Boston Symphony Orchestra Concert Programs, Season 81, 1961
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- - ' ' ' '• ^ .>„»** "^^x^ H5^l BOSTON -• '<?> 4 ->? SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON TUESDAY EVENING SERIES : ^ Hi ^•' '" ' V- ... \\ ..-"• T ' :- - 1-1 '. I. > EIGHTY-FIRST SEASON 1961-1962 STRADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton — Robert G. Jennings 147 MILK STREET BOSTON 9, MASSACHUSETTS LIBERTY 2-1250 Associated With OBRION, RUSSELL & CO. EIGHTY-FIRST SEASON, 1961-1962 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN zvith historical and descriptive notes by John N. Burk 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 Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft Palfrey Perkins 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 1 g [3] What everyone likes about Boston . 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The Rational Shawmut Bank of Boston Complete Banking and Trust Services • Member Federal Deposit Insurance Corporation [4] CONTENTS Program g Notes Bach (Suite No. 2, in B minor, for Flute and Strings) . .11 Stravinsky (Symphony in Three Movements) . , 16 Entr'acte Stravinsky -A Composer of Our Time (Nicolas Nabokov) . 30 Notes Debussy ("Prelude to the Afternoon of a Faun") . 36 Moussorgsky ("Pictures at an Exhibition") .... 43 ERNEST ANSERMET Ernest Ansermet, born in Vevey, Switzerland, November 11, 1883, began his career as a professor of mathematics at the University of Lausanne, and at the Sorbonne, but studied music with Denereaz in Lausanne, Gedalge in Paris, and Otto Barblan and Ernest Bloch in Geneva. He became conductor of the Kursaal concerts in Montreux in 1912, and succeeded Stavenhagen as director of the Geneva Subscription Concerts in 1914. In 1915 he toured Europe and both Americas as conductor of Diaghi- leff's Ballet Russe. In 1918 he founded the Orchestre de la Suisse Romande. He has conducted the symphony orchestras of South America and the United States in several seasons. Having conducted concerts over Radio Berne during the war, he resumed his activities as guest conductor in Europe in 1946, and re- turned to this country in the season 1947-1948 for guest appearances. On January 25, 28-29, 1949, he appeared as Our be'autifully cut one piece guest conductor of this Orchestra. In the pajama of black Helenca jer- season of 1951-1952, he conducted the sey with its separate over-skirt concerts from December 14 to February of flowered pure silk satin. 9, during the illness of Dr. Munch, and Sizes 10- 16. $145.00 again conducted December 30-January 4 1 6 Boylston St. 54 Central St. 1956. 7, Boston 16 Wellesley The Orchestre de la Suisse Romande KEnmore 6-6238 CEdar 5-3430 still commands most of his time. [5] SUBSCRIBERS' EXHIBITION (Now on view in the Gallery) Adams, Ramelle C. Downes, Winifred B. Still Life Spruce Woods Adams, Thomas B. Dunbar, Daphne Bahamas Storm The Fleet Is In Bradbury, Frances M. Farley, Isabel C. Study; "G.B.G." November Bradley, Ralph Fleisher, Lillian Gardener's Cottage Custom House Brooks, Helen Hare Gilbert, Helen C. Cape Ann Rose Brosseau, Marion Haskell Gorodetzky, Esther Maestro Still Life Bullard, Mrs. John M. Gurvitz, Mrs. A. Nancy Congolese Christensen, A. W. Hinckley, Mrs. Franck L. October Winter Scene Cooley, Cynthia F. Holbeck, Mary H. Plum Island Rodeo Cooper, Sarah Kenyon, Beatrice E. Autumn at Brookline Reservoir Rockport Rocks Davidson, Allan A. Leland, Joseph D. Closing Night Derrick on the Seine, Paris Diamond, Theodore Lyon, Marjorie Untitled Under Seine Bridge (Continued on page 28) Be it an ash tray or a holiday Ball-Gown . it will always he in good taste if it comes from <aMv//c4 Bros. r r [6] FRENCH HORN: Great ancestor of the French horn— and, indeed, of all horns — was the lur of Bronze Age Europe, fashioned first from a