SYMPHONY HALL, BOSTON
HUNTINGTON AND MASSACHUSETTS AVENUES
Telephone, Commonwealth 6-1492
SEVENTY-SECOND SEASON, 1952-1953
CONCERT BULLETIN of the
Boston Symphony Orchestra
CHARLES MUNCH, Music Director
Richard Burgin, Associate Conductor
with historical and descriptive notes by fOHN N. BURK
COPYRIGHT, 1952, BY BOSTON SYMPHONY ORCHESTRA, ItlC.
The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.
Henry B. Cabot . President
Jacob J. Kaplan . Vice-President
Richard C. Paine . Treasurer
Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Charles D. Jackson Theodore P. Ferris Michael T. Kelleher Alvan T. Fuller Lewis Perry N. Penrose Hallowell Edward A. Taft
Francis W. Hatch Raymond S. Wilkins Oliver Wolcott
George E. Judd, Manager
T. D. Perry, Jr. N. S. Shirk, Assistant Managers
[ 145] 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
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We will be glad to meet with you and your attorney, in strict con-
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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
[146] SYMPHONIANA
(Quoted from the Sunday Times, THE TROUSSEAU HOUSE OF BOSTON London, October 12, 1952.)
SALUTE TO A MASTER
Today Dr. Ralph Vaughan Williams is eighty. Few English musicians have earned the respect and affection which he inspires and which will be celebrated today and throughout the coming musi- cal season. Time alone will show the permanent value of his work, which ranges from the mystic, Vaughan- side of his personality, seen in such works as the Magnificat and Mass, to the down-to-earth Williams of "Hugh the
Drover," and other works character- istically redolent of his native soil.
Today it is one of the chief glories of our national music.
In the best sense Vaughan Williams is a popular composer. He sings his native land from an inner compulsion and not from an aesthetic which has been forced upon him. No composer of his stature has thrown himself so whole- heartedly into the musical life of his country. He has not only written works for the Church, concert-room and touch of heaven theatre, but is an editor of the English in this sky blue-pink Hymnal, and a pioneer of the folk- pastel plaid — of gloriously song and folk-dance movement. warm zephyr wool — accented at cuffs, front, For half a century he has been a down the and key • figure in English music, fearless, on the belt with shimmering forthright and of unimpeachable in- pastel satin. tegrity in his life as in his work. Sizes 10 to 20 39.95 Vaughan Williams has never given or encouraged press interviews. He 416 Boylston St., Boston once expressed his views on the art of 54 Central St., Wellesley which he is a master in a book of essays, "National Music," to which he
[147 1 still directs those who seek his opinion nical comments, pencilled in that il- on general musical matters. But specific legible hand that has long been the musical advice he has never withheld. despair of music-copyists, before rushing
In his present intense activity, com- off — to hear Mozart's "Seraglio" at posing and supervising performances of Sadler's Wells. his own music, he still finds time to AMERICAN ARTISTS make precious suggestions to his junior An exhibition, "Painters of the United colleagues. One afternoon last week he States, 1720 to 1920," is in the followed from score "A Tale of Two now Gallery. It is loaned the International Cities," the opera the Arts Council by commissioned from Arthur Benjamin Business Machines Corporation. last year, while the composer played it A chronological chart of American to a small gathering of friends. At the painters with parallel developments in end of the session "R.V.W." presented other arts and in science is shown in his host with a sheaf of detailed tech- the Huntington Avenue foyer, first floor.
UNUSED TICKETS
In the present completely subscribed season, many
people are waiting for an opportunity to hear a
Boston Symphony concert. Subscribers 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 — Common- wealth 6-1492.
[148] filene's
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[149,1 Nothing is permanent except change — Heraclitus
The Spring Lane Chapel of the Old South Meeting House, birthplace of YMCA,December28,i85i.
The Huntington Avenue Branch building, largest of the ii branches in the Boston YMCA.
"Teaching 'The Good Way "for IOO Years
A century ago the Boston Company about the advantages Young.Men's Christian Associa- of Old Colony's services as Ex- tion was founded to provide ecutor and Trustee. A copy of moral leadership, recreation and Wills and Trusts will be sent to educational opportunities for you upon request. youth. Today thousands of young men look to the "Y" for these needs. Boston has changed greatly since the YMCA first opened. Great changes, too, have taken place in the problems of an indi- WORTHY OF YOUR TRUST vidual who wants to make proper provision for his family. To Old Colony meet them, an up-to-date will is essential. If you have no will, or Trust Company if it has not been recently re- ONE FEDERAL STREET, BOSTON viewed, you should see your T. Jefferson Coolidge lawyer at once. Chairman, Trust Committee To help you deal with chang- ing conditions and tax laws, you Robert Cutler, President and your lawyer are invited to Arthur L. Coburn, Jr. consult with Old Colony Trust ChairmanyTrustlnvestmentCommittee
Allied withTnE First National Bank of Boston
[ J 5o] SEVENTY-SECOND SEASON, NINETEEN HUNDRED FIFTY-TWO AND FIFTY-THREE
Fourth Program
FRIDAY AFTERNOON, October 24, at 2:15 o'clock
SATURDAY EVENING, October 25, at 8:30 o'clock
RICHARD BURGIN Conducting
Hindemith Concerto for Organ and Chamber Orchestra, 'Op. 46, No. 2 I. Nicht zu schnell II. Sehr langsam und ganz ruhig III. (First performance at these concerts)
Soloist: E. POWER BIGGS
Vaughan Williams Fantasia on a Theme by Thomas Tallis, for Double String Orchestra
Mahler "Songs of a Wayfarer"
I. Wenn mein Schatz Hochzeit macht II. Ging heut morgen iiber's Feld III. Ich hab' ein gliihend Messer IV. Die zwei blauen Augen von meinem Schatz
Contralto solo: EUNICE ALBERTS INTERMISSION
Shostakovitch Symphony No. 5, Op. 47
I. Moderato II. Allegretto III. Largo IV. Allegro non troppo
The Friday and Saturday concerts are broadcast each week from Station WGBH (FM). This program will end about 4:10 o'clock on Friday Afternoon. 10:25 on Saturday Evening.
BALDWIN PIANO RCA VICTOR RECORDS
[151] ,
PORTRAIT BY BRADFORD BACHRACH
atwb (omvattm
FOURTH FLOOR BOSTON ONLY
R. H. STEARNS CO. BOSTON CHESTNUT HILL
[ x 52] CONCERTO for Organ, Brasses and Woodwinds
(Kammermusik No. 7) By Paul Hindemith
Born in Hanau, Germany, November 16, 1895
This concerto was composed in 1929. It was performed on November 14, 1949 at a concert in Symphony Hall in which the new organ, then just installed, was introduced. E. Power Biggs was the soloist and Charles Munch conducted members of the Boston Symphony Orchestra.
The following chamber orchestra is required: flute and piccolo, oboe, clarinet and bass clarinet, 2 bassoons and contra-bassoon, horn, trumpet, trombone, cellos, and double basses. As in his other concertos with chamber orchestra accompaniment, l Hindemith here tends to give the parts to single instruments. He concentrates on the wind choir, using only the lower strings for bass purposes, the basses sometimes reenforcing the cellos. The second
movement is in the form of a canon in which the successive entrances
of the voices are given to the organ or single wind instruments. It is only thirty-nine bars long. The third movement, which has no tempo
indication but gives 184 for an eighth note, is a strong development V
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l [ 5$] of a fugal subject, the winds giving the exposition, the organ entering for the development.
Hindemith wrote much chamber music and has been plainly fond of small ensembles, the voices scored singly to accompany a solo in- strument. This, the seventh Kammermusik, was preceded by a Con- certo for Chamber Orchestra (No. 1) and concertos for the following instruments with chamber orchestra: piano (No. 2), cello (No. 3), violin (No. 4), viola (No. 5), viola d'amore (No. 6). Later (1930) he wrote a concerto for Viola and Large Chamber Orchestra and in
1935 his Schwannendreher for viola and small orchestra. There is also a Trauermusik for viola and strings. (Hindemith's fondness for the viola which he has often played in public is well known. The
Kammermusik No. 5 (listed above) was performed at these concerts February 5, 1938, when the composer was soloist.)
