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BOSTON SYMPHONY ORCHESTRA
FOUNDED IN 1881 BY HENRY LEE HIGGINSON
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A' 'II! V.
— ^m «) V m &^ =*m.
SEVENTY-SIXTH SEASON 1956-1957
Tuesday Evening Series BAYARD TUCKERMAN, JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT S. TUCKERMAN J. DEANE SOMERVILLE
It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME
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Telephone, Commonwealth 6-1492
SEVENTY-SIXTH SEASON, 1956-1957 CONCERT BULLETIN of the
Boston Symphony Orchestra
CHARLES MUNCH, Music Director
Richard Burgin, Associate Conductor
with historical and descriptive notes by
John N. Burk
The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Vice-President Jacob J. Kaplan Richard C. Paine Treasurer
Talcott M. Banks, Jr. E. Morton Jennings, Jr. Theodore P. Ferris Michael T. Kelleher Alvan T. Fuller Palfrey Perkins Francis W. Hatch Charles H. Stockton Harold D. Hodgkinson Edward A. Taft ^CTD. Jackson 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
N. S. Shirk Managers Rosario Mazzeo, Personnel Manager
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SYMPHONIANA Berkshire Festival Announcement
Walton's Cello Concerto in London
THE TROUSSEAU HOUSE OF BOSTON BERKSHIRE FESTIVAL ANNOUNCEMENT The plans for the Berkshire Festival bridal beauties . . of 1957 as announced by Charles Munch nylon angel crepe will have three new points of interest. Dr. Munch will base his programs on the ensemble, the < great composer in each of music of one gently moulded L the six week ends—Bach, Mozart, Tchai- kovsky, Berlioz, Brahms and Beethoven; bodice richly em- he has invited Isaac Stern to perform broidered and set with him the three great classics with fine lace. among violin concertos, those by Tchai- kovsky, Brahms and Beethoven; he will 55.00 include contemporary as well as past standard works in the programs of each week. from a collection of The twentieth season of the Berkshire trousseaux treasures Festival at Tanglewood will consist of for spring brides. six weeks of concerts between July 3rd and August 11th, with performances each Friday and Saturday evening and each Sunday afternoon. The first two week ends, devoted entirely to the music of Bach and Mozart respectively, will be given by a reduced orchestra in the Theatre-Concert Hall (with the excep- tion of a concert in each week to be given in the Music Shed). The concerts by the full orchestra in the Shed (July 19-August 11) will have two guest conductors, each leading two con- certs—Pierre Monteux and Carl Schu- richt. Mr. Schuricht, who will conduct on August 4 and August 10, is known to American music lovers through his recordings and his tour in this country earlier in the season as conductor of the Vienna Philharmonic Orchestra, which visited Boston. Mr. Schuricht has con- ducted the chief orchestras in nearly every European country and in many of the foremost festivals of Europe. Mr. Monteux, who will conduct on July 20 416 B0YLST0N ST., BOSTON • KE 6-6233 and July 28, spans a generation in the 54 CENTRAL ST., WELLESLEY • WE 5-3430 musical life of the Boston Symphony j Orchestra, extending back to his engage
[3] ment as its conductor in 1919, an association renewed by his frequent appearances as guest in recent years. His cooperation with Charles Munch in conducting concerts of the transconti- nental tour and two European tours has been outstanding. Mr. Monteux makes his sixth visit to Tanglewood in the coming summer. Mr. Stern, who will be making his fourth visit to Tanglewood, appeared most recently with this Orchestra at the Edinburgh Festival in August, 1956, when he played the Beethoven Concerto with Charles Munch to a capacity audi- ence. During the last few years Mr. Stern has travelled extensively, playing in Russia before this Orchestra. He will be the soloist at the twenty-first pair of concerts in Symphony Hall this
season, on April 5 and 6.
During his all-Bach concerts (July 5,
6, 7), Dr. Munch will perform the six Brandenburg concertos, several suites and Part II of the St. Matthew Passion with chorus and soloists, the latter to be
presented on Sunday afternoon, July 7, in the Music Shed, with the choruses of Harvard and Radcliffe. The Mozart concerts (July 12, 13, 14) will include the great last three symphonies in E-flat, G minor, and C major, "Jupiter" (to be presented Saturday night in the Music Shed), smaller works and concertos to be performed by the principals of the Boston Symphony Orchestra, and a work for chorus and orchestra Spring's most noteworthy conducted by Hugh Ross. The Shed concerts which new slim and easy line follow will give Festival audiences, in . . . Monte Sano's luxurious English addition to the three violin concertos mentioned above, an opportunity to hear purl cloth coat a representative selection from the com- . . . one of striking poser to which each week is dedicated. The music of Tchaikovsky to be con- ducted by Charles Munch and Pierre Monteux on July 19, 20, 21, will include at least two of the symphonies, the Serenade for Strings and shorter works. Dr. Munch and Mr. Monteux will again share the conducting of the concerts of the second Shed series (July 26, 27, 28)
(Continued on page 35)
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Seventh Concert
TUESDAY EVENING, March 5, at 8:30 o'clock
Mozart Overture to "Die Entftihrung aus dem Serail"
Mozart Concerto for Clarinet, in A major, K. 622
I. Allegro
II. Adagio III. Rondo: Allegro
INTERMISSION
Strauss "Ein Heldenleben," Tone Poem, Op. 40
soloist GINO CIOFFI
Performances by this orchestra are broadcast each week on Monday evenings from 8:05 to 9:00 P.M. on the NBC Radio Network. (Nearest local station WJAR, Providence). The Friday afternoon concerts at 2:15 and Saturday evening concerts at 8:30 are broadcast direct each week from Station WGBH-FM.
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I ' ;•- j. ' .'I 1 UHraB OVERTURE TO "DIE ENTFUHRUNG AUS DEM SERAIL' By Wolfgang Amadeus Mozart
Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791
"Die Entfuhrung aus dem Serail," translated as "The Abduction from the Seraglio" (or "Harem"), Singspiel in three acts, was composed to a text by Gottlob Stephanie, an adaptation from C. F. Bretzner's "Belmonte und Constanze," which, with music by Johann Andre, had been performed in 1781. Mozart's "Die Entfuhrung" was first performed at Vienna, July 12, 1782. There were innumerable performances in Austria, and in other parts of Europe after
Mozart's death. The opera reached this country in i860, when it was performed in New York by the Brooklyn Operatic School. The first production by the Metro- politan Opera Company took place in the season 1946-1947. The Overture has been performed at the concerts of the Boston Symphony
Orchestra December 22, 1882, February 21, 1895, March 4, 1921, and February 29-
March 1, 1952, Leonard Bernstein conducting. The orchestration of the Overture calls for a piccolo (interchangeable with flute in the Andante middle section), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, bass drum, cymbals, and strings.
