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Boston Symphony Orchestra Concert Programs, Season 74, 1954

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Boston Symphony Orchestra Concert Programs, Season 74, 1954 BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HI SEVENTY-FOURTH SEASON l 954-»955 Sanders Theatre, Cambridge \JHarvard JJ?tiversity\ Boston Symphony Orchestra (Seventy-fourth Season, 1954-1955) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhapc Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Rolland Tapley George Humphrey Contra- Bassoon Norbert Lauga Jerome Lipson Richard Plaster Vladimir Resnikoff Robert Karol Harry Dickson Louis Artieres Horns Gottfried Wilfinger Reuben Green James Stagliano Einar Hansen Bernard Kadinoff Charles Yancich Joseph Leibovici Vincent Mauricci Harry Shapiro Emil Kornsand John Fiasca Harold Meek Roger Shermont Paul Keaney Paul Fedorovsky Violoncellos Osbourne McConathy Carlos Pinfield Samuel Mayes Walter Macdonald Minot Beale Alfred Zighera Herman Silberman Jacobus Langendoen Trumpets Stanley Benson Mischa Nieland Roger Voisin Leo Panasevich Karl Zeise Marcel Lafosse Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Leon Marjollet Clarence Knudson Martin Hoherman Trombones Pierre Mayer Louis Berger Jacob Raichman Manuel Zung William Moyer Samuel Diamond Flutes Kauko Kahila Victor Manusevitch Doriot Anthony Dwyer Josef Orosz James Nagy James Pappoutsakis Melvin Bryant Phillip Kaplan Tuba Raphael Del Sordo K. Vinal Smith Piccolo Lloyd Stonestreet Saverio Messina George Madsen Harps William Waterhouse Oboes Bernard Zighera William Marshall Ralph Gomberg Olivia Luetcke Leonard Moss Jean Devergie Jesse Ceci John Holmes Timpani Roman Szulc Basses English Horn Everett Firth Georges .Moleux Louis Speyer Willis Page Percussion Clarinets Ludwig Juht Charles Smith Gino Cioffi Irving Frankel Harold Farberman Manuel Valerio Harold Thompson Henry Freeman Pasquale Cardillo Henry Portnoi E\) Clarinet Gaston Dufresne Librarians Henri Girard Bass Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Victor Alpert, Ass't [harvard University Sanders Theatre, Cambridge J SEVENTY-FOURTH SEASON, 1954-1955 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Second Concert TUESDAY EVENING, December 28 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 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 [*] GU1DO GANTELLI Guido Cantelli was born in Novara (near Milan) , Italy, on April 27, 1920. The town possessed a theatre, and a military band of which his lather was the leader, with the result that as a mere boy Guido had the experience of leading the band, playing in the theatre orchestra; he also played the organ and sang in the church choir. At 14 he received a diploma as pianist from the Conservatorio Giuseppe Verdi in Milan where he later studied composition with Arrigo Pebrolo and Giorgio Ghedini. He had early experience conducting opera and concerts at Novara. During the war he was held in a prison camp in Germany. After the war he had many engagements conducting orches- tras in Italy including the orchestra of La Scala in Milan, where his talents came to the attention of Arturo Toscanini. It was through Toscanini's recommendation that he came to this country in 1948 and conducted the NBC Orchestra as guest. He conducted this orchestra each season, and a number of orchestras in the United States and in Europe. He conducted the Boston Symphony Orchestra as guest in the last two seasons. GUIDO CANTELLI ... his striking and intelligent interpretations of the world's great orchestral classics are yours to enjoy on RCA Victor and ''His Master's Voice" recordings. Brahms: Symphony No. 1, in C Minor, Op. 68 Hindemith : Matthais The Painter Tchaikovsky : Symphony No. 5, in E Minor, Op. 64 Tchaikovsky: "Pathetique" Symphony* Tchaikovsky: Romeo and Juliet ( Overture-Fantasia) *a High Fidelity Recording "His Master's Voice" Made in U. S. A. by Radio Corporation of America from Masters Recorded by The Gramophone Co., Ltd. rca Victor FIRST IN RECORDED MUSIC BRIGGS & BRIGGS, INC. 1270 Mass. Ave., Harvard Sq., Cambridge, Mass. [»] KIrkland 7-2087 1 SandersTheatre, Cambridge [-Jfarvard University] Boston Symphony Orchestra SEVENTY-FOURTH SEASON, 1954-1955 CHARLES MUNCH, Music Director SECOND CONCERT TUESDAY EVENING, December 28 Program GUIDO CANTELLI, Guest Conductor Vivaldi Concerto in D minor for Orchestra, Op. 3, No. 1 I. Maestoso; Allegro II. Largo III. Allegro Brahms Symphony No. 3, in F major, Op. 90 I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro INTERMISSION Respighi "Fountains of Rome," Symphonic Poem I. The Fountains of Valle Glulia at Dawn II. The Triton Fountain