BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY >^- HENRY LEE HI SEVENTY-FIRST SEASON 1951-1952 Sanders Theatre, Cambridge [harvard University] Boston Symphony Orchestra (Seven ty-first Season, 1951-1952) CHARLES MUNCH, Music Director RICHARD BURGIN. Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhap6 Ernst Panenka Alfred Krips Georges Fourel Theodore Brewster Gaston Elcus Eugen Lehner Rolland Tapley Albert Bernard Contra-Bassoon George Humphrey Norbert Lauga Boaz Filler George Zazofsky Jerome Lipson Paul Cherkassky Louis Arti^res Horns Harry Dubbs Robert Karol Stagliano Vladimir Resnikoff Reuben Green James Harry Shapiro Joseph Leibovici Bernard KadinofI Harold Vincent Mauricci Meek Einar Hansen Paul Keaney Harry Dickson Violoncellos Walter Macdonald Emil Kornsand Osbourne McConathy Carlos Pinfield Samuel Mayes Alfred Zighera Paul Fedorovsky Minot Beale Jacobus Langendoen Trumpets Herman Silberman Mischa Nieland Roger Voisin Roger Schermanski Hippolyte Droeghmans Marcel Lafosse Armando Ghitalla Stanley Benson Karl Zeise Gottfried Wilfinger Josef Zimbler Bernard Parronchi Trombones Clarence Knudson Enrico Fabrizio Jacob Raichman Pierre Mayer Leon Marjollet Lucien Hansotte John Coffey Manuel Zung Flutes Josef Orosz Samuel Diamond Georges Laurent Victor Manusevitch James Pappoutsakis Nagy Tuba James Phillip Kaplan Leon Gorodetzky Vinal Smith Raphael Del Sordo Piccolo Melvin Bryant George Madsen Harps Lloyd Stonestreet Bernard Zighera Saverio Messina Oboes Olivia Luetcke Sheldon Rotenberg Ralph Gomberg Leo Panasevich Jean Devergie William Waterhouse John Holmes Timpani Roman Szulc English Charles Smith Basses Horn Georges Moleux Louis Speyer Willis Page Clarinets Percussion Ludwig Polster Juht Gino Cioffi Max Irving Frankel Manuel Valeric Simon Stemborg Henry Greenberg Pasquale Cardillo Harold Farberman Henry Portnoi E\) Clarinet Henry Freeman Librarians Bass Henri Girard Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Leonard Burkat Sanders Theatre, Cambridge {harvard University] SEVENTY-FIRST SEASON, 1951-1952 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Fifth Concert TUESDAY EVENING, March 25 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 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 [11 ! crresented for [Jour [Pleasure o^ The EMPLOYERS' GROUP Insurance Companies 110 MILK STREET, BOSTON 7, MASS. THE EMPLOYERS' LIABILITY ASSURANCE CORP., LTD. AMERICAN EMPLOYERS' INSURANCE CO. THE EMPLOYERS' FIRE INSURANCE CO. Forgotten Musician and Rare Lady ^^IJERE'S a new book with an idea -^ -- that I applaud," cried Delver Forfax, avid musical archaeologist. "It's devoted to forgotten musicians. Good! Let's see what it tells of von Paradis Why, she's been forgotten "Maria Theresa von Paradis was one of the most accomplished ladies who ever lived. She was a notable pianist, sang (and danced) well, com- posed piano pieces and songs, and even operatic works that actually were staged. As a teacher of piano and voice PARADIS she was excellent. Besides music, she could converse brilliantly — and in various languages — on scientific lore. "Both as musician and as scholar, she was the talk of in- telligent society in her native Vienna, in Berlin, Brussels, Paris, and London. "She was a pioneer humanitarian in a field new in her time. For she donated proceeds of her concerts to the first special school for the education of blind children. That was the school founded at Paris by Valentin Haiiy, in 1784, and now grown into a National Institute. Not only her money, but her deepfelt interest, and the example she set in the society in which she was so prominent, were most helpful to the new venture. "As relaxation from her manifold professional activities, she played chess — with no little skill. "And Maria Theresa von Paradis, from the age of five, was blind !" . Sanders Theatre, Cambridge [Harvard University] Boston Symphony Orchestra CHARLES MUNCH, Music Director FIFTH CONCERT TUESDAY EVENING, March 25 Program G. WALLACE WOODWORTH Conducting Mozart Symphony in C major. No. 34 (K. 338) I. Allegro vivace II. Andante di molto III. Finale: Allegro vivace Brahms Academic Festival Overture, Op. 80 INTERMISSION Stravinsky "Oedipus Rex," Opera Oratorio in Two Acts (Text by Jean Cocteau, after the Drama of Sophocles) Oedipus David Lloyd, Tenor The Shepherd Oscar Henry, Tenor Jocasta Eunice Alberts, Contralto Creon ] Tiresias Paul Tibbetts, Baritone f The Messenger J Speaker Wesley Addy Chorus The Harvard Glee Club Prologue; Speaker ACT I ACT II Oedipus; Chorus Speaker Speaker Jocasta; Oedipus Creon; Oedipus Speaker Speaker Chorus; Messenger; Shepherd; Oedipus Chorus Chorus; Tiresias; Oedipus Epilogue; Speaker; Messenger; The Friday and Saturday concerts will be broadcast each week on Station WGBH (FM) BALDWIN PIANO RCA VICTOR RECORDS [S] MUNCHCHARLES artists