mammoth's tusk and later from metal. The noble tone of the lur, similar to the modern French horn, was not maintained in the medieval instruments. But the gold or ivory oliphant — the horn of Roland — became a valued insigne of knighthood in the Middle Ages. The first known circular horns came from 14th- century England and settled in France, where the wald- horn began to resemble the modern French horn before 1700. Scarlatti and Handel helped to popularize it; the Classic composers used it increasingly. Their technical demands led to the development of the valve horn, which gradually supplanted the older hand horn be- tween 1830 and 1880. FAMILY BANKER: whe„ you call on the New England Merchants' Trust Depart- ment for any of a wide variety of trust services, you enjoy the continuing interest and attention of a ''family banker"— a trust officer who makes your needs and wishes a part of his career, works hand-in-glove with you and your attorney, and assumes as many or as few details of your estate management as you desire. Meet your "family banker" soon . the New England Merchants National Bank of Boston. NEW ENGLAND MERCHANTS NATIONAL BANK Trust Department: 135 Devonshire St., Boston MEMBER F.D.I.C. [71 If you're like most people, one of the last things you'd want to do is to stand up in front of an audience, tuck a violin under your chin and play Brahms' Violin Concerto. Aside from any understandable reticence you may have, you're simply not equipped to be a soloist. 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It's yours for the asking. ti^ Old Colony Trust Company Listen to the CBS World News Roundup on WEEI each weekday at 8 a.m. Watch The Robert Herridge Theatre on Channel 2, Mondays at 10 p.m. r«i EIGHTY-FIRST SEASON • NINETEEN HUNDRED SIXTY-ONE -SIXTY-TWO Third Program TUESDAY EVENING, December 5, at 8:30 o'clock ERNEST ANSERMET, Guest Conductor Bach Suite No. 2, in B minor, for Flute and Strings I. Overture II. Rondeau III. Sarabande IV. Bourrees I and II V. Polonaise and Double VI. Menuett VII. Badinerie Flute Solo: DORIOT ANTHONY DWYER Stravinsky Symphony in Three Movements I. Allegro II. JAndante III. (Con moto INTERMISSION Debussy "Prelude a l'Apres-midi d'un Faune" (Eclogue by Stephane Mallarme) Moussorgsky "Pictures at an Exhibition," (Piano Pieces, Arranged for Orchestra by Maurice Ravel) Promenade — Gnomus — Promenade — II vecchio castello — Tuileries — Bydlo — Promenade — Ballet of Chicks in their Shells — Samuel Goldenburg and Schmuyle — Limoges: The Marketplace — Cata- combs (Con mortuis in lingua mortua) — The Hut on Fowls' Legs — The Great Gate of Kiev. Harpsichord by courtesy of Eric Herz BALDWIN PIANO RCA VICTOR RECORDS [9] Whether you're spending a lot or a little . on unusuol, o distinctive, on exclusive or on imported GIFT FROM STEARNS odds volumes to your prestige, nothing to your cost ; 0(9*4 BOSTON • CHESTNUT HILL [10] OVERTURE (SUITE) NO. 2 in B minor for Flute and String Orchestra By Johann Sebastian Bach Born in Eisenach, March 21, 1685; died in Leipzig, July 28, 1750 This Suite was first performed by the Boston Symphony Orchestra (the continue edited by Robert Franz) February 13, 1886. T) ach's orchestral suites, of which there are four, have generally been -*-* attributed to the five-year period (1717-23) in which he was Kapellmeister to the young Prince Leopold of Anhalt-Cothen. Albert Schweitzer conjectures that they may belong to the subsequent Leipzig years, for Bach included them in the performances of the Telemann Musical Society, which he conducted from the years 1729 to 1736. But the larger part of his instrumental music belongs to the years at Cothen where the Prince not only patronized but practised this department of the art — it is said that he could acquit himself more than acceptably upon the violin, the viola da gamba, and the clavier.