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Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955

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Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955 SYMPHONY HALL, BOSTON Telephone, Commonwealth 6-1491 SEVENTY-FOURTH SEASON, 1954-1955 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1954, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan Vice-President Richard C. Paine . Treasurer Talcott M. Banks, Jr. C. D. Jackson John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Charles H. Stockton Francis W. Hatch Edward A. Taft Harold D. Hodgkinson Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Thomas D. Perry, Jr., Manager G. W. Rector ) Assistant J. J. Brosnahan, Assistant Treasurer S. N. Shirk ( Managers Rosario Mazzeo, Personnel Manager [193] THE LIVING TRUST ow It Benefits You, Your Famify, Your Estate Unsettled conditions . new inventions . political changes . interest rates and taxes, today make the complicated field of in- vestments more and more a province for specialists. Because of this, more and more men and women, with capital to invest and estates to manage, are turning to the Living Trust. WHAT IT IS The Living Trust is a Trust which you establish to go into effect during your lifetime, as part of your overall estate plan, and for the purpose of receiving professional management for a specified portion of your property. It can be arranged for the benefit of yourself, members of your family, or other individuals or charities — and can be large or small. We will be glad to meet with you and your attorney, in strict con- fidence, to discuss a Living Trust as it fits in with your situation. For an appointment, at your convenience, please write or call the Personal Trust Department of the National Shawmut Bank, Boston, Massachusetts. No obligation, of course. Send for the Shawmut Bank's informative new booklet, "The Living Trust". It tells the whole story. Yours without charge. The National Shawmut Bank of Boston Member Federal Deposit Insurance Corporation [194] ; SYMPHONIANA New Light On Haydn's Cello Concerto An English View of Copland THE TROUSSEAU HOUSE OF BOSTON NEW LIGHT ON HAYDN'S CELLO CONCERTO It has long been questioned whether the famous Cello Concerto in D, at- tributed to Haydn, may have been written by his first cellist at Esterhaz, Anton Kraft. In the absence of an auto- graph manuscript, two schools of thought have existed since the authen- ticity of the work was questioned by H. Volkmann in 1932. Mr. H. C. Rob- bins Landon learned of the existence of the holograph score in Vienna, in 1951, but was unable to verify the story. A recent letter from him, ad- dressed to Symphony Hall, locates the manuscript in the Vienna National' bibliothek, and presumably settles the dispute. "The ms. is of oblong format, written swiftly and with few corrections on 10-stave paper of Italian origin (Haydn and Mozart used imported Italian paper throughout their Viennese periods). It consists of 33 sheets (i.e. 66 pages) the paper is 22,5 x 32 cm. in size. The title page has the following inscription in Haydn's handwriting: 'Concerto per il Violoncello', and in the right hand corner 'di me giuseppe Haydn, '783.' The first page of music has the following '2 instruments (by staves) : Corni in D, Oboe Into, [Oboe] 2do, Violino Into, with fluid grace [Violino] 2do, Viola, Violoncello rayon mat jersey (sag proof) [Solo], Bassi'. The two bottom staves is interpreted in a new are left blank throughout. softly draped neckline and "How the ms. came to be in the wondrously full skirt. National Library of Vienna is a long Vibrant red or deep and very mysterious story; suffice to turquoise with gold belt say that it has been there since about accent. Sizes 10 to 20 1940 and that the director, Dr. Nowak, has to date been silent regarding his 29.95 treasure, bringing it up from the cellar, where it was hidden, in 1954. No one 416 Boylston St., Boston was previously informed of its exist- 54 Central St., Wellesley ence." [»95] AN ENGLISH VIEW OF COPLAND Koussevitzky Music Foundation should sponsor this fine recording is exceed- The following comment upon Aaron ingly appropriate, as it was their com- Copland's Third Symphony, signed mission in 1946 which enabled Copland MM., is quoted from the current issue to write such music in the first place. absolute music the of THE gramophone: "As Symphony carries conviction indeed. A broad and "American music is perhaps the dignified opening movement is followed wrong category in which to put this by an Allegro molto rather too firm Third Symphony of Copland's. In fact, and solid to be called a Scherzo. The a long series of occasional composi- scherzo element is not, however, en- tions for film, ballet or other American tirely by-passed; it