposes, but was otherwise essentially faithful to history. His introduction, Moussorgsky calls "Dawn on the Moskva River." It is a musical landscape in which the composer prepares his audience to see the quarters of the Streltsi in Moscow, in the early morning. Riesemann attributes the "five melodic variations" which are the basis of this prelude to "a method of musical expression long familiar to the Russian people, through their popular songs. When a song is sung in a Russian village — especially by several singers in succession — no two stanzas are usually sung alike. Each singer tries to introduce individual variations in the melody to suit his or her own voice and mood, and in accordance with the meaning of the particular verse. Thus the song loses all rigidity and seems to be a living, breathing organism, capable of varying with every moment. This peculiarity of Russian folk-song becomes in Moussorgsky's hands a most effective means of musical expression, which he employs in many of his works, and nowhere more successfully than in this prelude; it is always the same landscape, some- what melancholy and monotonous, that we see before us, and yet it seems constantly to change its appearance, in accordance with the changing light." [copyrighted]
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[7] CONCERTO NO. 2, IN C MINOR FOR PIANOFORTE WITH ORCHESTRA, Op 18 By Sergei Vassilievitch Rachmaninoff
Born in Onega in the government of Novgorod, April 1, 1873; died in Beverly Hills, California, March 28, 1943
Composed in the year 1900, Rachmaninoff's Second Concerto for Pianoforte was first performed by the Philharmonic Society of Moscow on October 27, 1901, the composer as soloist. (There had been a performance of the last two movements at a benefit concert December 2, 1900.) It was published in the same year. It was his Second Concerto which contributed more than any other piece to the early popularity of Rachmaninoff. The curious circum- stances under which he wrote it have been disclosed in his memoirs.* For two years Rachmaninoff suffered from a "mental depression," con- nected with certain contretemps in his career as composer and conduc- tor in Moscow. His friends, alarmed at his state of apathy, tried various means of rousing him. A visit to Tolstoy at Yasnaya Polyana was inef- fective, but treatment under Dr. Nicolai Dahl, a radical in his profes- sion, and a pioneer in the field of auto-suggestion, had very decided results. "My relations had told Dr. Dahl," wrote Mr. Rachmaninoff, "that he must at all costs cure me of my apathetic condition and achieve such results that I would again begin to compose. Dahl had asked what manner of composition they desired and had receive the answer, 'A Concerto for pianoforte,' for this I had promised to the people in London and had given it up in despair. Consequently I heard the same hypnotic formula repeated day after day while I lay half asleep in an armchair in Dahl's study. 'You will begin to write your Concerto. . . .
* "Rachmaninoff's Recollections," Told to Oskar von Riesemann.
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52 WASHINGTON STREET • PROVIDENCE, R. I. GARDEN CITY WAYLAND SQUARE You will work with great facility. . . . The Concerto will be of an
.' excellent quality. . . It was always the same, without interruption. Although it may sound incredible, this cure really helped me. Already at the beginning of the summer I began again to compose. The mate- rial grew in bulk, and new musical ideas began to stir within me — far more than I needed for my Concerto. By the autumn I had finished two movements of the Concerto — the Andante and the Finale — and a sketch for a Suite for two pianofortes whose Opus number 17 is explained by the fact that I finished the Concerto later by adding the first movement. The two movements of the Concerto (Op. 18) I played during the same autumn at a charity concert directed by Siloti. The two movements of my Concerto had a gratifying success. This buoyed up my self-confidence so much that I began to compose again with great keenness. By the spring I had already finished the first movement of the Concerto and the Suite for two pianofortes. "I felt that Dr. Dahl's treatment had strengthened my nervous system to a miraculous degree. Out of gratitude I dedicated my second Con- certo to him. As the piece had had a great success in Moscow, everyone began to wonder what possible connection it could have with Dr. Dahl. The truth, however, was known only to Dahl, the Satins,* and myself." Rachmaninoff's latest biographer, Victor Seroff, tells us that the second theme of the last movement was actually composed by Rach-
* The Satins were the friends with whom he stayed at that time. He was married to Natalie Satin, April 29, 1902. Jones Warehouses, Inc. For 72 years rendering an exceptionally fine service in Furniture Storage, and in Dependable Moving both local and long distance.
