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Boston Symphony Orchestra Concert Programs, Season 68

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Boston Symphony Orchestra Concert Programs, Season 68 *ZM >*3 f i'i Lj $ BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON • i • fe 'till -^ A* ifillNI M H tf #1 SIXTY-EIGHTH SEASON 1948-1949 Tuesday Evening Series BAYARD TUCKERMAN, Jr. ARTHUR J. ANDERSON ROBERT J. DUNKLE, J*. ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, Jr. HERBERT SEARS TUCKERMAN OBRION, RUSSELL & CO. Insurance of Every Description "A Good Reputation Does Not Just Happen — It Must Be Earned." Boston, Mass. Los Angeles, California 108 Water Street 3275 Wilshire Blvd. Telephone Lafayette 3-5700 Dunkirk 8-3316 i9^4\\Ci949 SYMPHONY HALL, BOSTON SIXTY-EIGHTH SEASON, 1948-1949 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor 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 Roger I. Lee Alvan T. Fuller Lewis Perry Jerome D. Greene Henry B. Sawyer N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [iJ Ui««..... Itiil"*.. to 3nSe going ^V0urProperty 4T L °W What's COST It hapPento Property' Your & ^nawmut Bank his new booklet shows how the Personal Trust Department of the Shawmut Bank can help you in the management of your property during your own lifetime, as well as providing for its future conser- vation. One important section explains the "When and Why" of the "Living Trust", and other Shawmut aids in property management and super- vision are also reviewed. Whether your resources are large or small, you should know the facts set forth in this booklet. Call at any of our 27 convenient offices, write or telephone LA 3-6800 for our booklet: " Conserving Tour Property at Lo<vo Cost" The Optional Shawmut Bank 40 Water Street, Boston Member Federal Deposit Insurance Corporation Capital and Surplus $30,000,000 "Outstanding Strength"for 113 Years [t] SYMPHONIANA Jobic DuVivier Music Without Thought Exhibition by Symphony Subscribers JOBIC DuVIVIER The seven cartoons for frescoes that on exhibition in the Gallery c^te^ lothes are now are the work of a young Franco-Ameri- can artist, Jobic DuVivier. The frescoes, for which were intended for a little church the near Fontainebleau, will never be made, for the artist has broken down and in lady all probability will never paint again. cartoons are now the property of The of the Newton College of the Sacred Heart, and await the construction of a suitable discriminating building in which they may be housed. There are eight pictures in all: four tastes * . • of the miracles of Christ and four of the parables. The miracles are The created Annunciation (Luke I, 28), The Casting out of the Legion of Devils (Luke VIII, by 33), The Healing of the Woman with an Issue of Blood (Luke VIII, 44), and famous The Raising of Lazarus (John IX, 44). The second named is only half the size designers of the others and is not on exhibition but may be seen at the college. for The parables illustrated are those of The Sower and the Seed (Luke VIII women 5-8), The Man Who Built His House on a Rock and the Man Who Built His on who Sand (Luke VI 47-49), and the Wheat and Cockle (Matt. XIII 24-30), of which know last there are two pictures. One follows the Scripture narrative exactly: A man and sowed good seed in his field "but while men were asleep his enemy came and appreciate oversowed cockle." There is no doubt of the artist's intentions in the other, fine for he has written the words GOOD SEED and COCKLE in bold letters for things . all to see. Jobic DuVivier (the name is the Bre- ton diminutive for Joseph) received in France the little artistic training that his health allowed. He studied at Julien's, at the Fontainebleau Art School and at the Beaux Arts under Duco de la Haille, but at each place he stayed only a short time. He spent some time in the famous monastery on Mount Athos, which accounts for the Byzantine influence evident in his work. There was also a winter in Florence where he studied, with whom nobody knows, but whence he returned in a third-class Boston railway carriage, without baggage, bear- Providence ing in his arms the wooden cross in Wellesley orimitive Siennese style that is also on exhibition. [3] : While he was studying at Fontaine- bleau he was asked by the Cure to decorate the little church at Montereau nearby. He lived there for some time, decorating the apse and choir-loft. It G^riandlanaier s was for an enlarged church, which the Tremont and West Streets Cure was planning at Montereau, that Jobic designed the frescoes. There were to have been fourteen of them, but in 1935, when eight were completed, his mind broke. He