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>yir=ir= Of course, all n Elizabeth Arden Perfumes are from France a 1 E \ 1 1 24 Newbury Street, Boston 16 j^r=Jf=^r^rs^f=^i=^f=ar=Jr=zir=zJr=Jr^r^ 1 [ !54] YOUR TEAM...for Estate Planning Advice High taxes, high living costs, changed family situations and unsettled world conditions, have made many a per- sonal estate program out of date or inadequate today. Where should the man or woman, seriously concerned about this situation, turn for advice? We suggest this team of experienced advisers working together with YOU: THE ATTORNEY. For guidance in all legal questions and for drafting all legal instruments. THE INSURANCE UNDERWRITER. To help coordinate life insurance with the rest of the estate program, and provide quick cash for estate taxes. THE TRUST OFFICER. For experienced assist- ance on all practical problems, such as workable administrative and investment procedure. Our Trust officers are available at any time to cooperate for your family's greater benefit. BOSTON SAFE DEPOSIT AND TRUST COMPANY 100 FRANKLIN STREET • RALPH LOWELL, President [ 155] FANTASIA ON A THEME BY THOMAS TALLIS, for Double String Orchestra By Ralph Vaughan Williams Born at Down Ampney, between Gloucestershire and Wiltshire, England, October 12, 1872 This Fantasia was written for the Gloucester Festival of 1910, where it had its first 6. It published in 1921. The performance in the Cathedral on September was | first performance in this country was by the Symphony Society of New York, March 9, 1922. The first Boston performance was by the Boston Symphony Or- chestra, October 27, 1922. There have been subsequent performances November 23, 1923, December 2, 1932, ' April 6, 1939, May 1, 1942, and February 19, 1943 "*"pHE Fantasia is scored for string orchestra divided into three sec- " tions," so the composer explains. (1) Full body of strings. (2) Small orchestra of nine players. (3) Solo quartet. These three bodies of players are used in various ways, sometimes playing as one body, sometimes antiphonally, and sometimes accompanying each other." Mr. Williams in the score specifies the second orchestra as consisting of nine players, "two first violin players, two second violin players, two ESTABLISHED 1833 un b eu e VaBle AS IT MAY SOUND... . . . you can literally "watch your Will at work," and, if less than satisfied with its performance, you can change its provisions. By establishing a Living Trust at Rockland-Atlas, you can see for yourself how effective your estate plan would be, in prac- tice. For further information without obligation, just phone, or write. ROCKLAND-ATLAS NATIONAL BANK of BOSTON Trust Department: 199 Washington Street Telephone Richmond 2-2100 MEMBER FEDERAL DEPOSIT INSURANCE CORPORATION [156] ! Recent Arrivals Gwfi at S. S. PIERCE'S Epicure Pickled Pineapple Chunks, 1 3 Yz oz. jar $ .63 Good sized chunks of luscious pineapple packed in a rich pickle-syrup. Their tang makes an excellent accompaniment to cold meats, baked ham and roasts. Red Label Peeled Pear Tomatoes, No. 2 J4 tin .41, 3 for. . . . 1.21 Small, pear-shaped, peeled tomatoes, attractive in salads. They have an excellent flavor. From California. Red Label Tiny Artichoke Hearts, No. 1 tin .69 Dainty, tender hearts of globe artichokes, packed in brine. Chill and serve as appetizers, add to all sorts of green salads or stuff with caviar for an hors d'oeuvre. Epicure Tree Pack Maraschino Cherries, 7 ~%. oz. jar .38 Two dozen plump Maraschino cherries on a smart little plastic tree that can be lifted right from the jar to the cocktail tray. Anne Russell's Artichoke Relish, 14 oz. jar .79 A zestful, tangy relish made in a South Carolina kitchen from Jerusalem artichokes, mustard, cabbages, onions, peppers and spices. Sharp and spicy Noack's Meat Galantine, 8 oz. tin .93 A new size of this delectable, cylinder-shaped luxury loaf made of selected meats and truffles. From Holland. Slice thin and serve as cold cuts. Shedd's Old Style Sauce, 8 oz bot 24 A sauce to serve with cold meat, Swiss cheese on rye or ham- burgers. Like a creamy mustard dressing, it has many uses, not the least of which is to add punch to lobster and shrimp salads. S. S. PIERCE CO. [157] viola players, two violoncello players, and one doublebass player. . . . The solo parts are to be played by the leader of each group." In 1567, Thomas Tallis, Gentleman of the Chapel Royal in the Court of Elizabeth of England, wrote eight tunes, each in a different mode, for the Metrical Psalter of Archbishop Parker. The Psalter, which now lies in the British Museum, shows the tunes in four-part harmony, each part printed separately. The cantus firmus, according to the following note, is in the tenor part: "The Tenor of these partes be for the people when they will syng alone, the other parts, put for greater queers, or to such as will syng or play priuatelye." Of the eight tunes, Vaughan Williams has chosen the third for the subject of his Fantasia. Each of them, and its corresponding mode, is charac- terized in the following eight rhyming lines: "The first is meeke: deuout to see, The second sad: in maiesty. The third doth rage: a roughly brayth, The fourth doth fawne: and flattry playth. The fyf th delight: and laugheth the more, The sixth bewayleth: it weepeth full sore. The seuenth tredeth stoute: in froward race, The eyghte goeth milde: in modest pace." PASTENE PRODUCTS . . . standard of good taste since 1874 [158] Hearers of the twentieth century may look in vain for any sugges- tion of raging or rough braying in the tune of Mr. Williams' choice. "Although this Fantasy may vividly conjure up for the hearer the England of Henry VIII, or of Elizabeth," writes Eric Blom, in his illuminating notes for the program of the B. B. C. Orchestra, "it must be listened to as a modern work and, but for the theme it bor- rows, an entirely original composition. Its form, however, approxi- mates one that was current in Tallis's own time — the fantasia or fancy for a consort of viols. It flourished greatly in the first half of the seventeenth century and was revised by Purcell near its end." Vaughan Williams gives the indication largo sostenuto, and opens his Fantasia softly with chords for the full orchestra, followed by a STORE HOURS 9:30 A.M. to 5:00 P.M. including Saturdays • Telephone Commonwealth 6-2970 [ !59] foreshadowing of the theme in the lower strings. The theme is then fully stated largamente under tremolo chords of the violins. A restate- ment with an ornamental figure in the second violins leads to a cadence and a portion where the first orchestra and the second, its slighter "echo," here muted, play alternate phrases in antiphonal fashion. Then, over the alternate groups, there is heard a portion of the tune newly developed by the viola solo and the violin solo in turn. The solo quartet also enters, and a varied fabric is woven be- tween the different groups. By these divisions of large and small groups and solos, a rich variety of tone color is obtained. Thomas Tallis is conjectured to have been born in the first years of the sixteenth century, for it is known that he was alive just before the close of the reign of Henry VII. A vaguer conjecture gives his birthplace as Leicestershire. He may have been a chorister at St. Paul's Cathedral. The first definite record of his career finds him at Waltham Abbey, where he was chosen Gentleman of the Chapel Royal in the reign of Henry VIII. In this capacity he adorned the courts in turn of Edward VI, Mary, and Elizabeth. He was married in 1552 and, according to the inscription upon his tombstone, lived with his Joan "in Love full thre and thirty Yeres." In j 557 he received from Mary Tudor a twenty-one years' lease of OLLIDGE Fashion Authority Always Identified With Quality In Boston . . . Tremont at Temple Place In Wellesley . . . Central at Cross Street Catering Complete Service for Parties, Teas, Receptions Casserole Dishes For Main Course at Small Dinners or Suppers Women's Educational and Industrial Union 264 Boylston Street, Boston — KE nmore 6-5651 [160] [presented for [Jour [Pleasure vtf The