SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

Telephone, Commonwealth 6-1492

SEVENTY-FIRST SEASON, 1951-1952

CONCERT BULLETIN of the

Boston Symphony Orchestra

CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor 9

with historical and descriptive notes by H

John N. Burk

COPYRIGHT, 1951, BY BOSTON SYMPHONY ORCHESTRA, ItlC.

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 1 \ John Nicholas Brown Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott

George E. Judd, Manager

T. D. Perry, Jr. N. S. Shirk, Assistant Managers

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[246] SYMPHONIANA

THE TROUSSEAU HOUSE OF BOSTON OPEN REHEARSALS

Five open rehearsals by the Boston Symphony Orchestra will be available to the general public at season rates, as well as to students of the school* and colleges of greater Boston. These rehearsals will not only afford an op- portunity to witness the great Orchestra and its conductor, Charles Munch, at work, but will provide an Opportunity to hear famous soloists rehearsing with the Orchestra if, as is probable, they appear on these particular dates. These include Monique de la Bruchollerie, the Belgian pianist about to make her first visit to America; William Prim- rose, the virtuoso; and the solo singers in Berlioz' "The Damnation of

Faust," which will have its final prep- aration with chorus at the last open rehearsal. The open rehearsals will be- gin on Thursday, November 29 under the direction of Pierre Monteux, and will also be given on Thursday, De- cember 13. Wednesday, January 9, and Thursdays, February 28 and March 27, at 7:30 p.m.

Tickets for the series having been distributed through the colleges, seats remaining are now on sale at the box office at $7.50 for the series of five, or $2.00 for each rehearsal.

EXHIBITION

An exhibition by the Boston Print- makers is now on view in the Gallery. The organization is thus described by its President, Paul B. Swensen: 5\ "The Boston Printmakers was /o> founded in 1947 by a group of New England workers in the Graphic Arts, who felt the need for a society which 416 Boy1st on St., Boston could organize print shows in Boston 54 Central St., Wellesley and New England, provide a meeting

[247] place for lectures, discussions and ex- change of ideas, offer studio space where members could experiment in various media, and stimulate public in- terest in prints. "Encouraged by the sponsorship of museum directors, collectors of prints, and associate members, its membership has broadened to include printmakers from many parts of the United States as well as Canada and England. The organization erects no barriers between the so-called modern and conservative approaches toward art, requiring only that prints possess quality and vitality which result from competent design and execution by sincere artists. "Print exhibitions have been held annually at Paine Furniture Company and recently in the gallery of Symphony Hall. Travelling shows have been hung at the Worcester Museum, the Spring- field Museum, the Bangor Public Li- brary, the Marblehead Arts Associa- tion, the DeCordova and Dana Museum of Lincoln, and many museums and libraries in Canada. "Supplementing the artist member- ship of the society are the associate members who are desirous of helping the cause. They are invited to meetings and lectures, and receive, once a year, a commissioned print which is distributed exclusively to Associate members. "The printmaker has ever been a vital part of his environment. He has recorded the past and influenced it. Today's printmaker must identify him- NATURAL self with the present. The Boston Print- makers hope to keep their organization strong and vigorous enough to make WILD MINK that possible." STOLE "TIME" MAGAZINE (November . . its Lamson Hubbard label is 19) carried the following paragraph— your assurance of superb qual- under the heading "New Records": Stravinsky: . The ity . . . expert workmanship Boston Symphony Orchestra, Pierre . . . and the elegance of styling Monteux ; Victor, two sides recognized by four generations (LP). Retiring of discriminating New England- Conductor Monteux cuts himself a fit- ting memorial. He gave this still fierce- ers. sounding work its riotous Paris premiere $1495 37 years ago ; here leading the orchestra with which he began his U. S. symphonic Plus tax career in 1919, he surely equals the fire and versatility of that first performance. FUR SALON—3rd Floor Recording: excellent.

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[250] .

SEVENTY-FIRST SEASON NINETEEN HUNDRED FIFTY-ONE AND FD7TY-TWO

Sixth Program

FRIDAY AFTERNOON, November 23, at 2:15 o'clock >A SATURDAY EVENING, November 24, a* 8:30 o'clock m

PIERRE MONTEUX Conducting

Bach . . Passacaglia and Fugue in C minor (Orchestrated by )

Mendelssohn Symphony No. 3 in A minor, "Scottish," Op. 56 ^B I. Andante con moto; Allegro un poco agitato

II. Vivace non troppo III. Adagio IV. Allegro vivacissimo; Allegro maestoso assai (Played without pause)

INTERMISSION

Hindemith Symphony, "Mathis der Maler" ("Matthias the Painter") Angelic Concert Entombment Temptation of St. Anthony

Strauss Till Eulenspiegel's Merry Pranks, after the Old-fashioned, Roguish Manner, in Rondo Form

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This program will end about 4:15 o'clock on Friday Afternoon, 10:30 on Saturday Evening. The Friday and Saturday concerts will be broadcast each week on Station WGBH (FM)

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[252] PIERRE MONTEUX

Pierre Monteux was born in Paris, April 4, 1875. He began his career as violist at the Opera Comique and the . From 1912 he conducted Diaghileff's Ballet Russe, introducing such music as Stravinsky's Petrouchka, La Sacre du Printemps, and Ros- signol; Ravel's Daphnis et Chloe and Debussy's . He toured the United States with the Ballet Russe in 1916-17. He conducted at the Paris Op£ra and his own Concerts Monteux in Paris. He became conductor at the House in 1917-18 and was the conductor of the Boston Symphony Orchestra 1919-1924. Since then he has conducted as guest in many parts of the world. He became con- ductor of the San Francisco Orchestra in 1935, a position from which he has announced his retirement at the end of the present season. Mr.

