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Boston Symphony Orchestra Concert Programs, Season SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-SECOND SEASON, 1942-1943 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1942, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Jerome D. Greene , President Henry B. Sawyer . Vice-President Henry B. Cabot . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Roger I. Lee Reginald C. Foster Richard C. Paine Alvan T. Fuller William Phillips N. Penrose Hallowell Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [457] Boston Symphony Orchestra [Sixty-second Season, 1942-1943] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. KRIPS, A. RESNIKOFF, V. Concert-master tapley, r. N. KASSMAN, CHERKASSKY, P. LEIBOVICI, J. THEODOROWICZ, J. HANSEN, E. DICKSON, H. FEDOROVSKY, P. ZAZOFSKY, G. EISLER, D. PINFIELD, C. BEALE, M. SAUVLET, H. KNUDSON, C. ZUNG, M. LEVEEN, P. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. HILLYER, R. BRYANT, M. STONESTREET, L. messina, s. DUBBS, H. MURRAY, J. ERKELENS, H. sei niger, s. TRAMPLER, W. Violas TLEFRANC, J. FOUREL, G. VAN WYNBERGEN, C. GROVER, H. CAUHAPE, J. ARTIERES, L. BERNARD, A. WERNER, H. LEHNER, E. KORNSAND, E. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, J. LANGENDOEN, J. droeghmans, h. zeise, k. FABRIZIO, E. ZIGHERA, A. CHARDON, Y. zimbler, j. MARJOLLET, L. Basses MOLEUX, G. JUHT, L. GREENBERG, H. OIRARD, H. BARWICKI, J. OUFRESNE, G. FRANKEL, I. PAGE, VV. PROSE, P. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. polatschek, V. ALLARD, R. PAPPOUTSAKIS, J DEVERGIE, J. VALERIO, M. PANENKA, E. KAPLAN, P. LUKATSKY, J. CARDILLO, P. LAUS, A. Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MAZZEO, R. PILLFR, B. Horns Horns Trumpets Trombones VALKENIER, W. SINGER, J. MAGER, G. RAICHMAN, J. MACDONALD, W. LANNO YE, M. LAFOSSE, M. HANSOTTE, L. SINGER, J. SHAPIRO, H. VOISIN, R. L. COFFEY, J. KEANEY, P. GEBHARDT, W. VOISIN, R. SMITH, V- Tuba Harps Timpani PERCUSSION ADAM, E. ZIGHERA, B. szulc, R. STERNBURG, s. CAUGHEY, E. polster, m. WHITE, L. ARCIERI, E. Librarian ROGERS, L. J. C 458 3 : SYMPHONIANA The Lute Casadesus to Play Mozart Concerto Exhibit THE LUTE Respighi's suite from old music for the lute, performed this week, brings attention upon the 17th Century Theorbo Lute (here pictured) in the Orchestra's collection of old instruments. The following interesting description of the lute and its importance in its time is quoted from Curt Sachs' "His- tory of Musical Instruments" by per- mission of the publisher, W. W. Norton Hearth coat of matelasse rayon crepe on beloved dirndl lines with a wide swathe of satin, embroid- ered along the edge. Pink, blue, white. 17.90. Matching bedjacket 10.90 "The harmonic and polyphonic style Lover's knot hand quilting on of the fifteenth and sixteenth centuries set of 3 lingerie cases 4.90 assigned a privileged role to all instru- And Ann Haviland's precious ments capable of playing several notes fragrance, Lily Of The Valley at once. This explains the increase of keyboard instruments after 1400. There was another instrument that success- GtebURkou fully competed with keyboard instru- ments — the lute. Handier, and with the ?v n advantage of being traditional, it be- came the universal instrument. It could replace in an ensemble any other in- [459] strument, high or low; it accompanied singers, indeed it could reproduce all parts of an instrumental or choral com- position at once; lute arrangements of all kinds of instrumental and vocal en- semble music were published in the six- teenth century as piano scores are pub- lished in our time. The importance given UNEXCELLED to the lute is indicated by the fact that violin makers are called luthiers in France to this day. "The lute of the fifteenth century still had many specific features of the Arabian lute al'ud, the name of which it carried. In many cases the neck was not distinct from the body; it was un- fretted and relatively narrow. Certain players still used the oriental plectron as late as the seventeenth century. Plucking with the bare fingers, however, was more and more necessary as the lutenists developed a technique for playing chords. "The new tasks necessitated a further development of the musical means of the lute. Between 1400 and 1520 the neck was fretted, first with four, gradu- ally increasing to eight frets. The num- ber of strings was six, seven or eight in 1400, and reached the classic number of eleven at about 1450. Eleven did not mean eleven single strings. Ten of them formed five double strings, only the highest string being single to facilitate producing delicate grace notes. Occa- sionally the number of frets and strings was increased. "The usual accordatura was, in the sixteenth century, A/a d/d' g/g' b/b