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Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director

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Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Frid Y, ~"nuery 10, 1.47 Boston Sym....Jhony Orchestra (Pro ~rflm ... ~t-.:;)s) BOSTON SYMPHONY ORCHFJSTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON . 2 . SIXTY-SIXTH SEASON 1946-1947 Academy of Music, Brooklyn t.Jnder the auspices of the BROOKLYN INSTITUTE OF ARTS AND SCIENCES and the PHILHARMONIC SOCIETY OF BROOKLYN VICTOR RED SEAL RECORDS Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Bach, C. P. E. Concerto tor Orchestra in D major Bach, J. S . ............ Brandenburg Concertos Nos. 3 and 4 Beethoven ............ Symphonies No!. 2 and 8; Missa Solemnis Berlioz ............... Symphony, "Harold in Italy" (Primrose) Three Pieces, "Damnation ot Faust", Overture. "The . Roman Carnival" Brahms ..........•.•• Symphonies Nos. 3, 4 Violin Concerto (Heifetz 1 Copland .............. "El Sal6n Mexico," "Appalachian Spring" Debussy ........ ..... "La Mer," Sarabande Faure .......... ...... "Pelleas et Mellsande," Suite Foote ................ Suite tor Strings Grieg ............... "The Last Spring" Handel ............... Larghetto (Concerto No. 12), Air from "Semele" (Dorothy Maynor) Harris ...... .. .... .. Symphony No.3 Haydn ............... Symphonies Nos. 94 ("Surprise" J ; 102 ( B-tlat) Liadov ......... .... .. "The Enchanted Lake" Liszt . ....... ......... Mephisto Waltz Mendelssohn .......... Symphony No. 4 ("Italian") Moussorgsky .. .. ...... "Pictures at an Exhibition" Prelude to "Khovanstchina" Mozart ..... .......... Symphonies in A major ( 201) ; C major ( 338), Air of Pamina, from "The Magic Flute" (Dorothy Maynor) Prokotletr .......... .. Classical Symphony; Violin Concerto No. 2 (Heifetz); "Lieutenant Kije," Suite; "Love for Three Oranges," Scherzo and March ; "Peter and the Wolf" Rachmanlnotr ... •. Isle of the Dead" ; "Vocalise" Ravel ................ "Daphnia and Chloe," Suite No.2 (new recording) Rimsky-KorsakoT ..... "The Battle of Kerjenetz"; Dubinushka Schubert .. ........... "Unfinished" Symphony (new recording) ; "Roaa- munde," Ballet Music Schumann ......... Symphony No. 1 ("Spring") Slbelius .... .... ..... Symphonies Nos. 2 and t>; "Pohjola's Daughter"; ''Tapiola" ; "Maiden with Roses" Strauss, J ....... .... Waltzes: "Voices of Spring," "Vienna Blood" Straus!, R. .......... "Also Sprach Zarathustra" "Till Eulenspiegel's Merry Prank!" Stravin!lky ........... Capriccio (SanromA.); Song of the Volga Banremeu (arrangement) Tchalkovsky .......... Symphonies Nos. 4, 5, 6: Waltz (from Strblg Serenade); Overture "Romeo and Juliet" Thompson ............ "The Testament of Freedom" Vivaldi . Concerto Grot~so In D minor J\cadt"tny of ~lu~it, Urooklvn Boston Synzphony Orchestra SEP(.,}, K<H JSSE\' J'J /1 \'. ,\111\it /Jut•ctrn RICHARD lltJRC:IN, Associate Conr/uctm Concert Bulletin of the Second Concert I· p I J) \ y EvEN I~ (;. I ([II II (I} )' I() 1c•ith historical and descnj>lzve 110/t's by JonN N. BunK TriE TRUSTEES oJ· ·r HE BOSTON S\'1\IPllONY ORCHESTRA, INc. IlENR\' B. CABO!' Pr esitlmt IlENRY B. SAWYER Vicr.