Monteux visited Boston with the San Francisco Orchestra April 13, 1947, and returned to conduct the Boston Symphony Orchestra January 26-27-28, 1951.

[253] PASSACAGLIA AND FUGUE IN C MINOR By

Born in Eisenach on March 21, 1685; died in Leipzig on July 28, 1750 Transcribed for Orchestra by Ottorino Respighi

Born in Bologna on July 9, 1879; died in Rome, April 18, 1936

The actual year of Bach's composition is not known. Respighi made his or- chestration in 1930.

It was last performed in this series April 14, 1950, Richard Burgin conducting. Respighi has used the following 'instruments in his transcription: three flutes and piccolo, three oboes and English horn, three clarinets and bass clarinet, three bassoons and double bassoon, six horns, four trumpets, three trombones, tuba, timpani, organ pedal, and strings.

IT is supposed that Bach wrote his Passacaglia as an organ piece in the latter part of the Weimar period (1708-17). The piece existed earlier in a form for two-manual clavicembalo with pedals. The first half of his eight-bar theme Bach derived from a trio en passacaille by the seventeenth-century French composer and organist, Andre Raison. There are twenty variations. In the double fugue which follows, Bach uses the first half of his Passacaglia theme for one of his subjects. An orchestral transcription of this Passacaglia by Heinrich Esser was at one time often performed, and was included upon programs

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[255] of the Boston Symphony Orchestra, January 28, 1887, and April 26, 1895. There have also been transcriptions by and by Frederick Stock. Philip Spitta praised Esser's transcription for "its very skilful imitation of organ effects." Respighi had no such aim in mind, for he conceived the Passacaglia in purely orchestral terms — an "interpretazione orchestrale," he called it. For the first statement of the bass theme, which Bach gave to the pedals alone, Respighi likewise has used the organ pedals reinforced by the deeper-voiced instruments. The first twelve variations unfold an increasing sonority. In the thirteenth and fourteenth, Bach's orna- mentation plainly suggests the harpsichord, and this suggestion the Italian transcriber has put to good use. The final variations call forth the full strength of the orchestra as the climax is reached. The first fifty measures of the fugue itself are sparingly scored, with no brass instruments except the horn. Again, at the climax of the fugue, Respighi makes use of his combined forces with tremendous effect.

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[257] SYMPHONY NO. 3 IN A MINOR, "SCOTTISH," Op. 56 By Felix Mendelssohn-Bartholdy

Born in Berlin, February 3, 1809; died in Leipzig, November 4, 1847

This symphony was finished January 20, 1842, and first performed at the Gewandhaus concerts in Leipzig on March 3 following, the composer conducting. The first performance in this country was by the Philharmonic Society in New York, George Loder conducting, November 22, 1845. The first performance in

Boston was by the Academy of Music at the Melodeon, November 14, 1846,

G. J. Webb conducting. The first performance at these concerts was on January 19, 1883, the last, December 15, 1944, Dimitri Mitropoulos conducting. The instrumentation includes two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.

The score is inscribed as "composed for and dedicated to Her Majesty Queen Victoria of England." It was published in 1843.

In the spring of 1829, Felix Mendelssohn, promising pianist and composer of twenty, visited England, played with the Philharmonic

Orchestra in London and conducted it, was entertained by delight- ful people, and enjoyed himself thoroughly. In July he undertook a tour' of Scotland with his friend Carl Klingemann. The people and

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[259] the landscape interested him. He wrote of the Highlanders with their "long, red beards, tartan plaids, bonnets and feathers, naked knees, and their bagpipes in their hands." The moorlands intrigued him too, and when fogs and rains permitted, the sketchbook was brought out and put to good use. He wrote home of the Hebrides and the Cave of Fingal — also of the Palace of Holyrood, then a picturesque ruin, in which Mary of Scotland had dwelt. "In the evening twilight we went today to the palace where Queen Mary lived and loved; a little room is shown there with a winding staircase leading up to the door; up this way they came and found Rizzio in that little room, pulled him out, and

three rooms off there is a dark corner, where they murdered him.

The chapel close to it is now roofless, grass and ivy grow there, and at that broken altar Mary was crowned Queen of Scotland. Every- thing around is broken and mouldering, and the bright sky shines in. I believe I found today in that old chapel the beginning of my Scottish Symphony/' There follow sixteen measures which were to open the introduction of the first movement. These measures have also been attributed to the incident that, returning to the inn at Edinburgh, Mendelssohn there listened to a plaintive Scotch air sung by the landlord's daughter. In this way Mendelssohn carried out of Scotland two scraps of

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[*6o] melody that were to be put to good use — this one and the opening measures of the "Fingal's Cave" Overture. Smaller works for piano, and for voice, were also suggested by Scotland. It would be a mistake, of course, to look for anything like definite description in this score, or for that matter in any symphony of Mendelssohn. He did not even publish it with a specific title, although he so referred to it in his letters. There have been attempts to prove the symphony Scotch in character. George Hogarth, who was beside Mendelssohn as he attended the "competition of Pipers" at Edin- burgh, testified that "he was greatly interested by the war tunes of the different clans, and the other specimens of the music of the

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[ 261 ] country. ... In this symphony, though composed long afterwards, he embodied some of his reminiscences of a period to which he always looked back with pleasure. The delightful manner in which he has reproduced some of the most characteristic features of the national music — solemn, pathetic, gay, warlike — is familiar to every amateur."

