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Boston Symphony Orchestra Concert Programs, Season 69, 1949-1950, Subscription

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SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SIXTY-NINTH SEASON, 1949-1950 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1949, BY BOSTON SYMPHONY ORCHESTRA, ItlC. 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 Alvan T. Fuller Lewis Perry Theodore P. Ferris 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 [169] ©©©@©©©@®©©©©©©@©©@©©©©©©©©©©©© © © © to ^erv;ng y going ourBro Perty © V/hat's ; © low COST © to © happen © © Property?! © Your a.^^^^ © K'X*,. © Sh aw"imBank © © © © © JLhis booklet shows how the Personal Trust © Department of the Shawmut Bank can help you in © the management of your property during your own © © lifetime, as well as providing for its future conser- © vation. One important section explains the "When © and Why" of the "Living Trust", and other © Shawmut aids in property management and super- © © vision are also reviewed. Whether your resources © are large or small, you should know the facts set © forth in this booklet. © © Call at any of our 28 convenient offices, write or telephone © LA 3-6800 for our booklet: © ^Conserving Your Property at Low Cost" © © © © © The Vtytional © © Shawmut Bank © © 40 Water Street, Boston © Member Federal Deposit Insurance Corporation © and Surplus © Capital $30,000,000 © "Outstanding Strength for 113 Years © © i 17<>3 SYMPHONIANA Resolution Monet Exhibition Chandlanaier s Tremont and West Streets RESOLUTION {Adopted by the Trustees of the Boston Symphony Orchestra, October 26, 1949) In the thirty-one years since Major Higginson committed the conduct of announcing the the Orchestra to a Board of Trustees, that Board has operated under five presentation of Presidents, of whom Jerome D. Greene was the fourth. He was a member of 1950 models the Board from May 16, 1938, until October 26, 1949, when his resignation was reluctantly accepted. For more than three of those eleven years, from April 22, 1942, until October 24, 1945, he was ARNHEIMER President of the Board. To his whole service of the Orchestra FURS • • he brought a rare equipment for useful- ness. In educational, humanitarian, and financial posts he had acquired a wide experience, the fruits of which could be related at many points, and with exclusive with high advantage, to the varied needs of us in Boston our enterprise. When he assumed his duties as President, the transition from his predecessor's term of office to his own presented problems of peculiar The famous difficulty. He faced them with a modest force of character and conduct, an un- Arnheimer label sparing expenditure of thought and ac- treasured the country tion, and unfailing an considerateness over by women who ap- for others which won for him a special preciate the finer place in the admiration and affection things ... in stoles of his colleagues on the Board. capes . jackets This minute is accordingly adopted in token, both personal and corporate, . full length coats of the Board and of the public it seeks of true elegance! to serve for the generous and effective labors of our fourth president, Jerome D. Greene. [171] MONET EXHIBITION LAMSOM HUBBARD The exhibition of the French impres- sionists, Monet and Pissarro, now on view in the Gallery, has been loaned by the Boston Museum of Fine Arts: Branch of the Seine near Giverny, by Claude Monet Water Lilies, by Claude Monet Grand Canal, Venice, by Claude Monet Flower Beds at Vetheuil, by Claude Monet Ice Floes at Vetheuil, by Claude Monet Snow at Argenteuil, by Claude Monet Ravine of the Creuse River, by Claude Monet Entrance to the Village of Vetheuil, by Claude Monet Rouen Cathedral : Tour d'Albane, Early Morning, by Claude Monet Haystack at Sunset near Giverny, by Claude Monet The Old Fort at Antibes, by Claude Monet Morning on the Seine at Giverny, by Claude Monet Autumn at Jeufosse, by Claude Monet Meadow at Giverny : Autumn, by Claude Monet Rouen Cathedral: Sunset, by Claude Monet Cap d'Antibes: Mistral, by Claude Monet There is nothing quite Morning Sunlight on the Snow, Eragny, comparable to the aura by Camille Pissarro imparted of elegance The Turkey Girl, by Camille Pissarro by regal mink. Select Road to Ennery, by Camille Pissarro your mink garment with confidence from the col- lection of Lamson-Hub- bard, furriers to New England women for seventy-nine years. Coat sketched, $2400, plus tax ^-IMQN41UBR\RD [ 172 ] BOSTON ^A. IRENE. .. dips deeply into the richness of the 15th Century for a superb suit, dramatic as Golden Age pageantry— in Renaissance Red, a vibrant garnet tone. M. I. T. 'sold Rogers Building on Boylston Street Remember when it was called "Boston Tech"? The face of Boston has pany, New England's largest changed greatly since 191 6, trust institution, meets in the year in which the Massa- trust and agency fields every chusetts Institute of Tech- need of the owners of securi- nology moved across the ties through various types of Charles River to its magnifi- up-to-date, efficient services. cent new buildings in Cam- bridge. TRUSTEE EXECUTOR CUSTODIAN Old Colony Trust Com- pany congratulates the Insti- tute on its leadership in meet- ing change. Through peace , WORTHY OF YOUR TRUST and war, the Institute has maintained that leadership Old Colony and has made major contri- Trust Company butions to the progress of ONE FEDERAL STREET, BOSTON mankind. T. Jefferson Coolidge In step with changing Chairman, Trust Committee times. Old Colony Trust Com- Robert Cutler, President Allied with The First National Bank of Boston ['74] 1 SIXTY-NINTH SEASON • NINETEEN HUNDRED FORTY-NINE AND FIFTY Fourth Program FRIDAY AFTERNOON, November 4, at 2:30 o'clock SATURDAY EVENING, November 5, at 8:30 o'clock Mozart Symphony in D major, "Prague," No. 38 (Koechel No. 504) I. Adagio; Allegro II. Andante III. Finale: presto Jolivet Concerto for Ondes Martenot and Orchestra I. Allegro moderato II. Allegro vivace III. Largo cantabile (First performance in America) INTERMISSION Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato SOLOIST GINETTE MARTENOT BALDWIN PIANO RCA VICTOR RECORDS This program will end about 4:25 o'clock on Friday Afternoon, 10:25 on Saturday Evening. r i 75 PERSIAN LAMB . so sleek, so satisfactory to wear is the summation of elegance again this year. We invite you to buy your furs with the utmost confidence in a store which has enjoyed a fine reputation for over a hundred years. R. H. STEARNS CO. I 17b I SYMPHONY IN D MAJOR (K. No. 504) By Wolfgang Amadeus Mozart Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791 This symphony had its first performance at Prague, January 19, 1787. It is scored for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings. The trumpets and drums are not used in the slow movement. The "Prague" Symphony was first performed at these concerts January 27, 1882. The most recent performance in the Friday and Saturday Series was April 2, 3, 1948. The last symphony which Mozart composed before his famous final three of 1788 (the E-flat, G minor, and "Jupiter" symphonies) was the Symphony in D major, called the "Prague" Symphony, which had its first performance in that city early in 1787. Mozart probably did not compose it especially for Prague, but when he went there from Vienna on a sudden invitation, the new score was ready in his port- folio for the first of two performances in the Bohemian capital. "Prague is indeed a very beautiful and agreeable place," wrote Mozart on his arrival there. And he had good cause to be gratified with the more than friendly reception which he found awaiting him. "Figaro," produced there in the previous season, had been an immense success, and its tunes were sung and whistled on all sides. A bid was to come for another opera, and "Don Giovanni" was to be written and produced there within a year, and to cause another furore of '77 1 enthusiasm. The composer of "Figaro," as might be expected, was applauded loud and long at the two concerts of his visit in 1787, and after the D major symphony at the first of them, he could not appease the audience until he had improvised upon the piano for half an hour. At length a voice shouted the word "Figaro!" and Mozart, inter- rupting the phrase he had begun to play, captured all hearts by im- provising variations from the air "Non piii andrai." Writing on January 15 to his friend Gottfried von Jacquin, Mozart related how a round of entertainment mostly connected with music- making was awaiting him. On the evening of his arrival, he went with Count Canal to the "Breitfeld Ball, where the flower of the Prague beauties assemble. You ought to have been there, my dear friend; I think I see you running, or rather limping, after all those pretty creatures, married and single. I neither danced nor flirted with any of them — the former because I was too tired, and the latter from my natural bashfulness. I saw, however, with the greatest pleasure, all these people flying about with such delight to the music of my 'Figaro/ transformed into quadrilles and waltzes; for here nothing is talked of but 'Figaro,' nothing played but 'Figaro,' nothing whistled or sung but 'Figaro,' no opera so crowded as 'Figaro,' nothing but 'Figaro' — very flattering to me, certainly." .Fine 6hp;lish 2>one China In our Gift Shop you will find a lovely selection of fine English bone china for your collection or for gifts.
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  • “L'art N'a Pas De Patrie?” Musical Production and Resistance in Nazi

