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FOUNDED IN 1881 BY HENRY LEE HIGGINSON 1 1 '/ SANDERS THEATRE (Harvard University)
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The World's Greatest Artists Are Doing Something New! authentic 20th century Ravel's "Daphnis and Chloe": Munch, Boston Symphony. Brand-new recording of the complete suite. Sensuous, romantic music -an Reiner Chicago Symphony. masterpiece. Features the New England Conservatory Chorus. LM/LSC-2568. Schubert's "Unfinished" Symphony and Symphony No. 5: Schubert works. LM/LSC-251b. Beetnoven s The "Unfinished"- most popular of all symphonies! Reiner offers brilliant performances, exquisite recordings of both concertos in his first recording "Emperor" Concerto: Cliburn; Reiner, Chicago Symphony. Cliburn turns his great talents to the most popular of Beethoven's piano outside the "Romantic" literature. A dynamic collaboration of two great artists. LM/LSC-2562. Brahms' Concerto for with Violin and Cello. Glowing masterpiece in breath-taking Heifetz-Piatigorsky performance. De luxe Soria package richly illustrated booklet. LD/UDS-2513. Chopin Sonatas Nos. 2 and 3. Rubinstein, the leading Chopin interpreter, in The most trusted name in sound magnificent readings of two outstanding Chopin Sonatas 1 Beautiful, lavishly illustrated Soria booklet LD/LDS-2554 Available in Living Stereo and Monaural Hi-Fi. EIGHTY-FIRST SEASON, 1961-1962
Boston Symphony Orchestra
CHARLES MUNCH, Music Director
Richard Burgin, Associate Conductor
CONCERT BULLETIN
with 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 CD. 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 15
[3] Boston Symphony Orchestra (Eighty-first Season, 1961-1962) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Cellos Bassoons Richard Burgin Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Jacobus Langendoen Matthew Ruggiero Mischa Nieland George Zazofsky Rolland Tapley Karl Zeise Contra Bassoon Martin Hoherman Joseph Silverstein Richard Plaster Vladimir Resnikoff Bernard Parronchi Harry Dickson Richard Kapuscinski Horns Gottfried Wilfinger Robert Ripley James Stagliano Winifred Winograd Einar Hansen Charles Yancich Roger Shermont Louis Berger Harry Shapiro Minot Beale John Sant Ambrogio Harold Meek Herman Silberman Paul Keaney Osbourne McConathy Joseph Leibovici Basses Stanley Benson Georges Moleux Trumpets Leo Panasevich Henry Freeman Sheldon Rotenberg Irving Frankel Roger Voisin Armando Ghitalla Fredy Ostrovsky Henry Portnoi Noah Bielski Henri Girard Andre Come John Barwicki Gerard Goguen Clarence Knudson Leslie Martin Pierre Mayer Ortiz Walton Trombones Manuel Zung William Gibson Samuel Diamond Flutes William Moyer William Marshall Kauko Kahila Leonard Moss Doriot Anthony Dwyer Josef Orosz William Waterhouse James Pappoutsakis Alfred Schneider Phillip Kaplan Tuba Manusevitch Victor K. Vinal Smith Laszlo Nagy Piccolo Ayrton Pinto George Madsen Timpani Michel Sasson Everett Firth Lloyd Stonestreet Harold Farberman Julius Schulman Oboes Ralph Gomberg Raymond Sird Percussion Gerald Gelbloom de Vergie Jean Charles Smith Holmes John Harold Thompson Violas Arthur Press Joseph de Pasquale English Horn Jean Cauhape Louis Speyer Harps Eugen Lehner Bernard Zighera Albert Bernard Clarinets Olivia Luetcke George Humphrey Jerome Lipson Gino Cioffi Manuel Valerio Piano Robert Karol Reuben Green Pasquale Cardillo Bernard Zighera E\) Clarinet Bernard Kadinoff Vincent Mauricci Library Bass Clarinet Alpert Earl Hedberg Victor William Shisler Joseph Pietropaolo Rosario Mazzeo
[4] EIGHTY-FIRST SEASON • NINETEEN HUNDRED SIXTY-ONE -SIXTY-TWO
Second Program
TUESDAY EVENING, November 21, at 8:30 o'clock
RICHARD BURGIN Conducting
Brahms Academic Festival Overture, Op. 80
Bartok Four Orchestral Pieces, Op. 12
I. Preludio: Moderato
II. Scherzo: Allegro
III. Intermezzo: Moderato
IV. Marcia Funebre: Maestoso
INTERMISSION
Shostakovitch Symphony No. 5, Op. 47
I. Moderato
II. Allegretto
III. Largo
IV. Allegro non troppo
BALDWIN PIANO RCA VICTOR RECORDS
[5] ACADEMIC FESTIVAL OVERTURE, Op. 80 By Johannes Brahms
Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897
The overture was composed in 1880; first performed January 4, 1881, at the University of Breslau. The orchestration: 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and contra-bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, bass drum, timpani, cymbals, triangle and strings.