The trouble with Mr. Hogarth's statement is that most hearers, certainly the German ones, have not followed him so far. An enthusi- astic Britisher would tend to make much of such thematic re- semblances; but, after all, a folkish tune in the British Isles or Ger- many can have much in common, and by the time Mendelssohn has in his own way developed through a dozen measures the quasi jig- like 6-8 of the first movement or the theme of the scherzo in which one can possibly discern "national character," any truly Scotch jaunti- ness seems to have departed. German writers, in a day given to imagina- tive flights, went far afield from the Scottish scene. Ambrose was reminded by the "violent conflicts" in the Finale (which someone else likened to the gathering of clans) of "a roaring lion with which we might fancy a young Paladin in knightly combat. . . . And then the airy, elfish gambols of the Scherzo — we cannot help it, we invent a whole fairy tale of our own to fit it, a tale of the genuine old German

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[263] stamp, something like the Sleeping Beauty of the Woods, or Cin- derella, or Schneewittchen."

It is probably nearer the truth that the thoughts of the young Ger- man were swarming with musical images in the summer of 1829, images which took on a passing shape, a superficial trait or two from what he heard in a strange land. An indefatigable tourist, he must have found the raucous drones produced by brawny males in skirts less a matter for musical inspiration or suggestion than an exotic curiosity. It took an islander such as Chorley to find and stress chara- teristic Scottish intervals in the Scherzo of the symphony. Mendelssohn, who took pleasure in affixing a picturesque name to a symphony, par- ticularly in the light chatter of his letters, probably had no serious de-

scriptive intentions. He hated "to explain" his music, so it is reported, and would turn off the elaborate word pictures of others with a joke. When Schubring went into a transport of fantasy over the "Meeres- stille" Overture, its composer answered that his own mental picture was an old man sitting in the stern of the boat and helping matters by blowing into the sail. "Notes," wrote Mendelssohn in a letter from Italy, "have as definite a meaning as words, perhaps even a more definite one." But that meaning, precluding words, would also pre- clude anything so concrete as a particular landscape or nation. In the winter of 1830-31, while he was enjoying himself in Rome and Naples, themes which had occurred to him on the earlier journey

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—S 81 ARLINGTON STREET • HAncock 6-1500 had grown into rounded and extended form. The "Fingal's Cave'* Overture then occupied him, and two symphonies "which," he wrote, "are rattling around in my head." But the "Italian" Symphony took precedence over the other, and even when that was in a fairly per- fected condition, the "Scottish" Symphony seemed to elude him. He

had good intentions of presently "taking hold" of it, but the Italian

sunshine scattered his thoughts. "Who can wonder that I find it diffi- cult to return to my misty Scotch mood?" The "schottische Nebel- stimmung" was to bear fruit in the by no means uncheerful minor cast of the music. Another score, the "Reformation" Symphony, also in an unfinished state, was in his portmanteau at this time. This, with his earlier C minor Symphony and the later "Lobgesang" were to comprise all of his works in this form. He carried the "Italian," "Scottish," and "Reformation" Symphonies about with him for years, endlessly reconsidering, polishing, touching up, before he was ready to take the irrevocable step of publication. Had the symphonies been numbered in the order of their composi- tion, they would have been as follows: first, the C minor (1824), second the "Reformation" (1830-32), third the "Italian" (1833), fourth the "Song of Praise" (1840), and last the "Scottish" (1842). But the "Italian" and "Reformation" symphonies were withheld from publication until after his death, and thus attained the numbering

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[266] Hear mem again... on RCA^flVR

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PIERRE MONTEUX conducted two his- ff toric nrsts" for Stravinsky's The Rite

of Spring ... its 1913 world premiere in

Paris, its 1924 Boston premiere. Again with the Boston Symphony Orchestra, he encores for you this modern masterpiece in a breath-taking new performance on Red Seal recordings.

Stravinsky: The Rite of Spring (Le Sacre du Printemps)

. . . a triumph magnificently repeated With the San Francisco Symphony Orchestra: Chausson: Symphony in B-Flat, Op. 20 Franck: Symphony in D Minor Berlioz:

CHARLES MUNCH—The province of Alsace, where he was born, has a unique musical heritage combining many tradi-

tions of its neighbors, France and Ger- many. An elan and Gallic spirit ... a Teutonic breadth and majesty ... all are vigorously evident in his music-making with the Boston Symphony Orchestra.

Brahms: Symphony No. 4 Haydn: Symphony No. 104, "London" Beethoven: Symphony No. 7 Bruch: Concerto No. 1 in G Minor, Menuhin, violinist.

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HAT in the world is that "W mess?" a voice burst in on Delver Forfax.

"Something new in the world at the time," was the quick reply of Delver, the noted beachcomber on remote shores of musical lore.

