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Boston Symphony Orchestra Concert Programs, Season 75, 1955-1956

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Boston Symphony Orchestra Concert Programs, Season 75, 1955-1956 SYMPHONY HALL, BOSTON Telephone, Commonwealth 6-1492 SEVENTY-FIFTH SEASON, 1955-1956 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1956, BY BOSTON SYMPHONY ORCHESTRA, LtlC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Talcott M. Banks, Jr. C. D. Jackson John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Charles H. Stockton Francis W. Hatch Edward A. Taft Harold D. Hodgkinson 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 Assistant Treasurer J. J. Brosnahan, N. S. Shirk \ Managers Rosario Mazzeo, Personnel Manager [997] THE LIVING TRUST How It Benefits You, Your Family, Your Estate Unsettled conditions . new inventions . political changes . „ interest rates and taxes, today make the complicated field of in- vestments more and more a province for specialists. Because of this, more and more men and women, with capital to invest and estates to manage, are turning to the Living Trust. WHAT IT IS The Living Trust is a Trust which you establish to go into effect during your lifetime, as part of your overall estate plan, and for the purpose of receiving professional management for a specified portion of your property. It can be arranged for the benefit of yourself, members of your family, or other individuals or charities —and can be large or small. We will be glad to meet with you and your attorney, in strict con- fidence, to discuss a Living Trust as it fits in with your situation,, For an appointment, at your convenience, please write or call the Personal Trust Department of the National Shawmut Bank, Boston, Massachusetts. No obligation, of course. Send for the Shawmut Bank's informative new booklet, "The Living Trust". It tells the whole story. Yours without charge. The National Shawmut Bank of Boston Member Federal Deposit Insurance Corporation SYMPHONIANA MARTINU "Speaking of the Man" THE TROUSSEAU HOUSE OF BOSTON Milos Safrdnek concludes his book on Martinu by describing how this com- poser, who "in everyday life gives the impression of being shy, polite, indul- gent towards the weaknesses of his fel- low men," could rise to "fury" when at a rehearsal in Prague his "The Miracle of Our Lady" was being mangled. In these outbursts of justified anger I found the true characteristics of Mar- tinu's personality, his deep convictions, and his artistic greatness of stature. Martinu imagines "intensely and com- prehensively," as Shelley expressed it in his Defence of Poetry; and his imag- ination is "the great instrument of moral good, the organ of the moral na- ture of man." He lays aside his own individuality, divesting himself of all personal uncertainty; and, by putting himself into the place of others in the widest sense, comes into the open and reaches a definite impersonal expression of artistic truth, emotionally as well as rationally. In The Miracle of Our Lady Martinu does not portray his personal problems, but those of mankind in gen- eral — the moral, intellectual, and emo- tional values common to all. He is firmly opposed to anything that might breath of spring . zephyr separate him from the common man. Everything that the egotism of the artist light nylon tricot gown might bring forward to set himself flocked with frosty white above his fellow creatures — that is not blossoms edged with pink "along the line of an unselfish devotion or green . the gown to the best," is foreign to him. Mar- trimmed with nylon val tinu's greatest realities lie in the values lace. Sizes small, medium, created by relationships ; he agrees with modern philosophy that "no part of the large. living world can be known by itself long, 22.95 alone." He is intensely conscious of all ballerina, 18.95 the changes of the present times, be- lieving that we are, in the words of Professor Flewelling, only on "the 416 Boylston St., Boston threshold to yet greater truths of a 54 Central St., Wellesley relational world." [999] And yet in spite of this quality of impersonal detachment Martinu's work is a full expression of himself. No ex- C^handl er s ternal mandate, no material difficulties — of which he has had more than his West Streets, Boston Tremont and share — have ever been able to divert him from his chosen path and artistic goal. He is not lacking in depth or sub- stance, although, because his work is without those superficial effects and meaningless climaxes which to certain critics imply these qualities, he is some- times held to be so. Martinu's own opinion is that his music can best