^1 ,""^v ^ "•-.,,.... y V\ A, ::tv \ 7 '<* ^ BOSTON * SYMPHONY ORCHESTRA :•-, l-il / // FOUNDED IN 1881 BY /// HENRY LEE HIGGINSON / r CARNEGIE HALL / NEW YORK y ' r ir ,,< EIGHTY-FIRST SEASON 1961-1962 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 George Zazofsky Mischa Nieland Rolland Tapley Karl Zeise Contra Bassoon Martin Joseph Silverstein Hoherman Richard Plaster Vladimir Resnikoff Bernard Parronchi Harry Dickson Richard Kapuscinski Horns Gottfried Wilfinger Robert Ripley James Stagliano Einar Hansen Winifred Winograd Charles Yancich Roger Shermont Louis Berger Harry Shapiro Minot Beale John Sant Ambrogio Harold Meek Herman Silberman Paul Keaney Osbourne Joseph Leibovici Basses McConath/ Stanley Benson Georges Moleux Leo Panasevich Henry Freeman Trumpets Sheldon Rotenberg Irving Frankel Roger Voisin Fredy Ostrovsky Henry Portnoi Armando Ghitalla 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 William Moyer William Marshall Flutes Kauko Kahila Leonard Moss Doriot Anthony Dwyer Josef Orosz William Waterhouse James Pappoutsakis Alfred Schneider Phillip Kaplan Tuba Victor Manusevitch 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 Joseph Pietropaolo Rosario Mazzeo William Shisler 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 C. D. 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] CHARLES MUNCH BOSTON SYMPHONY ORCH. [4] EIGHTY-FIRST SEASON • NINETEEN HUNDRED SIXTY-ONE -SIXTY-TWO CARNEGIE HALL Seventy-sixth Season in New York Second Evening Concert WEDNESDAY, December 13, at 8:30 o'clock ^Program ERNEST ANSERMET, Guest Conductor Bach Suite No. 2, in B minor, for Flute and Strings I. Overture II. Rondeau III. Sarabande IV. Bourrees I and II V. Polonaise and Double VI. Menuett VII. Badinerie Flute Solo: DORIOT ANTHONY DWYER Stravinsky Symphony in Three Movements I. Allegro II. /Andante III. (Con moto INTERMISSION Debussy "Prelude a l'Apres-midi d'un Faune" (Eclogue by St£phane Mallarm6) Moussorgsky "Pictures at an Exhibition" (Piano Pieces, Arranged for Orchestra by Maurice Ravel) Promenade - Gnomus - Promenade - II vecchio castello - Tuileries - Bydlo - Promenade - Ballet of Chicks in Their Shells - Samuel Goldenburg and Schmuyle - Limoges: The Marketplace - Catacombs (Con mortuis in lingua mortua) - The Hut on Fowls' Legs - The Great Gate of Kiev. Harpsichord by courtesy of Eric Herz Music of these programs is available at the Music Library, 58th Street Branch, the New York Public Library. BALDWIN PIANO RCA VICTOR RECORDS [5] ERNEST ANSERMET Ernest Ansermet, born in Vevey, of South America and the United States Switzerland, November 11, 1883, began in several seasons. Having conducted his career as a professor of mathematics concerts over Radio Berne during the at the University of Lausanne, and at war, he resumed his activities as guest the Sorbonne, but studied music with conductor in Europe in 1946, and re- Denereaz in Lausanne, Gedalge in Paris, turned to this country in the season and Otto Barblan and Ernest Bloch in 1947-1948 for guest appearances. On Geneva. He became conductor of the January 25, 28-29, 1949, he appeared as Kursaal concerts in Montreux in 1912, guest conductor of this Orchestra. In the and succeeded Stavenhagen as director season of 1951-1952, he conducted the of the Geneva Subscription Concerts in concerts from December 14 to February 1914. In 1915 he toured Europe and 9, during the illness of Dr. Munch, and both Americas as conductor of Diaghi- again conducted December 30-January leff's Ballet Russe. In 1918 he founded 7, 1956. the Orchestre de la Suisse Romande. He The Orchestre de la Suisse Romande has conducted the symphony orchestras still commands most of his time. The New England Conservatory A COLLEGE OF MUSIC James Aliferis, President BACHELOR AND MASTER OF MUSIC In All Fields DIPLOMA AND ARTIST'S DIPLOMA In Applied Music Faculty includes Principals of the Boston Symphony Orchestra Performing Organizations SYMPHONY ORCHESTRA • SYMPHONIC WIND ENSEMBLE OPERA • ORATORIO CHORUS • A CAPPELLA CHOIR Member, New England Association of Colleges and Secondary Schools Charter Member, National Association of Schools of Music For information regarding admission and scholarships, write to the Dean. 293 HUNTINGTON AVENUE BOSTON 15, MASSACHUSETTS [6] OVERTURE (SUITE) NO. 2 in B minor for Flute and String Orchestra By Johann Sebastian Bach Born in Eisenach, March 21, 1685; died in Leipzig, July 28, 1750 This Suite was first performed by the Boston Symphony Orchestra (the continuo edited by Robert Franz) February 13, 1886. Bach's orchestral suites, of which there are four, have generally been attributed to the five-year period (1717-23) in which he was Kapellmeister to the young Prince Leopold of Anhalt-Cothen. Albert Schweitzer conjectures that they may belong to the subsequent Leipzig years, for Bach included them in the performances of the Telemann Musical Society, which he conducted from the years 1729 to 1736. But the larger part of his instrumental music belongs to the years at Cothen where the Prince not only patronized but practised this department of the art — it is said that he could acquit himself more than acceptably upon the violin, the viola da gamba, and the clavier. It was for the pleasure of his Prince that Bach composed most of his chamber music, half of the Well-tempered Clavichord, the Inventions. Composing the six concertos for the Markgraf of Brandenburg at this time, he very likely made copies of his manuscripts and performed them at Cothen. Bach's own title upon the score was "H moll Ouverture al flauto, 2 violini, viola e basso, di J. S. Bach." The flute part is marked "tra- versiere" or transverse-flute, to distinguish it from the flute a bee which survives as the recorder. The bass is marked "continuo." The suites, partitas, and "overtures," so titled, by Bach were no more than variants upon the suite form. When Bach labeled each of his orchestral suites as an "ouverture," there is no doubt that the French ouverture of Lulli was in his mind. This composer, whom Bach closely regarded, had developed the operatic overture into a larger form with a slow introduction followed by a lively allegro of fugal character and a reprise. To this "overture" were sometimes added, even at operatic performances, a stately dance or two, such as were a customary and integral part of the operas of the period. These overtures, with several dance movements, were often performed at concerts, retaining the title of the more extended and impressive "opening" movement. Georg Muffat introduced the custom into Germany, and Bach followed him. Bach held to the formal outline of the French ouverture, but extended and elaborated it to his own purposes. In the dance melodies of these suites, Albert Schweitzer has said "a fragment of a vanished world of grace and eloquence has been preserved for us. They are the ideal [7] musical picture of the rococo period. Their charm resides in the per- fection of their blending of strength and grace." The grave introductory measures of the first movement, given to the combined group, are followed by a lively fugue, the development of which is occasionally interrupted by florid passages for the flute which here first emerges as a solo instrument. In the Rondo, which is an unusual form with Bach, the voice of the flute is matched with the strings. In the Sarabande, the cellos follow the flute theme in canonic imitation. The second of the two Bourrees again projects the flute in the recurring ornamental figuration which gives the suite so much of its charm. The flute is again so treated in the Double (or variant) of the Polonaise. The Minuet has the usual two sections, but no trio. The Badinerie, a lively presto movement, is characteristic of its com- poser. (The first suite ends with two "passepie&s," the third with a gigue, the fourth with a vivo entitled "Rejouissance.") [copyrighted] SYMPHONY IN THREE MOVEMENTS By Igor Stravinsky Bom in Oranienbaum, near St. Petersburg, June 17, 1882 This symphony had its first performance by the Philharmonic-Symphony Society of New York, to which it is dedicated, on January 24, 1946. The composer conducted, and introduced it to Boston in a program of his own music by the Boston Symphony Orchestra, February 22, 1946. Richard Burgin conducted it on February 13-14, 1948. The instrumentation includes: 2 flutes and piccolo, 2 oboes, 2 clarinets and a bass clarinet, 2 bassoons and contra-bassoon, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, bass drum, piano, harp and strings.