"This is a reproduction — unfortu- nately a black and white one — of a painting. The artist was the American who brought no end of excitement to the art circles of London and Paris. I mean James Abbott McNeill Whistler. In the midst of the excitement, he stirred the imagination of Claude De- bussy to some of its most adventurous nights. "The painting you have labeled so

harshly is a case in point. Whistler

called it Nocturne in Black and Gold — Falling Rocket.

"From the artistic theory expressed

by it, Debussy was moved to apply the term Nocturne to his orchestral com- positions. "Whistler was fond of giving musical titles to his pictures. By 1870 he had designated three portraits as Symphony in White, Nos. I., II., III. He carried this idea further in his share of the opening exhibition of the Grosvenor

WHISTLER, the exquisite Gallery, in 1877. [268] :

"The London Times critic spoke of 'Mr. Whistler's compartment, musical with strange Nocturnes.' These were the titles applied to scenes and portraits Nocturne in Black and Gold — Falling Rocket; Harmony in Am- ber and Black; Arrangement in -V Brown; Nocturne in Blue and Sil- mm ver; Nocturne in Blue and Gold; Arrangement in Black, No. III. "The Great Panjandrum of art criti- cism, John Ruskin, was among those who failed to grasp this new approach. In his magazine, Fors Clavigera, he de- clared that in the Nocturne of the rocket, Whistler was 'flinging a pot of paint in the public's face.' "Whistler sued Ruskin for libel. The art world seethed over this action dur- ing the months preceding the trial, which took place in November, 1878. Debussy, a sixteen-year-old student on vacation from the Paris Conservatory, DEBUSSY, the casual was in London in August of that year.

Whistlerian Music

"Paris shared the excitement of the trial — which was won by Whistler — and the discussion before and after. As a matter of fact, some years later, the American artist was awarded a medal at the Paris Salon for Arrangement in Grey and Black (popularly known as Portrait of the Artist's Mother). His Harmony in Grey and Green (a portrait of the child, Cicely Alexander) was singled out for special praise at the Paris Salon of 1884. Somewhere along the course of these developments, Debussy became an enthusiast for the paintings of Whistler, and enjoyed his friendship. "When Debussy began evolving his Nocturnes, they were to have a prominent violin part for Ysaye. Writing to the great Belgian violinist about this projected composition, he said:

" 'It is, in fact, an experiment in the different combinations that can be achieved in one color — what a study in grey would be in painting.' Of the final version, Alfred Bruneau wrote: 'These pic-

tures in music . . . recall the strange, delicate, vibrating Nocturnes of Whistler.'"

[269] Fourth and Fifth. By this circumstance the "Lobgesang" was published second in order, the "Scottish" third, and they were so numbered. Mendelssohn at last dated the manuscript of his "Scottish" Sym- phony as completed January 20, 1842, and on March 3 made it pub- licly known, conducting it at a Leipzig Gewandhaus concert. It was several times repeated there, and played in Berlin, where Mendels- sohn then dwelt in the service of Friedrich Wilhelm IV of Prussia. In June, Mendelssohn visited England again and conducted the work at a Philharmonic Concert (June 13), when it was much ap- plauded. The audience at this time was not informed of any connec- tion between the "new symphony" and Scotland. Mendelssohn, sum- moned to an audience with Queen Victoria, played to her and the Prince Consort, and asked her to sing in return. Compliments were in- terchanged — in all sincerity, for the royal couple were delighted with their German visitor, and he, in his turn, wrote that she had sung "really quite faultlessly, and with agreeable feeling and expression." Mendelssohn asked the permission of the British Sovereign to dedicate his symphony to her, "for the English name would suit the Scottish piece charmingly."

"The several movements of this symphony," according to instruc-

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[270] tions printed in the original edition, "must follow each other im- mediately and not be separated by the usual pauses" (each movement, however, closes upon its tonic chord). The main body of the first movement, like the slow introduction, is in A minor, a lively 6-8 rhythm opening with its first theme given to the strings and oboes pianissimo. A transitional passage assai ani- mate* introduces the second theme in E minor, played by the clarinet while the first violins combine the first theme with the new one. There is the usual procedure of development, restatement and coda, and, to close, a repetition of a few measures from the introduction. The second movement, vivace non troppo, in F major 2-4, is in effect a scherzo and was so named in the earlier edition, although, like each movement in this symphony, it follows the sonata form. The second subject is but briefly developed. The third movement, adagio, in A major 2-4, discloses its first theme in the tenth measure as the first violins play cantabile. A march- like passage introduced by the wood winds intervenes before the second theme in E major is introduced by the first violins with pizzi- cato accompaniment. The Finale, allegro vivacissimo 2-2, restores the tonality of A minor. The first theme is at once introduced by the violins over , bas- soons and horns, and the second (in E minor) by oboes and clarinets after a transitional episode for the full orchestra. The movement is developed at length and closes with a sonorous allegro maestoso assai, A major 6-8. This Finale was once compared to "a gathering of the clans," perhaps on account of the tempo indication allegro guerriero which stood on the earlier edition but which was later changed.

