flft. S BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 iQ ,^ ^ miiim H #i SIXTY-SEVENTH SEASON 1947-1948 Boston Symphony Orchestra [Sixty-seventh Season, 1947-1948] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhap6 Ernst Panenka Alfred Krips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Rolland Contra -Bassoon Tapley Albert Bernard Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey Horns Paul Cherkassky Louis Artieres Harry Dubbs Willem Valkenier Charles Van Wynbergen James Stagliano Vladimir Resnikoff Hans Werner Principals Joseph Leibovici Lipson Jerome Walter Macdonald Einar Hansen Siegfried Gerhard t Harold Meek Daniel Eisler Paul Keaney Norman Carol Violoncellos Osbourne McConathy Carlos Pinfield Jean Bedetti Harry Shapiro Paul Fedorovsky Mfred Zighera William Gebhaidt Harry Dickson Jacobus Langendoen Trumpets Minot Beale Mischa Nieland Frank Zecchino Hippolyte Droeghmanj Georges Mager Roger Voisin Karl Zeise Clarence KnudfOD Principals Josef Zimbler Pierre Mayer Bernard Parronchi Marcel Lafosse Manuel Zung Enrico Fabrizio Harry Herforth Samuel Diamond Leon Marjollet Ren6 Voisin Victor Manusevitch fames Nagy Trombones Jacob Raichman Leon Gorodetzky Flutes Lucien Hansotte Raphael Del Sortie Georges Laurent John Coffey James Pappoutsakii Melvin Bryant Josef Orosz John Murray Phillip Kaplan Tuba Lloyd Stonestreet Piccolo Vinal Smith Henri Erkelens George Madsen Saverio Messina Harps Herman Silberman Bernard Zighera Oboes Stanley Benson Elford Caughey John Holmes Hubert Sauvlet Jean Devergie Timpani Joseph Lukatsky Roman Szulc Basses Max Polster Georges Moleux English Horn Willis Page Louis Speyer Percussion Ludwig Juht Simon Sternburg Irving Frankel Clarinets Charles Smith fimil Arcieri Henry Greenbeig Victor Polatschek Henry Portnoi Manuel Valerio Piano Gaston Dufresne Pasquale Cardillo Lukas Foss Henri Girard f*enry Freeman Bass Clarinet Librarian John Barwicki Rosario Mazzeo Leslie Rogers SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SIXTY-SEVENTH SEASON, 1947-1948 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1948, BY BOSTON SYMPHONY ORCHESTRA, IflC. 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 Lewis Perry N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [ 1361 ] © © © © © © © © Only © © © you can © © © decide © © © © © © Whether your property is large or small, it rep- © resents the security for your family's future. Its ulti- © © mate disposition is a matter of vital concern to those © you love. © © To assist you in considering that future, the Shaw- © mut Bank has a booklet: "Should I Make a Will?" © It outlines facts that everyone with property should © © know, and explains the many services provided by © this Bank as Executor and Trustee. © © Call at any of our 2 J convenient offices, write or telephone © for our booklet: "Should I Make a Will?" © © © © © The Optional © © Shawmut Bank © 40 Water Street, Boston Member Federal Deposit Insurance Corporation 9 Capital $10,000,000 Surplus $20,000,000 » "Outstanding Strength" for 112 Years ^^@@@@@@@@@®®@®@«?«?«*^^«?*8W [1362 ! SYMPHONIANA Can you score 100? For the Day Koussevitzky Retires Esplanade Concerts — Twentieth Summer "The Berkshire" FASHION QUIZ FOR THE DAY KOUSSEVITZKY RETIRES 1. Does the new hemline {Editorial in the New York Sun, make footwear important? April 12, 1948) 2. What's the "new look" Of course, in time it had to come, in shoes? Koussevitzky's retirement. But it is hard to believe that that charming and auto- 3. What colors are being cratic Russian refugee, Serge Kousse- featured in accessories? vitzky, will no longer be giving Boston her music and the rest of the nation 4. Big or little handbags? Boston's music. For on the vigor and 5. Where can I find all enlightenment of Koussevitzky's musical leadership, music lovers of the whole these exciting fashions? country have come in some part to depend. CHECK YOUR ANSWERS Technically, he has trained the old 1. This one is easy. Yes, Boston Symphony to stand as the yard- yes, yes! stick for orchestral performance up and down the land. For a generation, too, 2. Either "slim, graceful, Koussevitzky has led in the introduc- ladylike" or more specif- tion of new music to American audi- ences — notably the great modern ically "both ankle strap or Russians and the gifted younger British classic opera pump silhou- school. And at Tanglewood he has ette" is right. established a new school and music center for the young musicians of the 3. Navy is Queen in shoes nation. A subtle and humorous pro- and bags, with green, cocoa grammer, he has revived the more ob- and red high style scure old as well as introduced the new. But above