BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SIXTY-FIFTH SEASON i945" I 94-6 Auditorium, Worcester Auspices Worcester Civic Music Association AIR-SENT TO ALL AMERICA EVERY SATURDAY OVER THE AMERICAN BROADCASTING COMPANY COAST-TO-COAST THE BOSTON SYMPHONY SERGE KOUSSEVITZKY, CONDUCTOR Sponsored for the Third Season by ALLIS-CHALMERS MANUFACTURING COMPANY, MILWAUKEE, WISCONSIN Producers of the World's Largest Line of Major Industrial Equipment—Over 1600 Products for American Industry TUNE IN WORC-930 P.M., E.S.T. ;] Auditorium, Worcester SIXTY-FIFTH SEASON, 1945-1946 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor Concert Bulletin TUESDAY EVENING, March 19 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . "President Henry B. Sawyer . Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Raymond S. Wilkins Oliver Wolcott G. E. JUDD, Manager [>] ^r- O.NTEIL MUST; whatever your beauty type CLEANSING CREAM and SKIN FRESHENER free your skin from daily grime; rouse it to living loveliness. NIGHT and ROSE SKIN CREAM soothe and lubricate your skin while you sleep. ASTRINGENT and PLASTIC CREAM foundations for classic beauty. BEAUTY BALM and SENSITONE LOTION protect your skin . give it young translucency . the one for normal skins, the other for sensitive skins. POWDER swiftly vanishes, leaving only beauty in its wake. LIPSTICK animates your own skin tone with the very pulse of color. ^mmMf•f^fd^ [2] Auditorium, Worcester Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor TUESDAY EVENING, March 19, at 8.00 o'clock LEONARD BERNSTEIN Conducting The programme has been revised, as follows: Tchaikovsky "Romeo and Juliet," Overture-Fantasia Copland "Quiet City," for Trumpet, English Horn, and Strings Trumpet: Roger Voisin English Horn: Louis Speyer Copland Danzon Cubano INTERMISSION Schumann Symphony No. 2 in C major, Op. 61 I. Sostenuto assai; allegro ma non troppo II. Scherzo: Allegro vivace; Trio (I); Trio (II) III. Adagio espressivo IV. Allegro molto vivace BALDWIN PIANO nWMHnoKwm* Auditorium, Wore iter Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor HOUHEHfiH TUESDAY EVENING, March 19, at 8.00 o'clock PROGRAMME LEONARD BERNSTEIN Conducting Schumann Overture to Byron's "Manfred," Op. 115 Copland "Quiet City," for Trumpet, English Horn, and Strings Trumpet: Roger Voisin English Horn: Louis Speyer Tchaikovsky ."Romeo and Juliet," Overture-Fantasia INTERMISSION Schumann .Symphony No. 2 in C major, .Op. 61 I. Sostenuto assai; allegro ma non troppo II. Scherzo: Allegro vivace; Trio (I); Trio (II) III. Adagio espressivo IV. Allegro molto vivace BALDWIN PIANO Each Saturday Evening (9:30-10:30 E.S.T.) the Boston Symphony Orchestra concert is broadcast by the American Broadcasting Company under the sponsorship of the Allis-Chalmers Manufacturing Company csi OVERTURE TO BYRON'S "MANFRED," Op. 115 (Composed in 1848) By Robert Schumann Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856 The poetry of Lord Byron stirred the imagination of many com- posers — Berlioz ("Harold in Italy") , Schumann and Tchaikov- sky, who both set "Manfred" to music. It must have been Byron's narrative imagery that moved them, for it is doubtful whether the three composers together could have mustered enough English to read two consecutive lines of Byron in the original. Yet Schumann, according to his biographer Wasielewski, read "Manfred" aloud be- fore two friends at Diisseldorf (presumably in the translation by Posgaru) , "burst into tears, and was so overcome that he could go no further." The writer explains this by the close affinity of Schu- mann and the hero of the poem. "For what is this Byronic Manfred but a restless, wandering, distracted man, tormented by fearful thoughts, and the mad, soul-destroying intercourse with spirits — which must of course be taken symbolically — was also the culminat- ing point of Schumann's last illness. The overture, indeed, might contend for superiority with all others; it is a powerful soul paint- ing, full of tragico-pathetic nights, and quite surpassing all his other instrumental works in intellectual grandeur. We feel that it was com- posed with rare devotion and unusual outlay of mental power. Its nature is in concord with the poem — of a gloomy, melancholy, but sometimes passionate and demoniac tint." f COPYRIGHTED] Oachroch BRADFORD BACHRACH 647 BOYLSTON STREET • KENMORE 4730 Are you the Sportswoman Type? Bradford Bachrach knows how to photograph every type of woman. 