E I G H T I E T H S EASON i960 - 1961 BAYARD TUCKERMAN, JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT S. TUCKERMAN J. DEANE SOMERVILLE We blueprint the basic structure for the insurance of our clients and build their protection on a sound foundation. Only by a complete survey of needs, followed by intelligent counsel, can a proper insur- ance program be constructed. Without obligation on your part, we would be happy to act as your insurance architects. Please call us at any time. CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. When You Think of Insurance . Think of us! 141 Milk Street Boston 6, Massachusetts HU bbard 2-6200 EIGHTIETH SEASON, 1960-1961 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1960, by Boston Symphony Orchestra, Inc. 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 N. Penrose Hallowell 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 SYMPHONY HALL BOSTON 15 [643] mm . Boston's Pops are known throughout the world as a yardstick for excellence . fine music performed by a team of superb musicians. 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The Rational Shawmut Bank «r&*» Complete Banking and Trust Services Member Federal Deposit Insurance Corporation [644] CONTENTS Program (December 30-31) . 649 Program (January 13-14) • 699 <%t?Toitss«au3&ust of33 0jle* Program (January 20-21) . 701 Notes Vivaldi (Concerto Grosso in . 651 Bartok (Concerto for Viola and Orchestra) .... 670 Entr'actes Antonio Vivaldi (J.N.B.) . 662 An Estimate of Bartok (Arthur Honegger) . 682 On the Significance of Folk Music (Bela Bartok) . 685 Notes . Brahms (Symphony No. 1) • 693 CONCERTS ON THE SYMPHONY HALL ORGAN In anticipation of the coming series of "Symphony Hall Organ Concerts" (see page 697), an excerpt is here quoted from the article written for these pro- grams by E. Power Biggs and printed in the bulletin of October 7, 1949. The new organ has been built by the Aeolian-Skinner Company of Boston. Unlike the old Boston Music Hall or- gan, which was planned by an "interna- tional committee of musicians," the design and specification of the instru- ment have been left almost entirely in the hands of one man—G. Donald Harri- son, head of the Aeolian-Skinner firm. Organ "architects" and other side-walk superintendents were kept at arm's length. Too many cooks can easily spoil the tonal broth. Mr. Harrison's unique experience with the Henry Willis firm in England, his travels and researches on the organs of Europe, particularly Germany, and his outstanding achieve- ments in so many American installa- tions, notably the organs at the Uni- ~/rt Jerome versities of Harvard and Columbia, at In a delightfully becoming tea- Tanglewood Music Shed, Salt Lake City gown of wool jersey ... its collar Tabernacle, Grace Cathedral in San of rayon satin. (Geranium Red, Francisco, etc., amply qualify him for Violet, Moss Green, Sapphire Blue. this responsibility. Sizes 10-20 $49.95 As a preliminary basis for Mr. Harri- 416 Boylston Street 54 Central Street son's design, the musical results that Boston 16, Mess. Wellesley, Mess. would be expected from the instrument KEnmore 6-6238 CEder 5-3430 were defined in discussions with Dr. [645] Serge Koussevitzky, Charles Munch, Dr. Wallace Goodrich, and G. Wallace g&LPpi Woodworth. The use of the organ with orchestra, in accompaniment and in antiphonal fashion, the musical resources required for concertos, for chorus continuo ac- companiments, the requirements of other organizations visiting Symphony Hall, as well as the tonal characteristics appro- priate to such modern developments as broadcasting and recording, were sketched at length, and the matter was our resort-bound collections are then left to the art of Mr. Harrison for realization in ready . place-wise, clock-wise terms of ivory keys and spotted metal pipes. fashions that definitely stress the In tonal character the organ is firmly easy life . rooted in the past. The ensemble re- creates the character of the 18th century • sweater dresses steal the fashion organs that Bach played, but interprets scene morning, noon and night and develops this in accordance with modern ideas. The instrument is a . silks and cottons topped perfect medium for any music, classic, with