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THE RHODE ISLAND CIVIC CHORALE AND ORCHESTRA DR. LOUIS PICHIERRI, Director FIFTH ANNIVERSARY SEASON - 1961-1962 December 3 — Handel: MESSIAH (Carr, L. Parker, Abusamra, Laurent) March 6 — Bach: ST. MATTHEW PASSION (Carr, Alberts, Nason, Ring, Laurent) May 8 — Verdi: REQUIEM (Boatwright, Alberts, Carelli, Sgarro) All concerts at 8:30 p.m. at Veterans Memorial Auditorium TICKETS ON SALE AT AXELROD'S AND AVERY'S
[9] maninofFs friend, Nikita Morozov. "Sergei heard this melody which Morozov composed and remarked: 'Oh, that is a melody I should have composed.' Morozov, who worshiped his friend, said calmly: 'Well, " why don't you take it?' [copyrighted]
GARY GRAFFMAN Gary Graffman, born in New York City in 1928, was accepted at the age of seven at the Curtis Institute of Philadelphia where his principal teacher was the late Mme. Isabelle Vengerova. Having made his first public appearance at the age of 10, he has become an active concert pianist, touring Europe, South America and the Far East, as well as this country. He has appeared with this Orchestra in Prokofieff's
Concerto No. 1, Brahms' Concerto No. 1, Chopin's Concerto in E minor and Mendelssohn's Capriccio brillante. PIANO TUNING HERBERT E. WOOD
Repairing - Rebuilding - Demothing SOHMER CONSOLES -GRANDS PIANOS BOUGHT AND SOLD GA 1-8781 434 BROOK STREET, PROVIDENCE
The New England Conservatory A COLLEGE OF MUSIC James Aliferis, President
BACHELOR AND MASTER OF MUSIC In All Fields DIPLOMA AND ARTIST'S DIPLOMA In Applied Music
Faculty includes Principals of the Boston Symphony Orchestra
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Member, New England Association of Colleges and Secondary Schools Charter Member, National Association of Schools of Music
For information regarding admission and scholarships, write to the Dean.
298 HUNTINGTON AVENUE BOSTON 15, MASSACHUSETTS
[10] SYMPHONY NO. 5, Op. 47 By Dmitri Shostakovitch
Born in St. Petersburg, September 25, 1906
Shostakovitch composed his Fifth Symphony for performance in celebration of the twentieth anniversary in 1937 of the Republic of Soviet Russia. The first of a series of performances was given at Leningrad, November 21 of that year. The first per- formance at Moscow was on the 20th of January following.
The Fifth Symphony is conceived, developed and scored for the most part with great simplicity. The themes are usually melodic and long-breathed in character. The manipulation of voices is plastic, but never elaborate. The composer tends to present his material in the pure medium of the string choirs, notably in the opening and slow movements, where wind color and sonority are gradually built up. The first movement and the last gain also in intensity as they unfold by a gradual increase ot tempo throughout, effected by continual metronomic indications.
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SEVENTEENTH SEASON RHODE ISLAND PHILHARMONIC ORCHESTRA FRANCIS MADEIRA, Music Director
WINTER SUBSCRIPTION CONCERT SERIES
Second Concert
TUESDAY, JANUARY 30, at 8:30 p.m. Gina Bachauer, Pianist Lully Suite Mozart Concerto for Piano in C Minor, Op. 491 Grieg Concerto for Piano in A Minor Hanson Mosaics
VETERANS MEMORIAL AUDITORIUM Tickets for each concert available at
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[»] The first movement opens with an intervallic theme, stated anti- phonally between the low and high strings. From it there grows a theme (violins) in extensive, songful periods. The development is in the nature of melodic cumulative growth. The first theme returns in horns and trumpets, and subsides to the gentle voice of the violins, over a characteristic triple rhythmic figure. As the tempo quickens, the rhythms tighten and become more propulsive, while the melody, sounding from the brass choir, becomes exultant in animation. The recapitulation suddenly restores the initial slow tempo as the first theme is repeated by the orchestra in unison, largamente. The fortis- simo strings and deep brass give way to a gentler reminiscent mood, as the wood-wind voices, here first fully exploited, bring the movement to a close. The second movement is in the historical scherzo form with clear traces in the course of the music of the traditional repeats, trio section
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Tuesday - Saturday — 10 :00 - 5 :00