all, Koussevitzky is a bril- suave black always correct. liant conductor, and that, for good or ill, Contrast or blend them with has come to include intense, dramatic your ensembles. personality. Greatly gifted as a pure musician, Koussevitzky has likewise the 4. Every size and shape im- power to create the drama, maintain the aginable . attractively intensity, which compels the most con- priced from $10 to $20 at centrated listening. It is a power always shown to best advantage on that Octo- Thayer McNeils. ber evening of each year — and luckily 5. Subtle, aren't we? We're there will be one more — when Kous- sevitzky opens his Saturday programs. sure, tho, our new creations Boston's Symphony Hall will be will score 100% with you in packed to the top till. The nervous rus- style, quality, and lasting tling, the orchestral scraping subside as satisfaction. Wont you drop the precise hour of the concert comes. in? The audience waits ; the orchestra waits. The door to the wings is ready, the lights are set. But Koussevitzky is not yet in. BOSTON and WELLESLEY The tension mounts with every minute of his absence. Just as the audience has [1363] begun to relax to the delay and resume its rustling, it is suddenly caught to- gether again as the white-haired figure of the conductor comes swiftly through Trousseau House Boston II The of the side door. He strides to the center under the umbrella of applause. There is brief quiet as the orchestra, brought together, awaits the signal. Then, in a burst, the first strains of the "Eroica" descend on the hall. The intellectual and emotional power of the man, now turned toward the orchestra, is some- how behind him communicated to the thousands in the hall. In the first cres- cendoes personality and music are one — the conductor in his drama unloosing the greater drama of the music beyond him. ESPLANADE CONCERTS — TWENTIETH SUMMER The twentieth season of the Esplanade Concerts will open at the Hatch Me- morial Shell on Tuesday July sixth under the conductorship of Arthur Fiedler. These concerts were started on the personal initiative of Mr. Fiedler as a young violinist of the Boston Sym- phony Orchestra. By his own efforts he made it possible to initiate the concerts July 4, 1929, as an experimental con- tribution to Boston's musical life. The blossom time First flowers of spring bloom profusely against Daffodil Yel- low, Heavenly Blue or Snow- drop White. Practical as it is term "open air concerts" had come performances pretty, rayon material launders to mean but one thing — by a brass band. What was now offered like a hankie. Robe in sizes was the playing of a symphonic en- 12 to 20. semble. Even the close friends of the young conductor, who backed him, did 17.50 so without conviction. What actually occurred was the es- tablishment of the Esplanade Concerts MAKANNA, INC. as a favorite annual attraction for au- did 416 Boylston Street, Boston diences of astounding proportions. It not take long for the series to acquire Hyannis • Wellesley an annual attendance of somewhere around a quarter of a million persons representing all ages and all walks of [ 1S64 ] life from in and out of Boston. The basic principle of the Esplanade Con- 9So t*fljfcn fffofi >tMSn certs from the first has been the per- formance by an orchestra of Boston Symphony musicians, free of admission charge. In the first two seasons they were financed by a small group of pub- lic-spirited citizens. With the setback of the great business depression of the thirties, it was a question whether the concerts would be forced to lapse be- cause of the reverses suffered by the sponsors. Mr. Fiedler then decided to ask for a large number of small con- tributions from the general public. The plan worked. For nineteen consecutive summers the public has had its Espla- nade Concerts. Small contributions from thousands have furnished the support. Unlike other outdoor orchestral series, the Esplanade Concerts are without en- closure, gates, or ticket windows. When you step from the sidewalk onto a vast lawn facing the stage, you are in what passes for an auditorium. You may settle yourself on the grass, stand on the outskirts or hire a chair for a dime, but the chairs are not prearranged. You get yours from a stockpile and put it in any unoccupied territory you like. No matter how affluent you may be, you cannot hire a reserved seat. This scheme of affairs has shaped the character of the concerts through the years. Aiming to attract a new public to orchestral music, Mr. Fiedler intro- duced the orchestral repertory by easy stages. When symphonies appeared, one or two movements only were played in a single evening.