" T~^\ie Entfuhrung aus dem Serail" was Mozart's first great popular JL^S success in opera. Several reasons can be given for this. Mozart entered the field of the Singspiel, which bears some formal resemblance
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[9] to our operetta. The Singspiel, using the language of its audiences, relying upon intelligibility by spoken lines, dipping unashamed into broad comedy, resorting to colorful scenery and costumes, was in great vogue in Vienna at the time. Entertainment alia Turca was then in similar favor, and Mozart, choosing an Oriental subject, made free use of such outlandish instruments as the bass drum, cymbals, triangle, and piccolo. These reasons in themselves would not have been enough to account for the immediate and spreading success of "Die Entfuh- rung" which was performed seventeen times in Vienna in its first season and quickly taken up by theatres in other cities. Mozart plunged into his subject with his usual enthusiasm and turned out music which on the stage and in the pit was so full of verve, sparkle and true dramatic delineation that there was no resisting it. Mozart was called to account by Christophe Friedrich Bretzner for have stolen his text:
"A certain person by the name of Mozart in Vienna has had the audacity to misuse my drama, 'Belmonte und Constanze/ as an opera text. I hereby protest most solemnly against this infringement of my rights and reserve the right to take further measures."
But free borrowing was common enough at that time. Mozart him-
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[»] self had already composed the greater part of an opera buffa called "Zaide" for a project which had been abandoned. "Zaide" used a very similar plot of Christians captured, confined in a Turkish seraglio and providentially released for a happy ending. His recompense for "Die Entfuhrung" consisted of fifty ducats, which, as he remarked to
his father, was brought in at the box office before its career was fairly started. The amusing incidents of the story, the continual hazards of the plot whereby Belmonte and his servant Pedrillo plan to rescue their fiancees from the harem, the scene where Osmin, the overseer of Selim
Pasha and the villain of the piece, is plied with wine against his Turkish principles by Pedrillo and rolled off in a wheelbarrow out of harm's way, these lively happenings did much to insure the popular success of Die Entfuhrung. Mozart's opera may well have suggested to Rossini, always his ardent admirer, his own L'ltaliana in Algeri (1813) with its somewhat similar story. Both pieces offer, not only the possibilities for music alia Turca and bright, exotic decor, but an entertaining situation traceable to Marmontel's Soliman II, one of his Contes Moraux, published in book form in 1775. This satirical encyclopedist depicts a sultan's boredom with the facile, insipid complaisance of the slaves of his harem, who
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are nothing more than "machines caressantes." He causes to be cap- tured a European girl with intelligence, independence and spirit of her own, by the name of Roxelane. Her impudence and complete disregard of every Oriental custom of abject obedience intrigues and wins him. As she leads him to the altar and to the state of legal matrimony, a blessing hitherto denied harem potentates, he remarks
— "Est il possible qu'un petit nez retrousse renverse les loix d'un empire?"
This kind of piquant rebellion of Western womanhood found its way into Mozart's Constanze, an English girl, and Rossini's Isabella, an Italian beauty, although each of them finally departs with her
fiance" from home (who is of course the principal tenor). Incidentally, the Fiorilla of The Turk in Italy handles the visiting Turk with similar ease. In the libretto which Mozart used, written by Stephanie and copied
from Bretzner, the escape is foiled at the last moment and the lovers, instead of being executed according to Turkish expectation, are par- doned by their overlord as a point of personal pride and magnanimity, and sent their way: a startling but properly happy ending. In libretto
language: "His heart is touched by their sorrow; he nobly forgives and all are set at liberty."
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L»5J The tale has been often told how the Emperor Joseph II said to- Mozart after the first performance, "Too beautiful for our ears, and far too many notes, my dear Mozart," to which Mozart is said to have replied, "Exactly as many as are necessary, Your Majesty." This is one of those anecdotes which is almost too good to be true — so good, in fact, that it has also been told of Cherubini and Napoleon. True or not, it moved Alfred Einstein to exclaim: "Mozart had clarinets again, as in Paris and Mannheim and Munich, and how he used them! Mozart had 'Turkish music': piccolo, trumpets, timpani, triangle and cymbals; and what color they lend to the Overture, to the Janissary choruses, to Osmin's outbursts of anger, to the drinking duet! — a coloration at once exotic, gay, and menacing." This little Singspiel has been praised far and wide, but nothing has been more apt than a remark by the composer of Der Freischiltz. This expert in the musical theatre once wrote: "I think I may venture to lay down that in the Entfiihrung Mozart's artist experience came to maturity, and that his experience of the world alone was to lead him to further efforts. The world might look for several operas from him like Figaro and Don Giovanni, but with the best will possible he could write only one Entfiihrung. I seem to perceive in it what the happy years of youth are to every man; their bloom never returns, and the extirpation of their defects carries with it some charms which can never be recaptured." [copyrighted]
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Member Federal Deposit Insurance Corporation L ' * CONCERTO FOR CLARINET, in A major, K. 622 By Wolfgang Amadeus Mozart
Born in Salzburg, January 27, 1756; died in Vienna, December 5, 1791
Mozart completed his Concerto for Clarinet in Vienna in September, 1791. The composer indicated in his own catalogue of his works that it was "fiXr Hrn. Stadler den Altern." The original manuscript is lost; the score has survived as a copy once in the possession of Aloys Fuchs. The accompanying orchestra consists of 2 flutes, 2 bassoons, 2 horns, and strings. The Concerto has been performed at the Friday and Saturday concerts of the Boston Symphony Orchestra March 29-30, 1918, when Albert Sand was the soloist, and November 14-15, 1930, when Victor Polatschek was the soloist.