-Pr oidr.nt RlCilARD C. PAINE Trcamrer PHILIP R. ALLEN 1\1. A. DE vVOLFP: HowE JOliN N ICIIOI.AS BROWN JACOB J. KAPI.AN Ar VAN T. Flll LER RoGFR I. LEE jEROME D. GREENE BE;-.ITU~Y \'\'. WARREN ~. PE:--.ROSE I IALLO\\'EI.I. RA YMONil S. WILKINS FRANCIS w. I lATCH OLIVER ''VOLCOTI' GM>RGE E . .Juno, AI anager [ I ) T' N ,,,ur _t._ ..... TRONIBONES TUBA ,,,.sr M>I.'E I D?NST flAIMON!J ~ '[Cf/rl'J;pl PAN[ff!(A IALLARP ~ I NUT CC.<ritTAA ----._,.r:OCI- --_,., BASSOONS ···- . JOSEPH JEAN JOHN Llli<A/J,fY DE:EiaJIE' HOLMES ,,AJ"!' ,/liST OBOES CLARINETS GEORGE MADSEN JEAN ALBERT HAllS f JI£CFRtf0 LEFIIANC BERNARD MI?M:Jl 6Ef<f'.AI?OT l .SERGE J<aJJSE'I!TlKY JEAN ; GEOIICES I EM!L CAIJHAPf: fOU/lfl KOf..':SA.It.~ COIVPUCTOR 0 FIIU.,. VIOLAS At :tdc·1ny of lVI u~il, Brool I ' ll Boston SymfJiwny- Orchestra \//1\/t /)J/r'('/rl/ 4 ~ I•, <: <) N I > <: ( >N C 1, J{ ' I ' FRII>t\' 1 • \l•Nl~(; , .J, IJ ,\R\ to t>rogr:trn SIR\Uss ..•...••••.•....•.••• "~lct;IIIIOJPhos<'ll," St11dy lot ~J Solo Sttillg lnstttlltH'II IS 1\J \IU I Nti, .... C:ntl<<'tlo C1m•m lnt· <:lt.tllthc•t OJCIH'slt.t I. \llr g1n 111111 IIIIJIJIII II. J.r·nlo Ill, ,\llq.~~ t'flll /'tll/1111: Llll (.\ ~ I os .11111 1\1 HN \1111 /u 1111(,\ I N 'I' I• I( 1\1 I .S S I <l N lhtuto/,,, ................ "ll.nold i11 Italy'': Syutphony in Fottl lm'<'IIH'IIIs. witlt V10l.t Solo, OJ>. til I . ll,1111ld 111 till' ;\llliiiii.IIIIH, SCI'III'!I ol ~~~ l.ttlllllll · , ll.q>('I111'S ,uul Jn} (t\d,1~1o; ,\llt'J.; I o) 11. \1.tttll ol l'tl g1i111~ Sit1li111H 'J'III'i1 I'.\1'11111 H llynu1 ( \ llr•g11' l to) Jll , ~I'll 11old1• o( ,1 \(111111t.li11t I' I ol Ill!' J\11111/li Ill hi!l i\JI!it II'SS ( \llr·HII• . l 'iS.I I ; AJI, •g ~t • ttn ) 1\ , 01 1-; td 1\ltgolllll , 1\l'tlllliiiiiiiiS nl the• l'11'11di11g S lllll 'l { \llqpo 11!' 111 ' 11111) Sill Ill" I \S< :J t\ VI• ISSI H \I II\\ I 1'1 \ '\l ( l "i \ I ( I <lit I I { I) I I I~ l'lw lflll<<' tl s ol this rll<lw 11,1 011 ' l'tH Sd,l ' <'\'r ' tling'l tilt' IHo,Hh l 'il 011 tltc• ll<' IWnlk ol tilt· \ltH'til.lll Bto.ldr .l slill" ( , 1111)1: 111 (\VIZ). I 11 1 METAMORPHOSES Ry Rrcii,\JW STRAuss Bcnn in Munich, June 11,1864 IIH' f11ll scoJc• ol ''Mr•fal!unjJIIO.H'71'' (Sludif' fiit 23 Solosflf'lr!tt't) was \\llllt'll bct"ec•n .\f:11ch 1:1 :111<1 Aplil 1!!, I!JI!i· in C:nmi ch. The solo instJUIIH:nts tequilccl arc ten violin , five violas, ltvc 'cellos and three hass<'s1• ",\1~/rwwt jJ/w r'tl" was C.IIIIIIJOSC'd IOJ J>au I Sachc•1, who roncluctc·cl the. fi1 ~~ pCl · fonuaucC' with !Jjc; Collt•gium ,\fusicum in the slll:tll COJHCIL hall at /1 ch on J:lllu:uy 2£). 191G. Tht• )>lt.'sc•nt pel foJmanccs ;uc the fi1st in tid colmLJ 1. ;\r THE end of t-he printed score appear the wmds "IN :i\fE!\fORIA.\!1 .£"\.. CAR.