aammeaam SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SIXTY-NINTH SEASON, 1949-1950 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, I95O, BY BOSTON SYMPHONY ORCHESTRA, Inc. 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. Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers 897] " p^^^iQ © © © © © Only © » you can decide © © © Whether your property is large or small, it rep- © resents the security for your family's future. Its ulti- © © mate disposition is a matter of vital concern to those © you love. © © To assist you in considering that future, the Shaw- © mut Bank has a booklet: "Should I Make a Will?" © © It outlines facts that everyone with property should © know, and explains the many services provided by © this Bank as Executor and Trustee. © © Call at any of our 28 convenient offices, write or telephone © for our booklet: "Should I Make a Will?" © © © © © The Optional © © © Shawmut Bank © 40 Water Street, Boston © Member Federal Deposit Insurance Corporation © © Capital and Surplus $30,000,000 © "Outstanding Strength" for 114 Years © © ©@©©©©©©©©©©@©©©©@©©©©©©©©©©©©© [898] SYMPHONIANA Broadcast from the New Organ Pictures within Pictures C^handlanaier s Tremont and West Streets BROADCAST FROM THE NEW ORGAN Next Sunday morning, at 9:15 (Local Station WEEI), the weekly broadcast by E. Power Biggs, usually given from the baroque organ of Harvard Univer- sity, will originate in Symphony Hall. Mr. Biggs will play the new organ, in- stalled at the beginning of the present season, the fiftieth of Symphony Hall. The program will include a Concerto for Two Organs by Antonio Soler, the 18th Century Spanish composer (to be performed from the manuscript), the "Great" B minor Prelude and Fu^ue by Johann Sebastian Bach, and music by Henry Purcell. • • • PICTURES WITHIN PICTURES A catalogue of the paintings is on sale at the Box Office. The exhibition now on view in the Gallery is part of a larger collection organized by Mr. Charles C. Cunning- ham, Director of the Wadsworth Athe- neum in Hartford, Connecticut, and first shown there. A description of the col- lection by Mr. Cunningham follows: Our exhibition, among other things, deals with the "cabinet picture" (view of an interior with the patron and his artistic possessions) or the artist in his studio, where the painting itself con- Veil-softened stitutes an illustrated record of a col- lection. These pictures served as memen- crisp sailors tos in the seventeenth century for the rich and aristocratic patron or a well- to-do artist who wished to share his possessions with his friends, in much Spring . and a sailor the same way that the leather bound with your suit or short illustrated catalogue or monograph served their descendants of the present coat! Spring . and a century. Teniers made such pictures for sailor, crisp and young, his patron, Archduke Leopold Wilhelm (Vienna, Munich, Madrid, Brussels, etc.) yet delicately, romanti- and from the engravings made after cally veiled. Chandler's small copies of the pictures, he pro- duced the Theatrum Pictorum, the first shows many versions at illustrated catalogue. Velazquez and this moment. Vermeer also introduced the "picture within the picture" as records of their tastes and admirations. MILLINERY SALON The "theme exhibition" frequently presupposes a specific treatment on the SECOND FLOOR part of the artist, and for this reason some of the paintings, prints and draw- [899] ings included lay no claims to aesthetic problems of perspective and to the in- greatness. The idea is taken from the quisitiveness of the connoisseur in iden- Wadsworth Atheneum's newly acquired tifying the paintings on the wall. On the Pannini, Interior of a Roman Picture other hand, in the Albert Andre, Gallery, the walls of which are covered Painter, light, air, color, and space rela- from ceiling to dado with miniature tionships supplant the iconographical copies of some of the great masterpieces appeal of Franken's work. In both in- of European painting. Designed to show stances, however, we are no longer a how artists from the Renaissance on- spectator, but are peeping through a ward have introduced the pictorial keyhole at the artist at work. [In] Hart- motive of the picture within the picture, ford's Crespi, Self Portrait, the ele- the theme, limited by its nature to ments of design are veiled in a haunting representations of interiors, reflects col- mysterious light typical of the Baroque. laterally the taste of successive genera- Dutch tableaux des modes and Eng- tions. As to what caused the continuing lish conversation pieces form the final interest of the artist in our subject, category of the theme