"A yTozART was much taken with the possibilities of the clarinet during
±y*' his last years, in Vienna, as the music he wrote for it eloquently attests. He had become well acquainted with the instrument in Mann- heim, Paris, and Munich, and used clarinets in Idomeneo in the latter city (1781). Salzburg possessed no clarinet players. But in Vienna the situation was different. There were two Stadler brothers in the Emperor's "Harmonie" of eight wind players, both of them accounted excellent clarinetists. Anton, the elder, was working upon the instru- ment, deepening its range. Mozart was ready to oblige him as a fellow Mason and a close friend. He must also have admired Anton's artistry, for the music he provided was delicately colorful, and not obviously displayful. This music included the Clarinet Quintet of 1789 (K. 581),
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[19] the obbligato parts in La Clemenza di Tito (1791), and the Clarinet Concerto of the same year. This Concerto was Mozart's last for any instrument — he completed it on September 28, about two months before his death. The auto- graph scores of both the Concerto and the Quintet have disappeared, a circumstance which does not speak well for Stadler's proper regard for them. A few pages in sketch have survived (through Andre) of a Concerto for the basset horn which are almost identical with the first
movement of the Clarinet Concerto, except that it is in the key of G, and meets the lower range of that instrument. This was probably written in 1789 for Anton Stadler, and has the Koechel numbering 584b.
There is evidence that the Clarinet Concerto in A, as it has survived in publication, has been altered to accommodate the normal instru-
ment in A. It is believed that Mozart may have written the Concerto with an extended lower range for Stadler's instrument at the time, and that certain passages were subsequently raised an octave for practical uses when the Concerto was published in 1801.* The difficulties of the solo part in the Clarinet Concerto are not
* Boris Goldovsky, in a recent Lowell Institute lecture, has demonstrated this by having a oasset horn reproduce the low notes of the presumably original score.
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t -• vaunted in a way to exhibit virtuosity, but lie in the subtleties of swift running passages, the adroit play of color set off against the stringsr The Concerto has a marked similarity in treatment with the Quintet,
the "Stadler Quintet," as Mozart called it. In both works an inde-
pendently balanced string quartet, no mere accompaniment, is finely matched with the color of the dulcet partner, never taking a sub-
ordinate place. The quartet is always delicately paired with the solo instrument. In the Concerto, the flutes, bassoons and horns are seldom used except in the ritornelli, the tutti passages thus making a delightful alternation with the delicate "quintet." Anton Stadler has been given uncomplimentary adjectives by most of Mozart's biographers, from the evidence of the earliest ones, Nissen and Jahn, that he was an unscrupulous borrower, profiting by his
friend's amiable generosity. Sophie Haibl (Mozart's sister-in-law) is quoted by Nissen as referring to Mozart's false friends, secret blood- suckers and worthless people who served only to amuse him at the table and intercourse with whom injured his reputation." Jahn names the elder Stadler as the "the worst of this set," who often borrowed from him. At one time, when Mozart was without cash, he took two valuable repeater watches, pawned them, and kept the tickets. Philip
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[22]
- H 1 [••] Hale wrote in his notes on the Clarinet Concerto: "After Mozart's death, Stadler's debt of 500 florins 'without bond' was recorded in the scanty list of Mozart's possessions. More than once Stadler took advantage of Mozart's good nature and weakness. When he would give a concert in Prague, Mozart not only provided him with this Concerto, but with money for the journey and letters of recommenda- tion. Stadler was one of Schikaneder's riotous company when Mozart was composing The Magic Flute; a toss-pot, a reckless liver, as well as a sponge in money matters." Stadler was thus indebted to his friend and fellow Mason for ready money as well as for some immortal music and the opportunity to play
it to his own advantage. On the other hand, Stadler improved the possibilities for subtlety in the instrument then coming into vogue and must be admitted to have inspired music to the exceeding advantage of posterity. It should be borne in mind that Mozart was a free borrower as well as a free lender; other of his brother Masons, such as Michael Puchburg, supplied him frequently with funds without
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«MT [»5] any confident expectation of repayment. Mozart loved the good things of life — parties, dancing, wine, billiards, but above all fine clothes. This last extravagance particularly seems to have kept a hole in his pocket. Albert Einstein has written about the Clarinet Concerto: "The greatness and the transcendent beauty of this work are such as its high Kochel number would lead us to expect. One almost has the impression that Mozart felt impelled to express again, in greater and dramatically animated form, what he had already expressed in more lyric form in the domain of chamber music, in the Stadler Quintet. The first movement is from beginning to end in Mozart's last style, informed throughout by the closest relation between the soloist and the orchestra, and by the utmost possible vitality in the orchestral portion itself, as may be observed by following simply the play of the two violins in dialogue. Significantly, in this work the basses are sometimes separated from the 'cellos; in the Adagio, a counterpart to the Larghetto of the Quintet, there are passages of transparent sonority in which the contrabass is silent. And how all the registers of the solo GOLD ANCESTRAL IN Minton BONE CHINA from our collection of fine imported and American china by fAinton, Lenox, Wedgwood Spode, Royal Doulton, Royal Worcester and Castleton. At our Chestnut Hill Store or 40 Summer Street, Boston AN INVITATION Come to Milton Hill House and enjoy the quiet charm of the country with the attractions of the city only half an hour distant. An ideal all-year residence. The rooms are furnished for comfort and pleasure. The fine food, deliciously prepared, is enhanced by excellent service. MILTON HILL HOUSE 27 Canton Avenue, Milton, Massachusetts [*6] H Bra Bl How new sight for subs helps guard our shores If enemy planes should ever strike at this continent, it is vital to have as much advance warning as possible. To build flexible coverage, specially designed U. S. Navy "picket" submarines, like