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Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955

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y.u. i BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON '7 Q) X 'till ill Hi* '*"//'/<* m H SEVENTY-FOURTH SEASON 1954-1955 Sanders Theatre, Cambridge [3/arvard University] 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 Pinfield 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 Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Leon Marjollet Clarence Knudson Martin Hoherman Trombones Pierre Mayer Louis Berger Jacob Raichman Manuel Zung William Mover 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 Everett Firth Basses Louis Speyer Georges Moleux Percussion Gaston Dufresne Clarinets Charles Smith Gino Cioffi Ludwig Juht Harold Farberman Manuel Valerio Irving Frankel Harold Pasquale Thompson Henry Freeman Cardillo E\) Clarinet Henry Portnoi Librarians Henri Girard Bass Clarinet Leslie Rogers Barwicki John Rosario Mazzeo Victor Alpert, Ass't SandersTheatre, Cambridge \3iarvard University'] SEVENTY-FOURTH SEASON, i954"i955 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Fourth Concert TUESDAY EVENING, February 22 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 M Boston Symphony Orchestra CHARLES MUNCH, Music Director OPEN REHEARSALS In SYMPHONY HALL at 7:30 P.M. MARCH 3, Thursday APRIL 14, Thursday Single Tickets at Box Office $2.00 Hear these performances come wALIVE" with new RCA Victor high fidelity CHARLES MUNCH . Among the exciting performances conducted b; Charles Munch which are yours 01 RCA Victor "New Orthophonic" High Fidelity Records: Berlioz: The Damnation of Faust (coi plete) Berlioz: Romeo and Juliet (complete) Brahms: Concerto No. 2 in B-Flat. Artur Rubinstein, pianist Honegger: Symphony No. 5 Roussel: Bacchus et Ariane Ravel : Pavane for a Dead Princess Charles Munch Conducts French Music La . Rhapsodie Espagnole and Valse (Ravel) rcA Victor FIRST "IN RECORDED MUSIC •"New Orthophonic" High Fidelity Recording BRIGGS & BRIGGS, INC. 1270 Mass, Ave., Harvard Sq., Cambridge, Mass. [*] KIrkland 7-2007 On account of the illness of Mr. Munch Mr. RICHARD BURGIN will conduct tonight Program Bach Suite No. 3 in D major, for Orchestra I. Overture II. Air III. Gavotte I; Gavotte II IV. Bourree V. Gigue Mendelssohn Symphony No. 4 in A major ("Italian"), Op. 90 I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello: Presto INTERMISSION Beethoven Symphony No. 6, in F major, Op. 68, "Pastoral" I. Awakening of serene impressions on arriving in the country: Allegio ma non troppo II. Scene by the brookside: Andante molto moto III. Jolly gathering of country folk: Allegro; in tempo d' allegro; Thunderstorm; Tempest: Allegro IV. Shepherd's Song: Gladsome and thankful feelings after the storm: Allegretto Sanders Theatre, Cambridge {{Harvard University^ Boston Symphony Orchestra CHARLES MUNCH, Music Director FOURTH CONCERT TUESDAY EVENING, February 22 Program Bach Suite No. 3 in D major, for Orchestra I. Overture II. Air III. Gavotte I; Gavotte II IV. Bourree V. Gigue Stravinsky "Orpheus," Ballet in Three Scenes Orpheus weeps for Eurydice — Dance air — Dance of the Angel of Death — Interlude; Second Scene — Dance of the Furies — Dance Air (Orpheus) — "Pas d'Action" — "Pas-de-deux" — "Pas d'Action"; Third Scene — Apotheosis of Orpheus INTERMISSION Beethoven Symphony No. 6, in F major, Op. 68, "Pastoral" I. Awakening of serene impressions on arriving in the country: Allegro ma non troppo II. Scene by the brookside: Andante molto moto III. Jolly gathering of country folk: Allegro; in tempo d' allegro; Thunderstorm; Tempest: Allegro IV. Shepherd's Song: Gladsome and thankful feelings after the storm: Allegretto The first part of each Saturday evening concert will be broadcast (8:30-9:30 E.S.T.) on the NBC Network (Boston Station WBZ) . Both concerts entire will be broadcast from Station WGBH-FM. BALDWIN PIANO RCA VICTOR RECORDS [3] OVERTURE (SUITE) NO. 3 in D major for Orchestra By Johann Sebastian Bach Born at Eisenach, March 21, 1685; died in Leipzig, July 27, 1750 This "Overture" calls for 2 oboes, 3 trumpets, timpani, first