BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HI -"'"M'C SIXTY-EIGHTH SEASON 1948-1949 Tuesday Evening Series Boston Symphony Orchestra [Sixty-eighth Season, 1948-1949] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL VlOUNS Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhap£ Ernst Panenka Alfred Krips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Rolland Taplcy Albert Bernard Contra-Bassoon Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey Horns Paul Cherkassky Louis Artieres Harry Dubbs Charles Van Wynbergen Willem Valkeniei James Stagliano Vladimir Resnikoff Hans Werner Principals Joseph Leibovici Jerome Lipson Harry Shapiro Siegfried Gerhardt Einar Hansen Harold Meek Daniel Eisler Violoncellos Paul Keaney Norman Carol Walter Macdonald Carlos Pinfield Samuel Mayes Osbourne McConathy Alfred Zighera Paul Fedorovsky Harry Dickson Jacobus Langendoen Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmans Roger Voisin Karl Zeise Clarence Knudson Principals Pierre Mayer Josef Zimbler Marcel Lafosse Manuel Zung Bernard Parronchi Harry Herforth Samuel Diamond Enrico Fabrizio Renl Voisin Leon Marjollet Victor Manusevitch Trombones James Nagy Flutes Jacob Raichman Leon Gorodetzky Georges Laurent Lucien Hansotte Raphael Del Sordo James Pappoutsakis John Coffey Melvin Bryant Phillip Kaplan Josef Orosz John Murray Lloyd Stonestreet Piccolo Tuba Henri Erkelens George Madsen Vinal Smith Saverio Messina Herman Silberman Oboes Harps Bernard Zighera Stanley Benson Holmes John Elford Caughey Sheldon Rotenberg Jean Devergie Joseph Lukatsky Timpani Basses Roman Szulc English Horn Georges Moleux Max Polster Louis Speyer Willis Page Percussion Ludwig Juht Clarinets Simon Stern burg Irving Frankel Manuel Valerio Charles Smith Arcieri Henry Greenberg Attilio Poto Emil Henry Portnoi Pasquale Cardillo Piano Gaston Dufresne E\) Clarinet Lukas Foss Henri Girard Henry Freeman Bass Clarinet Librarian John Barwicki Rosario Mazzeo Leslie Rogers 1 9 2-4\\C1 949 SYMPHONY HALL, BOSTON SIXTY-EIGHTH SEASON, 1948-1949 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor 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 Roger I. Lee Alvan T. Fuller Lewis Perry Jerome D. Greene Henry B. Sawyer N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [il What's OltV bapPento Your Property ^nawmut Bank His new booklet shows how the Personal Trust Department of the Shawmut Bank can help you in the management of your property during your own lifetime, as well as providing for its future conser- vation. One important section explains the "When and Why" of the "Living Trust", and other Shawmut aids in property management and super- vision are also reviewed. Whether your resources are large or small, you should know the facts set forth in this booklet. Call at any of our 27 convenient offices, 'write or telephone LA 3-6800 for our booklet: "Conserving Tour Property at Low Cost" The V^ational Shawmut Bank 40 Water Street, Boston Member Federal Deposit Insurance Corporation Capital and Surplus $30,000,000 "Outstanding Strength" for 113 Years [2] : SYMPHONIANA The Koussevitzky Bass Records New England Survey THE KOUSSEVITZKY BASS RECORDS Among the many reviews of the new album of double bass recordings by Serge Koussevitzky, the following are quoted: Claudia Cassidy (in the Chicago Tribune) : "Collectors in search of Serge Kous- sevitzky's double bass recordings are being rescued by a series of circum- stances. Perhaps you remember that when Boston asked its renowned con- ductor what he wanted in token of ad- miration and affection in the 25th and farewell season, he said he wanted "a big gift" for his orchestra. That gift was a backlog of financial security, and the fast growing Serge Koussevitzky Anniversary fund is the result. To augment it, a limited edition of 1,000 albums of Koussevitzky recordings has been made available by the Boston or- chestra in cooperation with RCA Victor. Each is autographed, holds the portrait of the player with his instrument now hanging in Koussevitzky's Tanglewood home, and features three 12-inch, ruby vinylite records of the slow movement from Koussevitzky's double bass con- certo, his Chanson Triste and Valse Miniature, and his arrangement of a largo by Eccles, plus a lullaby by Laska. The recordings were made in 1929, and you have to hear what they can do with the double bass to believe it. Pierre Luboshutz is the accompanist. The price is $10, including mailing costs. Address the Boston Symphony Orchestra, Sym- phony Hall, Boston 15." Jay C. Rosenfeld (in the Berkshire Eagle) "Immediately discernible are the at- tributes which make orchestral music under his direction so absorbing; a magnificent conception of line, a con- tinuously glowing tone and the peerless faculty of maintaining and