Brahms' two overtures, the "Akademische Fest-OuvertiXre" and the "Tragische Ouvertiire" were composed in one summer — in 1880 at Bad Ischl. It was his first summer in this particular resort, and although he was somewhat discouraged by an abundance of rainy weather, its charms drew him again in later years (1889-96). "I must give high praise to Ischl," he wrote to Billroth in June, 1880, "and although I am threatened only with one thing — the fact that half Vienna is here — I can be quiet here — and on the whole I do not dislike it." Which is to say that Ischl had already become the gather- ing point of a constant round of cronies from Vienna. Brahms' friends of course would scrupulously respect the solitudes of the master's mornings — the creative hours spent, partly in country walks, partly in his study. Later in the day he would welcome the relaxation of companionship — of conversation to an accompaniment of black cigars and coffee, of mountaineering (Brahms was a sturdy walker), or of music-making together.
When the University at Breslau conferred upon Brahms, in the spring of 1879, the degree of Doctor of Philosophy, the composer responded in kind, and made the institution the handsome present of an overture on student airs. Presents of this sort are not to be unduly hastened when artistic good faith and the heritage of the musical world are considered. Brahms composed and destroyed another
BRIGGS & BRIGGS, INC. presents on RCA VICTOR RECORDS BERLIOZ — Overtures MENDELSSOHN - Scotch Symphony CHARLES MUNCH with the BOSTON SYMPHONY ORCHESTRA ALL BOSTON SYMPHONY RECORDINGS available at BRIGGS & BRIGGS, INC. 1270 MASS. AVE. HARVARD SQUARE Opp. Widener Library KI 7-2007
[6] "Academic" overture before this one, if Heuberger is not mistaken. The performance came the following January, when Brahms con- ducted it at Breslau, while the Herr Rektor and members of the philosophical faculty sat in serried ranks, presumably gowned, in the front rows. It goes without saying that both Brahms and his overture were quite innocent of such "academic" formality. It is about a tavern table, the faculty forgotten, that music enters spontaneously into
German college life. Although Brahms never attended a university he had tasted something of this life at Gottingen when, as a younger man, he visited with Joachim, who was studying at the University. Brahms did not forget the melody that filled the Kneipe, inspired by good company and good beer. Student songs, with their Volkslied flavor, inevitably interested him. He found use for four of them. "Wir hatten gebauet ein stdttliches Haus" is first given out by the trumpets. "Der
Landesvater" ("Hort, ich sing' das Lied der Lieder") is used rhyth- mically, delightfully developed. The "Fuchslied" or Freshman's Song
('Was kommt dort von der Hoh' ") is the choice of the unbuttoned
Brahms, and leaves all educational solemnities behind. The air is introduced by two bassoons. When Brahms wrote Kalbeck that he had composed "a very jolly potpourri on students' songs a la Suppe" Kalbeck inquired jokingly whether he had used the "Fox song." "Oh, yes," said Brahms complacently. Kalbeck, taken aback, protested that he could not imagine any such tune used in homage to the "leathery
Herr Rektor," and Brahms answered: "That is wholly unnecessary." Brahmsian horseplay does not get quite out of hand, and the dignities are saved beyond doubt when the full orchestra finally intones the hearty college hymn, "Gaudeamus Igitur." [copyrighted] LES TUILERIES
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[7] FOUR ORCHESTRAL PIECES, Op. 12 By Bela Bartok
Born in Nagyszentmiklos, Hungary, March 25, 1881; died in New York, September 26, 1945
This suite, published in Germany as "Vier Orchesterstiicke" was composed in 1912. It calls for the following instruments: 4 flutes and 2 piccolos, 3 oboes, 2 English horns, 2 clarinets in B-flat, 2 in E-flat and bass clarinet, 4 bassoons and contra-bassoon, 4 horns, 4 trumpets, 4 trombones and tuba, 2 harps, piano (four hands), celesta, timpani, triangle, tam tam, glockenspiel, bass drum and snare drum.
