Boston Symphony Orchestra Concert Programs, Season 73, 1953-1954

^rfl ±3' BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON Q 'HUH AC mum/ H m SEVENTY-THIRD SEASON I 953~ I 954 Constitution Hall, Washington Boston Symphony Orchestra (Seventy-third Season, 1953-1954) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph dc Pasquale Sherman Walt Concert-master Jean Cauhapc Ernst Panenka Alfred Krips en I.ehner Theodore Brewster George Zazofsky Albci t Bernard Rolland Tapley rges Fourel Con 1 ka Bassoon Norbert Lauga (.cm ge Humphrey Rithaid Plaster Vladimir ResnikoS Jerome Lipson Harry Dickson Louis Aitieres Horns Gottfried Wilfinger Robert kaiol j tines Stagliano Einar Hansen Reuben Greeo iro Leibovici Joseph I'.( 1 na 1 (1 Kadinoff Old Meek F.mil Kornsand Vincent Mauricci Paul Keanev Roger Shcrrnont Walter Macdonald Carlos Pinfield \'lf)F. ON CELLOS lathy Paul Fedorovsky Samuel Mayes Minot Beale Alfred Zighera Herman Silberman [aooblll Langcndoen R< in Stanley Benson kfiicha Nieland isse Leo Panasevich Karl Zeise trmando (.iiiialla Geraid ( Sheldon Rotenberg Josef Zimbler Fredy Ostrovsky Bernard ParronchJ Leon Marjollet Trombones Clarence Knudson Mai tin Holiennan Jacob Raichman Pierre Mayer Louii Berger William Mover Manuel Zung K i'iko Kabila Samuel Diamond Fl.UTFS I Orosz Victor Manusevitch Doriol Anthony James Nagy James Pappoutsakis Tuba Leon Gorodetzky Phillip Kaplan K. \ inal Smith Raphael Del Sordo Melvin Bryant Piccolo HARrs George Madsen Lloyd Stonestreet Bernard Zighera Saverio Messina Oboes Olivia Luetcke William Waterhouse Ralph Gomberg William Marshall Jean Devergie Timpani Leonard Moss John Holmes Roman Szulc Charles Smith Basses English Horn Georges Moleux Louis Speyer Willis Page Percussion Ludwig Juht Clarinets Harold Farbernian Irving Frankel Gino Cioffi Everett Firth Henry Freeman Manuel Valerio Harold Thompson Henry Portnoi Pasquale Cardillo Clarinet Gaston Dufresne £b Librarians Henri Girard Bass Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Victor Alpert, Ass't Constitution Hall, Washington SEVENTY-THIRD SEASON, 1953-1954 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Second Concert THURSDAY EVENING, January 14 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 Palfrey Perkins Alvan T. Fuller Lewis Perry N. Penrose Hallowell Edward A. Taft Francis W. Hatch Raymond S. Wilkins Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers hi BOXHOLDERS Season 1953-1954 Mrs. Dwight D. Eisenhower Mr. and Mrs. Robert Woods Bliss The Ambassador of France and Madame Henri Bonnet Mr. A. Marvin Braverman Mr. and Mrs. Darwin C. Brown Mr. and Mrs. Earl Campbell Miss Gertrude S. Carraway Mr. and Mrs. William R. Castle Mr. and Mrs. Henry P. Caulfield Mr. and Mrs. Arthur Chaite Mrs. William Crozier The Minister of Luxembourg and Madame Hugues Le Gallais Mr. and Mrs. Joseph C. Grew Mr. and Mrs. Sidney L. Hechinger Mrs. Seymour Jeselsohn Mr. George Judd Mrs. Frederic A. Keep The Ambassador of Cambodia and Madame Nong Kimny Mr. Roy Leifflen Mr. and Mrs. Eugene Meyer Dr. and Mrs. Howard Mitchell Mr. and Mrs. Charles Munch Mrs. George Hewitt Myers Judge and Mrs. George D. Neilson Mr. Gerson Nordlinger The Minister Plenipotentiary of France and Madame Roger Seydoux Mr. Andrew J. Snow Mr. Harvey M. Spear Mrs. Edwin M. Watson [2] Constitution Hall, Washington Boston Symphony Orchestra SEVENTY-THIRD SEASON, 1953-1954 CHARLES MUNCH, Music Director SECOND CONCERT THURSDAY EVENING, January 14, at 8:30 o'clock Program Mozart Divertimento in D major, for Strings, K. 136 I. Allegro II. Andante III. Presto Ravel "Le Tombeau de Couperin," Suite I. Prelude II. Forlane III. Menuet IV. Rigaudon Ravel "Daphnis et Chloe," Ballet, Suite No. 2 Lever du jour — Pantomime — Danse Generale INTERMISSION Brahms Symphony No. 2, in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Adagietto grazioso, quasi andantino IV. Allegro con spirito BALDWIN PIANO RCA VICTOR RECORDS [3] For music lovers ... no finer gift I SYMPHONIANA A BERLIOZ SEASON During the season now in progress special attention to the music of Hec- tor Berlioz will be given in many parts of the world, since December 11th has marked the 150th Anniversary of the composer's birth. Charles Munch has performed L'Enfance du Christ for the Christmas season (December 18 and 19) and will perform La Damnation de Faust (February 19 and 20). Also appropriate to the Anniversary is the recent release of this Orchestra's recording of Romeo et Juliette, which has had a generally enthusiastic recep- tion. Roland Gelatt, in the Saturday Re- view of August 29, wrote in part : "Ever since his first appearances here with