BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON SIXTY-EIGHTH SEASON 1948- 1949 Academy of Music, Brooklyn Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Sooety of Brooklyn Boston Symphony Orchestra [Sixty-eighth Season, 1948-1949] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhape Ernst Panenka Alfred Rrips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Rolland Tapley Albert Bernard Contra-Bassoon Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey " Horns Paul Cherkassky Louis Arti^res Harry Dubbs Charles Van Wynbergen Willem Valkenier James Stagliano Vladimir Resnikoff Hans Werner Principals Joseph Leibovici Jerome Lipson Harry Shapiro Siegfried Gerhardt Einar Hansen Harold Meek Daniel Eisler Violoncellos Paul Keaney Norman Carol Walter Macdonald Carlos Pinfield Samuel Mayes Osbourne McConathy Alfred Zighera Paul Fedorovsky Harry Dickson Jacobus Langendoen Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmans Roger Voisin Karl Zeise Clarence Knudson Principals Pierre Mayer Josef Zimbler Marcel La fosse Manuel Zung Bernard Parronchi Harry Herforth Samuel Diamond Enrico Fabrizio Rene Voisin Leon Marjollet Victor Manusevitch Trombones James Nagy Flutes Jacob Raichman Leon Gorodelzky Georges Laurent Lucien Hansotte Raphael Del Sordo James Pappoutsakii John Coffey Melvin Bryant Phillip Kaplan Josef Orosz John Murray Lloyd Stonestrcet Piccolo Tuba Henri Erkelens George Madsen Vinal Smith Saverio Messina Herman Silberman Oboes Harps Bernard Zighera Stanley Benson Holmes John Elford Caughey Sheldon Rotenberg Jean Devergie Joseph Lukatsky Timpani Basses Roman Szulc English Horn Georges Moleux Max Polster Louis Speyer Willis Page Percussion Ludwig Juht Clarinets Simon Sternburg Irving Frankel Manuel Valerio Charles Smith Henry Greenberg Attilio Poto Emil Arcieri Henry Portnoi Pasquale Cardillo Piano Gaston Dufresne E\) Clarinet Lukas Foss Henri Girard Henry Freeman Bass Clarinet Librarian John Barwicki Rosario Mazzeo Leslie Rogers ^^^f> .<il SIXTY-EIGHTH SEASON, 1948-1949 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Second Concert FRIDAY 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 Roger I. Lee Alvan T. Fuller Lewis Perry Jerome D. Greene Henry B. Sawyer N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [1] SERGE KOUSSEVITZKY ANNIVERSARY FUND of the Boston Symphony Orchestra, Inc. The goal for this appeal, which will be the only appeal during this Anniversary Year, is $250,000 net after all expenses of the Orchestra for the current year have been met. This sum is approximately four times as much as the amount contributed by the Friends of the Orchestra during the past season. All who care to join in honoring Dr. Koussevitzky on his twenty-fifth year of service in the only manner he wants are invited to enroll as Friends of the Orchestra and Contributors to the Serge Koussevitzky Fund. To enroll, simply send a check payable to Boston Symphony Orchestra, addressed to Fund Headquar- ters at Symphony Hall, Boston i^. "Big" gifts and small will be gratefully accepted and promptly acknowledged. Gifts received through January 5 are $118,318. Oliver Wolcott, Chairman FRIENDS OF THE ORCHESTRA Edward A. Taft, Chairman KOUSSEVITZKY ANNIVERSARY FUND All gifts to the Orchestra are tax deductible. [«] Academy of Music, Brooklyn Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director SECOND CONCERT FRIDAY EVENING, January 14, at 8:30 o'clock Program CoRELLi Sarabande, Gigue and Badinerie (arranged for String Orchestra by Ettore Pinelli) Diamond Rounds for String Orchestra I. Allegro, molto vivace II. Adagio III. Allegro vigoroso Hanson Concerto in G major for Pianoforte and Orchestra, Op. 36 I. Lento molto e molto tranquillo; allegro deciso II. Allegro feroce, molto ritmico III. Andante molto espressivo IV. Allegro giocoso {Conducted by the Composer) INTERMISSION Brahms Symphony No. 1 in C minor. Op. 68 I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio; Allegro non troppo, ma con brio SOLOIST RUDOLF FIRKUSNY Mr. FiRKUsxY uses the Steinway Piano BALDWIN PIANO VICTOR RECORDS The Boston Symphony Orchestra in Rehearsal is broadcast weekly on the N.B.C. Network (Station WNBC) Tuesday, 11:30-12:00 P.M. [31 THE KOUSSEVITZKY MUSIC FOUNDATION 1942: Nicolai Berezowsky — Symphony No. 4 Benjamin Britten — Opera, "Peter Grimes" Samuel Barber — Composition (in preparation) Bohuslav Martinu — Symphony No. 1 1942: Bela Bartok — Concerto for Or- chestra Igor Stravinsky — Ode William Schuman — Symphony for