Boston Symphony Orchestra Concert Programs, Season 71, 1951

BOSTON SYMPHONY ORCHESTRA

FOUNDED IN I88I BY ^/> HENRY LEE HIGGINSON

SEVENTY-FIRST SEASON 1951-1952 Academy of Music, Philadelphia Auspices: THE PHILADELPHIA FORUM William K, Huff, Executive Director Boston Symphony Orchestra

(Seventy-fust Season, 1951-1952) CHARLES MUNCH, Music Director RICHARD BLRGIN, 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 Gaston Elcus Eugen Lehner RoUand Tapley Albert Bernard CONTRA-IiASSOON Norbert Lauga George Humphrey Boaz Piller George Zazofsky Jerome Lipson Paul Cherkassky Louis Arti^res Horns Harry Dubbs Robert Karol James Stagliano Green Vladimir Resnikoff Reuben Harry Shapiro Joseph Leibovici Bernard Kadinoff Harold Meek Einar Hansen Vincent Mauricci l*aul Keaney Harry Dickson ^Valter Macdonald Violoncellos Emil Kornsand Osbourne McConathy Carlos Pinfield Samuel Mayes Alfred Zighera Paul Fedorovsky TrUMI'ETS Minot Beale Jacobus Langendoen Mischa Nieland Roger X'oisin Herman Silberman Marcel La fosse Roger Schermanski Hippolyte Droeghmans Karl Zeise Armnndo Ghitalla Stanley Benson Rene Voisin Zimbler Gottfried Wilfinger Josef Bernard Parronchi Trombones Clarence Knudson Enrico Fabrizio Marjollet Jacob Raichman Pierre Mayer Leon Lucien Hansotte Manuel Zung Flutks John Coffey Samuel Diamond Georges Laurent Josef Orosz V^ictor Manusevitch James Pappoutsakis James Nagy Phillip Kaplan Tuba Leon Gorodetzky Vinal Smith Raphael Del Sordo Piccolo Melvin Bryant Madsen George Harps Lloyd Stonestreet Bernard Zighera Saverio Messina Oboes Sheldon Rotenberg Ralph Gomberg Olivia Luetcke Leo Panasevich Jean Devergie "William ^Vaterhou^e John Holmes Timpani Roman Szulc English Horn Bassks Charles Smith Speyer Georges Moleux Louis Willis Page Percussion Clarinets Ludwig Juht Max Polster Gino Cioffi Irving Frankel Simon Sternburg Manuel Valerio Harold Farberman Henry Greenberg Pasquale Cardillo Henry Portnoi £b Clarinet Henry Freeman Librarians Henri Girard Bass Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Leonard Burkat Academy of Music, Philadelphia

SEVENTY-FIRST SEASON, 1951-1952

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Richard Burgin. Associate Conductor

Concert Bulletin

THURSDAY EVENING, January \^

with historical and descriptive notes by

John N. Burk

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 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

fi] Tanglewood, 1952 THE BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director

THE BERKSHIRE FESTIVAL Fifteenth Season

JULY 5 — AUGUST 10

Tenth Anniversary Season THE BERKSHIRE MUSIC CENTER Charles Munch, Director

JUNE 30 — AUGUST 10 To receive later announcements, address subscription office, Symphony Hall, Boston, Mass. la] Academy of Music, Philadelphia

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

THURSDAY EVENING, January 17, at 8:30 o'clock

Program

ERNEST ANSERMET Conducting

Beethoven Symphony No. 5, in C minor. Op. 67

I. Allegro con brio II. Andante con moto III. ( Allegro, Trio IV. (Allegro INTERMISSION

HiNDEMiTH "Nobilissima Visione," Concert Suite from the Ballet, "Saint Francis"

Stravinsky Divertimento, "Le Baiser de la Fee," Allegorical Ballet

I. Sinfonia II. Danses Suisses III. Scherzo IV. Pas de deux Adagio — Variation — Coda Chabrier Joyeuse Marche

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Speaking of Programs . , .