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I5l ' 'QUIET CITY," for Trumpet, English Horn and String Orchestra By Aaron Copland Born in Brooklyn, N.Y., November 14, 1900 Composed as an orchestral piece in the summer of 1940, "Quiet City" had its first performance by the Saidenberg Little Symphony, Daniel Saidenberg con- ductor, at Town Hall, New York, January 28, 1941. It was performed at these concerts April 18 and December 26, 1941 and March 9- !945- In the Spring of 1939," writes Mr. Copland, "I was asked by my friend Harold Clurman, Director of the Group Theatre, to supply the incidental musical score for a new play by Irwin Shaw, author of 'Bury the Dead,' 'The Gentle People,' and other dramas. His new opus was entitled 'Quiet City,' and was a realistic fantasy concerning the night-thoughts of many different kinds of people in a great city. It called for music evocative of the nostalgia and inner distress of a society profoundly aware of its own insecurity. The author's mouth- piece was a young trumpet player called David Mellnikoff, whose trumpet playing helped to arouse the conscience of his fellow-players and of the audience. The play was given two 'try-out' performances in New York on successive Sunday evenings in April of 1939, and then withdrawn for revisions. "Several friends urged me to make use of some of the thematic material used in my score as the basis for an orchestral piece. This is what I did in the summer of 1940, as soon as my duties at the Berk- shire Music Center were finished. I borrowed the name, the trumpet, and some themes from the original play. The addition of English horn and string orchestra (I was limited to clarinet, saxophone, and piano, plus the trumpet of course, in the stage version) , and the form of the piece as a whole, was the result of work in a barn-studio two miles down the road from Tanglewood. The orchestration was completed in late September, and the score dedicated to Ralph Hawkes, junior member of the London firm of Boosey and Hawkes, who published the composition recently." [coi*YRi<;nn n WADSWORTH PROVANDIE TEACHER OF SINGING Symphony Chambers 246 Huntington Avenue Boston, Massachusetts Accredited in the art of singing by Jean de Reszke, Paris, and in mise en scene by Roberto Villani, Milan Write or telephone for an appointment Kenmore 9495 or Maiden 6190 [6] ROMEO AND JULIET,'' Overture-Fantasia (after Shakespeare) By Peter Ilyitch Tchaikovsky Born at Votkinsk in the government of Viatka, Russia, May 7, 1840: died at St. Petersburg, November 6, 1893 Tchaikovsky completed his Overture-Fantasia in the year 1869. The piece was first performed on March 16, 1870, at a concert of the Musical Society in Moscow. It is scored for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, cym- bals, bass drum, harp and strings. When Tchaikovsky attempted to portray the romance of Romeo and Juliet in tones, he reached what might be called his first full musical realization. It was the first ambitious work which in his maturer years he remained willing to acknowledge without reserva- tions (the First Symphony he composed in 1866, the Opera "Voye- vode" in 1867, the Symphonic Poem "Fatum" in 1868, the Opera "Undine" early in 1869; the last three works he sought, with partial success, to obliterate by destroying the scores) . As was the case with "Fatum/' Tchaikovsky dedicated "Romeo and Juliet" to Mily Alexei- vitch Balakirev, the opinionated and dogmatic mentor of the youthful St. Petersburg group, who at this time took under his wing the promising professor from Moscow with all of the close possessiveness he was accustomed to practice upon his own neo-Russian brood. Balakirev gave Tchaikovsky the idea for "Romeo and Juliet," advised him what episodes to treat, just what kind of themes to use, and just how to build with them. The younger man took this advice — or, where he saw fit, left it — with all possible docility.* Balakirev advised his new protege to follow the sonata form, open- ing with an introduction of religious suggestion depicting Friar Lau- rence. For the main body of the Overture, the first theme was to depict the street brawls between the Montagues and Capulets, a raging "allegro with sword cuts," and for a contrasting second theme, melo- dious music of the two lovers.