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Page Three PROGRAM NOTES 358 i WHITNEY AVE. Mount Carmel Historical and descriptive notes by Opp. Sleeping Giant JOHN N. BURK Tel. CHestnut 8-276 Copyright by Boston Symphony Orchestra, Inc. SYMPHONY NO. 5 In B-FLAT MAJOR By Going Away? Born in Lichtenthal, Vienna, January 31, 1797; Our Resort Cottons & Linens are in.' died in Vienna, November 19, 1828 Schubert composed his Fifth Symphony in the year 1816, between September and October. It was played at the house of Otto Hatwig in Schottenhof in the same autumn. The first public performance was at the Crystal Palace, London, February 1, 1873, August Manns con- ducting. The first performance by the Boston Symphony Orchestra, which may well have been the first in the TIRED OF ORDINARY United States, was on February 10, 1883, when Georg HORS D'OEUVRES? Henschel conducted. The Symphony calls for a modest orchestra of flute, Let Stenlia Specialties create 2 oboes, 2 bassoons, 2 horns, and strings. It is some- times referred to as the "Symphony without trumpets imaginative delicacies . . . casseroles and drums." and canapes to make The sluggishness of the world in awakening to its priceless heritage from Franz Schubert is entertaining easy one of the most incredible occurrences in musical history. Schubert remained during his life prac- Phone Mrs. Humphrey FU 7-5672 tically unnoticed and unknown even in his own Vienna, beyond his circle of personal friends. It is true that he had certain discerning and ardent champions after his death. eleven years later made much of the chamber works and, discovering the great C major Sym- phony, put it into the hands of Mendelssohn at Leipzig and wrote winged words about it. Liszt labored for Schubert at Weimar, made piano transcriptions of many songs, including the great cycles, and called him "le musicien le plus poete que jamais." The ardor of Sir George Grove was MARK IX equal to Schumann's, and his pioneering efforts have endeared him to every Schubert lover. But the zeal of these champions missed the "Unfinished" Symphony, which was not dug up until it was forty-three years old, and the six earlier symphonies slept as untouched and unre- garded manuscripts in their archives for many years. It was in 1867 that Grove visited Vienna with Sir Arthur Sullivan and discovered the parts of the Fifth Symphony (as copied by Ferdinand Schubert) in the possession of Johann Herbeck. THE MOST EXPENSIVE OF ALL The slow emergence of the symphonies is JAGUARS, BUT ONLY $4,100 brought home by the examination of a thematic (Above Price Delivered Coventry, England) catalogue of Schubert's music compiled by Notte- Singularly elegant styling with disc bohm in 1874, which reveals that at that late brakes and power steering . . . and a date none but the two last symphonies (the "Un- wealth of power provided by the new 3.8 finished" and the final C major) had been pub- litre XK engine. lished. C. F. Peters at that time had printed the Your Authorized Dealer Andante of the "Tragic" (No. 4) and had brought out in 1870 the "Tragic" and Fifth Sym- phonies in arrangements for piano, four hands. BROWN Cr THOMAS The custom, now less popular than it used to be, IMPORTS, INC. of learning one's symphonies by playing them as duets, apparently did not hasten the publication 266 Whalley Ave. • New Haven 11, Conn. (Continued on page 6)