be regarded from the point of view of light. The shadows are created by the angles at which the light is projected upon the subject. It is not necessary to create darkness in order to produce light; quite the contrary. And for Martinu light signifies life — "the total push and pressure of the cosmos," as William James has expressed it. To him it does not include isolationism, analysis of the ego, renunciation, self- pity, or the baring of a deep inaccessible soul. It is energy, strength, pure joy, even humor; and, above all, it is faith and conviction. Martinu is in every way a positive man, and his work a living organism. He possesses what Goethe calls "die exacte Phantasie," and is firmly in opposition to all Faustism, skepticism, and irony — in a word, to the entire "superman" complex. The "Demon of the Absolute," which for so long haunted romantic music, does not exist for him. Martinu is firmly convinced that with the end of the present thirty years' war mankind is approaching a new era; and this is anticipated in his work. He be- lieves that this new era — just as after ... of Spring, too, of course! the crusades — will be happier, more chivalrous; that it a vast collection for juniors, misses, poetic, and more will bring the true brotherhood of man. and women, now blooming in He also feels that after the present crisis the arts will rise in all their CHANDLER'S THIRD FLOOR grandeur, purity, and beauty. In the FOR SUITS cause of this new art — this music for man — Bohuslav Martinu is one of the most humble and faithful of workers. 1 ooo The shape that conquered an Emperor . Late-day allurement by Larry Aldrich 1 hose Empress Josephine charms again ensnare the fashionable world — and Spring is more delightful be- cause of it! We like this Larry Aldrich shaping of the Empire — a pure lyrical line in fine, thin wool ... a graceful Obi-sash behind you. Grey or navy. 8 to 16. $79.95 filene's french shops, seventh floor. [ iooi ] Mr. Steppington Declares a Dividend Mr. Stepping ton's young- set forth in the 20-page book- sters have an uncanny way of let, "Wills and Trusts." You're knowing just the right time to invited to send for a copy. discuss finances. Yesterday "the old man" was a wonderful target. He had just returned from reviewing his will at Old Colony. WORTHY OF YOUR TRUST Mr. Steppington, with his lawyer, looked over his original Old Colony plans. Made a few changes. Dis*- Trust Company cussed the tax situation. And ONE FEDERAL STREET, BOSTON left feeling everything was in T. JeffeRson Coolidge Chairman, Trust Committee wonderful shape—and certain- Robert Cutler ly in the right hands. Chairman, Board of Directors The reasons for reviewing Augustin H. Parker, Jr. your will, and the many advan- President tages of appointing Old Colony Arthur L. Coburn, Jr. Chairman TrustInvestmentCommittee as Executor and Trustee, are y Allied with The First National Bank of Boston [ 1002 ] SEVENTY-FIFTH SEASON • NINETEEN HUNDRED FIFTY-FIVE AND FIFTY-SIX Nineteenth ^Program FRIDAY AFTERNOON, March 16, at 2:15 o'clock SATURDAY EVENING, March 17, at 8:30 o'clock Beethoven Overture to "Coriolan," Op. 62 Martinu "Fantaisies symphoniques" (Symphony No. 6) I. Lento; Allegro; Lento II. Allegro III. Lento; Allegro (Composed for the 75th anniversary of the Boston Symphony Orchestra) INTERMISSION Dvorak Concerto for Violoncello, in B minor, Op. 104 I. Allegro II. Adagio ma non troppo III. Finale: Allegro moderato Falla Three Dances from the Ballet "El Sombrero de Tres Picos" SOLOIST LEONARD ROSE These concerts will end about 4:05 o'clock on Friday Afternoon; 10:20 o'clock on Saturday Evening. BALDWIN PIANO RCA VICTOR RECORDS [ 1003 ] Mtym. the new deep-set hat . focal point of your Easter costume, an indispensable of Spring fashion '56. So many versions, so many heady colors from which to pick your fancy. A big beautiful example . our meringue glace straw, riding light and high, 12.95 From our exciting new hat collections, second floor and Chestnut Hill. [1004] OVERTURE TO "CORIOLAN," Op. 62 (after Collin) By Ludwig van Beethoven Born at Bonn, December 16 (?) , 1770; died at Vienna, March 26, 1827 Beethoven composed his overture on the subject of "Coriolanus" in the year 1807. It was probably first performed at subscription concerts of Prince Lobkowitz in Vienna, in March, 1807. The Overture was published in 1808, with a dedication to Court Secretary Heinrich J. von Collin. The orchestration is the usual one of Beethoven's overtures: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. The last performances by the Boston Symphony Orchestra in this series were on April 30-May 1, 1954.
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