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Boston Symphony Orchestra Concert Programs, Season 60,1940-1941

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Boston Symphony Orchestra Concert Programs, Season 60,1940-1941 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTIETH SEASON, 1940-1941 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, I94O, BY BOSTON SYMPHONY ORCHESTRA, Inc. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Ernest B. Dane ...... President Henry B. Sawyer ..... Vice-President Ernest B. Dane ...... Treasurer Henry B. Cabot M. A. De Wolfe Howe Ernest B. Dane Roger I. Lee Reginald C. Foster Richard C. Paine Alvan T. Fuller Henry B. Sawyer Jerome D. Greene Edward A. Taft N. Penrose Hallowell Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Managet L3B5] ' •..gives you superb command of the world's finest music! I™ HIS luxurious phonograph-radio combination plays entire symphonies, operas and complete albums of recorded music automatically — the only fully automatic phonograph with the exclusive Capehart record-changer. We invite you to hear it. CHAS. W. HOMEYER CO., Inc. 498 BOYLSTON STREET, BOSTON [386] SYMPHONIANA Twenty-four flower paintings by the Boston artist, Grace Collier, are on exhibit in the First Balcony Gallery. Miss Collier was first a student in portrait painting with George W. Law- lor in Boston. Later she studied land- scape painting with George L. Noyes in Boston and with Aldro T. Hibbard in Rockport. In Europe she spent some time in miniature painting. During the past eight years she has exhibited both landscapes and flowers, but in the past four years she has worked exclusively in flower painting. Among the galleries where her work has been exhibited are the Robert C. Vose Galleries, the Boston Art Club, Alaska sealskin Conspicuous success in a year of stellar Ameri- can design, U. S. Gov- ernment Alaska sealskin is a suave fur of rich quality and glowing high- lights. Our collection, which includes Matara the Copley Society of Boston, The brown and black, ranges Ogunquit Art Center, the Art Center of from £375 to $450. Fur Palm Beach, the Society of the Four Arts at Palm Beach, the Ferargil Gal- Salon, sixth floor. leries in New York City, and the Pennsylvania Academy of the Fine Stearns Arts. The following of her paintings form the present exhibit: [387] 1. AZALEAS, VASEYI 2. NASTURTIUMS 3. WHITE CLOUD PETUNIAS 4. PERENNIAL PHLOX 5. PERNET ROSES 6. EARLY JUNE FLOWERS 7. MAGNOLIAS 8. WHITE PETUNIAS AND MARIGOLD 9. LAUREL 10. PEONIES 11. TALISMAN AND HOOVER ROSES 12. YELLOW CHRYSANTHEMUMS 13. WHITE FLOWERS 14. HUGONIS ROSES 15. THREE YELLOW ROSES 16. ANTHOLOGY 17. CINERARIA 18. ANNUAL PHLOX 19. JAPANESE ANEMONES AND ARCTOTIS 20. YELLOW PERNET ROSES AND POTTERY CHRISTMAS 21. PETUNIAS AND SILVER TRAY 22. IRISH SINGLE ROSES 23. SEPTEMBER FLOWERS MISS GIVINGS 24. WHITE CHRYSANTHEMUMS FROM THE WEST Now — our heart is full (Rochester Times-Union, December 10, 1940) of Christmas, and the BOSTON SYMPHONY HEARD IN shop is teeming with pre- MEMORABLE CONCERT By A. J. Warner sentable lovelies for all The concert given in the Eastman Theater last night by the now unrivaled womankind. Boston Symphony Orchestra, Serge Koussevitzky conductor, must rank, be- As is our custom in cause of the programme material pre- sented and the quality of its perform- December we extend our ance, among the most brilliant that this illustrious instrumental body has ever welcome to the Grenfell offered in Rochester. The list was devoted to great music Workers and to the Blind which was greatly discoursed. From be- ginning to end this was a concert to Division. i be held long in lively and thankful re- membrance, for there was never a mo- ment when the fortunate hearer did not All of us will greatly ap feel glad that Boston and those who control our own local musical destinies preciate your patronage. are able annually to arrange a visit from a group of virtuosi who, led by a conductor of vision, enthusiasm and rare catholicity of taste, continue to func- tion as the cultured custodian of the Temple Place, Boston established masterworks of music and as a herald and prophet of the new. It is fitting once again to recall that the Boston Symphony from its beginning ^^- has combined a constant ideal of musi- cal integrity and dignity with a lib- [388 1 erality of outlook — a policy which today brings it the homage due an in- stitution honoring the civilization that produced it. One hears few orchestral perform- We take Time ances so nearly approaching utter per- fection as that bestowed upon the Haydn symphony last night, for not a detail was slurred, nor a nuance neg- to take Qare lected. Every movement was given with an extraordinary finesse and clarity that Sometimes we lose business. Es- made captives of the audience, which pecially if the owner of a lovely was itself a remarkable one, not only dress wants us to use undue haste in its capacity size but in its