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Page Five PROGRAM NOTES or anything. It is seriously beautiful, and the (Continued from page 4) first change of key is unmistakably romantic, like those in Schubert's grandest works. and general availability of the Fifth Symphony, "Any minuet for small orchestra in G minor, which was issued at last by the press of Peters in loud and vigorous, with a quiet trio in G major, 1882. Although a flood of songs had come upon must remind us of the minuet of Mozart's G the market shortly after Schubert's death, other minor Symphony. But Schubert's is much sim- major works appeared but slowly. For example, pler. Its rhythms, though free enough, are square, the Quartet in G minor was published in 1852; just where Mozart's are conspicuously irregular; the great C major String Quintet and the Octet and where the only rustic feeling in Mozart's trio in 1854; the Mass in E-flat, 1865, and the Mass is that given by the tone of the oboes, Schubert's in A-flat, 1875. The collected edition of Schu- trio is a regular rustic dance with more than a bert's works published by Breitkopf and Hartel suspicion of a drone-bass. between 1885 and 1897 ended 69 years after the "The finale is in first-movement form, with a 's death. binary-form theme on Mozart's models." Donald Francis Tovey had a high opinion of the first five symphonies and among them singled out the Fifth as "a pearl of great price." "BACCHUS ET ARIANE," "The whole [first] movement is full of Schu- BALLET, SECOND SUITE, OP. 43 bert's peculiar delicacy; and its form escapes stiffness like a delightful child overawed into By Albert Charles Roussel perfect behaviour, not by fear or priggishness Born in Turcoing (Nord), France, April 5, 1869; but by sheer delight in giving pleasure. died in Royan (near Bordeaux), France, August 23, 1937 "The slow movement reaches a depth of beauty Roussel composed the Ballet Bacchus et Ariane be- tween June and December, 1930, at Vasterival and that goes a long way towards the style of the Paris. It was first performed May 22, 1931, at the later Schubert; especially in the modulating epi- Theatre de l'Opera. Serge Lifar (Bacchus), Peretti (The- sodes that follow the main theme. The main see) and Spessiwtzewa (Ariane) were the principal danc- ers. Philippe Gaubert conducted. The choreography theme itself, however, is a Schubertized Mozart. was planned by Abel Hermant, and executed by Lifar. . . . But the rondo of Mozart's Violin in The Second Suite, drawn from Act H, was published F (Kochel's Catalogue, No. 377) is a young lady in 1932. It was performed by the Societe PhiMarmon- whose delicious simplicity may get more fun out ique de Paris November 26, 1936, Charles Munch con- of prigs than they are aware of: while Schubert's ducting. The required orchestra consists of 2 flutes and picco- theme never thought of making fun of anybody lo, 2 oboes and English horn, 2 clarinets and bass clari- net, 2 bassoons and contra-bassoon, 4 horns, 4 trumpets, 3 trombones and tuba, timpani, celesta, 2 harps, cym- bals, tambourine, bass drum, triangle, military drum Now at our New Address and strings. The score is dedicated to Helene Tony- 16 Whitney Ave. • New Haven, Conn. Jourdan. The legend of Ariadne on the Island of Naxos, • SOHMER PIANOS • WINTER PIANOS once used by Richard Strauss, has furnished • STORY & CLARK • ALLEN & KINSMAN Roussel with a ballet in the Greek classical tra- PIANOS Electronic ORGANS dition. According to the plot of Abel Hermant, Theseus does not abandon Ariadne on Naxos, • Used GRANDS — Spinets & Upright Pianos where he has taken her after she has rescued him from the Minotaur, but is chased from the Island EDDIE SARANEC MUSIC CENTER by Bacchus. The God has first laid a spell of 16 WHITNEY AVE. sleep upon Ariadne, whereby she partakes of his Bus.: MA 4-2357 Res.: CH 8-0160 revels as in a dream, but does not know until she wakes that Theseus has gone. (Continued on page 11)

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Page Eight Tuesday Evening, February 20, at 8:30 Sixth Concert of the Woolsey Hall Concert Series Season 1961-62

