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Boston Symphony Orchestra Concert Programs, Summer, 1947-1950

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XSMIRjB TANGLEWOOD / STEINWAY To teach your child to look at life through music is to make her world all the richer. But let Steinway be her mentor. The golden rewards of owning a Steinway far exceed any price placed upon it. Young fingers learn quicker from the incredible sensitivity of its Accelerated Action. A keener sense of tone is developed from knowing its glorious singing voice. Mastery comes easier. And so enduring is the magnificent beauty of the Steinway, so perfect its craftsmanship that it will serve for many years. A Steinway costs more initially, but in terms of its true value and abiding advantages it is the most economical of all pianos! In Massachusetts and New Hampshire, new Steinways are sold only by THE STEINWAY is used exclusively by Brailowsky, Casadesus, Hess, Horowitz, Jonas, Kapell, Kreisler, Lehmann, Novaes, Ormandy Rubenstein, Serkin, Templeton, Toscanini, and virtually every other •^ M'StQineruSons famous artist. Illustrated is the beautiful Hepplewhite. Now you may HtHHt I W I I Jerome F. Murphy, President purchase a Steinway at terms to suit your individual convenience! 162 BOYLSTON ST., BOSTON Branches in Worcester, Springfield, Wellesley Hills Boston Symphony Orchestra Berkshire Festival, Season 1950 SERGE KOUSSEVITZKY, Conductor Concert Bulletin, with historical and descriptive notes by John N. Burk COPYRIGHT, 1950, BY BOSTON SYMPHONY ORCHESTRA, INC. Trustees of the Boston Symphony Orchestra, Inc. Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Philip R. Allen Theodore P. Ferris N. Penrose Hallowell M. A. De Wolfe Howe Lewis Perry John Nicholas Brown Alvan T. Fuller Francis W. Hatch Charles D. Jackson Edward A. Taft Raymond S. Wilkins Oliver Wolcott Tanglewood Advisory Committee Alan J. Blau George W. Edman Lawrence K. Miller James T. Owens Whitney S. Stoddard Hhnry W. Dwight F. Anthony Hanlon George E. Mole Lester Roberts Robert K. Wheeler George E. Judd, Manager S<fmfe&ani#M4, Next October the Boston Symphony Orchestra The Saturday morning rehearsals of the Boston will begin its 70th anniversary season, which will Symphony Orchestra for the final two weeks of be its second under the leadership of Charles the Festival will be open to the public at a nominal Munch. In the third week of the season the Or- charge, the receipts to benefit the Pension Fund chestra will undertake its annual tour of mid- of the Boston Symphony musicians. western cities and will then return to the Berkshire area to visit Troy for a concert on October 17 for the first time in twenty-six years. The Orchestra will also play in Syracuse on October 18, Rochester Tanglewood on Parade is listed this year for on October 19, Buffalo on October 20, Detroit on Friday, August 11, (page 29). The many events October 21, Battle Creek on October 23, Kala- will begin in the late afternoon, and continue into mazoo on October 24, and Ann Arbor on October the evening, culminating in a special program 22 and 25. The season will consist of twenty-four by the Boston Symphony Orchestra. Various pairs of Friday afternoon and Saturday evening activities of the Berkshire Music Center will also concerts in Symphony Hall, Boston; nine Tuesday be on view. evenings and six Sunday afternoons; series in Sanders Theatre, Cambridge; Carnegie Hall, New York; Academy of Music, Brooklyn; Veterans' Memorial Auditorium, Providence; and concerts in New Haven, Hartford, Washington, Newark, A calendar of the performances to be given by New London, New Brunswick and Philadelphia. the students of The Berkshire Music Center at If those interested will leave their names and Tanglewood will be found on page 31. addresses at the Friends Office they will be sent a historical anniversary booklet of the Orchestra to be published in the fall. * * * Visit The The paintings on view in the reception room TANGLEWOOD MUSIC STORE adjoining the Main Gate have been kindly loaned (near the main gate) by the Berkshire Museum in Pittsfield, where also an exhibition of pictures, music and autographs in connection with the Festival programs will be shown through the Festival period. The Berk- shire Museum Theatre will present weekly motion pictures of exceptional quality, both American and foreign. The Summer Art School invites the enrollment of amateurs by day, week, month or season. The Boston Symphony Orchestra here, as in its own city, welcomes a friendly association of the arts. * * * The Sculpture in the Garden and in the Recep- TANGLEWOOD tion room has has been lent by the artists, Ivan Souvenir Pictorial Book Mestrovic and Reno Pisano. 