COMEONE touched off a heated discussion of television, radio, and ^ musical program-making. Delver Forfax, the insatiable researcher, drew a folder from a desk drawer, and said: "Let's see some examples from the 'Good Old Days.' "Here's an 1837 announcement of the Theatre Royal, Dublin — a leader in its time. 'The celebrated Norwegian Violinist, MR. OLE BULL, is engaged for TWO NIGHTS ONLY. . . . This present Monday . . . the performance will commence with . . . A New Way to Play Old

Debts. . . . Mr. Ole Bull will perform. . . . Between the Second and

Third acts of the Play, a Grand Concerto, in three parts; . . . Between the Third and Fourth acts, a QUARTETTE on ONE VIOLIN. After the Play ... he will introduce Variations on several favorite Irish Airs, including Rory O'More & St, Patrick's Day.' "Another program was to open with Pll Be Your Second, followed by Bellini's / Capuletti e Montecchi. Mr. Bull was to play before the opera, after Act i, and at the close. "Now let's look for improved program-making. Here's an 1839 announcement. First comes 'the Comic Piece,' X.Y.Z., after vv^hich, an INTERLUDE IN WHICH Mr. VAN AMBURGH Will Exhibit His Fearless AND Extraordinary Performances With His LIVING LIONS, TIGERS, LEOPARDS, &c.. Introducing A LAMB AMONG THE

LIONS. The performance . . . will terminate with A GRAND CHAR- ACTERISTIC TABLEAU Representing the Wild Animals and their Tamer Enveloped by a Burning Forest.' "To conclude, there was a duet. The Keel Row, and a hornpipe. "Ah, the Good Old Days !" Delver sighed sardonically.

4l ERNEST ANSERMET

ERNEST Ansermet, bom in Vevey, Switzerland, November ii, 1883, began his career as a professor of mathematics at the University of Lausanne, and at the Sorbonne, but studied music with Den^r^az in Lausanne, Gedalge in Paris, and Otto Barblan and Ernest Bloch in Geneva. He became conductor of the Kursaal concerts in Montreux in 1912, and succeeded Stavenhagen as director of the Geneva Sub- scription Concerts in 1914. In 1915 he toured Europe and both Americas as conductor of Diaghileff's Ballet Russe. In 1918 he founded the Orchestre de la Suisse Romande. He conducted the symphony orchestra at Buenos Aires in the seasons 1924-27, and in 1936-37 re- turned to conduct in South America and several cities of the United States. Having conducted concerts over Radio Suisse during the war, he resumed his activities as guest conductor in Europe in 1946, and returned to this country in the season 1947-1948 for guest appearances. On January 25, 28-29, 1949, he appeared as guest conductor of this Orchestra, and has visited this country each season since then.

SYMPHONY NO. 5, IN C MINOR, Op. 67 By LuDwiG VAN Beethoven

Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827

The Fifth Symphony was completed near the end of the year 1807, and first performed at the Theater an der Wien, Vienna, December 22, 1808, Beethoven conducting. The parts were published in April, 1809, and the score in March, 1826.

The dedication is to Prince von Lobkowitz and Count Rasumovsky.

The Symphony is scored for two flutes and piccolo, two oboes, two clarinets, two bassoons and double-bassoon, two horns, two trumpets, three trombones, timpani and strings (the piccolo, trombones and double-bassoon, here making their first appearance in a symphony of Beethoven, are used only in the Finale).