appears (where it circumstance has tended to blind our has classical precedents) in the middle vision: to make us think of Copland of the slow movement — this latter as a composer of consciously American misleadingly marked Andantino quasi music, with a capital A metaphorically allegretto, but giving much more the as well as literally, rather than a com- effect of an adagio. Two lines of hymn- poser of music who happened himself tune, sounding remarkably out of con- to be an American. text, lead to the finale — a triumphant "This Symphony proves our wrong affair where most of the very effective in so far as the fault has been ours. idiomatic side-glances take place. There is, particularly in the finale, Copland's Symphony, however, will sur- borrowing from various American popu- vive all its bass-drumming, real or lar idioms ; but it is a natural flavour- imaginary; and this is an outstandingly ing Copland uses instinctively with no successful addition to the lists of con- thought of specific effect. The Symphony temporary American music available is music in its own right; and that the here on disc." Hear these performances w come ALIVE" with new RCA Victor high fidelity CHARLES MUNCH . Among the exciting performances conducted by Charles Munch which are yours on RCA Victor "New Orthophonic" High Fidelity Records: Berlioz: The Damnation of Faust (com- plete) Berlioz: Romeo and Juliet (complete) Brahms : Concerto No. 2 in B-Flat. Artur Rubinstein, pianist Honegger: Symphony No. 5 Roussel : Bacchus et Ariane Ravel: Pavane for a Dead Princess Charles Munch Conducts French Music . Rhapsodie Espagnole and La Valse (Ravel) rca Victor FIRST IN RECORDED MUSIC "New Orthophonic" High Fidelity Recording [196] Filene's French Shops — luxurious meeting place for the most brilliant creations of the world's great couturiers. You'll enjoy this exquisite cor- ner in which you'll find very exciting ways to dress for this new season. There are superb new shapes for this Fall's fashions, vibrant new colors, rich new fabrics. [!97] Mr. Steppington Makes a Clean "Get-away" Mr. Steppington is sailing to carefree one. For detailed in- Europe — and there are no in- formation, write for the free vestment cares to take along booklet, "Custodianship of with him. Your Property." He turned them over to Old Colony Trust Company. Act- ing as Custodian, they'll handle all the routine detail of invest- ment care His securities are in the hands of trustworthy ex- WORTHY OF YOUR TRUST perts who will cut his coupons, receive his dividends, and Old Colony credit the proceeds promptly Trust Company his account. to ONE FEDERAL STREET, BOSTON Mr. Steppington knows ev- T. Jefferson Coolidge erything will be handled eco- Chairman, Trust Committee nomically as well as efficiently. Augustin H. Parker, Jr. If you are planning an ex- President custo- tended vacation, our Arthur L. Coburn, Jr. dianship service can make it a TrustInvestmentCommittee Chairman y Allied with The First National Bank ot Boston [198] SEVENTY-FOURTH SEASON • NINETEEN HUNDRED FIFTY-FOUR AND FIFTY-FIVB Fifth Program FRIDAY AFTERNOON, November 12, at 2:15 o'clock SATURDAY EVENING, November 13, at 8:30 o'clock Berlioz Fantastic Symphony, Op. 14A I. Reveries, Passions Largo: Allegro agitato e appassionato assai II. A Ball Waltz: Allegro non troppo III. Scene in the Meadows Adagio IV. March to the Scaffold Allegretto non troppo V. Dream of a Witches' Sabbath Larghetto: Allegro INTERMISSION Mozart Recitative and Aria, "Per pieta" from "Cosi fan tutte" Mozart Scene and Rondo* "Non temer, amato bene" for Soprano and Orchestra with violin solo ("Idomeneo") Strauss Songs with Orchestra Allerseelen Wiegenlied Morgen Standchen Strauss Till Eulenspiegel's Merry Pranks after the Old-fashioned, Roguish Manner, in Rondo Form SOLOIST IRMGARD SEEFRIED, Soprano This program will end about 4:15 o'clock on Friday Afternoon, 10:30 o'clock on Saturday Evening. BALDWIN PIANO RCA VICTOR RECORDS [»99] Darford Casual Classics are ours alone You who take pride in wearing timeless classics of good quality end impeccable taste will welcome the addition of our exclusive Darford Classics to your wardrobe. The apparel and accessories which bear the Darford label prove the lasting satisfaction, the true economy of good taste. GCJtaft BOSTON AND CHESTNUT HILL [ 200 ] , FANTASTIC SYMPHONY (SYMPHONIE FANTASTIQUE) Op. 14A By Hector Berlioz Born at la C6te Saint-Andr6 (Isere) , December 11, 1803; died in Paris, March 8, 1869 Berlioz's title, "Episode in the Life of an Artist," Op. 14, includes two works: the Fantastic Symphony and Lelio; or, The Return to Life, a lyric monodrama. The Symphony, composed in 1830, had its first performance December 5 of that year at the Conservatoire in Paris, Habeneck conducting.
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