Bela Bartok wrote his Four Orchestral Pieces at the age of thirty- one, having then composed his two Suites for Orchestra, Op. 3 and 4 in 1905 and 1907 (each to be revised years later), his one act Opera, Duke Bluebeard's Castle, Op. 11, in 1911, his Two Portraits and Two Images for Orchestra, Op. 5 and 10, in 1908 and 1910, together with
various piano pieces and songs. His first quartet, Op. 7, was composed in 1908.
The opening piece of Opus 12 is rhapsodic in style with free fluctua- tions in tempo. It has a consistent melodic line, usually carried by the violins to a rich and colorful accompaniment of chords and arpeggios, in which the piano and the harps play a continuous part.
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[8] The scherzo is in triple time, suggestive of a fast waltz. The opening
theme is a rippling figure for the strings and woodwinds, which gives way to a melody with an accented first beat and then to a more lively staccato figure. These alternate. The movement broadens to a full- voiced close.
The third movement is likewise in three-quarter time, but in a moderate tempo. The strings, divided and at first muted, sing a lilting theme. The tranquil tempo varies, becomes momentarily agitated, and finally returns for a pianissimo close.
The finale is in the rhythm of a slow march. The opening is solemn and heavy, the initial notes of each measure accentuated by triplets. The tempo quickens slightly as an expressive and impassioned melody is introduced. The march ends much as it began with a strong climactic chord and two final accented chords. [copyrighted]
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[9] SYMPHONY NO. 5, Op. 47 By Dmitri Shostakovitch
Born in St. Petersburg, September 25, 1906
Shostakovitch composed his Fifth Symphony for performance in celebration of the twentieth anniversary in 1937 of the Republic of Soviet Russia. The first of a series of performances was given at Leningrad, November 21 of that year. The first per- formance at Moscow was on the 20th of January following. The Symphony had its first American hearing at a broadcast concert of the National Broadcasting Company, in New York, April 9, 1938, Artur Rodzinski conducting. The Symphony was per- formed by the Boston Symphony Orchestra, January 20, 1939, Richard Burgin con- ducting, and later for the most part under the direction of Serge Koussevitzky; October 18, 1940, January 3, 1941, December 26, 1941, April 30, 1943, November 12, 1943, November 24, 1944 (Leonard Bernstein conducting), March 5, 1948, October 24-25, 1952 and December 28-29, 1956 (Richard Burgin conducting). The Symphony is scored for 2 flutes and piccolo, 2 oboes, clarinets in A, B-flat, and E-flat, 2 bassoons and contra-bassoon, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, bass drum, cymbals, triangle, military drum, tam-tam, xylophone, bells, celesta, piano, two harps and strings.