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[5] IT IS POSSIBLE to find an affinity of rhythmic units through the four movements of the Fifth Symphony. But the similarity (and it is nothing more) should be kept within the bounds of a superficial obser- vation. Beethoven may not have been even aware of it — he was too deep an artist to pursue a unifying theory. A still greater mistake is to look upon the initial four-note figure with its segregating hold as more than a segment of the theme proper. Weingartner and others after him have exposed this fallacy, and what might be called the enlightened interpretation of this movement probably began with the realization that Beethoven never devised a first movement more conspicuous for graceful symmetry and even, melodic flow. An isolated tile cannot explain a mosaic, and the smaller the tile unit, the more smooth and delicate of line will be the complete picture. Just so does Beethoven's briefer "motto" devolve upon itself to produce long and regular melodic periods. Even in its first bare statement, the "motto" belongs conceptually to an eight-measure period, broken for the moment as the second fermata is held through an additional bar. The movement is regular in its sections, conservative in its tonalities. Its very regularity, its incredible compactness, adds to the power of the symphony which, when it was first heard, disrupted all contemporary notions of what a symphony was supposed to be.

The Andante con moto (in A-flat major) is the most irregular of the four movements. It is not so much a theme with variations as free thoughts upon segments of a theme with certain earmarks and re- currences of the variation form hovering in the background. The first setting forth of the melody cries heresy by requiring 48 bars. The first strain begins regularly enough, but, instead of closing on the tonic A-flat, hangs suspended. The wood winds echo this last phrase

and carry it to a cadence which is pointedly formal as the strings echo it at the nineteenth bar. Formal but not legitimate. A close at

the eighth bar would have been regular, and this is not a movement of regular phrase lengths. Regularity is not established until the end of the movement when this phrase closes upon its eighth bar at last!

The whole andante is one of the delayed cadences. The second strain of the melody pauses upon the dominant and proceeds with an out- burst into C major, repeats in this key to pause at the same place and dream away at leisure into E-flat. The two sections of melody recur regularly with varying ornamental accompaniment in the strings, but again the questioning pauses bring in enchanting whispered vagaries, such as a fugato for flutes, oboes and clarinets, or a pianis- simo dalliance by the violins upon a strand of accompaniment. The movement finds a sudden fortissimo close. The third movement (allegro, with outward appearance of a scherzo) begins pianissimo with a phrase the rhythm of which crystal- lizes into the principal element, in fortissimo. The movement restores the C minor of the first and some of its rhythmic drive. But here the

power of impulsion is light and springy. In the first section of the

Trio in C major (the only part of the movement which is literally

repeated) the basses thunder a theme which is briefly developed,

fugally and otherwise. The composer begins what sounds until its

tenth bar like a da capo. But this is in no sense a return, as the

hearer soon realizes. The movement has changed its character, lost its steely vigor and taken on a light, skimming, mysterious quality. It evens off into a pianissimo where the suspense of soft drum beats prepares a new disclosure, lightly establishing (although one does not realize this until the disclosure comes) the quadruple beat. The bridge of mystery leads, with a sudden tension, into the tremendous out- burst of the Finale, chords proclaiming C major with all of the power

m orchestra of 1 807 could muster — which means that trombones, piccolo and contra-bassoon appeared for the first time in a symphony. The Finale follows the formal line of custom, with a second section in the dominant, the prescribed development section, and a fairly

close recapitulation. But as completely as the first movement (which

likewise outwardly conforms), it gives a new function to a symphony — a new and different character to music itself. Traditional precon- ceptions are swept away in floods of sound, joyous and triumphant. At the end of the development the riotous chords cease and in the

sudden silence the scherzo, or rather the bridge passage, is recalled. Again measures of wonderment fall into the sense of a coda as the oboe brings the theme to a gentle resolution. This interruption was a stroke of genius which none could deny, even the early malcontents who denounced the movement as vulgar and blatant — merely because they had settled back for a rondo and found something else instead. The Symphony which in all parts overrode disputation did so no- where more tumultuously, more unanswerably, than in the final coda. [copyrighted]

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[71 His instructions to his musicians are a mixture of French, English and German—with French predominatmi-

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[91 "NOBILISSIMA VISIONE," Concert Suite FROM THE Ballet "St. Francis" By Paul Hindemith