    “L'art N'a Pas De Patrie?” Musical Production and Resistance in Nazi

    Title Page “L’art n’a pas de patrie?” Musical Production and Resistance in Nazi-Occupied Paris, 1940-1944 by Julie Ann Cleary B.M. in Clarinet Performance, Rhode Island College, 2012 M.F.A. in Historical Musicology, Brandeis University, 2014 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Membership Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Julie Ann Cleary It was defended on April 22, 2019 and approved by Dr. Olivia Bloechl, Professor, Department of Music Dr. Lisa Brush, Professor, Department of Sociology Dr. Michael Heller, Associate Professor, Department of Music Dr. Deane L. Root, Professor, Department of Music Dissertation Director: M.A. James P. Cassaro, Professor, Department of Music ii Copyright © by Julie Ann Cleary 2019 iii Abstract “L’art n’a pas de patrie?” Music Production and Resistance in Nazi-Occupied Paris, 1940-1944 Julie Ann Cleary, Ph.D. University of Pittsburgh, 2019 Scholarship from various fields including history, Vichy studies, sociology, and musicology have dissected myths surrounding the Occupation of France (1940-1944), which fall into two generalities of total collaboration or total resistance. The reality lies in the middle, in which many individuals participated in resistance or collaboration in a variety of degrees. I argue that composing, performing, and listening to music are substantial resistant acts, using the resistance movements in Occupied Paris as a case study. This study has two overarching goals.