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[271] SYMPHONY, "MATHIS DER MALER" ("MATTHIAS THE PAINTER") By

Born at Hanau, Germany, November 16, 1895

Hindemith's "Symphony," three orchestral excerpts from his then unperformed opera "Mathis der Maler," was first played by the Philharmonic Orchestra of Berlin under Wilhelm Furtwangler, March 12, 1934. introduced it to this country at the concerts of the Philharmonic Symphony Society of New York,

October 4, 1934. The first performance in Boston was by the Boston Symphony Orchestra on December 7 of the same season, Richard Burgin conducting. The most recent performance was on October 10, 1947. The orchestration follows: two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, percus- sion, and strings. The opera "Mathis der Maler," after lying unplayed for years, was at last brought to the stage of the Stadttheater in Zurich, under the direction of Robert Denzler, May 28, 1938. There was a concert performance of the opera by the B. B. C. Or- chestra in Queen's Hall, London, Clarence Raybould, conductor, March 15, 1939.

Before Hindemith's "Mathis der Maler" was made known as a stage piece, those who examined and described the "Symphony" which the composer drew from it were content to compare the three move-

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"The Angelic Concert" is the overture to the opera. Its principal melody, "Es sungen drei Engel" appears frequently in the opera itself, and is sometimes varied. "The Temptation of Saint Anthony," to be found in the sixth scene, is there given an added effect by choral

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[275] treatment.* "The Entombment" becomes the intermezzo in the final scene, and also accompanies the final withdrawal of the central figure from the world of strife. The following description of the orchestral symphony was written by Heinrich Strobel, the German critic:

I. Angelic Concert (Ruhig bewegt — Ziemlich lebhafte Halbe)

"The tonal basis of the symphony is D-flat, in the range of which there lie the old melodies used in the first and third parts. In the Angelic Concert, the tension between the tonalities of D-flat and G underlies the harmonic constructions of the movement. The Cantus firmus, 'Es sangen drei EngeV ('Three Angels Sang'), which we hear first in the trombones (eighth bar), is developed dynamically up- ward. This is followed by a quick main part, in three sections. The first section is based on a theme (flute and first violins) which can be regarded as a model of Hindemith's style in melodic development — a melody which is signalized by its wavering between major and minor. A second theme follows (strings), of serener and more lyrical character. A third section deals with these two themes in a lightly hovering fugato, to which is added, again in the trombones, the 'Angel* melody. The last phrase of the 'Angel' melody leads back to that tender serenity which spreads over the entire movement, and which evokes for us the gentle radi- ance of Griinewald's incomparable representation of the Nativity. A concise coda follows a joyous close, fortissimo."

* The omission of the chorus in "The Temptation of Saint Anthony" does not alter the in- strumental score, in which the parts are doubled. The concert excerpt is not taken "intact" from the opera, but has some excisions and additions — J. N. B.

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[277] II. Entombment (Sehr langsam) "The two chief themes of the second movement, the Entombment, are typical of Hindemith's melodic style — the first with its purely 'linear' structure (muted strings, wood wind); the second with its intervallic structure of fourths and fifths (oboe, then flute, with pizzicato accompaniment). In wonderful simplicity ascend the melodic lines of the solo wopd winds; and how beautiful is the effect of the plaintive call of the clarinet, after the short crescendo and the pause!"

III. The Temptation of Saint Anthony (Sehr langsam, frei im Zeitmass — Lebhaft)

"It is the third movement which is executed in the broadest and boldest manner. From the visual tension of Griinewald's picture, an aural tension has been created. The power of the music is so marked that one might almost be induced to impart to this movement a poetic interpretation, although the themes are developed in a strictly linear manner, and even the most grandiose sound effects betray a cogent musical logic. Hindemith's art of tonal disposition is consorted with a power of fancy which astonishes even those who best know his works. The Temptation of the Saint develops over a tremendous tonal canvas, from the opening unison of the strings (bearing the quotation, Ubi eras, bone Jhesu ubi eras, quare non affuisti ut sanares vulnera meal), up to the brass chorale of the final Hallelujah. The cycle of the key of D-flat is the foundation of the harmonic development, the symbol of Sanctity. The greater the struggle of the contesting forces, the more widely does the piece depart from this harmonic basis. The ascent of the string unisono, which instru- is intensified in an astonishing manner by the opposing figure in the brass ments, is a striking example of the crescendo developed in the linear manner. This heroic statement is followed by the first assault of the opposing forces (if this ex- pression can be applied to so purely musical a process), with another theme for the

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[278] unison strings. The solo wood winds answer, while the stream of motion flows on in the strings. A grandiose passage closes the first part of the movement. is i There a long and elaborate working-out. The battle is already decided when the

: key of D-flat is again reached with the fugato. Clarinets, then the horn, recur to the theme of the unisono string introduction; we hear, in the wood winds, the j hymn, Lauda Sion Salvatorem; and then, fortissimo on the brass, the Hallelujah leads us to a resplendent and triumphant close in D-flat major."

"Hindemith's style has gained in tonal plasticity to the same degree

! that he has simplified his art technically. The few themes of the sym-

1 phony are tonal symbols of extraordinary vitality and perceptibility, but at the same time they obey a logic that is subject to wholly per-

is i sonal laws. The effect further increased by the circumstance that iin the first part, Angelic Concert (based on the picture of the Nativity painted by Gninewald for the Isenheim Altar), and in the third part (the Vision of the Temptation of Saint Anthony), old church melodies are used. These ancient melodies constitute the true germ-cell of music; they determine its melodic and harmonic tissue.