EMPLOYERS 9 GROUP Insurance Companies 110 MILK STREET, BOSTON 7, MASS. THE EMPLOYERS' LIABILITY ASSURANCE CORP., LTD. AMERICAN EMPLOYERS' INSURANCE CO. THE EMPLOYERS' FIRE INSURANCE CO. Another Musician-President a'T^HE visit to Symphony Hall of a X pianist-President of the United States reminded me," Delver Forfax said, "that an accomplished violinist once occupied the Presi- dency. In fact — an extraordinary thing in American history — it was his musicianship which was one of the foundation stones of his career in statesmanship. Who was he? Thomas Jefferson. "When young Tom, aged sixteen, entered the College of William and Mary in his native Virginia's capital, Williamsburg, he already THOMAS JEFFERSON had developed a skill on the violin quite remarkable for his day and environment. From early boyhood he had set out to distinguish himself on the instrument, working hard and well at the task. "Fortunately he had every encouragement for study and for appli- cation of the results. Music was important in the life of his wealthy and culture-minded family. His father, Peter, loved it, and included the subject in his well-stocked library, "Virginia's Royal Governor, the cultured Francis Fauquier, main- tained a really brilliant little court in his Williamsburg residence, which merited its local designation of the Palace. He lost no opportunity to add to his circle any man who could stand up to him in the discussion of politics, philosophy, literature — and the practice of music. An ex- cellent violinist himself, he took part with any available musicians in private musical evenings in the Palace once a week. With his violin for passport, the red-haired, freckled, tall and awkward young Tom soon had ready access to the Palace. "Attracting the Governor first as a violinist, he made a further im- pression with his mental powers, becoming a favorite guest. While the music-making delighted Tom Jefferson, his contact at the Palace with the Royalist host and the group of extraordinary minds among the Colonial guests drew out his latent powers and made him known as a man of mark beyond his years. "I wonder if Thomas Jefferson would have gone so far, so fast, toward leadership among the instigators of the American Revolution and the founders of the Republic, if he had not been a good violinist." [161] the manor of Minster, which he later designated as the only royal favor shown him in nearly forty years of service. A petition to Queen Elizabeth, made jointly with William Byrd, brought the grant in 1575 of a royal patent whereby the two musicians (Byrd was almost forty years younger) were entitled to the monopoly of music printing and music paper in England. Tallis and Byrd, as joint organists of the Chapel Royal, published songs of their own composition. Tallis died at his house in Greenwich November 23, 1589. A brass plate in the parish church in Greenwich bore this legend: — Entered here doth ly a worthy Wyght Who for long Tyme in Musick bore the Bell: His Name to shew, was Thomas Tallys hyght. In honest vertuous Lytf he did excell. He serv'd long Tyme in Chappel with grete prayse Fower Soveregnes Reygnes (a thing not often seen) I mean Kyng Henry and Prynce Edward Dayes, Quene Mary, and Elizabeth our Quene. He maryed was, though Children he had none And lyv'd in Love full thre and thirty Yeres, Wyth loyal Spowse, whose Name yclipt was Jone. Who here entomb'd him Company now bears. As he did lyve, so also did he dy. x In myld and quyet Sort (O! happy Man) To God full oft for Mercy did he cry. Wherefore he lyves, let Death do what he can. YOUR LEISURE with an Agency Account at the Merchants Under an Agency Account you may delegate to our Trust Department as much responsibility in the management of your property as you choose, relieving yourself if you like of such details as cutting coupons, collecting dividends and called or matured securities, attending to stock rights, stock dividends or reorganizations and assembling tax data. An experienced investment staff will have your securities under continuous supervision and, in the event of your illness or protracted absence from home, will credit your checking account with cash as available. Our Trust Officers will gladly explain in detail. ^MERCHANTS National Bank "/BOSTON Main Office: 28 State St. Uptown Branch: Boylston at Clarendon St. Member of the Federal Deposit Insurance Corporation [162] SONGS OF A WAYFARER By Gustav Mahler Born in Kalischt, Bohemia, July 7, i860; died in Vienna May 18, 1911 Mahler composed his song cycle Lieder eines fahrenden Gesellen in December, 1883, and orchestrated four of the six songs in 1897. The songs in their orchestral version ("with low voice") were first performed in Berlin under the composer's direction in March, 1896, when Anton Sistermans was the soloist. They were per- formed by the Boston Symphony Orchestra on February 5, 1915 with Paul Draper, tenor, as the soloist. The following orchestra is used: 3 flutes and piccolo; 2 oboes and English horn; 3 clarinets and bass clarinet; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; timpani, harp, bass drum, cymbal, triangle, glockenspiel and strings. Mahler occupied the position of second conductor of the theatre at Cassel from the end of 1883 to 1885. There he wrote the first of his song cycles, Lieder eines fahrenden Gesellen. He wrote his own text, basing both text and melodic style upon the folksong collections which he had absorbed almost as part of his nature and CHRISTMAS CARDS In all price ranges With a greeting With your name imprinted Four hundred designs available THE SOCIETY OF ARTS & CRAFTS 145 Newbury Street, Boston 16, Massachusetts The Window Shop, Inc. 56 Brattle Street, Cambridge GIFTS — RESTAURANT — CATERING We aid and employ new Americans A NON-PROFIT ORGANIZATION [163] which were to influence the music: of his first four symphonies. This cycle also vividly recalls the German Romantic tradition of the melancholy poet-lover in such works as Schumann's Dichterliebe and Schubert's settings of Die Winterreise and Die schoene Multerin. But with Mahler the melancholy is more violent, in more vivid contrast to the poet's susceptibility to the beauty of surrounding nature. The "blue eyes" and the "fair hair" of the girl for whose loss the poet grieves has been identified by Gabriel Engel with the actress, Johanne Richter, who was with Mahler at the theatre in Cassel (see page 174). The lilting folk-like melodies closely match the text of delight in nature and suit their naive simplicity and colloquial style. The songs are never for long unclouded, and even in the idyllic second, the "journeyman" poet at last finds his own heart desolate. Mahler was assembling material for his First Symphony, to appear in 1888, by the evidence of themes used both in this cycle and the symphony. The principal motive of the second song appears as the principal theme of the first movement in the symphony, there first stated by the cellos. The refrain in the fourth song Auf der Strasse stand ein Lindenbaum is found in the slow movement of the symphony as a second subject, iAltiLfa/tifojtMy 1 a New England ''"', institution I.J for quality shoes for women, men, girls, boys BOSTON AND WELLESLEY Children s Clothes INFANTS — BOYS +0 Six — GIRLS to Fourteen ENGLISH COATS — KILTS — PLAID JACKETS — BOYS' Eton Suits and separate Shorts. MISS WESTGATE 141 A Newbury Street, Boston Near Dartmouth St. Tel. KE 6-6513 [164] V? wdentimzm Come in now, and save yourself unnecessary hurrying later. Make your selection leisurely from the many albums in Paine's 1952 Christmas Card Shop . . . distinguished designs by the most famous names in greeting card art. DESIGNS BY . . . * T. V. ALLEN * HALLMARK * BUZZA-CARDOZA * MARIAN HEATH * CALIFORNIA ARTISTS * LEANDER * CHADWICK * NORCROSS * COUNTRY COUSINS * TESSIER . . . AND A HOST OF OTHERS (£Jlyffl/t/f0 FURNITURE COMPANY —S 81 ARLINGTON STREET • HAncock 6-1500 labeled "Wie eine Volksweise." The third song begins with cries of despair, suggesting dramatic ballads of the Romantic tradition. Only at the very end does the poet find peace in contemplation of his love, his