50e * * * Recordings and miniature scores, including The summer session of the school of the Boston Museum of Fine Arts will hold classes at works given at the Festival concerts, musical Wheatleigh, the new dormitory of the Berkshire books, postcards, films, etc. Music Center. I TENTH PROGRAM Thursday Evening, August J, at 8:1$ Conducted by VICTOR de SABATA * Brahms Academic Festival Overture, Op. 80 Schubert "Unfinished" Symphony, in B minor I. Allegro moderato II. Andante con moto Respighi Symphonic Poem, "Pines of Rome" I. The Pines of the Villa Borghese III. The Pines of the Janiculum II. The Pines near a Catacomb IV. The Pines of the Appian Way INTERMISSION Morton Gould "Spirituals" for String Choir and Orchestra Proclamation Protest Sermon Jubilee A Little Bit of Sin Wagner Prelude and Liebestod from "Tristan und Isolde" BALDWIN PIANO RCA VICTOR RECORDS Berkshire festival — TANGLEWOOD, 1950 .AAAAAAAJ.AJ.AAXAAJ.AAJ.AAXXAAXAAJ. Tenth ^Program TUNE IN SUNDAYS! VICTOR de SABATA, born in Trieste, April 10, 1892, | graduated from the Milan Conservatory, became conductor of the Monte Carlo Opera and since 1929 at La Scala, Milan. He also conducted the Vienna Philharmonic for U.S. STEEL three years. He has conducted the concerts of the Augus- teo Orchestra in Rome, at the festivals in Bayreuth, and other principal orchestras of Europe. He first came to this HOUR country in 1927, conducting the Cincinnati Orchestra, and again in 1948, since which time he has conducted several of our orchestras, notably in Pittsburgh, New York, Chicago, and Philadelphia. Mr. de Sabata has composed the operas, // Macigno, Lysistrata; Symphonic poems, Juventus, La Notte di Platon, Gethsemani, the Ballet, Thousand and One Nights, incidental music for The Merchant of Ven- ice, and an orchestral suite. The NBC Academic Festival Overture, Op. 80 By Johannes Brahms SYMPHONY ORCHESTRA Born at Hamburg, May 7, 1833 ; died at Vienna, April 3, 1897 These world-famed conductors: When the University at Breslau conferred upon Brahms, in the spring of 1879, the degree of Doctor /<- REINER of Philosophy, the composer responded in kind, and made the institution the handsome present of an over- Alfred WALLENSTEIN ture on student airs. Presents of this sort are not to be unduly hastened when artistic good faith and Eugene the heritage of the musical world are considered. ORMANDY Brahms composed and destroyed another "Aca- demic" overture before this one, if Heuberger is not Milton KATIMS mistaken. The performance came the following January, when Brahms conducted it at Breslau, Arthur FIEDLER while the Herr Rektor and members of the philo- sophical faculty sat in serried ranks, presumably Pierre MONTEUX gowned, in the front rows. It goes without saying that both Brahms and his Erich LEINSDORF overture were quite free of such "academic" for- mality. It is around a tavern table that music wit/red PELLETIER enters spontaneously into German college life. Al- though Brahms never attended a university he had Sigmund ROMBERG BERKSHIRE MUSEUM Vladimir GOLSCHMANN THE PITTSFIELD, MASS. Rajael KUBELIK C^xnioitionS — Paintings by Robert T. Francis Harold LEVEY July: August: — Sculpture by Daniel Chester French . and distinguished soloists Festival Season — Memorabilia in connection with the Festival programs 8:30 pm Summer Art School WGY Berkshire Museum Theatre SUN«1 II m DAYSn A V Q VI Open Weekdays 10-5 — Sundays 2-5 Closed Mondays +++TT + +TTtT+TTTTTTtTTnt+++++' LEONARD BERNSTEIN •among the scores of great h artists yhoose to record forY exclusively ^l^biaMaster^orks Records Conducting the Columbia symphony Orchestra Rovel: Sheherazade (Three . withjenn!e wrM:zi°crr ©ML 4289 Set MX-337 At the Piano Mezzo-Soprano) ML 4289 Set MM-832 UP »o 50 minutes of rhusjc n a single record Uninterrupted listening pleasure-con, 2 '"ch Long P, ay;ng RecQrds ..M Columbia J°n a /7-inchmen LP P V" Records— the latest -°nd short classics. ' You enfoy supe PM,croaroovea a,it at y lower cost, at S "- d -33/3 Coosevo RPM. favorite musical selection from Columbia's famous LP Catalog-9 ue's first, finest, largest COLUMBIA RECORDS LONG PLAYING Masterworks LP MICROGROOVE Registradas "Columbia," "Masterworks," @£) and ® Trade Marks Reg. U. S. Pat. Off. Marcas 8 (AJerRdkire festival TANGLEWOOD, 1950 tasted something of this life at Gottingen when, as a younger man, he visited with Joachim, who was studying at the University. Brahms did not forget the melody that filled the Kneipe, inspired by good The company and good beer. Student songs, with their Volkslied flavor, inevitably interested him. He found use for four of them. "Wir hatten gebauet ein st'dttliches Haus" is first given out by the 'Berk• shire trumpets. "Der Landesvater" ("Hort, ich sing das Lied der Lieder") is used rhythmically, delightfully developed. The "Fuchslied" or Freshman's Song {"Was kommt ") Hills dort von der H'oh' is the choice of the unbuttoned Brahms, and leaves all educational solemnities behind. The air is introduced by two bassoons. When Brahms wrote Kalbeclc that he had composed "a very jolly potpourri on students' songs V_Jffer many cultural attractions a la Suppe," Kalbeclc inquired jokingly whether he had used the "Fox song." "Oh, yes," said Brahms to make your visit a pleasant one complacently.
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    Opera Recordings: a Very Personal Guide by Ralph Moore

    “Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time.