"But this is nothing new in Hindemith's case. The liturgical modes have exercised a deep influence on his music. This influence is evident in his Marienleben and in Das Unaufhorliche; it breaks through again with all its force in Mathis der Maler. It seems as though Hindemith, after digressions, of a ago. | many were recurring to his works decade |The pathos, the subdued lyricism, the plasticity of the musical vision — all these appear to establish a connection between his most recent

art and its earlier expression. . . .

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[ 2 79] "The simplicity of Mathis der Maler does not mean, however, that Hindemith is renouncing his principle of polyphonic development. Polyphony, counterpoint inspired by Bach, remains the basis of his musical thinking and feeling. In the course of the last few years, how- ever, he has abandoned more and more all dispensable contrapuntal

ballast, and has lightened his linear style. . . . "This polyphonic style gains, in the Mathis Symphony, a symbolic force which is something entirely new for Hindemith. Without, as we have said, employing descriptive music in the ordinary sense, effects are obtained here which could not have been realized by means of dramatic expressiveness. In this connection, we must mention espe- cially the last movement, the pictorial subject of which (the Saint tortured by fantastic beasts) stimulated the tonal imagination of the composer to an exceptional degree.

"The development of the three movements is singularly clear. The dynamic curve descends from the festive and happy Angelic Concert of the beginning to the quiet elegy of the Entombment, and then pro- ceeds, after the music of the Saint's ordeal, to the concluding Halle- lujah Hymn of the final visionary exaltation."

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[280] •TILL EULENSPIEGEL'S MERRY PRANKS, AFTER THE OLD- FASHIONED ROGUISH MANNER - IN RONDO FORM," for Full Orchestra, Op. 28 By

Born at Munich, June 11, 1864; died at Garmisch, September 8, 1949

The first performance was at a Giirzenich concert in Cologne, November 5, 1895. Strauss had completed his score in Munich the previous May. It had been pub-

Msried in September. The first performance at the Boston Symphony Concerts (and in America) was February 21, 1896. The last performance was October 22, 1949.

The rondo, dedicated to Dr. Arthur Seidl, is scored for piccolo, three flutes, three oboes, English horn, small clarinet in E-flat, two clarinets, bass clarinet, three bas-

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C*8l] a t first, Strauss was inclined to let the title: "Till Eulenspie gel's Jr\. lustige Streiche, nach alter Schelmenweise — in Rondoform" stand as sufficient explanation of his intentions. Franz Wullner, about to perform the work in Cologne, coaxed from him a letter which revealed a little more:

"It is impossible for me to furnish a programme to 'Eulenspiegel'; were I to put into words the thoughts which its several incidents suggested to me, they would seldom suffice, and might even give rise to offence. Let me leave it, therefore, to my hearers to crack the harcl nut which the Rogue has prepared for them. By way of helping them to a better understanding, it seems sufficient to point out the two 'Eulenspiegel' motives, which, in the most manifold disguises, moods, and situations, pervade the whole up to the catastrophe, when, after he has been condemned to death, Till is strung up to the gibbet. For the rest, let them guess at the musical joke which a Rogue has offered them." Strauss finally noted three themes: the opening of the introduction, the horn motive of Till, and the portentous descending interval of the rogue's condemnation. But Strauss was persuaded by Wilhelm Mauke, the most elaborate and exhaustive of Straussian analysts, to jot the following indications in pencil in his score: "Once upon a time there was a Volksnarr; Named Till Eulenspiegel;

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[282] :

That was an awful hobgoblin; Off for New Pranks; Just wait, you hypocrites! Hop! On horseback into the midst of the market-women; With seven-league boots he lights out; Hidden in a Mouse-hole; Dis- guised as a Pastor, he drips with unction and morals; Yet out of his big toe peeps the Rogue; But before he gets through he nevertheless has qualms because of his having mocked religion; Till as cavalier pays court to pretty girls; She has really made an impression on him; He courts her; A kind refusal is still a refusal; Till departs furious; He swears vengeance on all mankind; Philistine Motive; After he has propounded to the Philistines a few amazing theses he leaves them in astonishment to their fate; Great grimaces from afar; Till's street tune; The court of Justice; He still whistles to himself indifferently; Up the ladder! There he swings; he gasps for air, a last convulsion; the mortal part of Till is no more."

Under the title "A Traditional Rogue - Till Eulenspiegel in Litera- ture and Music" Sydney Grew wrote in the American Record Guide, (October, 1945) We often say with regard to some particular book, that we envy anyone who is yet to have the joy of reading it for the first time; and we can say the same about Richard Strauss' tone-poem, Till

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Eulenspiegel. It has a literary program: the listener profits by knowl- edge of the program; and the music is not fully intelligible unless correlated with its story. But the work is bright, active, and rich in tuneful matter of the German folksong type; the form is as clear as a piece of fine architecture; the composer's technique, alike of thought and expression, is masterly; and the dramatic situations and pictorial points, however far they go beyond the ordinary logic of the art of music, do not obscure the musical ideas or upset the form. There- fore Strauss' Till Eulenspiegel can at first exist for the music lover simply as a splendid orchestral Scherzo, — a piece of high spirited, expressive music, vibrant with youthful energy and glowing with color; and the listener is very fortunate who is in a position to regard it so for a while.

Till Eulenspiegel is a German folk-hero. He was a peasant, born somewhere about 1300, and dying at Moellen, near Luebeck, in 1350.

