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, 1946, BV BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine .. Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Raymond S. Wilkins Oliver Wolcott G. E. Judd, Manager [ 1413 ] •:': :': :': :': '.' •:;:• 0- ®@@®®@®®®®®® *?> £><?>•:?> Q O O O cvJ C- •:':••: £^ Time for Review? Are your pl ins for the ultimate distribu tion of your property up to dare? Changes in your family situation caused by dead births, or marriages, changes in the value of your assets, the need to meet future taxes . these are but a feu 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- C ment and settlement of estates by discus- C ing your program with our Trust Officers. C « PERSONAL TRUST DEPARTMENT c CI The Optional i a s Shawmut Bank Water Street, Boston @ 40 9 Member Federal Deposit Insurance Corporation Q Capital £10,000,000 Surplus $20,000,000 "Outstanding Strength" for 10S Years 8 #©##®®©@@@-@@@^®®#©®@@®@©®©@@@®©^:-®^^{3&* SYMPHONIANA WASHINGTON ALLSTON An exhibition of the paintings of Washington Allston is on view this week in the First Balcony Gallery. The follow- ing notes about the artists have been kindly furnished by H. W . L. Dana, who has lent a number of the pictures: Washington Allston was born in the midst of the American Revolution — on November 5, 1779 — at Brook- Green on the Waccamaw Peninsula in JO GOPELAND South Carolina. While he was still a boy he was presented to the great This is a designer original Washington, for whom he had been with a smoother, longer named, and who came to visit the beau- body, defined by draping. tiful Allston estate there. Saturated Rayon alpaca, in grey or through and through with the romanti- cism and imagination of the "Sunny navy 124.00 South," the young Allston, when he Sizes 10 to 16 came North, brought with him what has been charmingly described as "a nature open on the Southern side." For several years he went to school at Newport, Rhode Island, and came to know the portrait painter, Gilbert Stuart, and the miniaturist, Malbone. In 1796 Allston entered Harvard Col- lege, where he gained a high reputation ami b)££dJu| both as a poet and as a painter. In 1801 he sailed abroad to pursue his studies in art. -w - wmatmw [ Hi5 ] From the storms which as a boy he had seen along the beaches of Carolina or the rocks of Newport, from the building of the frigate "Constitution" which he had watched while at college, and from his subsequent voyage across the Atlantic to Europe, Allston ac- quired an interest in the sea and in Cohfs of ships, which he reflected in such pic- tures as The Rising of a Thunderstorm at Sea or his outline, A Ship in a Squall, with its masterful treatment of waves in chalk lines. On his way from England to Rome, Spring in passing through Switzerland in 1804, he studied the mountain peaks in the sunlight, as is seen in his Landscape with a Lake. During his stay in Rome, 1805-1808, he combined these effects of mountains and lake with those of Roman and Renaissance architecture, All the blithe heart- as is seen in his Classical Landscape, Under Roman influence, too, he painted lifting pinks and blues classical scenes from Virgil's Aeneid, such as that of Dido and Anna. While in Italy Allston began the long and greens and yel- and intimate friendship with the Eng- lish romantic poet, Coleridge, whose lows of spring blos- portrait he painted, trying to catch on canvas "the perpetual ground-swell of his ever-working intellect." It was soms in negligees, tea largely under Coleridge's influence that Allston turned away from Classicism gowns and pyjamas; towards Romanticism and painted scenes from Shakespeare, such as The Death of King John. Other subjects were taken and in formal or in- from romantic novels, as in the scene from Gil Bias representing Donna formal linens. Mencia in the Robbers' Cavern. He also painted many Biblical sub- jects, such as Rebecca at the Well or Elijah in the Desert Fed by the Ravens or his forever-unfinished masterpiece, Belshazzar's Feast. Returning to spend his closing years in America, Allston became the most authentic connection there with the % English Romantic Movement. He was also at that time, so Emerson insisted, "the solitary link as it seemed between America and Italy." In his vine-covered studio in the marshes of Cambridge- port, one could "breathe Venetian air." Allston's hope was to introduce the love of Italian painting and of English