pangs, the world about him, and his dreams. The translation which follows is by Louis Biancolli. It is chosen for its attempt to match the simple and direct language of the original. I. WENN MEIN SCHATZ HOCHZEIT MACHT Wenn mein Schatz Hochzeit macht, When my treasure becomes a bride, and Frohliche Hochzeit macht, has a merry wedding, that day will be Hab' ich meinen traurigen Tag! sad for me. I'll go to my dark little room, Geh' ich in mein Kammerlein, and weep over my treasure, over my Dunkles Kammerlein, dearest treasure. Weine, wein' urn meinen Schatz, Um meinen lieben Schatz! O little blue flower, don't fade away: O Blumlein blau! Verdorre nicht! sweet little bird, singing in the green Voglein suss! Du singst auf griiner copse, Oh, how beautiful the world is! Haide! Ach, wie ist die Welt so schon! Zikiith! Stop singing! Stop blooming! Spring is Singet nicht, bliihet nicht! gone. The time for singing is past! At Lenz ist ja vorbei! night when I go to sleep, I think only Alles Singen ist nun aus! of my sorrow! Des Abends, wenn ich schlafen geh', Denk' ich an mein Leide! Jewels of Distinction Carved fine jade with pearls 14k gold hand- made brooch. Attachment for your pearl necklace or gold chain. $135.00, incl. tax. Visit our carefully selected array of cultured pearl necklaces, earrings, bracelets, brooches and rings. Actual Size PAREXTI SISTERS 97 Newbury St. Boston, Mass. Jewelcraft Isaac S. Kibrick and Herbert V. Kibrick, C.L.U. Members Million Dollar Round Table Insurance Adviser Pension Plans, Group Insurance, Group Annuities 75 Federal Street Boston 10, Massachusetts Hubbard 2-4900 Brockton 2186 [166] — (( Recipe vra coniuctof two dashes of elegance, a soupQon of Gallic wit. writes Moss Hart about CktrksMmck the "Take one large measure of the most solid Have you heard Charles Munch conduct craftsmanship, add two dashes of international Boston Symphony Orchestra in elegance of the rarest vintage, sprinkle with a Beethoven: Symphony No. 1 soupgon of Gallic wit, age in years of experi- Haydn: Symphony No. 103, "Drum Roll" Schumann: Symphony No. 1, "Spring" ence, and you have the essential personality Bruch: Concerto No. 1 in G Minor. of Charles Munch. Funny thing, too, how it Menuhin, violinist Brahms: Symphony No. 4 all comes through whether he's playing Haydn, All on 45 rpm and Long Play Debussy, or Prokofieff. Inspiration with ele- gance—that's Charles Munch." Moss Hart RCA VICTOR RECORDS always available at A magnificent choice of RCA Victor Red Seal performances BOSTON MUSIC COMPANY MOSHER MUSIC COMPANY, INC. 181 Tremont Street 116 Boylston Street [167] II. GING HEUT MORGEN t)BER'S FELD Ging heut morgen iiber's Feld, I went this morning over the field; the Thau noch auf den Grasern hing. dew still hung on the blades of grass; Sprach zu mir der lust'ge Fink: a merry finch spoke to me: "Hey, you "Guten Morgen! Ei, Gelt? du! there, good morning to you. I say — you Wird's nicht eine schone Welt? there, isn't it a lovely world? Tweet! Zink! Zink! Tweet! So bright and lovely! Oh, how Schon und flink! I like the world!" Wie mir doch die Welt gelallt!" Auch die Glockenblum' am Feld Even the bluebell in the field gave me Hat mir lustig, guter Ding', merry morning greeting; the kindly Mit dem Glockchen, klinge, kling, thing, greeting me with its ding-dong- Ihren Morgengruss geschellt: ding: "Is it not a lovely world!" Heigho! "Wird's nicht eine schone Welt? Kling! Kling! And then in the sunshine the world j Schones Ding! began to sparkle; everything became song Wie mir doch die Welt gefallt!" and color! in the sunshine! Flower and Und da fing im Sonnenschein bird, large and small! Good morning, Gleich die Welt zu funkeln an; good morning! Isn't it a lovely world? Alles, Ton und Farbe gewann! Hey, you—a lovely world! Blum' und Vogel, gross und klein! shall I be happy too, now? No! No! Guten Tag! Guten Tag! And Happiness, I feel, can never, never Ist's nicht eine schone Welt? bloom for me! Ei, du! Gelt? Nun fangt auch mein Gliick wohl an? Nein! Nein! Das' ich mein', Mir nimmer, nimmer bliihen kann! la maisonette the little house of many designers 115 newbury street, boston interpreting — paris chic in aw* american way — recently arrived from paris with "le dernier cri de chapeaux" at the most reasonable with "la maisonette" prices [168] HENRY ENGELHARD STEINWAY Founder 1 797-1 871 r ^ 0. F. THEODORE STEINWAY CHARLES STEINWAY WM. STEINWAY ALBERT STEINWAY CHARLES H. STEINWAY FREDERICK T. STEINWAY WM. R. STEINWAY THEODORE E. STEINWAY Vice-President, Secretary President f 1 CHARLES F. M. STEINWAY THEODORE D. STEINWAY HENRY Z. STEINWAY JOHN H. STEINWAY FREDERICK STEINWAY Retail Dept. Engineering Factories Manager Advertising Manager Factory Apprentice Today, as always, the Steinway CHARLES Q. STEINWAY Sales Dept. is built by the Steinway family • Henry Engelhard Steinway built his Today's Steinways, moreover, are built first piano nearly a century ago. And to- from one of the country's largest reserves day, three generations of his descendants of choice pre-war lumber, seasoned to are actively engaged in building Stein- meet standards as rigid now as before ways. Their unfaltering guide is, and the war. always has been, the perfectionist ideals The perfectionist tradition of the Stein- that inspired the Founder. way family is active today. It remains Members of the Steinway family super- your assurance that this instrument will vise every phase of the building of this continue to honor the Steinway owner superb instrument . . . from selection of and representative, and the host of materials to the consummate craftsman- celebrated artists who, the world over, ship that invests the Steinway with its have made Steinway the "Instrument of matchless tone and durability. the Immortals." JWStein ert fcioni Jerome F. Murphy, President 162 Boylston Street, Boston Also at Wellesley Hills, Worcester and Springfield [169] III. ICH HAB* EIN GLt)HEND MESSER Ich hab' ein gliihend Messer, I have a glowing knife, a glowing knife Ein Messer in meiner Brust, in my breast; Oh, God! it cuts so deep in O weh! O weh—Das schneid't so tief every joy and every pleasure, so deep! In jede Freud' und jede Lust! It cuts so painfully and deep! Ach, was ist das fur ein boser Gast! Nimmer halt er Ruh', nimmer halt er Oh, what an evil guest that is! He never Rast! is at peace, he never takes a rest, neither Nicht bei Tag, nicht bei Nacht, wenn in the daytime nor at night when I'm ich schlief! asleep! Oh, what pain; what pain! O weh! O weh! Wenn ich in den Himmel seh', If I look up at the sky, I see two blue Seh' ich zwei blaue Augen steh'n! eyes fixed there. If I go into the O weh! O weh! yellow fields, from afar I see the blonde Wenn ich im gelben Felde geh', hair waving in the wind! Oh, what pain, Seh' ich von fern das blonde Haar im what pain! If I suddenly wake up from Winde weh'n! a dream, I hear her silver laughter O weh! O weh! sounding; Oh, what pain; what pain! Wenn ich aus dem Traum auffahr' I wish I were lying on the black bier and Und hore klingen ihr silbern' Lachen. never, never open my eyes! O weh! O weh! Ich wollt', ich lag' auf der schwarzen Bahr Konnt nimmer, nimmer die Augen auf- machen. • individual hair styling • expert permanent waving • French transformations vflfi^ • marcel waving lC»A* 420 Boylston Street, Circle 7-8798 ANDREW J. PETERS, INC. Offers you a complete selection of the finest AM-FM Table Radios and Console AM-FM Combinations with 3-speed players. Zenith Table Models — $84.95 — $64-95 — $54-95 General Electric Table Model — $59.95 Leading Makes of Television We specialize in Custom Furniture and Custom Bedding. We carry a complete line of Electrical Appliances. May we send you a folder describing our unique operation? 