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Boston Symphony Orchestra Concert Programs, Summer, 1954-1956

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Boston Symphony Orchestra Concert Programs, Summer, 1954-1956 TANGLEWOOD I contlucfo tfw £$o4ton Srumfentmu 0pme4faa RCA Victor recreates all the eloquence of his interpretations in these brilliant "New Orthophonic" High Fidelity recordings **Berlioz:The Damnation of Faust (complete)—Suzanne Danco, Soprano; David Poleri, Tenor; Martial Singher, Baritone **Berlioz: Romeo and Juliet (complete)—Margaret Roggero, Contralto; Leslie Chabay, Tenor; Yi-Kwei Sze, Bass **Brahms: Piano Concerto No. 2, in B Flat, op. 83—Artur Rubinstein, Piano *Beethoven: Symphony No. 7, in A, op. 92 **Chopin: Piano Concerto No. 2, in F Minor. **Saint-Saens: Piano Concerto No. 4, in C Minor—Alexander Brailowsky, Piano. **"New Orthophonic" High Fidelity. *High Fidelity. rcaVictor fIBST IN RECORDED MUSIC Hi BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director Berkshire Festival, Season 1955 (EIGHTEENTH SEASON) TANGLEWOOD, LENOX, MASSACHUSETTS FOURTH WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk COPYRIGHT, 1955, RY ROSTON SYMPHONY ORCHESTRA, INC. Trustees of the Boston Symphony Orchestra, Inc. Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Talcott M. Banks, Jr. Alvan T. Fuller C. D. Jackson Charles H. Stockton John Nicholas Brown Francis W. Hatch Michael T. Kelleher Edward A. Taft Theodore P. Ferris Harold D. Hodgkinson Palfrey Perkins Raymond S. Wilkins Oliver Wolcott Trustees Emeritus Philip B. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Tanglewood Advisory Committee Alan J. Blatj Henry W. Dwight F. Anthony Hanlon George E. Mole Lenges Bull George W. Edman Lawrence K. Miller Whitney S. Stoddard Jesse L. Thomason Bobert K. Wheeler H. George Wilde Chairmen and Board of Selectmen (Ex officio): Stockbridge, Stephen W. Cooney; Lenox, Balph Henry Barnes; Lee, Warren A. Turner THOMAS D. PEBBY, Jr., Manager G. W. Rector, N. S. Shirk, Assistant Managers 3. J. Brosnahan, Assistant Treasurer Rosario Mazzeo, Personnel Manager 1955 BERKSHIRE FESTIVAL Tanglewood Enjoy your own SYMPHONIANA THE 75TH ANNIVERSARY festival whenever f\N September 30th next jgjgjff; tne Boston Jp1 jk Symphony Orchestra you wish -on w begin its seventy- W *»m ^^ ^ fifth consecutive sea- son. Special events are RCA Victor Records planned for the anni- versary, including an Let these Berkshire Festival guest artists extended tour begin- be year-round guests in your record library ning October 10 and reaching as far south PIERRE MONTEUX...i(iWi7Vie as New Orleans. Fif- Boston Symph. Orch.: teen composers of this **mozart: Piano Concerto and other nations have No. 12 in A, (K. 414) ; Piano Concerto No. 18 in B Flat, been commissioned to (K. 456), Lili Kraus, Pianist write special works for **mszt: Les Preludes; Scri- abin : Poeme d'Extase the season's concerts. *stravinsky: Rile of Spring Henry L. Higginson — A 75th anniversary ...with The San Francisco from a sketch by J. S. Sargent Symph. Orch.: permits reminiscence. RIMSK Y-KORSAk'OFF : Schehe- In 1856 a young Bostonian began to study music razade, op. 35; franck: Symphony in D Minor in Vienna. His name was Henry Lee Higginson . with The RCA Victor and lie was born to a family tradition of banking. Symph. Orch.: **chausson: Poem of Love His new experiences in that musical capital did not and the Sea, Gladys Swarth- result in making him a performing musician but Mezzo-soprano out, the} brought him a strong and lasting realization GREGOR PIATAGORSKY. 'Cello that music was a rare and precious thing, a more **STRAUSS, R.: Don Quixote, Boston Symph. Orch., deeply rewarding pursuit than the handling of dol- Munch, cond. lars. He also came to realize that his own country BRAHMS: Double Concerto in lacked, well to have, A Minor for 'Cello and Vio- and would do a symphony lin, Nathan Milstein, \ iolin; orchestra of standards then known only in Central Robin Hood Dell Symph. Europe. Mr. Higginson served in the Civil War Orch., Reiner, cond. **bach, J. s. : Sonata No. 2 as major, duly went into banking, and eventually -in D; prokofieff: Sonata, accumulated enough money to bring to pass his Op. 119, Ralph Berkowitz, Piano fondest dream. RAVEL: Trio in A Minor; In 1881, or just 75 years ago, he gathered together *MKNDELSSOrtN : Trio No. 1 in D Minor, op. 49, Heifelz, Vi- an orchestra of the best musicians he could obtain olin; Rubinstein, Piano in Europe, a young German born conductor, Georg Tchaikovsky: Trio in A Mi- nor, Heifetz, Violin; Rubin- Henschel, to lead them, and announced concerts in stein, Piano downtown Boston. Through the years Mr. Higgin- ARTHUR FIEDLER ...and The son built his orchestra with a watchful eye. Wil- Boston "Poj)s" Orch. helm Gericke (1884-9; 1898-1906) drilled them *OFFENBACH: Gaitc Pari- sienne; Meyerbeer: Les into an immaculate ensemble and took them to New Patineurs York to the astonishment of that city. Arthur *straoss, j.: "Mr. Strauss Nikisch (1889-1893) was a poet of tones rather Comes to Boston"; 11 favor- ite Strauss compositions than a drill