EIGHTY-FIRST SEASON • NINETEEN HUNDRED SIXTY-ONE -SIXTY-TWO
Boston Symphony Orchestra
CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor
The remaining Tuesday evening concerts in Providence will be as follows:
December 19 ERNEST ANSERMET, Guest Conductor
February 6 CHARLES MUNCH, Conductor
April 10 JEANNE MARIE DARR£, Piano
Tickets are on sale at the Avery Piano Company 256 Weybosset Street, Providence BALDWIN PIANO RCA VICTOR RECORDS
VETERANS MEMORIAL AUDITORIUM • PROVIDENCE [12] and da capo. The themes are in the triple time of the Austrian Land- lev, from which, in the past, scherzos have sprung. The slow movement, like the first, is one of gradual melodic growth, from string beginnings. The theme, too, is reminiscent of the first theme in the opening move- ment. The individual voices of the wood wind enter, and the tension increases as the strings give a tremolo accompaniment, and sing once more, muted and in the high register. The movement attains, at its climax, an impressive sonority without the use of a single brass instrument. The finale, in rondo form, devolves upon a straightforward and buoyant march-like rhythm and a theme unmistakably Russian in suggestion. There is a slow section in which the characteristic triple rhythm of the first movement reappears. The first theme of that move- ment is treated by the violin solo with fresh melodic development. There is a constant increase in tempo as the conclusion is approached. [copyrighted] LES TilLEKIE*
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llart. 9 Jf. ^jjL (Uljamfier JSalmata ^Rtrofrs (Sfsiattfr JSctjool al ^Btsxgti JVuhttomm S:3LT p.m. Reason tickets $7.50, $6.00, $5.00, $4.00 Single &bmxzzwn $2.25, $1.75, $1.50, $1.25 ^tutomta $3.00 ^ertee, $1.00 £mgb Apply Brown University Box 1903 [13] PROVIDENCE MUSIC TEACHERS DIRECTORY AVIS BLIVEN CHARBONNEL CONCERT PIANIST and TEACHER 123 BENEVOLENT STREET DOROTHY JOSLIN PEARCE PIANIST - TEACHER 296 Benefit Street PL 1-6080 CONCERT PIANIST AND TEACHER State Accredited in Germany Beginners to Artist Pupils Studios: 168 Lloyd Avenue Phone: DE 1-5667 ROSAMOND WADSWORTH Soprano - Teacher Opera - Oratorio - Art Songs 44 PITMAN STREET Tel. TE 1-7928 Edna Bradley Wood PIANIST -TEACHER Beginners to Artist Pupils Pupils prepared for Public Performances 434 BROOK ST., PROVIDENCE - GA 1-8781 [Ml Boston Symphony Orchestra (Eighty-first Season, 1961-1962) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Cellos Bassoons Richard Burgin Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Jacobus Langendoen Matthew Ruggiero George Zazofsky Mischa Nieland Rolland Tapley Karl Zeise Contra Bassoon Joseph Silverstein Martin Hoherman Richard Plaster Vladimir Resnikoff Bernard Parronchi Harry Dickson Richard Kapuscinski Horns Gottfried Wilfinger Robert Ripley James Stagliano Einar Hansen Winifred Winograd Charles Yancich Roger Shermont Louis Berger Harry Shapiro Minot Beale John Sant Ambrogio Harold Meek Herman Silberman Paul Keaney Joseph Leibovici Basses Osbourne McConath/ Stanley Benson Georges Moleux Leo Panasevich Henry Freeman Trumpets Sheldon Rotenberg Irving Frankel Roger Voisin Fredy Ostrovsky Henry Portnoi Armando Ghitalla Noah Bielski Henri Girard Andre Come John Barwicki Gerard Goguen Clarence Knudson Pierre Mayer Leslie Martin Ortiz Walton Trombones Manuel Zung Samuel Diamond William Gibson William William Marshall Flutes Moyer Kauko Kahila Leonard Moss Doriot Anthony Dwyer Josef Orosz William Waterhouse James Pappoutsakis Alfred Schneider Phillip Kaplan Tuba Victor Manusevitch K. Vinal Smith Laszlo Nagy Piccolo Ayrton Pinto George Madsen Timpani Michel Sasson Everett Firth Lloyd Stonestreet Harold Farberman Julius Schulman Oboes Raymond Sird Ralph Gomberg Percussion Gerald Gelbloom Jean de Vergie Charles Smith John Holmes Violas Harold Thompson Arthur Press Joseph de Pasquale English Horn Jean Cauhape Louis Speyer Harps Engen Lehner Bernard Albert Bernard Zighera Clarinets Olivia Luetcke George Humphrey Jerome Lipson Gino Cioffi Manuel Valerio Robert Karol Piano Reuben Green Pasquale Cardillo Bernard Zighera E\) Clarinet Bernard Kadinoff Vincent Mauricci Library Bass Clarinet Earl Hedberg Victor Alpert Joseph Pietropaolo Rosario Mazzeo William Shisler [15] GREGORY PIANOS AJND UKGAlNS BALDWIN 7955 Smith Street, Centredale, R. I.