e'/e' a'. The pitch, however, was rela- tive. "The outer shape acquired its defini- tive outline at about 1500; since then it has had the elegant almond form and INCORPORATED the shallower shell. The slender staves, BALTIMORE, MARYLAND from nine to thirty-three, which com- ESTABL ISHED 18 85 posed the shell were sometimes made of exotic woods, ebony, brazil, sandal, THE STRAIGHT WHISKIES IN THIS cypress or of ivory and even of whale- PRODUCT ARE 6 YEARS OR MORE OLD bone, and often separated from each other by delicate purflings. "Modern lutenists are anxious to re- [460] vive that ancient art, but with a few exceptions their style is stiff and wooden; it does not resemble the deli- cate sound of 'the warbling lute,' to use the crest of quality^^l^ Dryden's word. One cannot understand since- Li90 the dominant position of the lute be- tween 1500 and 1700 without knowing from the style of oriental lutenists, and even outstanding Spanish guitarists, how expressive and varied the plucking can be." <r " * CASADESUS TO PLAY MOZART CONCERTO Robert Casadesus is announced as the soloist for the next pair of Boston Sym- phony concerts in the Monday evening and Tuesday afternoon series, to be given in Symphony Hall January 25 and 26. Mr. Casadesus will be heard for the first time hereabouts in a concerto of Mozart, the Concerto in C major, Koechel No. 467. This is the concerto last heard in the Friday and Saturday concerts when Walter Gieseking played 5 it in 1933. b ''^tc</j>„j Struts 1%. /, _ Richard Burgin, who will conduct this pair of concerts, will also present Respighi's first suite of Old Airs and Dances for the Lute, and Richard Strauss's "Don Quixote." * * * EXHIBIT In the First Balcony Gallery is to be seen a collection of watercolors by serve the best Alexander Crane. Born in Cataumet, Mass., he attended • ••for little more! Milton Academy, Berkshire School, Noble and Greenough. After graduation For fifty years Cresta Blanca from Harvard University, he studied at the University of Berlin, and painting "bottle-ripe" California wines have and the restoration of pictures with been emblems of taste enjoyment. Frederigo Ioni at Sienna; he was also a pupil of Eliot O'Hara. Mr. Crane has Pay but a little more for the exhibited at Boston, Philadelphia, New very finest. Ask for them by name. York, New Haven and Hartford. tune in ! JACK PEARL and Morton Gould's orchestra in Schenlcy's "Cresta Blanc a Carnival." Your JIutuat station every week (see your paper jor exact time), & make your dollars fight, buy war bonds and stamps! [461] California Wines. Cresta Blanca a C^c/ce<H£e*/ On Duty for the Duration? Today many individuals seek ways to arrange their personal affairs so that they will have more time to devote to their business, the service of their country or their community. Our services as Custodian can be adapted to your personal requirements. Through this help- ful service we will: i. Collect and remit income as directed. 2. Make purchases and sales on your order or assume full investment responsibility. 3. See to income tax returns and payments. 4. Keep complete records of all transactions. 5. Provide for the physical safety of your securi- ties. Our officers will be glad to consult with you at any time regarding the services which this Company renders. A folder, "Services as Cus- todian" will be mailed to you promptly on request. Old Colony Trust Company ONE FEDERAL STREET, BOSTON T. Jefferson Coolidge Channing H. Cox Chairman President ^Allied with The First National Bank of Boston [462] SIXTY-SECOND SEASON , NINETEEN HUNDRED FOKTY-TWO AND FORTY-THREE Twelfth Programme FRIDAY AFTERNOON, January 15, at 2:30 o'clock SATURDAY EVENING, January 16, at 8:15 o'clock RICHARD BURGIN Conducting Respighi Old Dances and Airs for the Lute (Freely Arranged) Gagliarda (Vincenzo Galilei. 155-) Villanella (Composer unknown, end of 16th century) Passo mezzo e mascherada (Composer unknown, end of 16th century) Strauss "Don Quixote," Fantastic Variations on a Theme of Knightly Character, Op. 35 Introduction, Theme with Variations, and Finale Violoncello Solo: Jean Bedetti Viola Solo: Jean Lefranc INTERMISSION Saint-Saens Concerto for Pianoforte No. 4 in C minor, Op. 44 I. Allegro moderato; Andante II. Allegro vivace; andante; Allegro SOLOIST ROBERT CASADESUS BALDWIN PIANO (Mr. Casadesus uses the Steinway Piano) This programme will end about 4:15 on Friday Afternoon, 10:00 o'clock on Saturday Evening Symphony Hall is organized for your protection in case of a blackout. The auditorium and the corridors will remain lighted. You are requested to keep your seats. Above all, keep calm. [463 ] JORDAN MARSH COMPANY ou %s fkinku 3 uiiuzq a d\l\Lnk Coat? It's not a purchase to be made lightly, we agree.
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