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

09 I. a /12

SCHUBERT Symphony No. 5, in B-flat

I. Allegro

II. Andante con moto III. Minuetto; Allegro molto

IV. Allegro vivace

ROUSSEL *"Bacchus et Ariane," Suite No. 2, Op. 43

INTERMISSION

SAINT-SAENS Piano Concerto No. 2, in G minor, Op. 22

I. Andante sostenuto

II. Allegretto scherzando

III. Presto

RAVEL 4;"La Valse," Choreographic Poem

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Page Ten PROGRAM NOTES want to thank you again for your Second Con- (Continued from page 6) certo which I greatly applaud. The form of it is new and very happy; the interest of the three The following directions are printed in the portions goes on increasing and you take into score: Introduction (Andante). Awakening of just account the effect of the pianist without Ariadne — She looks around her surprised — She sacrificing anything of the ideas of the composer, rises, runs about looking for Theseus and his which is an essential rule of this class of work." companions — She realizes that she has been The light spirit of the Concerto is unburdened abandoned — She climbs with difficulty to the by any slow movement, its only grave pages con- top of the rock — She is about to throw herself sisting of the introductory andante sostenuto be- into the stream — She falls in the arms of Bac- ginning with a cadenza for the piano unaccom- chus, who has appeared from behind a boulder panied, and recurring at the close of the — Bacchus resumes with the awakened Ariadne movement. The second movement, allegro scher- the dance of her dreaming — Bacchus dances zando, more closely resembles the sonata form alone (Allegro — Andante — Andantino) — The than the traditional scherzo. The concluding Dionysiac spell — A group marches past (Allegro presto is suggestive of a tarantella, although not deciso) — A faun and a Bacchante present to so indicated. It moves to a large and brilliant Ariadne the golden cup, into which a cluster of close. grapes has been pressed — Dance of Ariadne (Andante) — Dance of Ariadne and Bacchus "LA VALSE," CHOREOGRAPHIC POEM (Moderato e pesante) — Bacchanale (Allegro brillante). By According to the legend, Bacchus immortalizes Born in Ciboure, Basses-Pyrenees, March 7, 1875; her with a kiss, ravishes stars from the heavens died in Paris, December 28, 1937 and sets them as a crown upon her brow. It was in 1920 that Ravel completed "La Valse." The piece was played from the manuscript at a Lamoureux concert in Paris, December 12, 1920. The first perform. ance by the Boston Symphony Orchestra was on Janu- CONCERTO IN G MINOR, ary 13, 1922. The most recent performance: November 28-29, 1958. NO. 2, FOR PIANOFORTE, OP. 22 The orchestration calls for 3 flutes and piccolo, 2 By Charles Camille Saint-Saens oboes and English horn, 2 clarinets and bass clarinet, 2 bassoons and contra-bassoon, 4 horns, 3 trumpets, 3 Born in Paris, October 9, 1835; trombones and tuba, timpani, side drum, bass drum, died in Algiers, December 16, 1921 cymbals, tambourine, castanets, crotales, tam-tam, glock- This concerto was first performed in 1868, the year enspiel, 2 harps, and strings. The score was published of its composition, on May 6, at the Salle Pleyel in in 1921, and dedicated to Misia Sen. Paris, Anton Rubinstein conducting, and the composer Ravel was approached in 1920 to compose a appearing as soloist. ballet, and chose a subject he had long since The orchestration includes 2 flutes, 2 oboes, 2 clari- considered, and sketched as long before as 1906. nets, 2 bassoons, 2 horns, 2 trumpets, timpani, cymbals, and strings. The score is dedicated to Madame A. de He first mentioned it in a letter to Jean Marnold, Viliers. the critic of the Mercure de France: "It is not subtle — what I am undertaking at The second in order of the five concertos which the moment. It is a Grand Valse a sort of homage Saint-Saens wrote for the pianoforte and played to the memory of the Great Strauss, not Richard, far and wide, the Concerto in G minor attained the other — Johann. You know my intense sym- extraordinary popularity, rivaling the Fourth in pathy for this admirable rhythm and that I hold C minor in this respect. This popularity was not la joie de vivre as expressed by the dance in far immediate so far as the critics were concerned, higher esteem than the Franckist puritanism. I a race which Saint-Saens contemptuously referred am so little a Catholic." to as the "press assassins." When the work had In 1920, having composed nothing except Le its initial Paris performance, a leading periodical Tombeau de Couperin since the outbreak of the dismissed the artist both as composer and per- World War, he shut himself up in the house of former. When Saint-Saens toured Germany with his poet friend, Andre-Fernand Herold, in the the new work in the autumn, conservative Leip- Ardeche Vallee until La Valse was completed. zig likewise disapproved. The critic of the Sig- The piece did nothing to mend his relations with nale deprecated the visitation of a "hyper-roman- Diaghileff, strained by Daphnis et Chloe, which tic" spirit upon the style of Bach, and denounced as a ballet had not succeeded. Diaghileff did not the third movement without qualification. But consider La Valse suitable for his purposes, and the public was far more interested in the charm did not produce it. and skill of Saint-Saens than in such liberties as Ravel based his "poeme choregraphique," upon he may have taken with the classical forms. Nor measures which one of the Strausses might have was Franz Liszt, who had no use whatsoever for written, but used them with implications quite the critics and their "dignified ignorance," as he apart from the light abandon and sweet senti- expressed it, in the least disturbed by the apostasy ment which old Vienna offered him. Ravel gives of his French friend. He received the score from the tempo indication: "Movement of a Viennese Saint-Saens while at Rome, and wrote: "Your waltz," and affixes the following paragraph to kind letter promised me several compositions; I his score: "At first the scene is dimmed by a kind have been expecting them, and while waiting I (Continued on page 13) Page Eleven Luxurious trim-line contemporary cabinet in hand-rubbed native walnut. Black rich-textured sound cloth, adjustable shelves. 68 x 20-33 in. high. $139"

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Page Twelve PROGRAM NOTES phony tonight, was born in Strasbourg on Sep- was a (Continued from page 11) tember 26, 1891. His father, Ernest, distinguished member of a musical family. An of swirling mist, through which one discerns, organist, string player, leader of the St. Guil- vaguely and intermittently, the waltzing couples. laume choir in the Strasbourg Cathedral and Little by little the vapors disperse, the illumina- professor in the Conservatory there, he was tion grows brighter, revealing an immense ball- room filled with dancers; the blaze of the chan- deliers comes to full splendor. An Imperial Court about 1855." Raymond Schwab, listening to the first per- formance in Paris, discerned in the music an ominous undercurrent. "To the graces and lan- guors of Carpeaux is opposed an implied anguish, with some Prod'homme exclaiming 'We dance on a volcano.' " H. T. Parker described the gradual definition of the waltz rhythm from "shadowy, formless spectres of dead waltzes, drifting through gray mists.... "Then ensues a succession, as it were, of waltzes. The waltz sensuous and languorous, the waltz playful and piquant, the waltz sentimental,