The new the New York Philharmonic-Symphony, rca he [Charles Munch] has been recog- Vector nized as a Berlioz interpreter of un- high fidelity common gifts, a conductor extraordi- narily responsive to the rise and fall "Victrola phonograph of this composer's unique rhetoric, and possessed of an unerring ear for and RCA Victor his kaleidoscopic scoring. Never has High Fidelity Records Munch's identification with the Berlioz idiom been more brilliantly defined New High Fidelity "Victrola" phono- than in this recording. From the turbu- graphs are specially designed to repro- lent eddies of the Introduction to the duce the hidden "highs" and "lows" ringing asseveration of the final chorus, that give recorded music the brilliance it carries the commanding imprint of a and realism of the concert hall. And on conductor who knows what to ask for Victor High Fidelity records you RCA and how to get it. Needless to say, the have the world's largest and finest selec- virtuosity of the Boston Symphony re- tion of high fidelity performances. quires no endorsement; however, it Make this Christmas truly memorable has seldom been given such an oppor- with the gift of "living" music . music tunity to show off its sparkling con- brought to you with RCA Victor High tours." Fidelity. Hear it at your dealer's now. Suggested Eastern list price, subject to change rcaWctor^ Tmk*. ® DIVISION OF RADIO CORP. OF AMERICA [4] DIVERTIMENTO in d major FOR STRINGS, (K. 136) By Wolfgang Amadeus Mozart Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791 This Divertimento was composed in 1772. The first performance by this Orchestra was at the Berkshire Festival, in Tangle- wood, July 18 last, in the series for chamber orchestra. This is the first of three "Divertimenti" for strings which Mozart composed early in 1772 (K. 136, 137, 138). The title is question- able — the late Alfred Einstein believed that it was added to the manuscript by another hand: in the first place because each has three movements with no minuet, whereas a divertimento was expected to have at least two. These three being written in four string parts, could easily have been called string quartets and are so placed in the cate- gorical listing of that large and authoritative volume, the Koechel Thematic Catalogue. Strings alone are notoriously weak for out- door purposes and were evidently so considered in Mozart's time. Of the 36 divertimenti, serenades, and "cassations" listed by Koechel, all except Eine kleine Nachtmusik (a special case) are for winds with strings, or winds alone. The three "divertimenti" in question could also have been intended for ultimate use as symphonies in Milan for which city Mozart was then composing his opera Lucio Silla. He could have made this transformation, according to his custom at the time by simply adding pairs of oboes and horns, doubling string parts. The truth is that both string quartets and symphonies were still much to be developed by the sixteen-year old Mozart. He had composed a number of symphonies, but not yet worked out the later rich interplay of color in independent wind parts. Of string quartets he had then written only one (K. 80, 1770) , although he was to advance with brilliant genius in this field with six more later in 1772. Haydn at Esterhaz had long since developed the possibilities of intri- cate and balanced dalliance with four string voices, emancipated from the encumbrance of a keyboard continuo. The six fine quartets of Haydn's experimental Op. 20, written in that same year, give the two middle voices their free play and independent interest. But Mozart had not yet come under Haydn's beneficent influence in this field. The Divertimento K. 136 is still largely "top and bottom," the first violin part always prominent, sometimes in duet with the second violin, with a purely accompanying (or a doubling) function for the viola and cello parts. The result is a transparent clarity and simplicity [5] which sets off to perfection the youthful charm, the high spirits of Mozart — age sixteen. Only briefly in the finale does he give us a fugato passage. The andante, which cultivates the "affecting" Italian style, has a likewise youthful tenderness of sentiment, delicately ex- pressed. [copyrighted] SUITE FOR ORCHESTRA, "LE TOMBEAU DE COUPERIN" ("COUPERIN'S TOMB") By Maurice Ravel Born at Ciboure, Basses-Pyrenees, on March 7, 1875; died in Paris, December 28, 1937 The suite in its orchestral form was first performed at a Pasdeloup concert in Paris under Rhene-Baton, February 28, 1920. It was introduced in this country

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