Born at Hanau, Germany, November 16, 1895

Hindemith wrote his Ballet St. Francis for the Ballet Russe de Monte Carlo in 1937, and in the following year extracted from his music a Concert Suite in three parts (Introduction and Rondo, March and Pastorale, Passacaglia). The Ballet St. Francis: Choreographic Legend in One Act and Five Scenes, with choreography by Leonide Massine, was first performed at the Drury Lane Theatre, London, July 21, 1938. It was performed in this country by the same company and presented by them in Boston at the Opera House, November 9, 1938. The first performance of the Suite was at Venice, September, 1938. The Suite had its first American performance by the Philharmonic Orchestra of Los Angeles, March 23, 1939, when the composer conducted. Richard Burgin intro- duced it at the Boston Symphony Concerts, January 22, 1943. The Suite is scored for flute, oboe, two clarinets, bassoon, two horns, two trumpets, trombone, tuba, percussion and strings. According to the composer's indication, the flute, oboe, bassoon, horns and trombone may be doubled in full passages.

WHEN the Ballet St. Francis . was performed, Leonide Massine was quoted in the program as saying that this "choreographic legend" "translates the moving simplicities and mentality of the strange world of St. Francis into the highly formalized language of ballet." When we set beside this the statement of Hindemith that "the suite consists of those sections of the ballet score which are self- sufficient and comprehensible as concert music and which do not de- pend, therefore, on supplementary stage action," we may reasonably conclude that the absolute forms here used may well subsist apart from all visualization.

The Introduction to the suite (strings with clarinet) is taken from the eighth number ("Meditation") from the ballet, while the Rondo

(Mdssig schnell), opening with strings and flute, is the "Kdrgliche Hochzeit," the "Marriage with Poverty," the episode No. 10 in the ballet. The March, in which the triangle and military drum are added, is No. 4 in the ballet. The Passacaglia is the closing number of the ballet as well as the suite. "The introduction," so the composer has written, "consists of that part of the original music during which the hero of the action (Franziskus) 'issunk in deep meditation. The Rondo corresponds to the music in the stage score for the mystic union of the Saint to Mistress Poverty, the scene having been inspired by an old Tuscan legend. The music reflects the blessed peace and unworldly cheer with which the guests at the wedding participate in the wedding feast — dry bread and water only. "The second movement pictures the march of a troop of medieval soldiers. First heard but distantly, their gradual approach is observed.

[10] "

The middle portion of this movement suggests the brutality with which these mercenaries set upon a traveling burgher, and rob him.* "The third and closing movement, Passacaglia, corresponds to the portion of the ballet score, representing the dance Hymn to the Sun. Here all the symbolic personifications of heavenly and earthly exist- ence mingle in the course of the different Variations through which the six-measure-long theme of the Passacaglia is transformed. In the ballet, this closing piece bears a special title borrowed from a chapter heading in an old version of the 'Cantique du Soleil/ which reads: 'Incipiunt laudes creaturarum.'

The following description of the ballet accompanied its perform- ances:

In his father's house at Assisi, young Francis Bernardone gaily spends his days devoting his time to the pleasant pastimes of the moment, surrounded by friends and idlers. Even the little activity he exercises in his father's business gives him pleasure, since it permits him to meet the buyers who come from the four corners of the earth; and his mind, turned towards distant lands, together with his in- clination for brave deeds and adventures, causes him to find new interests among these people. His youthful pride even causes him to show himself lacking in sympathy for the poor.

It is a brutal rebuff on the part of an aged beggar that awakens in him that love of poverty which is to fill and motivate his later life; repenting, he runs after the beggar and gives him a share of his riches. But his conversion is not complete, and the urge for chivalry triumphs over simplicity. Greatly impressed by the imposing aspect and a sense of power conveyed by a passing knight who visits his father's house in order to replenish his wardrobe, Francis decides to become a soldier. Already seeing himself, in his fertile imagination, as a famous hero, he girds on weapons and goes off to war. But the severity of a soldier's life and the cruelty of a warrior's existence horrify him, and finding himself in- capable of participation he becomes desperate. At this moment there appear to him three allegorical women — the figures of Poverty, Chastity, and Obedience, who reveal to him that, instead of a warrior's laurels, destiny has reserved for him a life of quiet piety and self-sacrifice; and that, apart from chastity and obedience, his life will be devoted, in particular, to

