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MfG ^:^ (^^^^^ ' ^ ?9 BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY 4 HENRY LEE HIGGIMSON 4y 7 %. m Ai j-^ r/z/iiiin/iui/if H s^ Vvv! SIXTY-NINTH SEASON 1949-1950 Sanders Theatre, Cambridge \^arvard University^ Boston Symphony Orchestra [Sixty-ninth Season, 1949-1950] CHARLES MUNCH, Conductor 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 Eugen Lehner Gaston Elcus Contra-Bassoon Rolland Tapley Albert Bernard Emil Kornsand Boaz Piller Norbert Lauga George Zazofsky George Humphrey Louis Horns Cherkassky Arti^res Paul Willem Valkenier Harry Dubbs Charles Van Wynbergen Hans Werner James Stagliano Vladimir ResnikofE Principals Joseph Leibovici Jerome Lipson Siegfried Gerhardt Harry Shapiro Einar Hansen Harold Meek , Daniel Eisler Paul Keaney Norman Carol Violoncellos Walter Macdonald Carlos Pinfield Samuel Mayes Osbourne McConathy Paul Fedorovsky Alfred Zighera Harry Dickson Jacobus Langendoen Trumpets Minot Beale Mischa Nieland Georges Mager Hippolyte Droeghmans Roger Voisin Clarence Knudson Karl Zeise Principals Pierre Mayer Josef Zimbler Marcel Lafosse Manuel Zung Bernard Parronchi Harry Herforth Rene Voisin Samuel Diamond Enrico Fabrizio Victor Manusevitch Leon Marjollet Trombones James Nagy Leon Gorodetzky Flutes Jacob Raichman Lucien Hansotte Raphael Del Sordo Georges Laurent John Coffey Melvin Bryant James Pappoutsakis Josef Orosz John Murray Phillip Kaplan Lloyd Stonestreet Tuba Piccolo Henri Erkelens Vinal Smith George Madsen Saverio Messina Herman Silberman Harps Oboes Stanley Benson Bernard Zighera Sheldon Rotenberg John Holmes Elford Caughey Jean Devergie Joseph Lukatsky Timpani Basses Roman Szulc English Horn Georges Moleux Charles Smith Willis Page Louis Speyer Ludwig Juht Percussion Clarinets Irving Frankel Max Polster Manuel Henry Greenberg Valerio Simon Sternburg Attilio Poto Henry Portnoi Pasquale Cardillo Piano Gaston Dufresne E\) Clarinet Lukas Foss Henri Girard Henry Freeman Bass Clarinet Librarian John Barwicki Rosario Mazzeo Leslie Rogers Sanders Theatre, Cambridge \Harvard Umvers/ty] SIXTY-NINTH SEASON, 1949-1950 Boston Symphony Orchestra CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor Concert Bulletin of the Fifth Concert TUESDAY EVENING, February 21 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President . Vice-President Jacob J. Kaplan Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [M The Boston Symphony Orchestra ANNOUNCES THE 1950 BERKSHIRE FESTIVAL AT TANGLEWOOD (Lenox, Mass.) SERGE KOUSSEVITZKY, Conductor Leonard Bernstein, Eleazar de Carvalho, Guest Conductors THEATER-CONCERT HALL 6 Concerts by Members of the Boston Symphony Orchestra Sat. Eves. — Sun. Afts. — July 8, 9 — 15, 16 BACH — Brandenburg Concertos, Suites, Solo Concertos, Cantatas Sat. Eve. — Sun. Aft. — July 22, 23 MOZART — Symphonies, Serenades, Piano Concerto, Two Piano Concerto MUSIC SHED Thurs. and Sat. Eves., Sun. Afts. Series ^4— July 27, 29, 30 Beethoven — Symphony No. 3; Sibelius — Symphony No. 2; Bruckner — Symphony No. 7; Wagner — Siegfried Idyll, Tann- hauser Overture; Diamond — Timon of Athens; Mendelssohn — "Italian Symphony"; Brahms — Symphony No. 2. Series B — Aug. 3, 5, 6 Beethoven — Symphony No. 6; Strauss — "Death and Trans- figuration," "Till Eulenspiegel"; Haydn — Symphony No. 92; Copland — Quiet City; Nabokov — La Vita Nuova; Prokofieff — Piano Concerto No. 2, Scythian Suite; Santoro — Symphony No. 3; Ibert — Escales; Rimsky-Korsakov — Scheherazade. Series C — Aug. 10, 12, 13 Bach — Mass in B Minor; Ravel — "Mother Goose" Suite, Alborada, Piano Concerto; Berlioz — Romeo and Juliet (Ex- — — cerpts) ; Prokofieff Symphony No. 6; Brahms Symphony No. l. (soloists to be announced) THE BERKSHIRE MUSIC CENTER, Serge Koussevitzky, Director, will be in session July 3-August 13, with numerous performances open to those who join its Society of Friends. For school catalogue, or program and ticket information. Address Festival Office, Symphony Hall, Boston 15, Mass. L2] Sanders Theatre, Cambridge \^Ud^arvard University] Boston Symphony Orchestra SIXTY-NINTH SEASON, 1949-1950 CHARLES MUNCH. Conductor FIFTH CONCERT TUESDAY EVENING. February 21 Program Barber Overture, "The School for Scandal" Str.