103 PORTLAND ST. LA 3-4190-4191 BOSTON 14, MASS. [170] YOU NEED Continuous ELECTRIC HOT WATER Say goodbye forever to hot water worries — install an automatic electric water heater. You'll agree there's no other heater on the market so completely care- free, efficient and safe. With Edison's special low water heating rate it's lowest in cost, too. So, visit your local Plumber, Electrical Dealer or Edison Shop for details on how easy it is to enjoy electric hot water. °n • TVsk GENEROUS INSTALLATION ALLOWANCE ht ">nel 4 See Your Electrical Dealer, Plumber or Edison Shop! BOSTON EDISON COMPANY [171] IV. DIE ZWEI BLAUEN AUGEN VON ME1NEM SCHATZ Die zwei blauen Augen von nieinem My treasure's two blue eyes sent me Scliatz, forth into the wide world. So 1 must Die haben mich in die weite Welt say goodbye to this dearest place of all! geschickt— Oh, eyes so blue, why did you look at Da musst' ich Abschied nehnicn me? Grief and sorrow are mine forever! Vom allerliebsten Platz! O Augen blau! Warum habt ihr mich I went away in the silent night, in the angeblickt? silent night over the dark heath; no one Nun hab' ich ewig Leid und Gramen! said goodbye to me. Goodbye! Goodbye! Ich bin ausgegangen in stiller Nacht, Goodbye! My companions were love and Wohl iiber die dunkle Haide; sorrow! Hat mir Niemand Ade gesagt. Mein Gesell' war Lieb' und Leide! Along the road there stood a lindentree. Auf der Strasse steht ein Lindenbaum, There for the first time I rested and Da hab' ich zum erstenmal im Schlaf slept! Under the lindentree! It snowed geruht! its blossoms over me. I knew nothing Unter dem Lindenbaum, now of life's ways — Everything, every- Der hat seine Bliithen iiber mich ge- thing was good again. Love and sorrow schneit— and world and dream! Da wusst' ich nicht, wie das Leben thut— War alles, alles wieder gut! Lieb' und Leid, und Welt, und Traum! in Bont* Whiskey Boorbon StrdgM Kentucky Iways the when Old good taste tune with choice for ^N-frts^c bourbon Have rrSes-benghtnote. always M OLD fITIGERALD iDFASHlOS".. J^soMfy {MM,^M^y^ [ *7 2 ] EUNICE ALBERTS Eunice Alberts was born in Boston, the daughter of Adele Alberts, a soprano who sang on several occasions with this orchestra (she died October 10, 1934). Miss Alberts studied in Boston at the Longy School and the New England Conservatory of Music and later en- rolled in the Opera Department of the Berkshire Music Center where she sang during seasons 1946-51. She has sung with the Boston Sym- phony Orchestra on numerous occasions. She is also known as a mem- ber of the New England Opera Theatre. Miss Alberts has figured prominently in the New York City Center Opera and has been soloist at the Lewissohn Stadium, the May Festivals at Ann Arbor and with various orchestras. The Right Place For Your Valuables is a safe deposit box providing at moderate cost: Protection from loss through misplacement, fire, theft, or other causes. The comforting knowledge at all times that you know exactly where your securities, jewelry, private papers, or other important items are. Facilities: Courteous attendants and a private room at your service while at the vaults. Annual rentals from $6.00 (includes Federal Tax) §tatc Street trust Company ^ BOSTON, MASS. MAIN OFFICE: Corner State and Congress Streets Union Trust Office: 24 Federal St. Copley Square Office: 587 Boylston St. Massachusetts Avenue Office: Cor. Massachusetts Ave. and Boylston St. SAFE DEPOSIT VAULTS AT ALL OFFICES Member Federal Deposit Insurance Corporation [173] ENTR'ACTE MAHLER'S FIRST LOVE Gabriel Engel, in his "Gustav Mahler, Song-Symphonist," tells the story of Mahler's infatuation with an actress in the theatre at Cassel, and allies it with his "Lieder eines fahrenden Gesellen," composed at the time. How closely Mahler may have identified Johanne Richter with the music and its moods would be as difficult to determine as to what extent Mathilde Wesendonck may have been the model for Wagner's Isolde It was during these days that he confessed himself really in love for the first time. Blue-eyed, blond-haired Johanne Richter was one of the singers at the theatre. Torn between the spell she cast over him and an ambition dictating solitude and celibacy Mahler was at last face to face with an intense, harrowing experience, the problem of the "inevitable one" he had jestingly predicted. Johanne, romantic and sympathetic, saw how distracted and worried he had become in the course of their few weeks of close friendship. Perhaps she recalled the tragic married life of Minna and Richard Wagner who had met 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 Henry H. Pierce President SHEET MUSIC • BOOKS • RECORDS MUSICAL GIFTS • TOYS RADIOS • PHONOGRAPHS hI:i KntinnmiiMMoston music Co. jr« R --- 6-5100 frjT — Nights Established 1885 116-122 Boylston Street — Near Colonial Theatre [174] under just the same circumstances. At any rate, she decided they must part. Mahler agreed with her. Thrown together daily by their theatrical duties they found the resolution to separate far easier than its accomplishment. Their constant efforts to loosen their attachment lent the entire love-episode the semicomical air of an endless leave- taking. Holidays struck them as best suited to the accomplishment of a permanent farewell. They parted at Christmas of that year (1884). New Year's Eve, however, seemed too significant a date to be neg- lected. They must meet just once again and sever for all time the sweet but troublesome bond. Mahler wrote his confidential friend about the meeting: "We sat yesterday evening alone at her home and awaited in al- most complete silence the arrival of the New Year. Her thoughts were not about the present and as the chimes sounded and the tears streamed down her cheeks the dreadful realization struck me that I was no longer privileged to dry them for her. She went into the adjoining room and stood quietly a while by the window. When she returned, still weeping softly, indescribable pain had set up a barrier between us. I could only press her hand and go. As I arrived at the outer door the bells were ringing merrily and from the tower JF or over 150 years we have enjoyed a repu- tation for fine luggage and leather goods. We present a distinguished collection of BOSTON handbags and gloves for fall and winter. W. W. WINSHIP INC. Berkeley 372 BOYLSTON ST. Between Arlington & of cAjibliincuonlu As In the cutting of a precious diamond, the making of an exquisite fur coat re- quires genuine craftsmanship. The dis- tinguished workmanship lavished on every Slocum Coat by our proud craftsmen makes Slocum first in style leadership. A fur coat in the "Traditional Slocum Manner" is cherished among fine things. * / W. V. SLOCUM 657 Boylston Street, Boston, at Copley Square I [175] came the glorious strains of a chorale. Ah, dear friend, it appeared as if the Supreme Stage-Director wished to give the occasion a truly artistic setting." Of course, they continued to meet as long as Mahler remained at Cassel. A letter dated May, 1885, takes up the theme: "When 1 wrote you some time ago that our affair had come to an end it was only the trick of the shrewd theatrical manager who announces 'Last performance!' only to follow it next day with another." Thinking of Johanne he pictured himself at last bound to leave her as one condemned to exile. Unconsciously he had lived himself into that fine cycle of songs, Lieder eines fahrenden Gesellen, for which he had written several poems under the inspiration of his love for Johanne. In these poems, four of which he then set and or- chestrated, he himself is the one "driven forth by the blue-eyes of his love"; and he departs broken-hearted to find his only consolation in the unchanging beauty and friendliness of nature. The texts of the songs are couched in the simple romantic language of the old folk- song. The tunes have the air of the simplest folktunes. But in the orchestration, prodigally rich and delicate, the real Mahler is evi- BEECHER HOBBS Highest quality phonographs, radio, and television FISHER high fidelity radio-phonographs MAGNAVOX television and radio-phonographs ANSLEY FM radios and phonographs ZENITH FM and AM radios MP high fidelity phonographs 1416 BEACON STREET, near Coolidge Corner BROOKLINE AS 7-4114 Open Friday evenings KEnmore 6-5010 Radio Controlled Taxicabs Safe Courteous Drivers [176] dent. The orchestral language is clearly his native tongue. In its vocabulary, the nuances of which he has mastered as perhaps no man before him, he can sigh or weep, smile or