in the Morning III. The Fountain of Trevi at Mid-day IV. The Villa Medici Fountain at Sunset (Played without pause) Respighi "Pines of Rome," Symphonic Poem I. The Pines of the Villa Borghese II. The Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way The first part of each Saturday evening concert will be broadcast (8:30-9:30 E.S.T.) on the NBC Network (Boston station WBZ) . The remaining part of each Saturday concert and each Friday afternoon concert entire will be broadcast from Station WGBH-FM. BALDWIN PIANO RCA VICTOR RECORDS [3] . It pays to coddle your furs . with an Employers* Group Fur Floater. If someone else takes a fancy to them, you'll be protected for their current value. Wisest thing you can do is get in touch with your Employers' Group agent, today. The EMPLOYERS' GROUP Insurance Companies THE EMPLOYERS' LIABILITY ASSURANCE CORP. LTD. 110 MILK ST. AMERICAN EMPLOYERS' INSURANCE CO. THE EMPLOYERS' FIRE INSURANCE CO. BOSTON 7, MASS. For Fire, Casualty and Marine Insurance or Fidelity and Surety Bonds, [4] 1 CONCERTO IN D MINOR, Op. 3, No. 1 By Antonio Vivaldi * Born in Venice, c. 1675; died in Vienna, July, 1741 Vivaldi This is the eleventh of the set of twelve concerti grossi published by Fervor) They appeared as Opus 3, under the title "L'Estro Armonico" (Harmonic . in Amsterdam about 1714 or 1716, under the publication of Roger et le Cene, dedicated to Ferdinand III of Tuscany. Vivaldi wrote these concertos for 4 violins, 2 violas, 'cello and organ bass. The material used in the present per- formances restores the orchestration for strings. This Concerto was the opening number on Serge Koussevitzky's first program in America — at the Boston Symphony concerts of October 10-11, 1924. The introduction to the first movement is based on broad arpeggios and runs against sonorous chords. It is followed by a fugal allegro. The second movement is an even-flowing largo in 6-8 rhythm, sub- dued and contemplative, and so in contrast with the surrounding movements. The final Allegro again develops fast, supple figurations, mostly by the violins, roundly supported by successions of chords. This concerto bears its story of neglect, confusion and restitution. The music of Vivaldi has been so little known and regarded that when, a century after his death, a score was unearthed in the State Library at Berlin in a copy made by Bach, many more years were destined to pass before it was recognized as the music of Vivaldi. The history of the misapplication is this: Johann Sebastian Bach, probably in the last years of his Weimar period, evidently copied the score, according to a way he had of copying string concertos of the Italian master, adapting them for his own uses on the harpsichord or organ. Bach arranged this concerto for organ with two manuals and pedal. In about the year 1840, two copies in Bach's hand came to the light of day in the Prussian Staatsbibliothek, and the concerto was circulated once more in the world, but this time in Bach's organ ar- rangement. It was presented by F. K. Griepenkerl in the Peters Edition at Leipzig, not as Vivaldi's music, not even as music of Sebastian Bach, but as the work of his son Wilhelm Friedemann Bach. The error is explained by the examination of the manuscript: The cover is missing, and at the top of the first page of the score, which is in the neat and unmistakable script of Sebastian Bach, there stands in the scrawled writing of Bach's eldest son: "Di W. F. Bach," and underneath this: * The date of birth is unknown except that it could not have been later than 1678, since Vivaldi was ordained as a priest in 1703, twenty-five being the minimum age for this office. The date of his death certificate in St. Stephen's Cathedral, in Vienna is July 28, 1741. "Manu mei Patris descriptum." Herr Griepenkerl took the line "Copied by the hand of my father" on its face value and supposed the concerto to be the original work of Friedemann Bach, not questioning why the elder Bach should trouble to copy his son's music, and supporting his assumption by pointing out that the music is plainly in the style of Wilhelm Friedemann and just as plainly not in the style of his father. The supposed original organ concerto of Friedemann Bach had a long and wide vogue and further appeared in an arrangement for piano by August Stradal. It was not until 1911 that Vivaldi's author- ship was established. Max Schneider made the correction in the Bach Jahrbuch of that year.* This miscarriage of authorship happened in spite of the fact that the Concerto had been published in Holland while the composer was alive (by Roger et le Cene, about 1714 or 1716).
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