Strings William Bergsma — Second String Quartet Robert Palmer — String Quartet 1944: Darius Milhaud — Symphony No. 2 Aaron Copland — Symphony No. 3 Nikolai LopatnikoflE — Concertino for Orchestra Burrill Phillips — Overture for Orchestra, "Tom Paine" 1945: Olivier Messiaen — Symphony (in preparation) Heitor Yilla-Lobos — Madona Howard Hanson — Piano Con- certo Lukas Foss — Capriccio for 'Cello and Piano Alexei HaiefF — Eclogue for 'Cello and Piano David Diamond — Symphony No. 4 Harold Shapero — Symphony (for Classical Orchestra) Nikolai Nabokov — "The Return of Pushkin" (Soprano and Or- chestra) 1946: Walter Piston — Symphony No. 3 Marc Blitzsteln — "The Little Foxes," Opera (in preparation) 1947: Roy Harris — Symphony (in preparation) Francesco Malipiero — Fourth Symphony Arnold Schonberg — composition for symphony orchestra, narra- tor and chorus, "Survivor from Warsaw" AT YOUR DEALER'S— A FULL SELECTION OF Bias Galindo — composition for FINE FIDELITONE NEEDLES instrument with piano (in prep- Fidelifone Supreme $2.50 aration) Fidelifone Master 1.50 Earl George — composition for Nylon Fidelifone 1.25 instrument with piano (in prep- Fidelifone Deluxe 1 .00 Fidelifone Flooting Point 50c aration) Arioso (for 'Cello and Piano) I CKIYIU/ Incorporated 1948: Randall Thompson — Symphony CHICAGO 26 Arthur Honegger — Composition for Orchestra [4] SUITE (SARABANDE - GIGUE - BADINERIE) By Arcangelo Corelli Born at Fusignano, near Imola, Italy, February 17 (?) , 1653; died at Rome, January 8, 1713 (Arranged for String Orchestra by Ettore Pinelli) Corelli wrote five sets of sonatas, each containing twelve numbers, and as a sixth opus a set of concerti grossi. His Opus 5, consisting of twelve sonatas for violin, with basso continuo ("Suonate a Violono e Violone o Cembalo") was published at Rome in 1700. Corelli's famous violin piece, "La Folia" in itself an arrangement of a traditional air, is in the last sonata of this series. Ettore Pinelli (1843-1915) has chosen three movements from these sonatas for the present suite. CORELLI was a personage of widespread fame in his day. The partic- ulars of his career are largely fabulous, and little is known of his early life. Various anecdotes about him have been handed down, each always quoted with an appendage of doubt as to its authenticity. Certain it is that he was the prime spirit in the development of music by bowed instruments when instrumental music found its first full flowering in seventeenth-century Italy. If his was not a profoundly original talent, he gave a great impetus to the art of violin playing by his example as virtuoso, to solo and concerted music by his com- positions, published and widely circulated in his time. Of his earlier years little is known, save that he studied violin with Giovanni Benvenuti at Bologna, composition with Matteo Simonelli at Rome. He became a player in the Capranica Theatre Orchestra in Rome as a youth of eighteen. It is said that in the ensuing years he exhibited his skill before the Elector of Bavaria at Munich, the Elec- tor George at Hanover; the tale is told that when he visited Paris the jealous Lulli stirred up so much talk against him that he was obliged to leave (this was denied by Fetis) . In 1682 he settled at Rome, and as first musician to the Cardinal Ottoboni became forthwith the shin- ing light of musical culture in that capital. A celebrity who held a similar position at the court of Naples was the elder Scarlatti. Dr. Burney relates an anecdote which he learned from "a very particular and intelligent friend," who had it from Geminiani, who many years before had been Corelli's pupil. Burney's roundabout information is to the effect that Corelli, visiting the Neapolitan court, made a glar- ing error in performance in which Alessandro Scarlatti had to set him straight. That, in the midst of a performance of one of his last adagios, "the king, being tired, quitted the room to the great morti- fication of Corelli." Returning to Rome, he found his fame somewhat supplanted by an upstart musician by the name of Valentini, and was thrown into "such a state of melancholy and chagrin as was [5] thought," said Geminiani, "to have hastened his death." Dying a weahhy man, Corelli made the grand gesture o£ bequeathing his en- tire fortune, which has been variously named as the equivalent of thirty thousand dollars and three hundred thousand dollars, together with a fine collection of paintings, to his patron. The Cardinal saw his Christian duty, and handed