laugh at will; he can love or hate profoundly; he can shriek in insane terror or dream as sweetly as a child; he can sneer at the banalities of life or eulogize the grandeur of death. "I have written a song-cycle," he writes, "at present six songs, all of which are dedicated to her. She does not know them. But they can tell her only what she already knows. Their burden is, a man who has found only sadness in love goes forth into the world a wanderer." Had not the demands of the theatre consumed practically every bit of his leisure time he would have now devoted himself to the composition of his first real symphony. The experience of Parsifal had suggested to him the outlines of a great symphonic work; but these early sketches for it were suddenly supplanted by new, far clearer ideas born of a thrilling emotional adventure that Mahler had lived as a man. Out of the music and plot of the songs he had made "for Johanne" he now determined to fashion his first symphony. Accord- ingly, he sketched it in detail hoping the near future would bring him the leisure necessary for its completion. Score & Script Inc Books * Records 76 CHESTNUT STREET BOSTON 8 MASSACHUSETTS R I 2-3820 T. O. Metcalf Co. LETTER PRESS PRINTING PHOTO OFFSET Boston 10, Mass. 152 Purchase Street : : Telephone: HAncock 6-5050 [ 177] THE CASE OF SHOSTAK'OVITCH By Harold C. Schonberg (Quoted from the Musical Courier, March, 1952) Shostakovitch's Song of the Forests has just been put on records and made available for general sale in America. It is an oratorio for children's chorus, mixed choir, soloists and orchestra, and was composed in 1949 as a musical commemoration of the reforestation pro- gram then being carried out by the U.S.S.R. This score was the work that restored Shostakovitch to political favor after he had been ac- cused of formalism in the notorious 1948 resolution of the Central Committee of the U.S.S.R. ... I hastened to listen to his Song of the Forests, curious to learn what the recent Shostakovitch was writing and what it sounded like. The experience was shocking. It is sad to contemplate what has happened to Shostakovitch and, presumably, the rest of his front- line colleagues. Song of the Forests could have come from any minor Russian composer of the late nineteenth century or earlier. Glinka, say, with a touch of Rimsky-Korsakoff and a smattering of Tchaikov- sky. The score is almost completely diatonic. It is an "official" score, full of fragments of Russian folk song intended to have a wide melodic appeal. It tries hard to please the most conservative of tastes, and as a result it is completely depersonalized and vitiated. The score is worse Wm. & Capites! Co, SOLID SILVER FLUTES — PICCOLOS 108 jfWa**aclm£ette gbenue Boston 15, JWass Tel. Com. 7260 PARK YOUR CAR U PTOWN 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. [1 7 8] than innocuous; it is, considering what Shostakovitch could have been, actually sickening. But that's apparently what Soviet ideology wants and what Shostakovitch is forced to give. One of these days he may come out with an article disclaiming all of his other works. Does that sound far- fetched? Miaskovsky did that very thing. Nicolas Slonimsky, in his invaluable Music Since 1900, gleefully traced Miaskovsky's own com- ments on his early symphonies. Of the Sixth, Miaskovsky wrote: "Despite my instinctively correct ideological orientation, the absence of a theoretically fortified and rational world-outlook created in me sort of an intelligentsia-like neurotic and sacrificial conception of the Revolution; it was naturally reflected in the embryo of my Sixth Symphony." He apologizes for the Twelfth, which he says was in- spired by the first call to collectivization of peasant agriculture, be- cause it turned out "schematic" (a terrible sin in Soviet ideology). He completely disowns No. 13, a "very pessimistic work which I, in my creative blindness, regarded as an emotional experience." He is NEW ENGLAND CONSERVATORY OF MUSIC A College of Music Harrison Keller, Director Malcolm Holmes, Dean VIOLIN SEMINAR BY RUTH POSSELT A series of six sessions under Ruth Posselt devoted to the study of important violin literature. The works will be chosen from classic and contemporary violin literature. The course will meet Saturday mornings at 10 o'clock beginning Nov. 15 and on Dec. 13, Jan. 17, Feb. 14, March 14, April 18. The seminar is open to participating members and to auditors. For further information, apply to the Dean, 290 Huntington Ave., Boston, Mass. Tel. KE 6-8660 [179] hesitant about No. 14 — "although I cannot boast ol ireshness or originality of its musical idiom, I think that it possesses a vital spark." He does not believe, however, that No. 15 contains the ingredients of "the musical language of socialist realism." I don't think that there is a more damning indictment of the pressure of Soviet authority than in these frightened, desperate remarks of Miaskovsky. Soviet musical ideology had been formulated in the ]Q2o's, when the Russian Association of Proletarian Musicians published several mani- festos concerning the duty of the composer to "reflect the rich, full- blooded psychology of the proletariat, as historically the most ad- vanced, and dialectically the most sensitive and understanding class." (There is not a bit o^: historical truth in the statement.) In 1948 the Central Committee raised the roof over the unregenerate ways of its composers. Ostensibly the article that inspired the series of official rebukes was a scathing review of Muradeli's "fatal formalistic" opera, Great Friendship. But Shostakovitch, Prokofieff, Shebalin, Popov and Miaskovsky were bracketed with Muradeli as anti-democratic com- posers who wrote music that was the "negation of basic principles of classical music . . . strongly reminiscent of the spirit of contemporary SANDERS THEATRE On the radio . . . Kirkland and Broadway, Cambridge YOU CAN HEAR MONDAYS: Oct. 27-Nov. 3- Dec. I — 8:30 p.m. THE BOSTON The Cambridge Society SYMPHONY for Early Music ORCHESTRA ONLY THREE CONCERTS ON AN FM SET OF EARLY MUSIC Zenith FM-AM Radios . . . ERWIN BODKY. Music Director CHOICE OF THREE Soloists TABLE MODELS RUTH POSSELT, RICHARD BURGIN, violins $54.95 AND UP SAMUEL MAYES, 'cello ALFRED MANN, recorder HELEN BOATWRIGHT, soprano c. w. Season Tickets: $3 and $2 may be obtained by writing to Mrs. Hugh Homeyer & Co., Inc. Montgomery, 36 Gorham St., Cam- bridge 38, Mass. Single Tickets, $i 498 Boy1st on Street, Boston and 74c, at Briggs & Briggs, 1270 Mass. Ave., and at the door. (All tickets tax included.) [180] . modernistic bourgeois music of Europe and America." Shostakovitch & Co., it appeared, had "torn themselves away from the ideals and artistic tastes of the Soviet people." Even worse, said the Committee, the pernicious influence extended to the Moscow Conservatory (headed by Comrade Shebalin, it was carefully pointed out), "where the for- malistic tendency is predominant." All of this meant, raged the Com- mittee, that a section of Soviet composers had not yet broken away from the bourgeois ideology as exemplified in the decadent European and American music. The Soviet musicians in Moscow hastily met in penitence. Their abject letters to the Central Committee are a matter of sad record. The poor devils sounded scared stiff. Muradeli sweat bullets trying to explain the failure of his opera and his personal failure "to work on the improvement of my ideological political education," not to mention his failure to pay attention to the "voice of the people." How could it have happened that he had failed to introduce even one teeny-weeny folk song into his opera? he plaintively asked. Shostakovitch expressed deep thanks to the Central Committee for chastising him and promised to be a good boy in the future. Khatcha- turian admitted his formalistic errors, explaining them partly on the Enjoy the thrill of real . . High Fidelity Reproduction INSTALL AN (l 3551) VICTOR SOUND SYSTEM IN YOUR HOME for all the original realism of music . . . for genuine enjoyment of all recordings and AM-FM radio. RCA Victor Sound Equipment for Home