poverty. This revelation is made to him in the midst of a splendid feast, to which

he is brought by his youthful friends. His companions press him to sing again the gay tunes, as he had done before; and despite the fact that he does not show himself to be the boon companion he had been before he went off to the wars, they proclaim him king of their revels. They press on him the claims of love. To fall in love would do him good, they think. But what has earthly love to offer to one who carries in his heart the heavenly vision of Poverty? He gratefully remembers the loveliness of her apparition, so full of grace and gentleness; and to the beggars who are waiting to receive the remnants of the feast, the crumbs from the table, Francis distributes dishes heaped high with food, the goblets, even the tablecloths. All of this greatly angers his father, who regards it as a wanton squandering of valuable possessions, and threatens to beat him. But by now the young Francis has made his irrevocable decision; he removes his rich apparel and

* The "Pastorale" which follows the march in the suite is omitted in this performance. returns it to his father. By this significant gesture he breaks forever the paternal bond and also breaks with the life he had hitherto lived. Barely covered with the tattered rags of a beggar, he starts his journey towards solitude. see We him absorbed in profound meditation. And then, in intimate mystical communication with God, his whole being is enlightened as to his proper con- duct on earth, at which his happiness becomes as a celestial rather than an earthly joy; and his unburdened heart overflows, to find expression in a flood of joyous music.

Threatened by a ferocious, man-eating wolf, the inhabitants of the country attempt to save themselves by fleeing. Among the frightened peasantry we find the three comrades of Francis' gay youth, who, in the meantime, have abandoned their frivolous life and have followed the example of their friend. Francis, filled with the God-like spirit of kindliness, goes to meet the wolf, who madly rushes at him; but Francis, through understanding and faith, so thoroughly tames the animal that it becomes as a gentle lamb. To show their gratitude and devotion, the three comrades, who wish nothing better than to serve their friend and master, prepare a comfortable couch for him; but Francis refuses and lies down upon the ground to rest. While he sleeps the friends keep watch over him, lest he be disturbed; so solicitous are they that they even refuse to welcome Poverty. Then Francis awakes and, filled with an un- speakably happy emotion, embraces his three friends, and he and Poverty seal their intimate understanding by a mystical union, symbolized by an exchange of rings; whereupon the newly-weds, with their friends, ecstatically partake of the frugal wedding-feast of bread and water. The mystical union having been consummated, Francis, in a supreme exaltation of happiness, sings a hymn of praise to the sun, while the symbolical characters of a brotherly community between those of heaven and those of the earth pass before the spectator. [copyrighted]

Divertimento from "LE BAISER DE LA F^E" ("THE FAIRY'S KISS"), Allegorical Ballet in Four Scenes By Igor Fedorovitch Stravinsky

Born at Oranienbaum, near St. Petersburg, on June 17, 1882

In 1928, Stravinsky composed for Ida Rubinstein "Le Baiser de la Fee, Ballet- allegorie en 4 Tableaux." It was performed under his direction at the Opera in

Paris, on November 27, and repeated on December 4. The ballet was mounted at the Theatre de *la Monnaie in Brussels, and at Monte Carlo; also at La Scala in Milan, all in the same season, for the company of Mme. Rubinstein. Later it was studied anew by Mme. Nijinska, and produced at the Colon Theatre in Buenos- Aires, where other of Stravinsky's works have been performed. The suite was played under his direction in November, 1928, by the then newly formed Orchestre Symphonique de Paris at the Theatre des Champs £lysees. Visit- ing America, Mr. Stravinsky conducted the suite at a concert by the Boston Sym- phony Orchestra in Sanders Theatre, Cambridge, on March 14, 1935. It was per- formed in Boston under the direction of Dr. Koussevitzky, October 30, 1936, and repeated under the composer's direction, January 17, 1941.

