R 4 L. BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 7 .Q \® Will ,\* X iiium/ — H tf « SEVENTY-FOURTH SEASON J 954- l 955 Gymnasium, Rutgers University, the State University of New Jersey, New Brunswick, N. J. Under the Auspices of the Department of Music, Rutgers University H, D. McKinney, Director Boston Symphony Orchestra (Seventy-fourth Season, 1954-1955) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Rolland Tapley George Humphrey Contra-Bassoon Norbert Lauga Jerome Lipson Richard Plaster Vladimir Resnikoff Robert Karol Harry Dickson Louis Artieres Horns Gottfried Wilfinger Reuben Green James Stagliano Einar Hansen Bernard Kadinoff Charles Yancich Joseph Leibovici Vincent Mauricci Harry Shapiro Emil Kornsand John Fiasca Harold Meek Roger Shermont Paul Keaney Paul Fedorovsky Violoncellos Osbourne McConathy Carlos P infield Samuel Mayes Walter Macdonald Minot Beale Alfred Zighera Herman Silberman Jacobus Langendoen Trumpets Stanley Benson Mischa Nieland Roger Voisin Leo Panasevich Karl Zeise Marcel Lafosse Armando Sheldon Rotenberg Josef Zimbler Ghitalla Gerard Goguen Fredy Ostrovsky Bernard Parronchi Leon Marjollet Clarence Knudson Martin Hoherman Trombones Pierre Mayer Louis Berger Jacob Raichman Manuel Zung William Moyer Samuel Diamond Flutes Kauko Kahila Victor Manusevitch Doriot Anthony Dwyer Josef Orosz James Nagy James Pappoutsakis Melvin Bryant Phillip Kaplan Tuba Raphael Del Sordo K. Vinal Smith Piccolo Lloyd Stonestreet Saverio Messina George Madsen Harps William Waterhouse Oboes Bernard Zighera William Marshall Ralph Gomberg Olivia Luetcke Leonard Moss Jean Devergie Jesse Ceci John Holmes Timpani Roman Szulc English Horn Basses Everett Firth Louis Speyer Georges Moleux Percussion Gaston Dufresne Clarinets Charles Smith Gino Cioffi Ludwig Juht Harold Farberman Manuel Valerio Irving Frankel Harold Thompson Henry Freeman Pasquale Cardillo E\) Clarinet Henry Portnoi Librarians Henri Girard Bass Clarinet Leslie Rogers Barwicki John Rosario Mazzeo Victor Alpert, Ass't Gymnasium, Rutgers University, New Brunswick, N.J. SEVENTY-FOURTH SEASON, 1954-1955 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin THURSDAY EVENING, February 10 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 Talcott M. Banks, Jr. C. D. Jackson John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Charles H. Stockton Francis W. Hatch Edward A. Taft Harold D. Hodgkinson Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Thomas D. Perry, Jr., Manager G. W. Rector ) Assistant J. J. Brosnahan, Assistant Treasurer N. S. Shirk \ Managers Rosario Mazzeo, Personnel Manager [1] TANGLEWOOD 1955 The Boston Symphony Orchestra CHARLES MUNCH, Music Director The Berkshire Festival Eighteenth Season CHARLES MUNCH, Conductor The Berkshire Music Center Thirteenth Season CHARLES MUNCH, Director To receive further announcements, write to Festival Office, Symphony Hall, Boston [*] Gymnasium, Rutgers University, New Brunswick, N.J. Boston Symphony Orchestra CHARLES MUNCH, Music Director THURSDAY EVENING, February 10, at 8:30 o'clock Program PIERRE MONTEUX, Guest Conductor Mozart Overture to "The Magic Flute" Wagner Senta's Ballad, from "Der fliegende Hollander" (Act II) Wagner Aria of Elisabeth, "Dich, theure Halle," from "Tannhauser" (Act II) Strauss. ."Don Juan," Tone Poem (after Nikolaus Lenau) , Op. 20 intermission Tchaikovsky Variations from the Suite "Mozartiana," Op. 61 Wagner Finale, "Immolation Scene" from "Gotterdammerung" SOLOIST MARGARET HARSHAW Concerts by this orchestra in Boston will be broadcast on Saturdays 8:30-9:30 E.S.T. on the NBC Network. BALDWIN PIANO RCA VICTOR RECORDS [3] PIERRE MONTEUX Pierre Monteux was born in Paris, April 4, 1875. He began his career as violist at the Opera Comique and the Concerts Colonne. From 1912 he conducted Diaghileff's Ballet Russe, introducing such music as Stravinsky's Petrouchka, Le Sacre du Printemps, and Ros- signol; Ravel's Daphnis et Chloe and Debussy's Jeux. He toured the United States with the Ballet Russe in 1916-17. He conducted at the Paris Opera and his own Concerts Monteux in Paris. He became conductor at the Metropolitan Opera House in 1917-18 and was the conductor of the Boston Symphony Orchestra 1919-1924. In the ten years following he was a regular conductor of the Amsterdam Konzertgebouw and the Orchestre Symphonique de Paris. He became conductor of the San Francisco Orchestra in 1935, a position from which he has now retired. Mr. Monteux returned to conduct the Boston Symphony Orchestra January, 1951, each season since, in Bos- ton, and at Tanglewood. He shared with Mr. Munch the concerts of the European tour in May, 1952, the transcontinental tour in May, *953- He conducts as guest of