dressy cashmeres and sport romantic or contemporary. Mechanically everything is right up to date, and a sweaters. more compact or easily playable console • bathing suits and beach ensem- would be hard to imagine. The console is fittingly ornamented with the Greek bles in rousing sunshine colors. key motif of Symphony Hall. • • • resort-life linens proving more THE SOLOIST and more important. Joseph de Pasquale was born in Philadelphia, October 14, 1919. He is a • and a veritable treasure chest graduate of the Curtis Institute, having hats and bags, of south-bound studied with Louis Bailly, Max Aronoff skirts and play dresses, patio and and William Primrose. For the duration of the war he played in the Marine Band evening fashions too numerous of Washington, D.C., subsequently join to to mention . too important ing the viola section of the American all at Broadcasting Company Orchestra in miss. Come see them New York. Mr. de Pasquale became first viola of the Boston Symphony' Orchestra in 1947. He has been soloist in performances of Berlioz' Harold in uhurtion Italy, Strauss' Don Quixote, the Viola Concerto in B minor by Handel (?), the BROS. Concerto by William Walton, Mozart's Sinfonia Concertante (with Ruth Pos- selt), and Walter Piston's Viola Con- -H/ve n ne w b u r certo. +7 7 He plays a Gasparo da Salo instru- ment. [646] Pauline Trigere's magic touch makes you the exciting star after-dark f The sweep of a great swing skirt . the low pitch of your slim silhouette, designed by Pauline Trigere to make your hipline all but disappear. The most exciting, the newest way to look for your most important appearance after dark. filenes french shops, seventh floor [647] To the executive highly skilled in delegating responsibility Why not make Old Colony Trust Company directly responsible for the strengthening of your own investment program? Old Colony offers you the experience, resources, specialists — and the time — necessary to the management of a sizable portfolio. Just as important, Old Colony will relieve you of the strain of investment worries and paperwork. We'd like to send you with our compliments a booklet called "Managing Your Money.' ' It will help you make this important decision as to whom you should delegate your financial affairs. Listen to The CBS World News Roundup on WEEl each morning at 8 o'clock Old Colony Trust Company One Federal St., Boston 6, Mass. Allied with The First National Bank of Boston [648] SOHHralaWucf- HHMG9 1 VEwm I&SEi EIGHTIETH SEASON NINETEEN HUNDRED SIXTY-SIXTY-ONE Eleventh Program FRIDAY AFTERNOON, December 30, at 2:15 o'clock SATURDAY EVENING, December 31, at 8:30 o'clock Bach Chorale Prelude, "The Old Year Is Past" (Arranged by Charles Munch) Vivaldi Concerto Grosso in D minor, Op. 3, No. 1 I. Maestoso II. Largo III. Allegro Bartok Concerto for Viola and Orchestra I. Moderato II. Lento; Adagio religioso; Allegretto III. Allegro vivace 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 JOSEPH de PASQUALE These concerts will end about 4:05 o'clock on Friday Afternoon; 10:20 o'clock on Saturday Evening. BALDWIN PIANO *RCA VICTOR RECORDS [649] . our collection of beaded, sequinned and shining fabric dresses for the holidays. Boston • Chestnut Hi [650] ONCERTO IN D MINOR FOR STRINGS, Op. 3, No. 11 By Antonio Vivaldi Born about 1675 in Venice; died in Vienna, July, 1741* This is the eleventh of the set of twelve concerti grossi published by Vivaldi as Opus 3, under the title L'Estro armonico (Harmonic Fervor). They appeared in Amsterdam about 1714 or 1716, dedicated to Ferdinand III of Tuscany. Vivaldi wrote these concertos for string groups. In the present performances a harpsichord continuo is used. The Concerto in D minor, No. 11, has been variously edited, notably by Alexander Siloti, who added winds. The concerto in this arrangement was the opening number on Serge Koussevitzky's first program in America — at the Boston Symphony concerts of October 10-11, 1924. nr^HE introduction to the first movement is based on broad arpeggios A and runs against sonorous chords. It is followed by a fugal allegro. The second movement is an even-flowing largo in 6/8 rhythm, subdued and contemplative, and so in contrast with the surrounding movements.