[12] The suite is scored for three flutes and piccolo, two oboes, English horn, three clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trom- bones and tuba, timpani, bass drum, harp, and strings. THE composer made his orchestral suite from the ballet "without great difficulty," as he himself has written, "on account of its straightforward plan." Stravinsky expresses his pleasure in conduct- ing this music in that it embodies a method of orchestral writing new to him, and easily conveyed to its audience in a first hearing. Stravinsky dedicates the piece "To the muse of Tchaikovsky," and further explains on his score: "I dedicate this ballet to the memory of

Pierre Tchaikovsky, identifying his muse with the Fairy, and it is from this fact that the ballet becomes an allegory. His genius has in like degree marked the score with a destined kiss — a mystic influence which bespeaks the whole work of the great artist." Herbert Fleischer further particularized this curious alliance {Russischer Musik Ver-

lag, Berlin, 1913) : "Stravinsky takes as the basis of the composition the melodies and characteristic turns of expression of Tchaikovsky. He removes the often too sweet and rather feminine meltingness of Tchaikovsky's melos. He recasts the tones of the master, so reverenced by him, in his own rigid tonal language. Yet the lyrical tenderness of

Tchaikovsky's melos is not lost. "Tchaikovsky's 'Wiegenlied im Sturm' constitutes the funda-

mental motive of the ballet. With it, it begins, and with it, it ends. From the succession of Tchaikovskyan melodies that have been drawn upon, of most importance are the Humoresque for piano — used in the splendidly colored material of the second tableau; in the same

scene, the melody of the waltz 'Natha' [from the Piano Suite, Op. 51], and the piano piece 'The Peasant Plays the Harmonica' from the

Children's Album.' " There is also an unmistakable allusion to the Romeo and Juliet Overture. Stravinsky, on an introductory page of his score, finds four lines sufficient to give the plot of his ballet: "A Fairy has marked with her mysterious kiss a young man in his childhood. She withdraws him from life on the day of his greatest happiness to possess him and thus pre- serve this happiness forever. Again she gives him the kiss." The indications in the score will give a more detailed idea of the action:

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[»3.1 I. Prologue (Storm Lullaby) (Andante) woman -A carrying her child proceeds through the storm- 1 he tairy spirits appear. (Allegro) -The spirits pursue the woman - They separate her from her ^'"^ off -Appearance of the Fairy -She approaches the^uJ^J^child -She''cu''^ surrounds him with tenderness - She kisses his fore head and vanishes, leaving him alone on the stage. (Vivace) - Passing peasants find the child abandoned, seek vainly for his mother, and anxiously take him off. II. A Village Fair (Tempo giusto) - Peasants dance, musicians play; the voung man and his betrothed dance with the rest (Valse, poco piu lento) - The musicians and the crowd go off; the betrothed leaves the young man all alone. (Tempo primo) - The Fairy, disguised as a gypsy, approaches him; she takes his hand, and tells his fortune - She dances (tempo agitato), in- creasing her spell over the young man - She speaks to him of his love and promises him great happiness - Moved by her words, he begs her to lead him to his betrothed - She does so. (Omitted from the suite.) III. At the Mill

(Moderato) - The young man, led by the Fairy, reaches the mill, where he finds his betrothed surrounded by her companions, playing round games; the Fairy immediately disappears (Allegretto grazioso). IV. Pas de deux

(Moderato) — Entrance of the young man (Omitted from the suite). (Adagio) — The young man and his ^ betrothed. (Variation: Allegretto grazioso) — The betrothed. (Coda: Presto) — The young man, his betrothed, and her companions — The betrothed goes to put on her wedding veil — The companions fol- low her, leaving the young man alone. {The remainder is omitted from, the suite.)