>"T SCHOENHOFS INC. *"*g*Books 1280 Massachusetts Avenue Harvard Square, Cambridge Exclusive Headquarters of Assimil Language Record Courses Grammars and Dictionaries for 1 00 Languages Librairie Francaise; All French Books, Classical and Modern Fine Pictures — Custom Framing on Premises — Moderately Priced BOCA GRANDE PALM BEACH UO^v**-**-*- The Ritz Carlton Hotel Pretty Clothes for All Occasions MANCHESTER WATCH HILL [10] : the nature of melodic cumulative growth. The first theme returns in horns and trumpets, and subsides to the gentle voice of the violins, over a characteristic triple rhythmic figure. As the tempo quickens, the rhythms tighten and become more propulsive, while the melody, sounding from the brass choir, becomes exultant in animation. The recapitulation suddenly restores the initial slow tempo as the first theme is repeated by the orchestra in unison, largamente. The fortis- simo strings and deep brass give way to a gentler reminiscent mood, as the wood-wind voices, here first fully exploited, bring the movement to a close. The second movement is in the historical scherzo form with clear traces in the course of the music of the traditional repeats, trio section and da capo. The themes are in the triple time of the Austrian Land- ler, from which, in the past, scherzos have sprung. The slow movement, like the first, is one of gradual melodic growth, from string beginnings. The theme, too, is reminiscent of the first theme in the opening move- ment. The individual voices of the wood wind enter, and the tension increases as the strings give a tremolo accompaniment, and sing once more, muted and in the high register. The movement attains, at its climax, an impressive sonority without the use of a single brass instrument. The finale, in rondo form, devolves upon a straightforward and buoyant march-like rhythm and a theme unmistakably Russian in suggestion. There is a slow section in which the characteristic triple rhythm of the first movement reappears. The first theme of that move- ment is treated by the violin solo with fresh melodic development. Awiltan-i^kttttwr (irgatt Company Designers of the instruments for THE BOSTON SYMPHONY ORCHESTRA THE DETROIT SYMPHONY ORCHESTRA THE PHILADELPHIA ORCHESTRA THE NEW YORK PHILHARMONIC In this relatively democratic age, almost anyone can have an account — checking, trust or savings — with Cambridge Trust Company. To the aristocracy of music lovers, however, the bank's services are offered with enthusiasm, and in the hope that there will be no discords. CAMBRIDGE TRUST COMPANY Harvard Square Member Federal Deposit Insurance Corporation [""J Second Season BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH ^,.7 Music Director am presents FOUR CONCERTS on the SYMPHONY HALL ORGAN by E. POWER BIGGS — December 17 RAY FERGUSON — January 7 PIERRE COCHEREAU — February 18 CATHARINE CROZIER — March 25 SUNDAYS AT SIX All Seats Unreserved Series of Four Concerts: $3 Single Concerts: $1 Tickets on sale at Subscription Ticket Office, Symphony Hall CO 6-1492 [12] There is a constant increase in tempo as the conclusion is approached. Shostakovitch has given forth a statement about his intentions on composing the Fifth Symphony: "The theme of my symphony is the making of a man. I saw man with all his experiences in the centre of the composition, which is lyrical in form from beginning to end. The finale is the optimistic solution of the tragically tense moments of the first movement." Dmitry Rabinovich in his recent book on Shostakovitch* believes that the "invisible hero" of the Fifth Symphony depicts a "young Russian intellectual" of the early Revolution period who seeks the "new social system" of his land as "the way out of his spiritual isolation." Mr. Rabinovich, in the course of a florid description of the score, points out an allusion in the return during the finale of the second part