Salmon and Sailfish, will roam the oceans. Their revolving radar antennas thrust powerful bursts of electronic energy into the atmosphere to seek out airborne intruders. As it was for the land-based Arctic DEW line, Raytheon was selected to develop radar for these seagoing patrols. Here is another example of how Raytheon's "Excellence in Electronics" is contributing to the health, secur- ity and productivity of the RAYTHEON American people. RAYTHEON MANUFACTURING COMPANY Excellence in Electronics WALTHAM 54, MASSACHUSETTS [«7l instrument are exploited, yet without any exhibition of virtuosity! There is no opportunity for free cadenzas. One need only compare this work with similar compositions by another great lover of the clarinet and master in writing for it, Carl Maria von Weber, such as his 'great Quintet,' Op. 34, or his 'great Concertos,' Op. 73 and Op. 74, to see the difference between the supreme effectiveness of simplicity and more virtuoso exhibition." [copyrighted] GINO CIOFFI Gino Cioffi, born in Naples, studied in the Conservatory there and at the age of seventeen began his career as clarinetist, playing in the opera and symphony orchestras of Italy. In the United States he has been first clarinet in the orchestras of Cleveland, Pittsburgh, and New York (Philharmonic and NBC Orchestras and the Metropolitan Opera Orchestra). He joined the Boston Symphony Orchestra as its principal clarinet in 1950. Mr. Cioffi adds a cadenza of his own composition in the slow movement of Mozart's Concerto. 01SC- DAMAGING PLAZA HOTEL with STATI-CLEAN Boston's Playground of Celebrities. Gay, Anti-Static Record Spray smart rendezvous Now — before you risk damaging an- of good fellowship. other record — get Walco STATI-CLEAN. Superb cocktails and and get perfect protection against dust excellent cuisine. and dirt, major causes of both record and needle wear! LEO GRIMES Dust and grit, ground into the grooves af the piano by your phonograph needle, are the LP's worst enemy. STATI-CLEAN cleans rec- ords — stops static electricity that attracts dust — in one quick spray The finest cuisine that lasts for months! in Boston . . . served STATI-CLEAN is safe for in relaxing a all records. Recommended by atmosphere of quiet leading critics and fans. 6-oz. elegance. can treats hundreds of records. r $TATI- Get STATI-CLEAN today! H. de FINE NYBOE LUEANj General Manager For FREE Strobe Disc to test turntable accuracy, WRITE: Iggg WALCO PRODUCTS, INC. 60-B Franklin Street East Orange, N. J. [28] . asked the brahmin of the brewer . . "Pray tell, good fellow, why not a beverage Brewed in a fashion a bit above the average? A light-hearted ale, dry refreshing beer Worthy of a connoisseur, worthy of a Peer?" "Matey, you're in luck", said the Brewer to the Brahmin, "You and the missus and the Beacon Hill barman, For Carling's now in Natick, brewing ale and beer Worthy of a connoisseur, worthy of a Peer." CARLING BREWING CO. [«9l ENTR'ACTE SPECULATIONS ON MOZART By George Bernard Shaw (From "Shaw on Music" Doubleday Anchor Books) l\ yTANY Mozart worshippers cannot bear to be told that their hero IV± was not the founder of a dynasty. But in art the highest success is to be the last of your race, not the first. Anybody, almost, can make a beginning: the difficulty is to make an end — to do what cannot be bettered. For instance, if the beginner were to be ranked above the consum- mator, we should, in literary fiction, have to place Captain Mayne Reid, who certainly struck a new vein, above Dickens, who simply took the novel as he found it, and achieved the feat of compelling his successor (whoever he may be) either to create quite another sort of novel, or else to fall behind his predecessor as at best a superfluous imitator. Surely, if so great a composer as Haydn could say, out of his greatness as a man, "I am not the best of my school, though I was the BOSTON MEDICAL LIBRARY Established 1875 The third largest medical library in the country, pro- viding basic, essential services for progress in medical research, education, and practice. 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The 4000 people are the skilled men and women employees of Boston Edison Company . . . waiting for your cue, and ready to supply your increasing demands I! for electric service. mmm &* „*>?*•+ Company [«i] first," Mozart's worshippers can afford to acknowledge, with equal gladness of spirit, that their hero was not the first, though he was the best. It is always like that. Praxiteles, Raphael and Co. have great men for their pioneers, and only fools for their followers. . . . For my own part, if I do not care to rhapsodize much about Mozart, it is because I am so violently prepossessed in his favor that I am capable of supplying any possible deficiency in his work by my imagina- tion. Gounod has devoutly declared that Don Giovanni has been to him all his life a revelation of perfection, a miracle, a work without fault. I smile indulgently at Gounod, since I cannot afford to give myself away so generously (there being, no doubt, less of me); but I am afraid my fundamental attitude towards Mozart is the same as his. In my small-boyhood I by good luck had an opportunity of learning the Don thoroughly, and if it were only for the sense of the value of fine workmanship which I gained from it, I should still esteem that lesson the most important part of my education. Indeed, it educated me artistically in all sorts of ways, and disqualified me only in one — that of criticizing Mozart fairly. Everyone appears a sentimental, hysterical bungler in comparison when anything brings his finest work vividly back to me. . . . LIMOUSINE Enjoy every refinement of private limousine ownership at low cost. Courteous uniformed chauffeurs. 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The people most to be pitied at this moment [the 1891 centennial] are the unfortunate singers, players and conductors who are suddenly called upon to make the public hear the wonders which the newspapers are describing so lavishly. Nothing but the finest execution — beautiful, expressive, and intelli- gent — will serve; and the worst of it is that the phrases are so perfectly clear and straightforward, that you are found out the moment you swerve by a hair's breadth from perfection, whilst, at the same time, your work is so obvious, that everyone thinks it must be easy, and puts you down remorselessly as a duffer for botching it. Naturally, then, we do not hear much of Mozart; and what we do hear goes far to destroy his reputation. . . . In the ardent regions where all the rest are excited and vehement, Mozart alone is completely self-possessed; where they are clutching their bars with a grip of iron and forging them with Cyclopean blows, his gentleness of touch never deserts him: he is considerate, economical, practical under the same pressure of inspiration that throws your Titan PASTENE PRODUCTS . . the standard of good taste for 75 years ^S accompUsW^.