Installations is available exclusively in Boston at LOUIS M. HERMAN COMPANY, 885 BOYLSTON ST., BOSTON Established 1928 SAVE TIME CONVENIENT PARK YOUR CAR at the WESTLAND AVE. GARAGE We are one minute from Symphony Hall [181] grounds that he had been preoccupied with developing his musical technique. (This is the strangest reason ever advanced by a composer.) Prokofieff was the only composer who did not rend his hair and lick the ground. He apologized, like the rest of his colleagues, but under- neath the apology one senses a strong undercurrent of resentment. Prokofieff, after all, happens to be one of the greatest living composers, and one of the most complete musical technicians; and one can imagine his feelings on being told by some thick-headed commissar in charge of ideology that he doesn't know what he is doing. All this is ancient history, but it deserves re-telling. Shostakovitch's feeble Song of the Forests is the logical continuation of the 1948 declarations. Of course, Shostakovitch's case is not unique. Soviet sculptors, painters, poets, novelists, dramatists — all are in the same boat. Soviet Russia has by now eliminated itself as a positive force on the contemporary esthetic scene. To a second-rate talent, the Soviet strictures make no difference. Mediocrity, indeed, would (and does) thrive on such conditions. A first-rate talent — a Shostakovitch or a Prokofieff — who has strong esthetic beliefs about the music he writes must find those conditions intolerable. For what it amounts to is complete musical decadence, the very Boston's Perpetual Flower Show Tel. CO 6-3637 [182] decadence of which the Central Committee accuses Western Europe and America. Decadence in any art (and perhaps decadence in gen- eral) can be described as an increase in technique without a corre- sponding increase or addition of emotional validity. There is decadence enough in Western Europe and America, God knows! But at least our best composers avoid it, and our best young composers are con- stantly experimenting in the hope of finding an honest and personal outlet for their ideas: their ideas, not the State's. As to what the state of criticism must be in Russia, it boggles description. Poor Khatchaturian made apologies for concentrating on his musical technique. The fact is that the Soviet composers seem to be unan- imously well trained, with all the technique in the world. They are, indeed, constantly developing their techniques, and are using it more and more to say less and less. When the end comes it will be (to use T. S. Eliot's well-worn line) not with a bang but with a whimper. fiEVER BEFORE in America's industrial history has the essential need of catalogs and other forms of printed information and material been so clearly evident. Efforts to resume production, to re-sell neglected markets, are helped by the up-to-date bulletins issued by the suppliers to Industry —or hampered by the lack of them. Now is the time to revise or replace your catalogs and mailing pieces. Let us help you schedule your printing needs. PRINTERS SI 272 CONGRESS STREET • BOSTON • LIBERTY 2-7800 [183] SYMPHONY NO. 5, Op. 47 By Dmitri Shostakovitch Horn September 25, 1906, at St. Petersburg Shostakovich composed his Fifth Symphony for performance in celebration of the twentieth anniversary of the Republic of Soviet Russia. The first of a series of performances was given at Leningrad, November 21, 1937. The first performance at Moscow was on the 29th of January following. The Symphony had its first American hearing at a broadcast concert of the National Broadcasting Company, in New York, April 9, 1938, Artur Rodzinski conducting. The Symphony was performed by the Boston Symphony Orchestra, January 20, 1939, Richard Burgin conducting, and under the direction of Serge Koussevitzky, October 18, 1940, January 3, 1941, December 26, 1941, April 30, 1943, November 12, 1943, November 24, 1944 (Leonard Bernstein conducting) , and March 5, 1948. The Symphony is scored for 2 flutes and piccolo, 2 oboes, clarinets in A, B-flat, and E-flat, 2 bassoons and contra-bassoon, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, bass drum, cymbals, triangle, tambour militaire, tam-tam, xylophone, bells, celesta, piano, two harps and strings. The Fifth Symphony is conceived, developed and scored for the most part with great simplicity. The themes are usually melodic and long-breathed in character. The manipulation of voices is plastic, D. W. DUNN CO. oUNB Est. 1896 WATERTOWN—24 Mt. Auburn St. NEWTONVILLE — 279 Walnut St. WELLESLEY — 448 Washington St. SOMERVILLE—401 Highland Ave. BOSTON MEDFORD — 75 Riverside Ave. CHESTNUT HILL — 1 Boylston St. DAVID BLAIR McCLOSKY TEACHER OF SINGING BARITONE VOCAL THERAPIST BOSTON UNIVERSITY COLLEGE OF MUSIC, BOSTON, MASS. DIRECTOR: PLYMOUTH ROCK CENTER OF MUSIC AND DRAMA, INC By Appointment CO 6-6070 [184] SYMPHONY HALL, BOSTON Seventy-Second Season, 1952-1953 Boston Symphony Orchestra CHARLES MUNCH, Music Director Six Sunday Afternoon Concerts at 3 o'clock NOVEMBER 2 JANUARY 4 FEBRUARY 22 NOVEMBER 30 JANUARY 25 MARCH 22 (L^) Soloists ARTHUR GRUMIAUX Pianist JEAN BEDETTI Violin to be announced Cello Guest Conductor PIERRE MONTEUX Series Tickets available at $7.20, $10.80, $14.40, $18.00 Subscription Office • CO 6-1492 BALDWIN PIANO RCA VICTOR RECORDS [185] but never elaborate. The composer tends to present his material in the pure medium of the string choirs, notably in the opening and slow movements, where wind color and sonority are gradually built up. The first movement and the last gain also in intensity as they unfold by a gradual increase of tempo throughout, effected by con- tinual metronomic indications. The first movement opens with an intervallic theme, stated antiph- onally between the low and high strings. From it there grows a theme (violins) in extensive, songful periods. The development is in the nature of melodic cumulative growth. The first theme returns in horns and trumpets, and subsides to the gentle voice of the violins, over a characteristic triple rhythmic figure. As the tempo quickens, the rhythms tighten and become more propulsive, while the melody, sounding from the brass choir, becomes exultant in animation. The recapitulation suddenly restores the initial slow tempo as the first theme is repeated by the orchestra in unison, largamente. The for- tissimo strings and deep brass give way to a gentler reminiscent mood, as the wood-wind voices, here first fully exploited, bring the move- ment to a close. The second movement is in the historical scherzo form with clear traces in the course of the music of the traditional repeats, trio section and da capo. The themes are in the triple time of the Austrian handler, from which, in the past, scherzos have sprung. The slow movement, like the first, is one of gradual melodic growth, from string beginnings. The theme, too, is reminiscent of the first theme in the opening movement. The individual voices of the wood wind enter, and the tension increases as the strings give a tremolo accompaniment, ANITA DAVIS-CHASE Announces SYMPHONY HALL SUN. AFT., NOV. 9 AT 3 VLADIMIR HOROWITZ Electrifying, Piano Virtuoso TICKETS: $4.80, $4.20, $3.60, $3.00, $2.40, $1.80, $1.20 (tax incl.) Tickets now at box office (Steinway Piano) [186] and sing once more, muted and in the high register. The movement attains, at its climax, an impressive sonority without the use of a single brass instrument. The finale, in rondo form, devolves upon a straightforward and buoyant march-like rhythm and a theme unmistakably Russian in suggestion. There is a slow section in which the characteristic triple rhythm of the first movement reappears. The first theme of that movement is treated by the violin solo with fresh melodic develop- ment. There is a constant increase in tempo as the conclusion is approached. s&*ocv&> Civic Symphony Orchestra of Boston Scholarship Fund Benefit Concert MAXIM KAROLIK, Tenor Assisted by Frances Leahy, Soprano Jules Wolffers at the Piano Mr. Karolik discontinued his public singing while making the two M. and M. Karolik Collections now in the Boston Museum of Fine Arts. This