scores of great is among »he heard on Records Columbia Ma^terworks Conducting the Philharmonic-Symphony York Orchesfra of New No. 3 in SAINT-SAENS: Symphony C Minor, Op. 78. Organ) (E. Nies-Berger, g^^ MM-747 « MOZART: toneerto No. Orchestra^JJ" Moior for Piano and (K!467)w.thRobertCasadesus,P.ano. or Set MM-866 Ip Record Ml 2067 A Metropolitan Opera Association Production Butterfly (Com- PUCCINI: Madame Eleanor Steber, plete Opera). With Tucker, Tenor; Soprano; Richard Valdengo, Baritone; Giuseppe and jeanMadeiro, Mezz°-Soprano; Rudolf conducing others, with Max of the Chorus and Orchestra L Association Metropolitan Opera ^ Set SL-104 ©Set SL.4 (Manual) or Records) (Automatic) (Three volumes) Set MOP-30 (Two with the LP are The selections marked Playing Micro- now available on Long well as on con- groove Recordings, as Masterworks. ventional Columbia you can enjoy up to 50 Think of it! Now one record minutes of music on Jhe Columbia LP Micro- sensational new to ^^^^'^^'^ groove process puts up 6 recor<!--a Lsic on one nonbreakable dealer you. Ask your far lower cost to demonstration-tomorrow! for a COLUMBIA RECORDS MdsViiiiiii Ip Trade Ma ••Co/urofcio," "Masterworks" end ©J) Trade Marks Reg. V.S. Pat. Off. Marcas Registradaa (Lp) SYMPHONY IN C MAJOR No. 34, Koechel No. 338 By Wolfgang Amadeus Mozart Born at Salzburg, January died 27, 1756; at Vienna, December 5, 1791 The first performance of this symphony by the Boston Symphony Orchestra was on April 1, 1899. Wilhelm Gericke conducting. Subsequent performances have been given in 1904, 1923, 1928 (Sir Thomas Beecham conducting), 1930, 1931, 1936, 1939, and 1942. It is scored for two oboes, two bassoons, two horns, two trumpets, timpani and strings. THE symphony is inscribed by its composer as having been written at Salzburg, August 29, 1780. A reference in a letter by Mozart to a performance under Joseph Bono, conductor at Vienna, is considered to apply to this score: "I have lately forgotten to write that the sym- phony conducted by old Bono went magnifique, and had great suc- cess. Forty violins played — the wind instruments were all doubled — ten violas, .ten doublebasses, eight violoncellos, and six bassoons" (From Vienna, April 11, 1781). The work is characterized by Erich Blom in his life of Mozart as "the first of the symphonies to have achieved any degree of permanence, as far as concert practice goes — and very justly, for it is a lovely work and, though formally on a small scale, fully matured and typically Mozartean with its capricious changes between a variety of humours. The musical ideas are mostly the current coin of the time, but their treatment is in the nature of an ironical commentary. Mozart loves the musical cliches of his century and at the same time laughs at them up his sleeve, and never more wittily than in this little but captivating and very finished symphonic work." Otto Jahn speaks of the symphony as "grander in conception and more serious in tone than the earlier one in B-flat major, composed the summer before (K. 319). This is particularly noticeable in the first movement, where a constant propensity to fall into the minor key blends strength and decision with an expression not so much of melancholy as of consola- tion. In perfect harmony of conception, the simple and fervent An- dante di molto combines exceeding tenderness with a quiet depth of feeling. The contrasting instrumentation is very effective in this work. The first movement is powerful and brilliant, but in the second, only stringed instruments (with doubled violas) are employed.* The last movement is animated throughout, and sometimes the orchestral treat- ment is rapid and impetuous." The Symphony is without a minuet, although the first measures of one, crossed out by the composer, were found in the manuscript * a bassoon is added to the string orchestra in this movement. [5] score.* Symphonies in three movements are rare among the more ma- ture works o£ Mozart (this one and the two symphonies K. 444 and K. 504 are exceptions). His childhood and boyhood symphonies were more often than not without minuets, the form having then freshly evolved from the Italian overture, with its three sections — a first allegro, a slow movement and a lively finale. It has often been stated that Haydn was the first to introduce minuets into the symphony, and indeed he gave his symphonic minuets an importance the form had never had. But there were earlier composers who began this practice. Philip Hale has pointed out: "There is one in a symphony in D major by Georg Matthias Monn composed before 1740. Haydn's first symphony was composed in 1759. Gossec's first symphonies were published in 1754. Sammartini (1734) and others had written symphonies before Gossec; but the date of Gossec's introduction of the minuet has not been determined.