re-instilling vigorous urgency in the music. Except for a propensity to make his shifts and slides very noticeable, the mechanics Boston of the playing are formidable. His in- Providence tonation has the character associated Wellesley with Casals and Heifetz, the tone has [3] a vivid warmth and the bowing the un- canny amplitude of those masters who know the secret of preserving intensity without expending all their resources. (chandler It used to be the custom at times to use a smaller instrument for solo play- Tremont and West Streets ing than the dinosaurian monster or- dinarily used today in orchestral play- ing. There is no reason to warrant any such assumption in this case. The smaller body, however, permitted the achievement of a 'cello-like tone while the employment of a longer neck re- tained the problems peculiar to the unwieldy viol. This album exhibits an- other and less known fact of Kousse- vitzky's art and proves, if proof were necessary, that the talents which have made him superlative as a conductor served him equally well as a performer. NEW ENGLAND SURVEY The current issue of the Musical Courier {January 1, 1949) is devoted to musical performance in New England. Jules Wolffers heads an article with the following survey of the activities of the Boston Symphony Orchestra. The state of music in the New Eng- land region presents puzzling and con- tradictory features. On the one hand there is the magnificent Boston Sym- phony Orchestra serving all classes with its extensive, and varied schedule: on the other hand whole areas of music re- main a veritable Sahara scarcely re- lieved, here and there, by puny oases. Our As far as the Boston Symphony is concerned, that institution, in and of itself, goes a long way to supply New Resort Shop England musical needs. Under Serge Koussevitzky the orchestra presents Fourth Floor twenty-four Friday afternoon programs, repeated Saturday evenings. In addition, the series, We'd like to help you pack there are Tuesday and Sunday which, together with the Cambridge your luggage . whether series, make up a total of sixty- six you're going to your win- symphonic programs in Boston alone. While all the series are sold out, visitors ter home in Florida, Bar- are advised that turn-ins which aid the orchestra's pension fun are sometimes bados or Bermuda . available. whether you're taking a After the regular season ends come Caribbean cruise or flying the Boston Symphony Pops programs under Arthur Fiedler. These are nightly to Jamaical Our Shop's affairs of lighter music during spring ready with everything and early summer. All seats for these concerts are usually sold out for the from swim suit to spectator enterprising lists that Mr. Fiedler as- fashionsl sembles. Much "serious" music is ju- diciously mixed in with the frothier stuff to produce a mixture that satisfies all [4] types of concertgoers. The tables and chairs that replace the seats add much to the conviviality of the evenings and the bill of fare may be calculated to do the same if the patrons so wish. In the summer we have the Boston Symphony Esplanade Concerts, founded and still conducted by Arthur Fiedler, which present free outdoor concerts be- fore audiences of from 10,000 to 25,000 persons. The music is of Pops-like char- acter with a somewhat curtailed or- chestra of seventy. Concerts emanate from the beautiful Hatch Memorial Shell on the esplanade of the Charles River. During July the orchestra moves its sphere of activity to western Massa- chusetts for the Berkshire Festival. There, at Tanglewood, Koussevitzky has established his Berkshire Music Center with results well known to the world at large. Leonard Bernstein, Eleazar de Carvalho and Lukas Foss are but three names from the large roster of distin- guished Center products. Principals from the orchestra form the bulk of the fac- ulty and there is fine music in profu- sion during the six-week term. Prior to the Festival proper come two weeks of chamber orchestra concerts under Kous- sevitzky presented in the acoustically perfect smaller concert hall. Festival programs are held in the Shed, a large, roofed, fan-shaped structure open all the way around except directly in rear of the platform. The Shed seats 6,000, and thousands more on fine days and eve- nings listen from the surrounding grounds. Tanglewood is just about equidistant from New York City and Boston and consequently there are many listeners from the Empire State and indeed from all the states and many foreign coun- tries. The Festival lasts three weeks with three or four concerts weekly to- gether with several interesting special events. During the regular season the orches- tra's tours include several New Eng- land cities such as Providence, Hart- ford, New Haven, Northampton and other centers.