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Boston Symphony Orchestra Concert Programs, Season 65,1945-1946, Subscription

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Boston Symphony Orchestra Concert Programs, Season 65,1945-1946, Subscription BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SIXTY-FIFTH SEASON I 945~ I 94 6 — FROM SIBELIUS TO SINATRA —and hundreds of music lovers are already acquainted with White's new Third Floor Record Shop! The great symphonies and the great crooners are all represented in our comprehensive collection, for we cater to all musical tastes. Seven soundproof listening booths . help-yourself racks of favorite records and albums . up-to-date stocks to make music shopping at White's a distinct pleasure. KEYED TO THESE TIMES Monday hours 12 :30 P.M. to 8 :30 P.M. Washington at Bedford Street — Boston SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-FIFTH SEASON, 1945-1946 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1945, BY BOSTON SYMPHONY ORCHESTRA, LtlC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Jerome D. Greene . President Henry B. Sawyer . Vice-President Henry B. Cabot . Treasurer Philip R. Allen Jacob J. Kaplan John Nicholas Brown Roger I. Lee Alvan T. Fuller Richard C. Paine N. Penrose Hallowell Bentley W. Warren M. A. De Wolfe Howe Oliver Wolcott G. E. Judd, Manager [1 J Time for Review? Are your plans for the ultimate distribu- tion of your property up-to-date? Changes in your family situation caused by deaths, births, or marriages, changes in the value of your assets, the need to meet future taxes . these are but a few of the factors that suggest a review of your will. We invite you and your attorney to make use of our experience in property manage- ment and settlement of estates by discuss- ing your program with our Trust Officers. PERSONAL TRUST DEPARTMENT The V^Cational Shawmut Bank 40 Water Street\ Boston Member Federal Deposit Insurance Corporation Capital $10,000,000 • Surplus f 20,000,000 "Outstanding Strength" for 108 Years SYMPHONIANA Abdon Laus Neighbors in the Arts Piranesi Etchings Orchestral "Firsts" ABDON LAUS Since the close of the past Symphony season the Orchestra has lost one of its members—Abdon Laus, who died on July 29, after twenty-seven years as bassoon player in the Orchestra. Mr. Laus' son Andre was killed in action in France on August 29, 1944, as a Cap- tain in the French Army of Liberation, after having served in the occupation of Africa and Italy. He had received the Silver Star for gallantry in action in Sicily in 1943. • • NEIGHBORS IN THE ARTS Symphony Hall is fortunate in hav- ing as its neighbor the Boston Museum of Fine Arts. The Directors of the Museum have generously offered to provide loan exhibitions from their own treasures and to arrange exhibitions from elsewhere during the course of the season. The opening exhibition now on view features a collection of Piranesi etch- nftMC»c4c580o ings of Ancient Rome from the Fogg Museum of Harvard University, and the tapestry, "Music," which is the property of the Boston Museum. zOJUS IS bXSLOJUL<L The following description of the tapestry was written by Miss Gertrude x& Q/n/njMi/nc& xL, Townsend and is quoted from the Museum of Fine Arts Bulletin: Music, the seventh and last of the (HbJe/w-urbQ (n uA liberal arts or sciences which, divided into the trivium and quadrivium, WimC Bta/nc* Jheh formed the foundation of education in Europe during the Middle Ages, is the XoCafect into subject of an important tapestry in the Museum collection that merits such consideration. Woven during the first li3AL|. years of the sixteenth century, when the spirit of the Renaissance in Italy was becoming an ever stronger in- fluence on the thought and expression [3] of France and Flanders, it yet reflects the tradition of the Middle Ages, though charmingly modified by forms of the rediscovered past. Although this tapestry has previously been considered the product of French weavers, it is be- lieved today that, like other tapestries of the same period long thought to be French, it was made in Flanders. It is not surprising that the active and prolific centers of tapestry weaving in Flanders, for so long a period politically as well as geographically connected with France, should be the source of many of the finest tapestries which decorated the castles and churches of France. Since Music is only one of the seven liberal arts it does not seem probable that this tapestry, in which Music is represented as a woman enthroned, was designed and woven to hang alone, but that it made a part of a larger decora- tive scheme with the six other arts. PIRANESI ETCHINGS The following description of the Piranesi collection was kindly provided by Ruth S. Magurn, of the Fogg Museum of Art: "Giovanni Battista Piranesi (1720-78) is best