-vUcKed in hosts Served by IT'S the here's the score . . . THE - k SHERRY CAN CAN BAR HIGH BILTMORE SHERRY LOUNGE NOTE HOTEL, MASSACHUSETTS AVE. COFFEE SHOP NEAR BOYLSTON ST. [84] (Continued from page 4) with special emphasis on the works of Berlioz. On Saturday, July 27, Dr. Munch wil perform Berlioz' "L'Enfance du Christ" with chorus and soloists, and other programs will include the Fan- OISTRAKH tastic Symphony, "Harold in Italy" and excerpts from "Romeo and Juliet." The week end of August 2, 3, 4, will contain some of the greatest works of Brahms —two symphonies, the Variations on a Theme of Haydn, the Tragic Overture and of course the Violin Concerto. Carl Schuricht will conduct one concert in this series, as well as one concert in the final Beethoven week end (August 9, 10, 11). The Festival will close on Sunday afternoon, August 11, with a perform- ance by Charles Munch of Beethoven's "The Devil's Trill" Ninth Symphony. (cover of Oistrakh's new Angel. Record) A series of chamber music concerts The "dark foreign fiddler' of the will be presented in the Theatre-Concert magic bow has come . . . and gone . . . But you can hear David Hall on six Wednesday evenings—July home Oistrakh, at his golden best, on . . . 3, 10, 17, 24, 31 and August 7, the par- Angel Records. ticulars to be announced later. Subscriptions for the Festival are be- Recorded in London ing taken at the Festival Office, in Sym- (with orchestra) phony Hall, where a descriptive circular Bruch Concerto No. 1 with further information may be had Prokofiev Concerto No. 1 Angel 35243 on request. Khatchaturian Concerto • • conducted by composer Angel 35244 WALTON'S CELLO CONCERTO Lalo Symphonie Espagnole Angel 35205 IN LONDON Taneiev Concert Suite Angel 35355 On February 13, shortly after the Brahms Double Concerto with initial performance of Sir William Wal- 'cellist Pierre Fournier Angel 35353 ton's new Cello Concerto at the Boston (with pianist Vladimir Yampolsky) Symphony concerts, it was performed Oistrakh Encores Angel 35354 by Mr. Piatigorsky and the B. B. C. "Devil's Trill" Sonata Orchestra in the Festival Hall, London, Tartini Mozart Sonata No. 32 in B Angel 35356 under the direction of Sir Malcolm Sargent. Beethoven Sonata No. 3 It is a pleasure to report a more than Brahms Sonata No. 3 Angel 35331 warm welcome for the new Concerto. Szymanowski Sonata in D minor Ernest Newman wrote: "This is not a Cesar Franck Sonata Angel 35163 concerto in the older and commoner Karen Khatchaturian Sonata sense of the term. It is new both in Prokofiev Sonata No. 2 Angel 35306 form and spirit: not only do the solo instrument and the orchestra stand in Recorded in Stockholm a novel relation to each other but the (with orchestra) work is curiously one and indivisible Beethoven Concerto Angel 35162 from beginning to end. . . . We are Sibelius Concerto Angel 35315 happy to be able to congratulate Walton on a masterly intellectual and emotional At all good record shops achievement." [35] into convulsions. This is the secret of his unpopularity with Titan fanciers. . . . With Mozart you are safe from inebriety. Hurry, excitement, eager- ness, loss of consideration, are to him purely comic or vicious states of mind: he gives us Monostatos and the Queen of Night on the stage, but not in his chamber music. Now it happens that I have, deep in my nature, which is quite as deep as the average rainfall in England, a frightful contempt for your Queens of Night and Titans and their like. The true Parnassian air acts on these people like oxygen on a mouse; it first excites them, and then kills them. Give me the artist who breathes it like a native, and goes about his work in it as quietly as a common man goes about his ordinary business. Mozart did so; and that is why I like him. Even if I did not, I should pretend to; for a taste for his music is a mark of caste among musicians, and should be worn, like a tall hat, by the amateur who wishes to pass for a true Brahmin. •Gs> SARA FREDERICKS PRESENTS: Resort fashions for your Winter Holiday 77 Newbury Street T. O. Metcalf Co. LETTER PRESS PRIJS[TI?S[G PHOTO OFFSET Boston 10, Mass. 51 Melcher Street Telephone: HAncock 6'5050 [36] A HERO'S LIFE By Eric Blom (When Willem Mengelberg conducted the B. B. C. Symphony Orchestra in Strauss's "Ein Heldenleben" on November 4, 1936, the noted English critic and editor of the new edition of Grove's Diction- ary provided the following "Introduction" for the program.) Y7 ven those of us who were children at the time still vividly remember *-v the shock the first appearance of Richard Strauss's Ein Helden- leben gave the musical world in 1899 — so vividly that we ask ourselves whether it can really have been as long ago as all that. Much music has streamed past us since then, and it has carried so much strange flotsam and jetsam that one begins to find it a little difficult to see what exactly there was about this symphonic poem — a symphonic poem, after all, much like many another that had gone before — that HIGH FIDELITY NOTE Thisisthe >M, GARRARD csLuAh t# c^LllCtC 3Line Cli Precision engineered Acknowledged . . . trouble free. Features tested in the World's Finest thousands of homes, Record Changer. millions of playing Both automaticahd hours. Wired to manual positrons! plug into your ,, present set or into Models $32.50 67 Central St. 1507 Hancock . any new high St. to $89.00 1 \ fidelity system. Music Box, Inc., 58 Central St., Wellesley Lafayette Radio, 110 Federal St. Radio Shack Corp., 167 Washington St. The Listening Post Inc., 161 Newbury St. DeMambro Radio Supply Co., 1095 Comwlth. Ave and other high fidelity dealers A Quality Endorsed Product of the B.I.C. Group: Garrard, Leak, Wharfedale, R-J, River-Edge. [37] caused so much consternation. Was it that Strauss made the gentle wood-wind instruments play with such asperity in the "opponents" section? Was it the extreme capriciousness of the part for the solo violin, from which formally polished concertos had accustomed us to expect nothing baser than serenity and nobility? It seems incredible, now we have been well taught that the transmission of beauty need not be the sole aim of music. Even the frightful and almost unbearably prolonged noise of the "battle" section we have come to accept as part of a scheme in which, all things considered, it could not have been very different. Any criticisms made on such grounds now seem almost comically incomprehensible, and though after thirty-seven years Ein Helden- leben is to be presented by the conductor to whom it was dedicated — for it was inscribed to Willem Mengelberg and the Concertgebouw Orchestra of Amsterdam — and will thus appear to us like a work of yesteryear, we shall wonder where all the objections to its extreme "modernity" can have come from and feel that to apologize for its "daring" idiom would be ridiculous. THE MERCHANTS CO-OPERATIVE BANK OF 24 SCHOOL STREET, BOSTON Is a friendly bank where you will be welcome to SAVE MONEY and FINANCE YOUR HOME Individual Accounts $8,000 Joint Accounts $16,000 Dividends Paid Constantly each Quarter since 1881 HENRY H. PIERCE, President Famous HIGH-FIDELITY Audio-Selector Studio Where you can hear over 1,000,000 Hi-Fi component combinations. Listen to Lafayette's HIGH-FIDELITY MUSIC HALL — WXHR — Mondays at 10:00 P.M.. and Lafayette's FREQUENCY CHECK SERVICE nightly at Midnight. 