is his first public appearance in eleven years. Program includes songs in Russian by Tchaikovsky, Borodin, Moussorgsky Scenes from Verdi Operas JORDAN HALL WEDNESDAY EVENING, NOVEMBER 5, AT 8:30 Tickets: $5.00, $2.50, $1.25 Mrs. L. H. Klebenov, 386 Commonwealth Avenue, Chestnut Hill or Jordan Hall Box Office L T C^lMiOttSTORES FINE WINES & LIQUORS RARE IMPORTED VINTAGES • CHARGE ACCOUNTS INVITED DELIVERY SERVICE 70 SUMMER ST. • BOSTON • HUbbard 2-7272 ) 1024 BEACON ST. • BROOKLINE ASpinwall 7-7020 SOUTH STATION CONCOURSE Opp. Track 17 [187] ! jH fe«B&iifa>pfi^ft how to bring the symphony hOHlB The entire performance of the Boston Symphony is broad- cast direct from the hall each Friday afternoon and again on Saturday night over WGBH, exclusively on FM. You can bring the symphony home with a GOOD FM receiver! Much of the Orchestra's repertoire is available to you on RCA-Victor LP and 78 rpm records. You can bring the Symphony home with a GOOD record changer and amplifier-speaker system! Note, please, that we have used the word GOOD. By Radio Shack standards, this word is not synony- mous with any commercial radio set or console. ALTEC-LANSING DUPLEX SPEAKER To bring the symphony home with every note, tone and instrument intact and undistorted, you need a high-fidelity home music system capable of reproducing the entire range of audible sound at any desired volume level. A high-fidelity system—such as the famous ALTEC- LANSING system shown at the right—is actually a "radio" broken up into 3 parts: radio tuner, amplifier, loudspeaker. Each part is separately built. A record changer, TV tuner or tape recorder may be added at any time ! The parts may be housed in any space, furniture, or a Radio Shack cabinet. Their functions may be remotely controlled. Altec-Lansing and similar instruments may be seen, heard, and compared in Radio Shack's world-famed "Audio Com- parator". They are owned by music lovers in all walks of life, including such distinguished Bostonians as Arthur Fiedler, E. Power Biggs, and Josef Zimbler, whose record- ings and broadcasts are so proud a part of New England's/ world music tradition ALTEC-LANSING AMPLIFIER FREE! 32-PAGE CATALOG! RADIO SHACK Write or drop in for your copy of "Music CORPORATION In Your Home"—Radio Shack's new roto- gravure radio-phono system folder. 167 Washington St., Boston 8, Mass. [188] 1 SEVENTY-SECOND SEASON, NINETEEN HUNDRED FIFTY-TWO AND FIFTY-THREE ffifth Program FRIDAY AFTERNOON, October 31, at 2:15 o'clock SATURDAY EVENING, November 1, at 8:30 o'clock Vivaldi Concerto in D minor, Op. 3, No. 1 I. Maestoso II. Largo III. Allegro Mendelssohn Symphony No. 4 in A major ("Italian"), Op. 90 I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello: Presto INTERMISSION Haieff Concerto for Piano and Orchestra I. Moderato II. Allegro III. Andante; Allegro {First concert performance) Ravel Bolero SOLOIST LEO SMIT The program will end about 4:05 on Friday Afternoon, 10:20 o'clock on Saturday Evening. Scores and information about music on this program may be seen in the Music Room of the Boston Public Library. BALDWIN PIANO RCA VICTOR RECORDS [189] Boston Symphony Orchestra (Seventy-second Season, 1952-1953) CHARLES MUNCH, 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 Theodore Brewster George Zazofsky Eugen Lehner Rolland Tapley Albert Bernard Contra-Bassoon Norbert Lauga George Humphrey Richard Plaster Harry Dubbs Jerome Lipson Vladimir Resnikoff Louis Artieres Horns Harry Dickson Robert Karol James Stagliano Hansen Einar Reuben Green Harry Shapiro Leibovici Joseph Bernard Kadinoff Harold Meek Gottfried Wilfinger Paul Keaney Vincent Mauricci x Emil Kornsand Walter Macdonald Roger Schermanski Violoncellos Osbourne McConathy Carlos P infield Samuel Mayes Paul Fedorovsky Alfred Zighera Trumpets Minot Beale Jacobus Langendoen Roger Voisin Herman Silberman Mischa Nieland Marcel Lafosse Stanley Benson Hippolyte Droeghmans Armando Ghitalla Leo Panasevich Karl Zeise Gerard Goguen Sheldon Rotenberg Josef Zimbler Bernard Parronchi Trombones Knudson Clarence Enrico Fabrizio [acob Raichman Pierre Mayer Leon Marjollet William Moyer Manuel Zung Kauko Kahila Flutes Samuel Diamond Josef Orosz Victor Manusevitch Doriot Anthony James Nagy James Pappoutsakis Tuba Phillip Kaplan Leon Gorodetzky Vinal Smith Raphael Del Sordo Piccolo Melvin Bryant George Madsen Harps Stonestreet Lloyd Bernard Zighera Oboes Saverio Messina Olivia Luetcke William Waterhouse Ralph Gomberg William Marshall Jean Devergie Timpani Ostrovsky John Holmes Fredy Roman Szulc Basses English Horn Charles Smith Georges Moleux Louis Speyer Willis Page Percussion Clarinets Ludwig Juht Harold Farberman Irving Frankel Gino Cioffi Everett Firth Henry Freeman Manuel Valerio Harold Thompson Henry Portnoi Pasquale Cardillo E\) Clarinet Gaston Dufresne Librarians Henri Girard Bass Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Leonard Burkat [190] MUSICAL INSTRUCTION JULES WOLFFERS Instruction and Courses for Pianists and Teachers Coaching for those preparing public appearances 1572 BEACON STREET, WABAN 68 BI 4-1494 CHARLES W. MOULTON TEACHER OF PIANOFORTE Simplified explanation and application of renowned Matthay principles. Town Studio Country Studio 169 Bay State Rd. 1192 Greendale Ave., Needham Cir 7-7661 Telephone Needham 1550 LEONARD ALTMAN Teacher of Pianoforte 135 Newbury Street, Boston, Mass. KE 6-5183 GA 7-3294 JAMES GRAY PIANIST TEACHER Associate of the late Felix Fox 169 Bay State Rd. Mondays Tel. Circle 7-7661 MILDRED SPIEGEL ZUCKER DOROTHY ROSENBERG ALPERT pianist violinist Studio - 1406 BEACON STREET, BROOKLINE (near Coolidge Corner) Children and adults will be accepted for the study of piano, violin, viola, theory and chamber music AS 7-3997 KE 6-0750 LEONID MILK piano GRETA BARROT-MILK voice now at 97 HEMENWAY STREET, BOSTON CO 6-2593 RUTH SHAPIRO DR. ROSE W. SHAIN VOICE TEACHER — COACH PIANIST - TEACHER Member—National Association 35 Lancaster Terrace Teachers of Singing Brookline, Massachusetts 4 Stedman St. Dean Vocal Dept. Brookline, Mass. Stalby College Telephone BE aeon 2-3985 Tel. AS 7-2503 Brookline, Mass. [191] : ) RCA VICTOR RECORDS BOSTON SYMPHONY ORCHESTRA Recorded under the leadership of Charles Munch Beethoven Symphony No. 7 Symphony No. 1 Brahms Symphony No. 4 Bruch Violin Concerto No. 1, in G minor Soloist, Yehudi Menuhin Haydn Symphony No. 103 ("Drum Roll") Symphony No. 104 ( "London" Schubert Symphony No. 2 Schumann Symphony No. 1 ("Spring") Among the recordings under the leadership of Serge Koussevitzky Bach Brandenburg Concerto No. 1, Mozart Eine kleine Nachtmusik; in F; Brandenburg Concerto No. Serenade No. 10, in B-Flat, K. 6, in B-Flat; Suite No. 1, in C; 361; Symphony No. 36, in C, K. Suite No. 4, in D 425, "Linz"; Symphony No. 39, in E-flat, K. 543 Beethoven Symphony No. 3, in E- Flat, "Eroica" ; Symphony No. 5, in C Minor, Op. 67; Symphony No. Prokofieff Concerto No. 2, in G Minor, 9, in D Minor, "Choral" Op. 63, Heifetz, violinist; Sym- phony No. 5; Peter and the Wolf, Brahms Symphony No. 3, in F, Op. 90 Op. 67, Eleanor Roosevelt, narrator Violin Concerto, Heifetz, violinist Haydn Symphony No. 92, in G, "Ox- Ravel Bolero; Ma Mere L'Oye Suite ford" ; Symphony No. 94, in G, Schubert Symphony No. 8, in B "Surprise" ; Toy Symphony Minor, "Unfinished" Khatchaturian Concerto for Piano and Orchestra, William Kapell, Tchaikovsky Serenade in C, Op. 48; pianist Symphony No. 4, in F minor, Op. Mendelssohn Symphony No. 4, Ttal- 36; Symphony No. 5, in E Minor, ian" Op. 64 COMMEMORATIVE ALBUM Sibelius Symphony No. 2, in D, Op. 43 R. Strauss Don Juan, Op. 20 Wagner Siegfried Idyll Recorded under the leadership of Pierre Monteux Stravinsky "Le Sacre du Printemps" The above recordings are available on both Long Play (33^ r.p.m.) and 45 r.p.m. The following are available on 45 r.p.m. only Charles Munch conducting: Beethoven, "Gratulations" Minuet; Berlioz, Overture to "Beatrice and Benedick" ; Ravel, La Valse Serge Koussevitzky conducting: Haydn, "Toy" Symphony; Wagner, Prel- ude to "Lohengrin." Some of the above recordings and many others not here listed are also available on 78 r.p.m. [ !92 ]