Ro- manticism into that New England which then cared for these things least — and The Trousseau House of Boston needed them most. That was Allston's 416 BDYLSTQN STREET glory! That was Allston's tragedy! In those dreamy closing years of WEi.LESL.EY ~ HYANNIS «• PALM PCACH Allston's life, he painted a series of smaller pictures, which have been de- scribed as "Allston's dreamy women." These included his representation of [1416] . Beatrice — Dante's, not Shakespeare's — playing with her golden chain, and his Rosalie listening to the music, and The Tuscan Girl musing dreamily be- side the fountain, these last two il- lustrating poems that Allston had writ- r%4Iev? ten himself. In a similar mood of reverie he painted The Sisters, two interestingly contrasted girls, and The Italian Shepherd Boy, sitting by a waterfall in the forest. Apart from these smaller pictures, Allston still continued working on the huge canvas of his perpetually un- finished and unfinishable Belshazzar*$ Feast, which had become for him, too, a terrible nightmare — "the handwriting on the wall." He was still struggling with this in the secrecy of his sealed studio down to a few hours before his death on the night of July 9, 1843. Paintings by Allston Self-Portrait (Painted in College, c. 1798), lent by H. W. L. Dana. Self-Portrait (Painted in Rome, c. 1805), lent by the Museum of Fine Arts, Boston. Portrait of Coleridge (1806), lent by H. W. L. Dana. Rising of a Thunderstorm at Sea, lent by the Museum of Fine Arts, wbmryeh Boston. A Ship in a Squall, lent by the Fogg Art Museum, Harvard University. Coast Scene on the Mediterranean, lent by Mrs. Arthur Lyman. *£ ia/te — Landscape with a Lake, lent anon. Classical Landscape, lent by the Addi- son Gallery of American Art. Dido and Anna, lent by H. W. L. Dana. for women who recognize and The Death of King John, lent by the appreciate fine clothes . Fogg Art Museum, Harvard Uni- versity. Fredleys will always have Donna Mencia in the Robbers' Cavern, lent anonymously. the perfect costume for an Head of a Jew, lent by the Museum of Fine Arts, Boston. important occasion ... a The Poor Author and the Rich Book- suit ... a gown ... a coat or seller, lent by the Museum of Fine Arts, Boston. hat . created with imagina- Rebecca at the Well, lent by H. W. L. Dana. tion and individuality ... Elijah in the Desert Fed by the Ravens, fashioned with knowing care by lent by the Museum of Fine Arts, Boston. superb designers to please the Beatrice, lent by Miss Ellen T. Bullard. Rosalie, lent by William Sumner Ap- most discriminating tastes . pleton. The Tuscan Girl, lent by Mrs. J. J. Minot. The Sisters, lent by Mrs. Algernon Coolidge. in Minify, 00*. The Shepherd Boy, lent by Mrs. James R. Hooper. [ U»7 ] What can Old Colony Trust Company do for individuals? <^Act as * Custodian of securities and as agent for other purposes * Executor under wills * Administrator of estates * Trustee under wills and living trusts * Agent for executors, administrators, trustees * Guardian of the property of others including minor children * Conservator of the property of incapacitated persons * Trustee under pension and profit-sharing plans Our officers will be pleased to discuss any of these services without obligation and will welcome your inquiry in person or by correspondence Investment and Management of Property Old Colony Trust Company ONE FEDERAL STREET, BOSTON Channing H. Coi T. Jefferson Coolidge Chairman of the Board Chairman of the Trust Committee Robert Cutler President ^Allied with The First National Bank of Boston [1418] SIXTY-FIFTH 8EAS0N • NINETEEN HUNDRED FORTY-FIVE AND FORTY-SIX Twenty-third Programme THURSDAY AFTERNOON, April 18, at 2:30 o'clock SATURDAY EVENING, April 20, at 8:30 o'clock Khatchatourian Piano Concerto I. Allegro ma non troppo e maestoso II. Andante con anima III. Allegro brillante INTERMISSION Sibelius Symphony No. 7, Op. 105 (In one movement) Wagner "Good Friday Spell" from "Parsifal" Brahms Variations on a Theme by Haydn, Op. 56A soloist WILLIAM KAPELL Mr. Kapell uses the Steinway Piano BALDWIN PIANO Each Saturday Evening (9:30-10:30 E.S.T.) the Boston Symphony Orchestra concert is broadcast by the American Broadcasting Company under the sponsorship of the Allis-Chalmers Manufacturing Company [H19] Suit to make you love warm weather . cool- as-a-frosted-drink Palm ch cloth tailored wisely and wonderfully by Sacony. 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