Kneitlingen in Brunswick was his birthplace. There is a passage about him in Carlyle's German Literature of the 14th and 15th centuries: "We may say that to few mortals has it been granted to earn such a place in universal history as Till; for now, after five centuries, his native village is pointed out with pride to the traveller, and his tombstone, with a sculptured pun on his name (an owl, and a glass) BEECHER HOBBS

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[284] still stands, or pretends to stand, at Moellen where since 1350 his once nimble bones have been at rest."

Till is indeed one of the rogues who have a place in "universal history." The story of his gaming and jesting, his practical jokes and general bad behavior, became traditional in the fifty years following his death: which was the period when German folk song and poetry rose to their great heights, and when the "comic anecdote" was a popular form of literature. Thus Till flourished as a tradition in the period of the Master- singers. The story of him was collected and published in the last quarter of the 15 th century, and the book was quickly translated into seven or eight languages. Editions were published, often with fresh translations, until about one hundred sixty-five years ago: in fact, there was an English edition as late as 1890. [More recently there have been two children's books on Till published in this country. —Ed.] In France his name passed into the language. An espiegle (Ulen-

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[285] spiegel) is a frolicsome person; and faire une espieglerie is to play a waggish trick. In England he became a typical figure. He was so familiar, what he stood for was so clearly understood, that people could allude to him by name, in the certainty that the allusion would be appre- ciated. Ben Jonson is the writer who does this the more often. In The Alchemist, old Subtle summons his housekeeper, Face, by calling out, "Ulen Spiegel!" In The Poetaster there is this passage between Pantilius Tucca and Histrio:

"You did not see me? Where was your sight, Oedipus? You walk with hare's eyes, do you? I'll* have them glazed, rogue; an you say the word, they shall be glazed for you: Come we must have you turn fiddler again, slave, get a bass viol at your back, and march in a tawny coat, with one sleeve, to Goose-fair; then you'll know us, you'll see us then, you will, gulch, you will. Then, 'Will't please your worship " to have any music, captain?'

Histrio, recipient of this choice outburst, with its dozens of allusions full of point for the Jacobean audience, however blunt to us, makes a murmuring protest; and Tucca starts again:

"What, do you laugh, Howleglas! death, you presumptuous varlet,

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[286] I am none of your fellows, I have commanded a hundred and fifty such rogues, I."

And so on. Then in The Sad Shepherd there is a rather stiff pun

which works in the name. Maudlin, the Witch, is cursing her son for his clumsy love-making:

"Thou woo thy love, thy mistress, with twa hedgehogs? A Stinkard brock, a polecat? out thou houlet! Thou shouldst have giv'n her a Madge-owl, and then Thou'dst made a present o' thy self, owlspiegle!"

Till Eulenspiegel represents a certain side of human society in a period of transition. In his time, the townsfolk were developing, and they had learned to look down scornfully on the countryfolk. Till, — a true peasant, witty, unscrupulous, — retaliated. He played the rogue on tradespeople, robbed the innkeeper, and even worked up tricks upon the higher classes, — priests, magistrates, noblemen, and even princes. It was natural that in this virile period he should become a folk hero. He actually died in bed. But Strauss, — for dramatic reasons, and also to enforce the social moral which was one of his aspirations, — makes him a victim of the forces of the law, order and custom which he had ridiculed. VLADIMIR RESNIKOFF Graduated in Vienna at the Master School Pupil of Prof. Sevcik and Eugene Ysaye Former Head of the Violin Department at the Eastman School of Music Concertmeister of the Rochester Philharmonic Leader of the Kilbourn Quartet of the Eastman School of Music Member of the Boston Symphony Orchestra Member of the Faculty of the Berkshire Music Center VIOLIN STUDIO—11 PARK STREET BROOKLINE, MASS. Tel.: Aspinwall 7-8808

KEnmore 6-5010 Radio Controlled Taxicabs Safe Courteous Drivers

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We are one minute from Symphony Hall

[287] FIVE REHEARSALS

BY THE

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

will be open to the public

SYMPHONY HALL - Nov. 29, Dec. 13, Jan. 9, Feb. 28, Mar. 27,

(Thursdays, except Wednesday, January 9) beginning at 7:30 P.M.

Season tickets (unreserved) are now on sale at the box office at $7.50. Any seats remaining will be sold at $2 for the single rehearsals.

AN EXHIBITION OF PAINTINGS by BOSTON AND CAMBRIDGE SUBSCRIBERS

and FRIENDS AND MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

will be held in the SYMPHONY HALL GALLERY

beginning December 14, 1951

Information and application forms may be had at

the box office.

[288] .

FIFTY-TWO SEVENTY-FIRST SEASON NINETEEN HUNDRED FIFTY-ONE AND

Seventh Program

FRIDAY AFTERNOON, November 30, at 2:15 o'clock

SATURDAY EVENING, December 1, at 8:30 o'clock

PIERRE MONTEUX Conducting

Wagner Prelude to "Parsifal"

(Act I) from "Le Martyre de Saint Sebastien" Debussy . .Excerpts (Mystery Play by Gabriele d'Annunzio) Prelude: The Court of the Lilies Dance of Ecstasy and Finale Wagner "Daybreak" and Siegfried's Rhine Journey from "Gotterdammerung," Act I

Wagner Siegfried's Death Music from "Gotterdammerung," Act III

intermission

Danse Debussy "Jeux," Poeme

Wagner Forest Murmurs, from "Siegfried" No. Debussy "Gigues," Image 1

Wagner Overture to "Tannhauser"

^CORDS BALDWIN PIANO RCA VICT0R This program will end about 4:05 o'clock on Friday afternoon, 10:20 o'clock on Saturday evening. week on The Friday and Saturday concerts will be broadcast each Station WGBH (FM) program may be seen in Scores and information about music on this the Music Room of the Boston Public Library.