and second violins, violas and basso continuo. Philip Hale found a record of a performance in Boston under Theodore Thomas, October 30, 1869, and another by the Harvard Musical Association, January 20, 1870. Bach's "overtures," as he called them, of which there are four, have generally been attributed to the five-year period (1717-23) in which he was Kapellmeister to the young Prince Leopold of Anhalt-Cothen. Albert Schweitzer conjectures that they may belong to the subsequent Leipzig years, for Bach included them in the per- formances of the Telemann Musical Society, which he conducted from the years 1729 to 1736. But the larger part of his instrumental music belongs to the years at Cothen where the Prince not only patronized but practised this department of the art — it is said that he could acquit himself more than acceptably upon the violin, the viola da gamba, and the clavier. It was for the pleasure of his Prince that Bach composed most of his chamber music, half of the "Well- tempered Clavichord," the "Inventions." Composing the six concertos for the Margraf of Brandenburg at this time, he very likely made copies of his manuscripts and performed them at Cothen. The first suite, in C major, adds two oboes and bassoon to the strings. The second, in B minor, is for solo flute and strings. The last two suites, which are each in D major, include timpani and a larger wind group; in the third suite, two oboes and three trumpets; in the fourth suite, three oboes, bassoon and three trumpets. The "overtures," so titled, by Bach were no more than variants upon the suite form. When Bach labeled each of his orchestral suites as an "ouverture," there is no doubt that the French ouverture such as Lulli wrote was in his mind. This composer, whom Bach closely re- garded, had developed the operatic overture into a larger form with a slow introduction followed by a lively allegro of fugal character and a reprise. To this "overture" were sometimes added, even at operatic performances, a stately dance or two, such as were a customary and integral part of the operas of the period. These overtures, with several dance movements, were often performed at concerts, retaining the title of the more extended and impressive "opening" movement. Georg Muffat introduced the custom into Germany, and Bach followed him. [41 . Bach held to the formal outline of the French ouverture, but extended and elaborated it to his own purposes. In the dance melodies of these suites, Albert Schweitzer has said "a fragment of a vanished world of grace and eloquence has been pre- served for us. They are the ideal musical picture of the rococo period. Their charm resides in the perfection of their blending of strength and grace." The "ouverture" of the third suite, which is its main substance, consists of a grave, a vivace on a fugued figure, and a return of the grave section, slightly shorter and differently treated. The air, lento (which certainly deserves its popularity, but not to the exclusion in lay experience of many another beautiful air by this composer) , is scored for strings only. The Gavotte is followed by a second gavotte, used in trio fashion (but not more lightly scored as was the way with early trios), the first returning da capo. The Bourree (allegro) is brief, the final Gigue more extended but nevertheless a fleeting allegro vivace. [copyrighted] ORPHEUS, BALLET IN THREE SCENES Igor Stravinsky Born at Oranienbaum, near St. Petersburg, on June 17, 1882 The score of this ballet bears the signature at the end "Hollywood, September 23, 1947." It was introduced by the Ballet Society at the New York City Center, April 28, 1948. The choreography was by George Balanchine, the decor by Isamu Noguchi. The part of Orpheus was danced by Nicholas Magallanes, Eurydice by Maria Tallchief. The orchestra called for includes: 2 flutes and piccolo, 2 oboes and English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp and strings. The music, comprising the entire ballet, was presented for the first time as a concert number at the Boston Symphony concerts on February 11, 1949, when the composer conducted.
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