of the main theme from the first movement. It is "played softly on the cellos and double-basses accompanied by the same short, contemplative phrase, repeated sixteen times, at first by the violins and then by a flute. This very same phrase is repeated eight times in the piano accom- paniment to the last lines of Shostakovitch's romance Rebirth (to Pushkin's lyric, op. 46, 1936), the words of which are: And the waverings pass away From my tormented soul As a new and brighter day Brings visions of pure gold. This romance was written by Shostakovitch literally on the eve of his work on the Fifth Symphony. The dramatic significance of this coincidence is not open to doubt even if the repeated use of the phrase from the romance in the symphony was only dictated by subconscious memory." [copyrighted] * Dmitry Shostakovich (Lawrence and Wishart, London, 1959). R. M. LIGHT & CO. KATE FRISKIN Original Prints and Drawings Pianist and Teacher PIERRE COURTIN Engraver 8 CHAUNCY STREET Oct. 31 -Nov. 25 CAMBRIDGE, MASSACHUSETTS ELiot 4-3891 421 Beacon Street Tues.-Sat. Boston 15 10:00-5:00 [13] Boston Symphony Orchestra CHARLES MUNCH, Music Director RCA Victor Records released since April 1957 Bach Brandenburg Concertos (Complete) LM-2182, 2198* Barber Medea's Dance of Vengeance LM 2197 Adagio for Strings LM 2105 Beethoven Symphony No. 3, "Eroica" LM 2233* Symphony No. 9 LM 6066* Berlioz "L'Enfance du Christ" LM 6053 "Harold in Italy" (Primrose) LM 2228* Requiem LDS 6077* Overtures LM-2438* Blackwood Symphony No. 1 LM -2352* Bloch "Schelomo" (Piatigorsky) LM-2109 Brahms Symphony No. 1 LM -2097 Piano Concerto No. 1 (Graffman) LM-2274* Chopin Piano Concerto No. 1 (Graffman) LM -2468* Copland Appalachian Spring and Tender Land (Copland) LM -2401* Debussy "La Mer" LM -2111* Three Images LM -2282* Dukas The Apprentice Sorceror LM -2292* Dvorak Cello Concerto (Piatigorsky) LM -2490* Elgar Introduction and Allegro LM -2105* Franck Symphony in D minor LM -2131* Haieff Symphony No. 2 LM -2352* Ibert "Escales" (Ports of Call) LM -2111* d'Indy Symphony on a Mountain Air (Henriot- Schweitzer) LM -2271* Khatchaturian Violin Concerto (Kogan-Monteux) LM -2220 Mahler "Kindertotenlieder" and "Lieder eines fahrenden Gesellen" (Maureen Forrester) LM -2371* Mendelssohn "Italian" and "Reformation" Symphonies LM -2221* Violin Concerto (Heifetz) LM -2314* Capriccio brillant (Graffman) LM--2468* "Scottish" Symphony, Scherzo from Octet LM-2520* Prokofiev Romeo and Juliet, Excerpts LM-2110 Piano Concerto No. 2 (Henriot-Schweitzer) LM--2197 Violin Concerto No. 2 (Heifetz) LM-2314* Rachmaninoff Piano Concerto No. 3 (Janis) LM- 2237* Ravel "Mother Goose" Suite LM- 2292* Piano Concerto (Henriot-Schweitzer) LM-2271* Daphnis and Chloe (Complete new recording) LM- 1893* Saint-Saens Havanaise (Kogan-Monteux) LM-2220 "Omphale's Spinning Wheel" LM-2292* Symphony No. 3 ("Organ") LM- 2341* Schubert Symphony in C major (Posthumous) LM- 2344* Schumann Symphony No. 1, "Manfred" Overture LM- 2474* Stravinsky Petrouchka (Monteux) LM- 2376* Tchaikovsky Symphony No. 4 (Monteux) LM- 2369* Symphony No. 5 (Monteux) LM- 2239* Symphony No. 6 (Monteux) LM-1901* Serenade for Strings LM- 2105* Violin Concerto (Szeryng) LM- 2363* Wagner Excerpts (Eileen Farrell) LM-2255* Walton Cello Concerto (Piatigorsky) LM-2109 * Also a stereophonic recording [Hi EIGHTY-FIRST SEASON • NINETEEN HUNDRED SIXTY-ONE-SIXTY-TWO Boston Symphony Orchestra CHARLES MUNCH, Music Director The remaining Tuesday evening concerts in Sanders Theatre, Cambridge will be as follows: JANUARY 9 WILLIAM STEINBERG, Guest Conductor FEBRUARY 27 ANDRE NAVARRA, Cello MARCH 27 CHARLES MUNCH, Conductor APRIL 17 CHARLES MUNCH, Conductor Tickets for each concert at the Subscription Office, Symphony Hall, CO 6-1492 BALDWIN PIANO RCA VICTOR RECORDS SANDERS THEATRE • CAMBRIDGE [15] 160 Boylston Street, Boston BALDWIN 742 Washington St., Braintree