master, but Karl Muck (1906-08; 1912- Tenth Avenue *Slaughter on 18) was another perfectionist through whom the and other Ballet Selections; 14 modern ballet selections Boston orchestra became a byword of the utmost in *The Family All Together; orchestral performance. Ten family favorites The first World War brought the end of an era. *'*"New Orehophonic" High Fidelity. *Uigh Fidelity. The orchestra's owner after thirty-six years bowed to inevitable change and made it what all orchestras eventually had to be — a public trust. rcaVictor Pierre Monteux gave Boston a French regime FIRST IN RECORDED MUSIC (1919-1924) and then Serge Koussevitzky, a new and magic figure from Europe, became the conductor for 25 years. In these years the orchestra which at 5 Tanglewood . .1955 BERKSHIRE FESTIVAL gained something. first had been one of the few in the United States leave the hall without having could travel far and wide and find illustrious fellow They will not leave the hall without taking away orchestras on all sides. No longer a pioneer, the something enriching, something heart-warming. Boston orchestra remained a model. This is not the time to make analyses, to speak the In 1949 Koussevitzky retired and Charles Munch of the structure, the incomparable architecture, took his place. Mr. Munch was then one of the fore- absolute simplicity and clarity of the organisms most musicians in France and had been the con- that Beethoven knew how to create. We can see in ductor of four orchestras in Paris. He was more his sketchbooks what pain and suffering they cost. than a French artist. Strasbourg, his native town, What I should like to tell you about this music has two languages and lies between two cultures. today is briefly this: The principal reason why we Mr. Munch's mother was French, his father was musicians must always listen to this music and why Alsatian. He grew up literally surrounded by the we must make it heard is that it is above all human. music of Bach, for his father Ernest in Strasbourg Every one can find in it what he needs and what and his uncle Eugene in Mulhouse were leaders of he is searching for. And this is especially import- Bach's music in the cathedral of each city. Another ant for you my young friends. pupil Alsatian, Albert Schweitzer, who was once the This music, which is not sensual, not abstract, of Ernest, is the relative by marriage of Charles not dramatic in the sense of Wagner, not romantic Munch. in the sense of Schumann, not sentimental, not Mr. Munch has been conductor of the Boston pathetic — is all of them at once. And that is the this Symphony Orchestra for six years. In time reason why we must always live with it. his American public have come to know and admire It expresses everything that a human being can him as completely dedicated to his art, a musician feel: happiness and suffering. It is elevating and oblivious to outward show, who is not only absorbed ennobling. And it will forever be as necessary to by the music he is conducting but possessed by it, us who love music as faith is necessary to those who can penetrate and communicate it as perhaps who love Christ. It is Beethoven's message that other conductor living. In his book, "I a no Am gives to Schiller's words Conductor," recently published, Mr. Munch under- Briider, iiber'm Sternenzelt takes to advise musicians with ambitions, speaking Muss ein lieber Vater wohnen* out of his own experience. He describes his profes- significance that resounds throughout the entire sion as "a sacred calling, sometimes a priesthood." a world. And I hope with all my heart that our Fes- No profession is more exacting. "Fifteen years of tival, this guidance, will be a blessing that work and study do not make a conductor of a man under may unite us all — those who make music and those if he is not infused with an inner exaltation, an all- listen to it in a noble and fervent com- consuming flame, and a magnetism that can bewitch who — both the musicians of his orchestra and the audi- munion. ence. This is no boast. Mr. Munch is not in the *(Brothers, over the starry firmament must a loving Father dwell.) least concerned with describing his own attainments. He is essentially a modest man. He is holding up an ideal for all conductors, himself included. EXHIBITION AT THE BERKSHIRE MUSEUM WHY A SEASON OF BEETHOVEN An exhibition of photographs of famous musi- cians by George J. Kossuth is being shown at the CHARLES MUNCH, addressing the students of Berkshire Museum in Pittsfield. the Berkshire Music Center at its first assemblage The Berkshire Museum announces numerous on the July 3, defended his choice of Beethoven as exhibitions of interest through the Festival season, principal the Festival season: composer of including in July the works of Ezra Winter, the Please permit me to say a few words to those mural painter; water colors by Helmut Siber: of \ou who may perhaps be surprised and may even ''Paintings of the Weather"; prints by European reproach us for devoting a large part of the Festival artists and sculpture by Peter Abate.
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