\1JSC11, 1 2 April, 1 D15·" The date recalls the fact that Am eri­ can lnrr:cs oc cup}ing Ba\'aria shortly after this <Ltt< found Strauss and !tis family living qui<'tly in their Alpine home at G.1nnisch. •(1\lf'fmnorjJ!tosr·~" iii in a single long movement, with the following tempi: Adagio, AjJjHnsirmalo, Agilrtlo, Piti allegro, Adagio tr•mjJO fJrimo. Each instJttment ]tas a separately writtC!n pa1t. Sometimes the compo cr finds considerable variety by the distribution of parts in 1 he orchestra he ha-; c ltO'ien. Smnct imcs the1 e arc mclocl ic solo voices for the first violin, viola or '< ello, and sometimes the e voice arc rein­ forced by the duplication of pans in varying numbers, principally in the ten violins (there is no division into firsts and seconch). Onl, in the more climactic p:tss;tgcs arc all the instlttments ll'iCcl at once. rhc music is in StrnightfOJW:trd C0ll1JJI()Jl titne tlJtO~tg!Jout. ...fhc expository opc·ning, the developmu1t in Allr·guJ, a11d the lCturn of the Adagio tempo with coda clc•aJ ly ~tpploxim<tte a sonata movc­ nwnt. \Villi Schuh give's a desoiption wl1ich discc1ns this stnHtUJC, quoting ,,,.o thenH' g](wp of tlnce e;tch. The developtncnt is con­ uapttntal not in the> fu gal ensc• of sllict imitation or any elaborate Ullnplc•x of voices, hut J:ttiH'J' in the rneloclic intel\\'Caving of themes. The constant subclivi'iion of the pla)ets lends itself to lull chords. The1c is a fJirtni.Hiwo Cltdi11g. The com poser wao; p1 C'SC'll t ~mel Jed the ore It est ra 011 the eve of the ftJ t performance in l'w ic h, which he likewise at tended, according to \Villi Schuh, who H m.1rks: "It had ne\er occurrccl to anyone to write c1 large symphonic wmk for an ensemble of twenty-three solo string pla)c'rs. Strauss at C'ighty-one h~ts broken a new path as he di<l bcfoJc in his ymphonic poems, his '5iolrnne,' and his '1 rzadne auf Noxos.' And as in those c:tscs it ·was the nature of the wmk. in hall<l which led him into the new w~ty, into the new exp1 cssi\C: form and means. Jt has not been a matt('r of scanhing and testing: the Straussian mas· te1y finds at once the full expressive medium and the inward secret of prcicntalion in an ot1tward form." r 4 1 The Man Who Lives in the Clouds Is this man ) ott ? Could be ! Values have gone sky l11gh. Homes, rc::al escace, and personal property are much more cosdy co replace. A steady income ts more vital chan ever. Now, how about your insurance protection for all these essential nems? Is it miles below a proper level? Or is it geared nghc up co the times? Your local Employers' Group Agent through his anatysis plan can show you in a jiffy if you re up in che clouds or on solid ground ins11rance-tl'ise. Call us today for the name of your local Employers Group Agent ... The J\Ce~n with the Plcm. THE EMPLOYERS' GROUP MAN IS The Jllan with the Plan The Employers' Group SURETYSHIP • INSURANCE One Liberty ~quare, Boston 7, j\Jass. [ & ] The title ''J\1 etanw·rphoses" may refer to the transfon11ation of thematic material, and the subtitle "Study" may simply characterize the score as an experiment in part distribution. Both titles seem non­ committal in view of the inscription on the last page of the score and an unmistakable tragic undercurrent in the music itself. The princi­ pal theme in C minor, introduced by two violas in the ninth bar, re­ calls the halting theme of the Marcia funebre in Beethoven's "Eroica" Symphony.
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