110 FEDERAL ST., BOSTON 16, MASS. Other stores in New York, Newark and Plainfield. [38] . Still, there is something else about Ein Heldenleben that offends many listeners and requires putting in its place. It is not anything for which one would make excuses, for Strauss, take him or leave him, is too big a musical figure for that; but it is something that appeared so disconcertingly new and, if you like, shows such a deficiency in taste that it had better be reconsidered for a moment in the light of other music of not dissimilar tendencies from which it seems to differ strik- ingly in one particular aspect. The difference is, of course, that whereas the practice of other com- posers of symphonic poems, and Strauss's own practice elsewhere, is to choose some literary or historical subject for a program, the composer here writes with the most brazen frankness about himself. Perhaps few people would have taken offence if he had not called a work that was obviously and confessedly autobiographical "A Hero's Life." Even the most self-satisfied autobiographers, the Cellinis and Pepyses and Casa- novas, had never explicitly called themselves heroes, whatever they SINCE 1880 everywhere Vmovim anywhere . ^/packing }/$hippim TELEPHONE CO 5-4400 690 DUDLEY STREET BOSTON 25, MASS. Agents for Allied Van Lines, Inc. j>3 "Say it with Flowers Flowers Telegraphed to all parts of world ^umpnonu Open Evenings FLOWER SHOP, INC. 248 HUNTINGTON AVE. Sundays and Holidays KEnmore 2076 and 2077 opposite Symphony Hall [39] might have thought or implied, and to write such grandiloquent musio about oneself was felt to be too much of a good thing. Well, Strauss's bigness as a creative musician is not the only reason for not making excuses. In a sense there is no excuse, and if taste is the criterion, it is beside the point for enthusiastic apologists like Richard Specht to say that there is no reason for regarding Strauss as less fasci- nating and significant a figure than Coriolanus or Egmont. Be that as it may, many greater people than Coriolanus, Egmont or Strauss have refrained from calling themselves the heroes of their works. But stay! Here we come to the point. I was going to say they refrained from writing about themselves. That would, of course, have been flagrantly untrue. For in a sense everybody who ever puts pen to paper writes incessantly and exclusively about himself — and music- paper is no exception. What Beethoven felt when he composed his "Coriolanus" overture or his "Egmont" music tells us nothing that is vital about these historical figures, but very much about Beethoven himself as a musical personality. And so with Strauss or anybody else. Except for outward details — so far as music can convey them — we learn little more about Strauss from Ein Heldenleben than we do from Visit Historic Concord . For a leisurely retreat in America's most famous literary and historical cen- ter. Comfortable country living only 18 miles from Boston. Delicious New England cooking at its best. Liberty Cocktail Lounge. 40 comfortable rooms. For a day, weekend, or longer . . . contact your host, Loring Grimes, Jr. at THE CONCORD HOTEL JQ ,|th ~Avenue Ciolonzal Inn i^^^ 400 CornmonwCommonweal^ 6-270U Tel.:KEnmore Concord, Massachusetts tlLnBoston • TEL. EMerson 9-4600 Every Driver an Escort Chec&erTaxiCo. KEnmore 6-7000 LOngwood 6-7000 KIrkland 7-7000 Don't Take a Chance — Take a Checker [40] Jug' "^ Don Juan or Don Quixote, for however graphically he may depict these characters, the inwardness of his music reflects not their souls but his own. There can be no offence, then, in this musical autobiography of his so far as the music itself is concerned, though we might say that it would have been more becoming if he had called the work Ein Musikerleben. It would then have been left to us to say who is the hero, very much as we say it of the outstanding character in a novel. And, the musician whose career is described here being a remarkable artistic personality, it would have been understood who the true hero was, just as, although Thackeray goes out of his way to describe Vanity Fair as "a novel without a hero," we are quite well aware that there is one after all, and that he is the author. No, it was not a new thing in 1899, much less a shocking one, that a symphonic poem should glorify its own maker. All works of art do that to the extent of their aesthetic value. The shock lay simply in the title, BEFORE THE CONCERT dine graciously in the inti- nesian v»nA$p mate English Grille or the m elegant Empire Room. featuring AFTER SYMPHONY ISLAND S CANTONESE enjoy superb supper snacks Food and Drink ... an epicurean variety OPEN FROM 5 P.M. TO 2 A.M. of tea and coffee in ... Daily S Sunday the beautiful new Coffee -**—-r~\ „0M— m House. Thcotre-Gocrs! • I Free After. I P^ Lot J I Parking | 400 Commonwealth Ave, Boston. SjoaIo/l gab KEnmore 6-5010 The Brown and White Fleet Safe Courteous Drivers [41] and it was a little Strauss's own fault if Ein Heldenleben was regarded as in a way his vanity fair. But his lapse does not affect the music; that must stand or fall by its own quality. Brahms, Vivaldi, Strauss or anybody else — it is all much the same in the last resort: they can only be musical autobiographers, and because all artists are that, art has and will continue to have a diversity as endless as that of the human characters who create it. *&$ THE BOOKSHELF, INC. Five Bookstores serving Greater Boston 9 Outstanding SUPER MARKETS WATERTOWN—24 Mt. Auburn St. Boston - 352 Boylston Street NEWTONVILLE — 279 Walnut St. WELLESLEY—448 Washington St. Cambridge - 28 Brattle Street SOMERVILLE—401 Highland Ave. Brooklinb - 1351 Beacon Street MEDFORD — 75 Riverside Ave. CHESTNUT HILL 1 Boylston St. — Newtonville - 325 Walnut Street CAMBRIDGE—699 Mt. Auburn St. BROOKLINE — 1717 Beacon St. Needham - 1037 Great Plain Ave. STONEHAM — 99 Main St. ESTAB. 