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Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962

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Boston Symphony Orchestra Concert Programs, Season 81, 1961-1962 n " ^.v>k J jj 1 ha k<* / "v. •"-•A .: "|\ X,.... ,..,£:::;;:::=:;:=:^±s^ -i^^8^ r BOSTON I r SYMPHONY ORCHESTRA %\ FOUNDED IN 1881 BY HENRY LEE HIGGINSON 1 1 '/ SANDERS THEATRE (Harvard University) x,"\ ^wS^': \«*\ m ,-' •••"•tts, .y EIGHTY-FIRST SEASON 1961-1962 11 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 370 Commonwealth Ave. PARIS IN BOSTON (Corner of Mass. Ave.) Going to Paris LUNCH 11:30 to 2:30 for Lunch? DINNER You are if you're going 6:00 to 9:00 SATURDAY to Les Tuileries, Bos- 6:00 to 9:30 ton's famous corner of SUNDAY Paris. 5:30 to 9:30 Find light-hearted ele- Private Party gance of Paris with true Room Available AU BEAUCHAMP French cuisine, amid Call CO 6-0423 99 Mt. Vernon St. life-like Parisian murals. [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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