known to us for his monumental series of etchings representing views of Rome. The rising interest in Antiquity which marked the second half of the eighteenth century found in him one of its greatest exponents, and his work shows a striking fusion of classic grandeur with Baroque exuberance. Al- though born in Venice and usually signing himself as 'Venetian Architect', Piranesi spent the greater part of his productive life in Rome and identified himself so completely with that city WARM ROBES that his very name brings to mind for mother and child scenes of her ruined splendor. His activity of Wool flannels and quilts extraordinary over a period Model sketched in pure wool flannel. nearly forty years resulted in more than Red, navy, rose or delft blue with one thousand large-scale plates which contrasting piping. achieved a widespread popularity in his time, and which are represented here 2-6 $15 7-14 $18.50 12-20 $25 in a few selected examples. Piranesi was a passionate student of archaeology, and his fidelity to architectural detail and topographical accuracy is amazing, but this is matched by his power of The Trousseau House Boston of composition and his technical skill as 416 BOYLSTDN STREET an etcher. The melancholy fragments WELLESLEY - HYANNI8 ~ *ALM 0KAQM of ancient Rome are never dry and lifeless in his hands. He enhances their [4] 4 monumentality by his dramatic con- trasts of light and shade, and enlivens »* Vi^flefley dnsf tYpVtience^loo the most archaeological of his scenes with active little human figures and luxuriant vegetation. This rare combina- tion of realistic accuracy with imagina- tive treatment has given Piranesi his un- rivalled position among graphic artists. back "Less familiar but fully as impressive interest as his 'Views of Rome' is the series of large plates known as the 'Prisons'. In these sixteen architectural fantasies, of which ten are shown here, Piranesi dis- plays an imaginative fertility and power of invention that have never been sur- passed. Unhampered here by any archaeological requirements, the artist was free to create a vast succession of halls of almost incredible immensity, color contrast with endlessly receding vaults and gloomy passages. These stupendous spaces are traversed in every direction by bridges, scaffolds and disappearing flights of steps, and are filled with in- describable devices made up of chains, pulleys and wheels suggesting instru- ments of torture. The intensely brilliant light which floods these chambers pro- duces the deepest of contrasting shad- ows, and it is by this dramatic inter- play of light and dark, as much as by the piling up of masonry, that Piranesi gains his overpowering effect." wing ORCHESTRAL "FIRSTS" sleeves The records by the Boston Symphony Orchestra newly released by RCA Victor are among many which have been recently made in Symphony Hall and at Tanglewood and which will be available to the public in the months to come. The new non-break- able record which has just been de- veloped by RCA Victor first ap- pears with the recording of Strauss's you* II -tin Tone Poem "Till Eulenspiegel's Merry Pranks" by this orchestra. It will be recalled that this was the first major orchestra to make records (for Victor in 1917) and the first to be heard on ATEW Or the electrical orthophonic records in 1927. The new non-breakable record is_a flexible disk made of synthetic plastic material which greatly reduces surface sound. The material is of a translucent wine-red and is composed entirely of vinyl resin plastic. Vinyl records have long been used for radio transcriptions, sto oy but until now their cost has been pro- ? i#n ^str... hibitive for general use. [5] JTHJPHWIW The First National Bank of Boston Announces a Second Season of Concerts Beginning Sunday, October yth "Sunday at 4:30" Arthur Fiedler Conducting an Enlarged Orchestra To be broadcast each Sunday Afternoon at 4:30 over Station WBZ, Boston, 1030 on your dial Old Colony Trust Company one federal street, boston T. Jefferson Coolidge Channing H. Cox Chairman President Allied with The First National Bank of Boston [6] SIXTY-FIFTH SEASON • NINETEEN HUNDRED FORTY-FIVE AND FORTY-SIX First Programme FRIDAY AFTERNOON, October 5, at 2:30 o'clock SATURDAY EVENING, October 6, at 8:30 o'clock Beethoven Overture to "Leonore" No. 3, Op. 72 Copland Suite from the Ballet, "Appalachian Spring" (First Performance in Boston) INTERMISSION Beethoven Symphony No. 3 in E-flat major, "Eroica, Op. 55 I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace; Trio IV. Finale: Allegro The performance is dedicated to the peace of the world, and to the heroism which has made it possible. BALDWIN PIANO This programme will end about 4:30 o'clock on Friday Afternoon, 10:30 o'clock on Saturday Evening.
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