[289] MUSICAL INSTRUCTION Rhodora Buckle Smith RAYEL GORDON TEACHER teacher of singing 9 Voice — Piano 122 Bowdoin St., Boston Boston and Brookune CA 7-2142 BE 2-7333

UNUSED TICKETS

In the present completely subscribed season, many people are waiting for an opportunity to hear a Boston Symphony concert. Subscribers who at any time are unable to use their tickets will do a double service in turning them in for resale. The resale of tickets last season made a substantial reduction of the Orchestra's deficit.

Leave the ticket at the Box Office, or, if more convenient, telephone the location — Common- wealth 6-1492.

[290] MUSICAL INSTRUCTION JULES WOLFFERS

1578 BEACON STREET Waban 68, Massachusetts

BI 4-1494

CHARLES W. MOULTON Instructor of concert-pianists, teachers and students. Simplified explanation and application of renowned Matthay principles as means to keyboard mastery in all aspects of facility and interpretation. Call or write Needham address for appointment Town Studio Country Studio 169 Bay State Rd. 1192 Greendale Ave., Needham t Telephone Needham 1550

M O NTE N E LSON ADVANCED PIANO COACHING

JO FRANKLIN AVENUEAVt«(/E •/. LYnn 5.5658 SWAMPSeOTT, MASSACHUSETTS LEONARD ALTMAN Teacher of Pianoforte

135 Newbury Street, Boston, Mass. KE 6-5183 GA 7-3294 MAESTRO JOMPULSKY VOCAL INSTRUCTOR TEACHER OF MANY EMINENT SINGERS IN OPERA - OPERETTA - CONCERT - RADIO - TELEVISION TEACHING IN BOSTON NEW YORK CITY Tuesday—Wednesday—Thursday Monday—Friday—Saturday 853 Newbury Street Ke 6-3318 310 W. 79 St. Tr 7-7243 IE JAMES GRAY PIANIST teacher

Associate of the late Felix Fox

169 Bay State Rd. Mondays Tel. Circle 7-7661 DOROTHY GEORGE WILSON Mrs. Wilson has met with outstanding success in developing the voices of both men and women singers. "MRS. WILSON SHOULD SERVE AS A MODEL TO ALL SINGERS STILL WITH THEIR WAY TO MAKE."—Boston Transcript "MRS. WILSON IS A SINGER WHO KNOWS TO THE LAST STAGE OF PERFEC- TION HER CONCERT PLATFORM AND ALL THAT GOES WTTH IT."—Boston Herald 107 HOBART ROAD, NEWTON CENTRE LA 7-0888

[ 291 ] ; ;

RCA VICTOR RECORDS BOSTON SYMPHONY ORCHESTRA

Recorded under the direction of Charles Munch Beethoven ** Symphony No. 7 Beethoven *"Gratulations" Minuet Berlioz *Beatrice and Benedict Overture Brahms ** Symphony No. 4 Bruch No. 1, in G minor Soloist, Haydn ** Symphony No. 104 ("London") Ravel *La Valse Schubert ** Symphony No. 2

Among the recordings under the leadership of

Bach **Brandenburg Concerto No. 1, Mozart **Eine kleine Nachtmusik; in F; **Brandenburg Concerto No. ** Serenade No. 10, in B-Flat, K. 6, in B-Flat; ** Suite No. 1, in C 361; * Symphony No. 36, in C, K. ** Suite No. 4, in D 425, "Linz"; * Symphony No. 39, in E-Flat, K. 543 Beethoven * Symphony No. 3, in E- ** Flat, "Eroica" ; Symphony No. 5, Prokofieff Concerto No. 2, in G Minor, in C Minor, Op. 67; ** Symphony Op. 63, Heifetz, violinist; ** Sym-

No. 9, in D Minor, "Choral" phony No. 5 ; ** Peter and the Wolf,

Op. 67 , Eleanor Roosevelt, narrator Brahms ** Symphony No. 3, in F, Op. 90 Ravel **Bolero; **Ma Mere L'Oye Suite Haydn ** Symphony No. 92, in G, "Ox- ** Schubert ** Symphony No. 8, in B ford" ; Symphony No. 94, in G, Minor, "Unfinished" "Surprise" ; *Toy Symphony Khatchaturian ** Concerto for Piano Tchaikovsky ** Serenade in C, Op. 48 and Orchestra, William Kapell, ** Symphony No. 4, in F Minor, Op. pianist 36; ** Symphony No. 5, in E Minor, Op. 64 Mendelssohn ** Symphony No. 4, "Ital- ian" Wagner *Prelude to "Lohengrin"

COMMEMORATIVE ALBUM— (to be available this Fall)

Sibelius ** Symphony No. 2, in D, Op. 43 R. Strauss **Don Juan, Op. 20 Wagner ** Siegfried Idyll

Recorded under the leadership of Pierre Monteux Stravinsky **"Le Sacre du Printemps" (Oct. 1951)

* If5 r.p.m. **33 1/8 (L.P.) and 45 r.p.m.

[292]