the waltz showy, the waltz strenuous — the waltz in as many variants and as many garbs as Ravel's imagination and resource may compass. Like sleep-chasings, waltz succeeds waltz; yet Ravel Charles' first teacher (in violin). Charles' Uncle is wide-awake in the terseness with which he Eugene rivalled his brother, Ernest, in producing sums and characterizes each, in the vivid and art- the cantatas and passions of Bach in the Cathe- ful instrumental dress every one receives. . . . Of dral at Mulhouse. Charles was not alone among a sudden, the chain of waltzes seems to break. the four brothers and two sisters in perpetuating Fragments of them crackle and jar, each against the family tradition, all were musical. In the each, in the tonal air. The harmonies roughen; summer, the Munch family would move to the there are few euphonies; through a surface-bril- country home of Charles' maternal grandfather, liance, harsh progressions jut: that which has Frederic Simon, who was a minister of the Prot- been sensuous may, for the instant, sound ugly. estant Eglise de l'Oratoire in Paris. The house As some say, here is the music that imaginative at Niederbronn-les-Bains in the Vosges Moun- minds write in this world of the aftermath of tains was called the "music box" when the war. . . . On the surface, the sensuous glow and Munches arrived with their instruments and glint of neurotic rapture — 'Dance that ye may sheaves of chamber music. not know and feel.' Below the surface, and grat- At twenty-one Charles Munch contemplated ing rude and grim upon it, are stress and turbu- a medical career and went to Paris to study. But lence, despairs and angers equally ugly, and, soon he was devoting all his time to his violin maybe, nigh to bursting. A troubled 'apotheosis,' under Lucien Capet. then, in these culminating measures of the waltz The "most French" of the family, with a Paris in this world of ours." residence, Charles Munch was drafted into the German army (by a circumstance of boundaries) TONIGHT'S CONDUCTOR while on vacation at Strasbourg in the summer Charles Munch, who is making his last appear- of 1914. He was wounded at Verdun and dis- ance here as Music Director of the Boston Sym- (Continued on page 14)

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Page Thirteen charged after the armistice at the age of twenty- begin with the season of 1949-50. Meanwhile, in six. the autumn of 1948, he made a transcontinental In 1920 he resumed musical activities as a tour of the United States with the Orchestre student with Carl Flesch in Berlin and as con- National de la Radiodiffusion Francaise, the certmaster of the Strasbourg Orchestra. Munch French national broadcasting orchestra of which next went to Leipzig where for eight years he sat he was conductor. By commission of his Govern- at the first desk of the violins in the Gewandhaus ment, which has made him a Commander in the Orchestra under Furtwangler and Walter. Legion of Honor, he led every concert of this To retain his French identity he left Leipzig in extensive tour. 1932 and settled in Paris where he had the op- portunity to conduct concerts of the Straram TONIGHT'S SOLOIST Orchestra. He founded the Orchestra Symphon- Pianist Jeanne-Marie Darre made her North ique de Paris in the same season and conducted American debut with the Boston Symphony Or- the Lamoureux Concerts. Munch soon began the chestra at the Symphony Hall concerts in Boston round of guest engagements which have since February 2-3-4, performing the Saint-Saens Piano made him a world traveler. In 1937 he succeeded Concerto No. 2. The work will also be presented Philippe Gaubert as conductor of the Paris Con- by the Boston Symphony Orchestra in Carnegie servatory Orchestra, the position he held through Hall, New York, later this week. the war period. Much of Mme. Darre's musical career has cen- In 1939 Munch accepted his first invitation to tered around the National Conservatory in Paris. conduct in the United States but travel difficulties A pupil of Marguerite Long and Isidore Philipp, made it advisable for him to turn back when he Mme. Darre won first prize at the Conservatory; was no farther than the Azores. In 1946, when she is now Professor of Piano and a member of transatlantic travel was again possible, Munch the Conservatory Jury. visited the United States for the first time. He In addition to her Conservatory duties, Mme. conducted the Boston Symphony Orchestra as Darre has performed throughout Europe in re- guest on December 27 and a month later he made cital and as soloist with orchestras conducted by the first of numerous appearances with the New Charles Munch, Sir Henry Wood, Paul Paray, York Philharmonic. Andre Cluytens and others. In 1950 Mme. Darre Doctor Munch was engaged in the spring of was awarded France's Legion of Honor and in 1948 to succeed Serge Koussevitzky as Music 1960 she received the "Chevalier des Arts et Let- Director of the Boston Symphony Orchestra to tres."

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