1849 LOUISVILLE, KY. 100 PROOF KENTUCKY STRAIGHT BOURBON WHISKEY [42] "EIN HELDENLEBEN" ("A HERO'S LIFE") Tone Poem, Op. 40 By Richard Strauss Born in Munich, June 11, 1864; died in Garmisch, September 8, 1949 From the beginning of August until the end of December, 1898, in Charlotten- burg, Strauss began and completed this Tone Poem. The dedication was to "Willem Mengelberg and the Concertgebouw Orchestra in Amsterdam." The first performance was at Frankfort-on-the-Main, March 3, 1899, when Strauss conducted from the manuscript. The music was published in the same month. The orchestration is lavish: 3 flutes and piccolo, 3 or 4 oboes, and English horn, clarinet in E -flat, 2 clarinets in B-flat, bass clarinet, 3 bassoons and double-bassoon, 8 horns, 5 trumpets, 3 trombones, tenor tuba, bass tuba, kettledrums, bass drum, snare drum, side drum, cymbals, 2 harps, and strings (much divided). The first performance in America was by the Chicago Orchestra, Theodore Thomas conducting, March 9, 1900. The first performance by this orchestra was on December 6, 1901. The score divides into six parts: The Hero — The Hero's Adversaries — The Hero's Helpmate — The Hero's Battle- field — The Hero's Works of Peace — The Hero's Release from the World, and the Fulfillment of his Life. Zenith brings concert hall realism to your home : Concert hall realism . ....continuous f rue high fidelity . . . is achieved only when yOur records are playing at exact recorded speed. Zenith's exclusive Cobra-Matic Record Player plays all speeds from 10 to 85 RPM. The fully variable Speed Regulator and Stroboscope Speedometer enables you to play every record at precisely the speed of. the original recording. Only Zenith has it! Yemm the quality goes in before the name goes on MODEL No. HF 1284E in Blonde Oak also available in Walnut as Model HF-1284. Zenith Radio Corporation, Chicago 39, Illinois BUY AT THIS SI6N • PIANOS •ALL MUSIC • RADIOS BOSTON • ALL RECORDS • ORGANS MUSIC BOOKS 116 CO.,,, • MUSICAL Open BOYLSTON STREET Monday and Wednesday Near Colonial Theatre TOYS & GIFTS Evenings Established in Boston 1885 Hancock Si x Five One Hundred [43] As Don Quixote is an extension of the variation form, and Till maintains the skeleton of a rondo, Ein Heldenleben has been described by analysts as a vast symphonic movement. The first two parts may be called the first subject elaborately laid out with many subsidiary themes: the "Hero's Helpmate" provides the contrasting second sub- ject; the "Battlefield" is the working out of these themes, culminating in a sort of recapitulation; the last two sections are as a coda of extreme length. I. The Hero. — The Hero's principal theme is stated at once by the horns and strings — broad and sweeping with wide skips — full of energy and assurance. If this particular Tone Poem is a character study rather than a narration, it cannot be expected that the composer draw his hero complete in the first outline. As the complex of the score is built up with numerous derivative phrases and secondary themes, the character gains appreciably in stature and dignity (the picture becomes still more full-rounded as the hero is presented in relation to life, ennobled by love, hardened by attack, exalted by achievement, ulti- mately mellowed and reconciled to his environment by the finer qualities which his soul's growth has attained). The section ends with a thunderous assertion of power, after which the ensuing complaints of his antagonists, mean and carping, sound petty indeed. Since 1832 J.S.Waterman £ Sons FUNERAL SERVICE Fleuriste Francais Est. 1891 34 CHARLES STREET, BOSTON, MASS. Tel. CA 7-8080 [44] waamm II. The Hero's Adversaries. — This picture was drawn too sharply in the judgment of the early hearers of Ein Heldenleben. Strauss went so far in depicting their whining stupidities that the composer's unshakable enthusiasts felt called upon to draw a new definition for "beauty," a new boundary for permissible liberties in descriptive sug- gestion. The themes of the hero's critics are awkward and sidling; in the wood wind "scharf," "spitzig" "schnarrend," in the bass grubby and sodden. The hero's answering comment is disillusioned, saddened, but at last he is goaded to an emphatic and strong retort. There seems to be only one other case in history where a composer openly mocks his critics in his music — the case of Wagner and his Beckmesser. III. The Hero's Helpmate. — As with his hero, Strauss unfolds his heroine gradually, in the course of his development. Her voice (which is that of the violin solo in increasingly ornate cadenzas) is at first capricious and wilful — refuses to blend and become one with the music the orchestra is playing. But gradually the pair reach a har- monious understanding. Their two voices become one as the score grows richer in texture and develops a love song in which the orchestra d. w. DUNN CO. sunn "The Man Who Est. 1896 Cares, Prepares99 BOSTON 20 KILBY STREET, BOSTON Local and Long Distant RICHMOND 2-3890 Tel. CO 6-7260 PARK YOUR CAR mm. UPTOWN at GARAGE 10 GAINSBOROUGH STREET, BOSTON TOWING and REPAIR SERVICE Near Symphony Hall, Boston Arena, Boston Opera House, Horticultural Hall, Jordan Hall, New England Conservatory of Music, only a few steps from Mechanics Building. Excellent Taxi Service to Theatres and Shopping District. [ 45 I builds up a lyric opulence and tonal splendor such as none but Strauss could achieve. At a point where the music rests upon a soft chord long held, the theme of the adversaries is heard, as if in the distance. IV. The Hero's Battlefield. — A trumpet fanfare (off stage at first) breaks the glamorous spell with a challenge to battle, which is soon raging with every ounce of Strauss's technique of color, his prodigious contrapuntal resource called into play. The hero is assailed with drums and brass in assembled array; but his theme retorts with proud assurance of strength, further fortified in a repetition of the love music which has gone before. Again the orchestra rises to a full and impressive climax — a song of triumph. V. The Hero's Works of Peace. — But triumph of this sort is without lasting satisfaction. The music from this point grows less exultant, becomes more reflective and "inward," seeking deeper cur- rents. The hero's "works of peace" are recalled in themes from Strauss's earlier works: phrases are heard from Don Juan, Zarathustra, Tod und Verkldrung, Don Quixote, Macbeth, Guntram, Till Eulenspiegel, and the song Traum dutch die Dammerung. The beloved consort is also remembered. The cunning skill of the composer in weaving a string of unrelated subjects into a continuous and plausible musical narrative is a passing Straussian wonder. Ellis Excellence For 84 Years The beautiful J Class Cup Defenders embody perfect sympathy between art and science in their design, and craftsmanship plus painstaking care in their structure. This same synthesis of qualities is true of Ellis printing. It is conceived and produced for the buyer who desires elegance and beauty in form com- bined with expediency and fine quality! This is a reproduction of our 1957 calendar. We