the Metropolitan Opera Company. OVERTURE TO DIE ZAUBERFLOTE ("The Magic Flute") By Wolfgang Amadeus Mozart Born January 27, 1756, Salzburg; died December 5, 1791, Vienna Composed in 1791, "The Magic Flute" was first performed on September 30 at the Theater auf der Wieden„ close to Vienna. The libretto was announced as by Emanuel Schikaneder, who was also the impresario and the Papageno in the cast. The opera, translated into various languages, spread across the continent. The first performance in Paris was probably August 23, 1801, when it was called "Les Mysteres d'Isis." It appeared in Milan at La Scala, April 15, 1816; in London, where it was sung in Italian, May 25, 1819. Philip Hale notes a performance in English at the Park Theatre in New York, April 17, 1833, but states that "the first performance in that city worthy of the name was in Italian at the Academy of Music, November 21, 1859." The same Company brought the opera to Boston in i860, where it was performed on January 11 in Italian and when Theodore Thomas was Concertmaster in the orchestra. Some "mutilated version" may have been per- formed in Boston before that time. The first performance in the original German language was on October 18, 1864. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones and strings. It was on September 28, 1791, two days before the first performance, that Mozart, having completed the score of his opera in great haste, wrote out its Overture. Three solemn chords, taken from the priestly music of the second act, music of Freemasonry, are given out by the full orchestra, the trombones lending their special color. The intro- [4] ductory adagio is followed by a lively fugue, first set forth by the strings. The fugue has no recurrence in the opera itself, but is easily associated with the sprightly music of Papageno. There is a brief re- turn to the adagio chords of the Introduction and a development in which the sonata and fugue forms are blended-.* When in the summer of 1791 Mozart was approached by Schikane- der, the actor manager, with a proposal for a light comic piece in the popular style of the moment, Mozart answered: "If I do not bring you out of your trouble and if the work is not successful, you must not blame me; for I have never written magic music." "Die Zauberfldte" was certainly a departure from Mozart's customary style. Attached to the Viennese Court, he had composed his last three operas in the more elegant Italian manner and language. He had not set a German text since "Die Enfilhrung aus dem Serail" of 1782. But the musical possi- bilities of his own language appealed to him; nor was he ever afflicted with a false sense of dignity. Without prospects from the new Emperor, Leopold II, who was not musically inclined, he was badly in need of money and was probably entirely ready to join his friend in catering to a general public, a readiness which might have led to good profits. Schikaneder knew his public by direct contact from the boards, for he was a succcessful comedian and, after a fashion, a singer. He also knew his public by long and close attention to the box office. His prescrip- tion for success was modelled on a fairly definite pattern, which could be compared to the more modern pantomime, or "extravaganza." This pattern is discernible in a light opera which a rival producer named Marinelli had brought out in June, entitled "Kaspar der Fagottist, oder Die Zauberzither" ("Kaspar the Bassoonist, or The Magic Zither") , to music by Wendel Muller. Audiences looked for a fulsome comedy part, and Kaspar had become a favorite character type with the Viennese. There must be lilting tunes and a spectacle based on fairy-tale adventures, Oriental settings, and the introduction of wild animals, either in the flesh or in papier-mache. The rival piece had just these trappings and Schikaneder sought to find a match for them in a book of quasi-Oriental fairy tales, "Dschinnistan" edited by Wieland. The story "Lulu, or The Enchanted Flute," by Liebeskind, furnished the idea of a magic flute, and other stories provided other situations. * The original manuscript of the opera has been described by Schnyder von Wartensee: "The composer ruled his paper in twelve staves, and was thus compelled at times to write addi- tional instrumental parts on separate sheets. It is evident that Mozart first sketched the opera from beginning to end with astonishing rapidity. This portion was written with very black ink and was just sufficient to prevent his forgetting the idea. It is confined to the voice parts and the text almost without exception until toward the close ; the orchestration is very rarely written in and then only with one instrument or another.