(Andante non tanto) — The Fairy appears, concealed by a wedding veil; the young man takes her for his betrothed, and approaches her with rap- ture; the Fairy throws back her veil. The young man, astonished, per- ceives his mistake; he tries to escape, but in vain; his will yields to the supernatural charm of the Fairy, who will carry him to an eternal existence where, to the strains of her lullaby, she will again give him the kiss — The fairy spirits slowly group themselves across the stage in ranks representing the infinite immensity of azure space. The Fairy and the young man are seen on an elevation — She kisses him.

Stravinsky speaks at length of ''Le Baiser de la Fee'* in Chroniques de Ma Vie: " "I was still occupied with the completion of the music of 'Apollon/ he writes, "when towards the end of the year previous (1927) I received from Mme. Ida Rubinstein the request to compose the ballet. The painter, Alexandre Benois, who was working in her interests, sub- mitted to me two schemes. One of them pleased me in every way: it was to create a work under the inspiration of the music of Tchaikovsky. My love [tendresse] for this composer and the fact that the coming presentations in the month of November would coincide with the 35th anniversary of his death, confirmed my acceptance of this offer. It gave me the opportunity to make a sincere obeisance to the ad- mirable talent of this man.

"As I was free to choose the subject and the scenario of the ballet, I began to examine the literature of the nineteenth century in search of

[ 14 1 "

something in the spirit of Tchaikovsky's music. Accordingly, I looked for a great poet whose gentle and sensitive soul, and whose restless and imaginative nature would be in keeping with the character of Tchaikovsky. I thought of Hans Christian Andersen, with whom Tchaikovsky had more than one trait in common. One need only re- call the 'Sleeping Beauty,' the 'Nutcracker Suite,' the 'Swan Lake,' the 'Pique Dame/ and other of his works to realize to what degree the fantastic was dear to him.

"Turning the pages of Andersen, which were well known to me, I chanced upon a tale which I had completely forgotten, and which seemed to me perfectly suited to my purpose. It was the beautiful tale entitled, 'The Ice Maiden.' From this I borrowed the following plot: a fairy bestows her magic kiss upon a child at birth and separates him from his mother. Twenty years later, at the moment when the young man attains his greatest happiness, she gives him once more the fatal kiss and closes him in her embrace to possess him forever in supreme felicity." But the kiss of the Ice Maiden in Andersen's tale was the dread kiss of frost. "She, the Glacier Queen, the death-dealing, the crushing one, is partly a child of air, partly the mighty ruler of the river; thus she is also able to raise herself to the summit of the snow mountain, where the bold climbers are obliged to hew steps in the ice before they can mount; she sails down the rushing stream on the slender fir twig, and springs from one block to another, with her long, snow-white hair and her blue-green garment fluttering around her and glittering like the water in the deep Swiss lakes.

" 'To crush and to hold, mine is the power,' she says. 'They have stolen a beautiful boy from me, a boy whom I have kissed, but not kissed to death. He is again among men; he keeps the goats on the mountains, and climbs upwards, ever higher, far away from the others,

' but not from me. He is mine, and I will have him!

[copyrighted]

JOYEUSE MARCHE By Alexis Emmanuel Chabrier

Born January 18, 1841, in Ambert (Puy-de-D6me); died September 13, 1894 in Paris

This march in its orchestral form was performed at Angers in 1888 and first heard

in Paris at a concert of the Societe Nationale, April 27, 1889. The march is scored for two flutes and piccolo, two .oboes, two clarinets, four bassoons, four horns, two trumpets, two cornets-a-pistons, three trombones, tuba, timpani, bass drum, cymbals, side drum, triangle, harp and strings.

[15 1 CHABRiER, well-known as the composer o£ the Rhapsody Espafia (1883), was asked in 1888 by the Conservatoire at Bordeaux to provide two pianoforte pieces for use in the sight-reading classes of that institution. The composer accordingly sent a Prelude pastorale and a Marche frangaise. Unfortunately, the pieces were considered too difficult for the students and were returned. Chabrier forthwith arranged them for orchestra and they were so performed, the march, entitled Joyeuse Marche, surviving its mate. The march in its orchestral form was pub- lished in 1890 with a dedication to Vincent d'Indy.