have a few left 14" x 22" . . . if you would like one, kindly send 50c to cover mailing cost. Geo. H. Ellis Co., Inc. 272 Congress St., Boston 10, Mass., Liberty 2-7800 (46] y-'V ^^E VI. The Hero's Release from the World, and the Fulfillment of His Life. — There is a final conflict with the forces of hate, but this time it is soon resolved. The protagonist has as last found peace with himself. There are flitting recollections of his past life, but placid resignation now possesses him. The music at last sublimates on themes of the hero, through which the violin solo is intertwined. Strauss's audiences and critics have too long been bothered by the evidence of the allusion listed above that the composer was describing himself all along, erecting in this score a monument to his own conceit. All introspective fiction is autobiographical, and Strauss could not have immersed himself so completely into his epic without portraying his own character. His real offense was in openly admitting and vaunt- ing the fact. Shocking audacities have a way of losing their edge and interest as the next generation, and the next, come along. All that is finally asked is the worth of the music — as music. [copyrighted] ^Dinners of 'Distinction in Old Boston Number 9 Knox Street Edmund B. Stanley by reservation only HU 2-3494 47 MIGHTY NICE to have around the house! . . . and in more ways than one. The Employers' Group amazing Homeowners "Package" Policy combines all your household and personal liability insurance into just one policy, with but one premium to pay. Home- owners everywhere are discovering the many advan- tages of "Package" Protection — why not you? The Man who can give you full details is your local Employers' agent—The Man With The Plan. Drop him a line at the address below or call HA 6-2600, extension 666, Agency Department, and obtain the name of the E. G. Agent in your community. THE Employers' Group I N SU RANCE COM PAN I E S Fire, Casualty and Marine Insurance, Fidelity and Surety Bonds "llO MILK STREET. BOSTON 7. MASSACHUSETTS THE EMPLOYERS' LIABILITY ASSURANCE CORP. LTD. • THE EMPLOYERS' FIRE INSURANCE CO. AMERICAN EMPLOYERS' INSURANCE CO. • THE HALIFAX INSURANCE CO. OF MASS. t4«] SSm n TO EACH SUBSCRIBER ARE YOU A FRIEND OF THE ORCHESTRA? If you are not, won't you sign the attached blank, enclose a check, and join us? The Orchestra needs your backing and encouragement. Palfrey Perkins Chairman To the Trustees of Boston Symphony Orchestra, Inc. Symphony Hall, Boston I ask to be enrolled as a member of the Friends of the Boston Symphony Orchestra for the year 1956-1957 and I pledge the sum of $ for the current support of the Orchestra, covered by check herewith or payable on Name Address Checks are payable to Boston Symphony Orchestra, Inc. Gifts to the Orchestra are deductible under the Federal Income Tax laws. [49] Vision And Initiative Ludwig van Beethoven launched a new era in music through his vision of a new world of sound — and his ability to transform what he foresaw into the reality of great music. In managing investments and planning estates it also takes both the ability to foresee — and the experience and knowledge to carry through intentions until objectives are attained — to pro- vide financial security for your- self and your family. BOSTON SAFE DEPOSIT AND TRUST COMPANY 100 Franklin Street Ralph Lowell, President [50] Boston Symphony Orchestra CHARLES MUNCH, Music Director FIFTH OPEN REHEARSAL THURSDAY EVENING MARCH 7 In SYMPHONY HALL at 7:30 TICKETS AT BOX OFFICE, $2.00 Symphony Hall Boston Symphony Orchestra CHARLES MUNCH, Music Director EIGHTH CONCERT OF THIS SERIES TUESDAY EVENING, April 2, at 8:30 o'clock JEAN MARTINON, Guest Conductor f5> 1 MUSICAL INSTRUCTION LEONARD ALTMAN Teacher of Pianoforte 280 Dartmouth Street Boston, Massachusetts KE 6-5183 DAVID BLAIR McCLOSKY TEACHER OF SINGING VOICE THERAPIST BOSTON UNIVERSITY COLLEGE OF MUSIC, BOSTON, MASS. By Appointment CO 6-6070 Studio in New York GERTRUDE R. NISSENBAUM VIOLIN TEACHER — COACH 500 BOYLSTON STREET Tel. commonwealth 6-336! BOSTON 16. MASSACHUSETTS EDNA NITKIN, M. Mus. HARRY GOODMAN PIANIST TEACHER-PIANIST ACCOMPANIST TEACHER Technique analysis Studio: 500 Boylston St., Copley Sq. AS 7-1859 Boston KE 6-4062 UNUSED TICKETS In the present completely subscribed season, many people are waiting for an opportunity to hear a Boston Symphony concert. Sub- scribers 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 — COmmonwealth 6-1492. [52] Boston Symphony Orchestra (Seventy-sixth Season, 1956-1957) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster Albert George Zazofsky Bernard Contra- Bassoon Rolland Tapley George Humphrey Richard Plaster Norbert Lauga Jerome Lipson Vladimir Resnikoff Robert Karol FIorns Harry Dickson Reuben Green James Stagliano Gottfried Wilfinger Bernard Kadinoff Charles Yancich Einar Hansen Vincent Mauricci Harry Shapiro John Fiasca Joseph Leibovici Harold Meek Earl Hedberg Emil Kornsand Paul Keaney Roger Shermont Violoncellos Osbourne McConathy Minot Beale Samuel Mayes Herman Silberman Alfred Zighera Trumpets Stanley Benson Jacobus Langendoen Roger Voisin Leo Panasevich Mischa Nieland Marcel Lafosse Armando Ghitalla Karl Sheldon Rotenberg Zeise Gerard Goguen Fredy Ostrovsky Josef Zimbler Bernard Parronchi Clarence Knudson Trombones Martin Hoherman Pierre Mayer William Gibson Louis Berger Manuel Zung William Mover Richard Kapuscinski Samuel Diamond Kauko Kahila Robert Ripley Josef Orosz Victor Manusevitch Jarncs Nagy Tuba Melvin Bryant Flutes K. Vinal Smith Lloyd Stonestreet Doriot Anthony Dwyer Saverio Messina James Pappoutsakis Harps William Walerhouse Phillip Kaplan Bernard Zighera William Marshall Piccolo Olivia Luetcke Leonard Moss George Madsen Jesse Ceci Timpani Noah Bielski Oboes Everett Firth Ralph Alfred Schneider Gomberg Harold Farberman Joseph Silverstein Jean Devergie John Holmes Percussion Basses English Horn Charles Smith Georges Moleux Louis Speyer Harold Thompson Arthur Press Gaston Dufresne Clarinets Irving Frankel Gino Cioffi Piano Henry Freeman Manuel Valerio Bernard Zighera Henry Portnoi Pasquale Cardillo Henri Girard E'o Clarinet Library John Barwicki Bass Clarinet Victor Alpert Rosario Mazzeo — Your family deserves the Acrosonic Touched by your fingers and those immediate response—perfect touch of your children, the keys of your . . . exclusive quality characteristics Acrosonic will unlock, for a lifetime, of all world-famous Baldwin-built the marvelous world of musical pianos. enjoyment. Remember, you buy so much . . . . . . and only in the Acrosonic by when you buy . . . the Acrosonic Baldwin, will you find . . . full tone by Baldwin. THE BALDWIN PIANO COMPANY 160 BOYLSTON STREET BOSTON BALDWIN GRAND PIANOS ACROSONIC SPINET AND CONSOLE PIANOS HAMILTON STUDIO PIANOS BALDWIN AND ORGA-SONIC ELECTRONIC ORGANS