was then twenty-eight years old. Louise Keyes, P.S.C.J. Th Newton College of the Sacred Heart // Littl MUSIC WITHOUT THOUGHT // After listening to L'Apres-midi d'un Faune, and having read Thomas Mann's Furs latest novel, Ernest Newman was moved to the following reflections in the Sun- day Times (March 20) Never has Debussy's work seemed with great to me more lovely. I felt just as Hans Castorp in Mann's great novel must fashion have felt when he heard this music for the first time. Mann lays his finger on the secret of the work's charm — its importance complete freedom from the moralistic or philosophical implications that lie at the root of most of the greatest German music. As he puts it, this music, as it stole on Hans Castorp's eai, From Chandler's Salon held all eternity in its consummate bliss. No "Justify thyself" was here; with its enviable reputa- no challenge, no priestly court-martial upon one who strayed away and was tion for finest furs . forgotten of honour. Forgetfulness scarves and capes and held sway, a blessed hush, the inno- cence of those places where time is jackets to caress the shoul- not; "slackness" with the best con- science in the world, the very apothe- ders of your suit, coat or osis of rebuff to the Western world dress with a lavish gesture and that world's insensate ardour for the "deed." of luxury! From mink dyed For the Faun this tormented cosmos squirrel ... to fitch does not present itself as a problem to be pondered and grieved over; it simply ... to fabulous silver blue and sufficingly is. "L'Apres-midi d'un Faune," in fact, mink . evokes something in the primal depths of ourselves which had too long been forgotten where music was concerned, for the reason that "music" had come FUR SALON to mean, to most people, German music, which, magnificent as it is, moving us SECOND FLOOR to our very depths in its own way, shows the limitations necessarily inseparable from that way. A reaction from its basic preposses- sions was bound to come as soon as the HI non-Germanic nations began to find musical idioms more consonant with the native casts of their own minds. The first shock to the German hegemony, we can now see, came when Berlioz brought a certain type of French mind into the picture. Then the Russians began to write Russian music, Grieg Scandinavian music, Sibelius Finnish music, the Czechs Czech music, and so on. The quaint idea of 19th-century writers, critics and historians, with their Germanised outlook upon the art, was that all these new regional idioms were merely interesting musical "dialects." From the standpoint of the future historian the great German music of the last two centuries and a half will also rank simply as one dialect among the others. The new spirit brought in by Berlioz showed itself most markedly in its "na- ture" painting in music. The Teutons have never got much further in this field than broad impressions of the German forest with its horn calls, the Rhine and the Danube, etc. The French soon began to paint a very different visible world — compare, for instance, the Invocation to Nature in Berlioz's "Faust," or the Chasse Royale in "Les Troyens," with the "nature scenes" of the great Germans. The eye —and, after all, some musicians have eyes like other people—was beginning to come into its own even in music: travel through the scenery most familiar to Berlioz and most formative of his spirit, that reaching from Dauphine by way of the Alpes Maritimes to Italy, and you will realise why these musical pictures of his are so funda- mentally different from the woodland of Beethoven or Weber, or the Forest Murmurs and the Rhine of the "Ring," or the Good Friday meadows of "Par- sifal." EXHIBITION BY SYMPHONY SUBSCRIBERS An exhibition "by invitation" is an- nounced to be given in the Symphony Hall gallery next autumn in the — AT YOUR DEALER'S— A FULL SELECTION OF fiftieth anniversary season of the audi- FINE FIDELITONE NEEDLES torium. All subscribers to the Boston Fidelitone Supreme .... $2.50 Fidel ilone Master Symphony concerts are invited to submit 1 .50 Nylon Fidelitone their paintings. 1 .25 Fidelitone DeLuxe 1 .00 Fidelitone Floating Point 50c rtl\lflV/ Incorporated CHICAGO 26 5] Safe . but are they Sound? Sound investment management tain the services of an experienced today is more than a full-time job team> constantly working for your for one person. investment guidance. To make sure the securities you A request for our booklet, own are those of well-managed "Investment Management," will enterprises in forward-looking bring you information on our in- fields calls for teamwork by many vestment services.
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