of our exhibition. there are two answers which ccme For the most part they merely tell a immediately to mind. One was the story or point a moral, but with the painter's concern with the pageant or powers of pictorial organization of a the pictorial record ; the other the op- Pieter de Hoogh or a Hogarth, they be- portunities which were afforded an come great art. inherent curiosity about the laws of per- In the latter half of the nineteenth spective. "Pictures Within Pictures" century, America entered the race for may be divided for our purposes here the prized possessions of Europe. As into five main categories : the votive seen in Morse's Gallery of the Louvre, picture within the picture, the cabinet from Syracuse University, the American gallery, the still life, the artist's studio, student was sent abroad to learn from or the artist at work, and the narrative his continental brethren. The American or conversation picture. collector, conscious of his late entry The artist's concern with the presen- into the race for European art, was fre- tation of a pageant, and his interest in quently satisfied with copies of the mas- space relationships should not be over- terpieces in European galleries, but that looked. In Jan Brueghel IPs Cabinet there were higher aspirations can be Still Life (Victor D. Spark) with its seen from our opening quotation. We works by Rubens and his contempora- have progressed a long way in both our ries, its Giovanni da Bologna bronze artistic judgments and our artistic pos- and its books and jewelry, we are no sessions from the naive little picture longer in the audience but have joined painted by Frank Waller in 1881 repre- the collector himself in examining his senting The Metropolitan Museum at treasures. From here it is only a step to Fourteenth Street. The Morgans and the trompe I'oeil with the curling print Mellons, the Fricks and Wideners, the tacked to the raw wood wall and artistic Havemeyers and Ryersons and many paraphernalia on the table, as in the others balanced wealth with critical Still Life by the Spaniard, Marcos judgment, and sound advice, and have Correa. Optical illusion has now been left us the heritage which our museums added to a tactile sensation found in have today. It is the pictures within pic- Brueghel's work. In the hands of Dali tures of Renoir and Berman, of Louis or Berman, this optical illusion still Bouche and Walter Stuempfig as found persists, but the sense of tangibility and in the exhibition that concern our reality is supplanted by fantasy and the younger collectors. There are no longer supernatural. private cabinet galleries well stocked The group of paintings showing the with masterpieces, since our modern artist's studio or the artist at work in houses with their open spaces do not the Hartford exhibition brings us back provide as much wall space as those of to reality and takes us into the atelier our forefathers. Our public museums are with its paintings on the wall, its artis- the princely collections of today, but tic trappings and curios. It is interest- their collections belong not to individ- ing to note that, while the pictures uals, but are shared by community, within pictures change according to art- state, and nation. But let it not be for- ist and period, the studio properties gotten that as long as there are artists remain much the same over several creating works of art, there will be the centuries as can be seen by comparing patron to purchase them, not only be- the studios of van den Bosch, Crespi, cause of our possessive instincts, but and Frankenstein. also because the enjoyment and pleas- Frans Franken IPs, The Painter in ure of living with beautiful works of his Studio, directs our attention to the art is inherent in man. [90o] Pauline Trig ere' s resort dress in grey and white. Fashion's most distinguished signatures under one elegant roof in Boston's most glamorous salon . Adrian, Christian Dior, Hattie Carnegie, Irene, Vincent Monte-Sano, Maurice Rentner, Nettie Rosenstein, and Sophie. BOSTON [901] Tour inquiry about any of these services is welcome Executor under wills Administrator of estates Guardian of the property of others, including minor children Conservator of the property of incapacitated persons Trustee under living trusts and wills Trustee under individual and business insurance trusts Trustee under pension and profit sharing plans Agent for executors, administrators, trustee, guardians, conservators Real Estate and Mortgage Management Investment Management (with Custodianship) Investment Consultation Custodianship of property WORTHY OF YOUR TRUST Old Colony Trust Company ONE FEDERAL STREET, BOSTON T.