Chabrier is one of the instances of a musician of undoubted talent who embraced another vocation than music until middle age. He showed a great musical aptitude even as a child, but studied law according to the tradition of his provincial and bourgeois parents, secured a position of Ministry of the Interior at twenty. Not until he was forty years old did Chabrier definitely and wholly devote himself to music. He was a self-made musician who took lessons from one teacher or another in violin, piano and composition, but entered no conservatory and acquired no official sanction to a professional standing.

His first efforts were two operettas, but his first conspicuous success was his orchestral rhapsody Espafia, which he composed after a trip to Spain in 1883. Thereafter bad luck pursued the composer. His only opera, Gwendoline, disappeared from the boards after two perform- ances in 1886 when the Theatre de la Monnaie in Brussels went bank- rupt. His comic opera Le Roi malgre lui was put on at the Opera- Comique in the spring following, but after three performances the Opera-Comique was destroyed by fire. An opera Briseis was never completed. He attended a revival of Gwendoline shortly before his death, but a tragic paralysis was already upon him, and according to the report of friends who were by his side, he did not recognize his own music. Chabrier's obvious talent, his charm as a pianist, his sparkling wit which often had an edge, and his underlying seriousness of purpose in the pursuit of perfection of style — these qualities made him the center of a considerable circle. There were the musicians d'Indy, Dukas, Chausson, Faure, Messager, Charpentier; the writers Daudet, de Goncourt, Zola, Mendes, Rostand, Verlaine. [copyrighted]

[16] RCA VICTOR RECORDS BOSTON SYMPHONY ORCHESTRA

Recorded under the direction of Charles Munch Beethoven ** Symphony No, 7 Beethoven "(Jratulations-' Minuet Berlioz *Beatrice and Benedict Overture Bra Jims * Symphony No. 4

Briich Violin Concerto No. 1, in G minor Soloist, Yehudi Menuhin Haydn ** Symphony No. 104 ("London") Ravel *La Valse Schubert ** Symphony No. 2

Among the record'uiys 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, "Broica"; Symphony No. 5, Prokofieff Concerto No. 2, in G Minor, in C Minor, Op. 67; Symphony Op. 63, Heifetz, violinist; Sym- No. 9, in D Minor, "Choral" phony No. 5 ; Peter and the Wolf, Op. 67, Eleanor Roosevelt, narrator Brahms Symphony No. 3, in F, Op. 90 Ravel Bolero; Ma M6re L'Oye Suite Haydn Symphony No. 92, in G, "Ox- ford"; Symphony No. 94, in G, Schubert Symphony No. 8, in B Minor, "Unfinished" "Surprise" ; Toy Symphony Khatchaturian Concerto for Piano Tchaikovsky Serenade in C, Op. 48; and Orchestra, William Kapell, Symphony No. 4, in F Minor, Op. pianist 36; Symphony No. 5, in E Minor, Op. 64 Mendelssohn Symphony No. 4, "Ital- ian" Wagner Prelude to "Lohengrin"

COMMEMORATIVE ALBUM— (to be available this Fall)

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" (Oct. 1951)

^5 r.p.m. **SS 1/S (L.P.) and 45 r.p.m. 5^ /^^^^^^'^^^/^^^ ^^ /^.^l^y^-?^^^

X he world's great music,

interpreted by the world's

great artists, provides a

challenge which few pianos

can accept. The choice of the Baldwin by the Boston Symphony Ansermet, guest Orchestra, by Charles Munch, its Music Director and Ernest standards of conductor, isVi distinguished tribute to Baldwin's exacting

excellence. The distinction, the enduring joy of owning a Baldwin is

within the reach of all.

THE BALDWIN PIANO COMPANY 160 Boylston Street Boston, Massachusetts

ELECTRONIC ORGANS BALDWIN • ACROSONIC • HAMILTON AND HOWARD PIANOS • BALDWIN