intelligent in cleansing. response that grew into a tremendous For we know after one hundred ovation as the concert proceeded to its years of cleansing just what can close. be done safely, and what cannot. Next came a ravishing performance We know definitely when there are of the unique product of the impres- no safe short cuts ... no speedy sionism of Debussy — two of his expedients that justify the danger Nocturnes, "Nuages" and "Fetes," with of damage. So we say "No" and the former painting in prismatic tones lose some business. the unchanging aspect of the sky and But out of this has come the the slow movement of the dissolving reward of reputation — a reputa- clouds, and the latter reflecting the tion for reliability. And to our- dancing rhythm of the atmosphere selves we have attracted thousands against a background of festival of who respect us for taking time to indescribable luminosity. take care. The final number on the programme's If you want cleansing well done first half was Stravinsky's Capriccio for ... if you want safe, dependable Orchestra with Piano Solo, in which service always ... if you like Jesus Maria Sanroma played the diffi- painstaking care, individualized cult and dominant piano part with a care, may we suggest that you call dazzling nonchalance, while the accom- Lewandos. paniment provided by the orchestra Lewandos, as you probably managed to convey the same spirit, know, cleanses ANYTHING - and namely, that the work was entirely easy anything that Lewandos cleanses and devoid of technical problems. is well cleansed. The concert was brought to a close For we take time to take care — with the Brahms Symphony No. 2, in with your things. D major, a work which possesses peren- nial poetry and a deep feeling for na- ture. The horn solo, at the end of the first movement, is one of those pas- sages in music that never loses its magic, and the second movement ranks among the most eloquent expres- sions of the contemplative side of the composer's temperament. This score, which is so saturated with You Can Rely on lyricism, so sparkling with orchestral color, so filled with the accumulated in- spiration of the ages that had gone before its composition, was played by Dr. Koussevitzky and his lordly or- Lewanaosl chestra with monumental intensity and -:- Launderers with all his commanding instinct for Cleansers thrilling climaxes. Pace, dynamics and Dyers -:- Fur Storage emotional fervor were set in bold re- Service -At-Your-Door lief and contrast. And always there was For the to do his bid- magnificent orchestra Telephone ding, and ready to summon, in response to his baton, its superb tone, its per- WATertown 8500 fect balance, and the euphony of its matchless resources. [389] Old Colony Trust Company - I COURT STRFFT, BOSTON Member of the Federal Deposit Insurance Corporation » ] • • Investment and Management <3 of Property Income Collection Tax Accounting Do you realize the small cost ot haYing us shoulder these burdens for you? Conterences with our officers entail no obligation. AGENT * TRUSTEE * GUARDIAN * EXECUTOR * xAMed with Tut First National Bank of Boston [ 39° ] SIXTIETH SEASON NINETEEN HUNDRED FORTY AND FORTY-ONE Ninth Programme FRIDAY AFTERNOON, December 20, at 2:30 o'clock SATURDAY EVENING, December 21, at 8:15 o'clock Milhaud "Le Cortege funebre" "Fantaisie pastorale." for Piano and Orchestra "Suite Provencale" Anime — Ties modere — Yif Modere — Vif - Modere — Vif Lent — Vif (First performances in Boston. The composer conducting) INTERMISSION' Berlioz Fantastic Symphony, Op. 14A [. Dreams. Passions Largo: Allegro agitato e appassionato assai II. A Ball Waltz: Allegro non troppo III. Scene in the Meadows Adagio IV. March to the Scaffold Allegretto non troppo V. A Witches' Sabbath Lanjhetto: Allesjo SOLOIST STELL ANDERSEN STEINWAY PIANO This programme will end about 4:35 on Friday Afternoon. 10:20 o'clock on Saturday Evening [391 1 _ CONGRATULATING e ^y^josronh ony hi n:/, ON ITS 60th ANNIVERSARY Our congratulations embrace a number of things. Pleasure at being in on a six- tieth Birthday celebration. Admiration for the vision that has made it possible. Good wishes for the Future presaged by so brilliant a Past. And withal a sort of kinship . since the Orchestra's sixtieth anniversary marks our ninetieth . marks decades likewise rich in the affections of all New England. • • _______——___—_________________^__________^_______ [392 ] 1 DARIUS MILHAUD Horn in Aix -en-Provence, September |, i8<)2 after the provincial instruction in violin and string quartet writ- il ing which Darius Milhaud had as a boy at the College of Aix, the quality of the instructors with whom he was placed at the Paris Conservatoire (which he entered in 1909) was nothing less than illustrious and in the best tradition — Leroux in harmony; Gedalge in composition; d'Indy in orchestral conducting; Dukas in orchestra- tion; Berthelier in violin.
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