\vinsky "Jeu de Cartes" (Card Game, Ballet in Three Deals) INTERMISSION Schubert Symphony in C major. No. 7 I. Andante; Allegro ma non troppo II, Andante con moto III. Scherzo: Allegro vivace IV. Finale: Allegro vivace BALDWIN PIANO RCA VICTOR RECORDS f3l Three Words that Saved a New School from "Flunking Out*' To the citizens of a small New England town, things looked bad for awhile. Their new school . only half completed . was in trouble. The contractor building the school ran into financial difficulties. His assets were attached. He couldn't finish the job. But three words . Bonded by Em-ployers' . saved that school. For- tunately, the job was bonded by an Employers' Group Insurance Com- pany. And under the terms of our Contract Bond we furnished the money to complete the construction and give the town its new school. The Insurance Man Serves America BONDING SERVICE BY The Employers' Group Insurance Companies no MILK STREET, BOSTON 7, MASS. THE EMPLOYERS' LIABILITY ASSURANCE CORP.. LTD. AMERICAN EMPLOYERS' INSURANCE CO. • THE EMPLOYERS' FIRE INSURANCE CO. [4] , OVERTURE, "THE SCHOOL FOR SCANDAL," Op. 5 By Samuel Barber Born at West Chester, Pa., March 9, 1910 Mr. Barber composed his Overture in 1932. It was performed at the summer series of concerts of the Philadelphia Orchestra in Robin Hood Dell, August 30, 1933. The Overture was performed by the Boston Symphony Orchestra, November 15, 1940, and repeated October 16, 1942. The orchestration is as follows: two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones and tuba, timpani, bass drum and cymbals, bells, triangle, harp, celesta, and strings. THE piece is a concert overture intended, not as an introduction to a dramatic performance, but as an approximation in music of the spirit of Sheridan's comedy. The pattern is classical. The music begins allegro molto vivace with a flourish and a bright leaping theme for the full orchestra over a swift figure in the violins. The strings take the theme in 9-8 over pulsating chords in the winds. The energy spreads itself in a ^ climax and the second theme, properly lyrical, is sung by the oboe and then the violins. There is develop ment of the earlier material in the original brilliant vein and a return of the second theme, now brought in by the English horn and taken up by the strings. The overture closes in a sparkling tempo primo. Music figured early in Samuel Barber's life. It is told that he had piano lessons at the age of six and at seven made his first attempt at composition. He entered the Curtis Institute of Music in Philadelphia when he was thirteen, and there he studied piano with Isabelle Vengerova and singing with Emilio de Gogorza. But his main interest was composition, which he studied with Rosario Scalero. There have been performances of his music by orchestras in the United States, in London, in Rome, in Salzburg, in Moscow, and other European cities. The Boston Symphony Orchestra has performed, besides his Overture "The School for Scandal," his "Essay for Orches- tra" No. 1, Violin Concerto, "Commando March," Second Symphony (dedicated to the Army Air Forces) , Violoncello Concerto, and "Knoxville, Summer, 1915," for Soprano and Orchestra. His Adagio for Strings was conducted numerous times by Arturo Toscanini and taken by him to South America. Mr. Barber has also written a Symphony in One Movement, which he has revised, a second "Essay," "Music for a Scene from Shelley," and his "Capricorn Concerto" for Flute, Oboe, Trumpet, and Strings. His chamber music includes a Serenade for String Quartet, "Dover Beach" (for baritone voice and string quartet) a Violoncello Sonata and a String Quartet in G minor. For chorus he has written "The Virgin Martyrs" (for women's voices), "Reincarna- tion," and "A Stop Watch and an Ordnance Map" (for men's voices and kettle drums) . He has also written a number of songs. [5] He served in the United States Army as Corporal in the Army Air Corps. .^. Robert Horan has described Samuel Barber's aesthetic in Modern Music (March-April, 1945) : Since the ancient part of this century, when the movement of modernism in music, as in all the arts, was embarked upon; since its tar-and-feather days of riot and conversion when the premiere of a new work constituted a breach of the peace, musical composition seems to have suffered from a fraudulent energy, a kind of "middle age." There is an over-emphasis everywhere on the periphery, the marginalia, the function or the contemporaneity of music. It may be neither here nor there that a certain natural period of revolutionary brilliance is clearing away and leaving a good deal of smoke. But today one has so often the feeling that music has a superfluity of supports and facilities, what Busoni has termed a "mimicry of temperament.** If music has lost some of its earlier

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