Boston Symphony Orchestra Concert Programs, Season 66,1946
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BOSTON SYMPHONY ORCHESTRA 3\ FOUNDED IN 1881 BY HENRY LEE HIGGINSON SIXTY-SIXTH SEASON 1946-1947 Sanders Theatre, Cambridge [harvard University] HAB& -J 3; 5g 1 St. 1 ^5 Sanders Theatre, Cambridge [^Harvard University] SIXTY-SIXTH SEASON, 1946-1947 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Fifth Concert TUESDAY EVENING, March 4 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee* Jerome D. Greene Bentley W. Warren N. Penrose Hallowell Raymond S. Wii.kins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [1] [2] Sanders Theatre, Cambridge [Harvard University] Boston Symphony Orchestra SIXTY-SIXTH SEASON, 1946-1947 SERGE KOUSSEVITZKY, Music Director FIFTH CONCERT TUESDAY EVENING, March 4, at 8:30 o'clock The Program will be as follows: Weber Overture to "Oberon" Vaughan Williams Symphony in D major, No. 5 I. Prcludio II. Scherzo III. Romanza IV. Passacaglia INTERMISSION Debussy "La Mer," Trois Esquisses Symphoniques I. De l'aube a midi sur la mer II. Jeux de vagues III. Dialogue du vent et de la mer BALDWIN PIANO VICTOR RECORDS Sanders Theatre, Cambridge [Harvard University] Boston Symphony Orchestra SIXTY-SIXTH SEASON, 1946-1947 SERGE KOUSSEVITZKY, Music Director FIFTH CONCERT TUESDAY EVENING, March 4, at 8:30 o'clock Program Bach Brandenburg Concerto No. 3 in G major for string orchestra (with the Sinfonia from the Cantata, "Christ lag in Todesbanden") Allegro moderato Sinfonia Allegro Vaughan Williams Symphony in D major, No. 5 I. Preludio II. Scherzo III. Romanza IV. Passacaelia INTERMISSION Debussy "La Mer," Trois Esquisses Symphoniques I. De l'aube a midi sur la mer II. Jeux de vagues III. Dialogue du vent et de la mer BALDWIN PIANO VICTOR RECORDS [3] CONCERTO, G MAJOR, NO. 3 (of the Brandenburg Set) for Three Violins, Three Violas, Three Violoncellos, with Bass by the Cembalo (with the Sinfonia from the Cantata "Christ lag in Todesbanden") By Johann Sebastian Bach Born at Eisenach on March 21, 1685; died at Leipzig on July 28, 1750 Bach presented his six "Brandenburg" Concertos to the Margraf of Brandenburg in 1721. The first performance by this Orchestra of the Third Concerto was on March 8, 1907. Its last performance in Boston was March 8, 1946, when the Sinfonia was introduced between the two movements. np he set of Brandenburg concertos can be looked upon as an experi- -*- ment in various instrumental combinations. Of the six this one, like the last, is written for strings only. It is unique among them in having no intervening slow movement to bring the customary contrast between the two allegros. The original title runs "Concerto 3zo a tre Violini, tre Viole, e tre Violoncelli col Basso per il Cembalo/' but the score definitely gives a place to the string basses, doubling the 'cellos, whereby the "cembalo" becomes merely a reinforcing instrument, unessential in the general balance. Bach thus divides his forces into three complete and equal string orchestras. At times, as in the first exposition, the three parts for each kind of instrument are in unison, making an ensemble of only three distinct voices (though the players themselves are distrib- uted), giving a special sense of integration and solidity. At times the three parts (for violins, violas, or 'cellos) are at variance, giving an infinite diversity and richness in contrapuntal imitation. Using brief rhythmic figures, Bach establishes and sustains an astonishing vitality in their varied manipulation. "The two movements," writes J. A. Fuller-Maitland, "make up a composition that is surely without a rival as the expression of a frank and fearless joy, a joy from which everyday mirth is not excluded and which yet is well fitted for a tribute of spiritual exultation." Philip Spitta speaks of the first move- ment as "instinct with life and genius." He draws the attention to a particular passage (from the 78th bar) which he considers "as fine as anything in the whole realm of German instrumental music; the chief subject is given out in the second violin part, the first violin then starts an entirely new subject which next appears on the second violin, drawing in more and more instruments, and is at last taken up by the third violin and the third viola, and given out weightily on ttfieir G strings; this is the signal for a flood of sound to be set free from all sides, in the swirl of which all polyphony is drowned for several bars. There is no adagio in regular form. Two long-held chords alone release the imagination for a moment, and then begins the concluding movement, a true concerto finale in 12-8 time." [4l The two transitional chords (adagio), with a minor "Phrygian cadence" bringing momentary relief from the prevailing tonality of G major, have been amplified by Max Seiffert, editor of the edition, with a "free cadenza" for the violins. But Bach's two chords, un- adorned, have been used in previous performances by this orchestra. Other conductors have at this point interpolated a slow movement of Bach. An andante transcribed from one of the sonatas for violin solo is on record as having been used at a performance by the New York Philharmonic Orchestra (February 13, 1903). In Chicago, the adagio from the violin concerto in E major (transposed from C-sharp minor to C minor) was used. For the present performances, the in- troductory sinfonia to Bach's ''Christ lag in Todesbanden" is used. The sinfonia, written for the string orchestra in E minor, has needed no transcription.* Bach has given what might be called a "reversed precedent" for this interpolation. The first movement of this concerto (somewhat altered) was used by him as an introduction for his Whit- suntide Cantata — "Ich Hebe den Hochsten von ganzem Gemiithe" — a transference of cheerful, lay music to pious purposes which has dis- turbed some judges of the aesthetic proprieties. * The cantata, "Christ lay in death's dark prison'-' is numbered four. It is considered to have been written for Easter Day, 1724. It is based upon Martin Luther's hymn of the same title. The cantata was performed on March 28, 1931 (with the Bach Cantata Club), as part of the Bach Festival given by the Boston Symphony Orchestra in that season. [copyrighted] Presenting The Great ruiiiui One of America's Premier Magicians Sophisticated Dance Harry Creations by Marshard's Orchestra ARTINI and 2 shows nitely CONSUELO Maurice T. Lawler Gen. Mgr. KEN 5600 ^COPLEY PLAZA (5 SYMPHONY IN D MAJOR, No. 5 By Ralph Vaughan Williams Born in Down Ampney, Gloucestershire, England, October 12, 1872 This symphony had its first performance by the London Philharmonic Orchestra, at a Promenade concert under B. B. C. auspices in Albert Hall, June 24, 1943, the composer conducting. The first performance in America was given by the Philharmonic-Symphony Society of New York, November 30, 1944, Artur Rodzinski conducting. The following orchestra is called for: two flutes, oboe and English horn, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings. nnHE latest symphony by Vaughan Williams bears a dedication, * "Without permission, to Jean Sibelius," a generous gesture from one eminent composer to another which can be safely said not to imply too much "influence' ' in the score itself. The composer has also explained that "some of the themes of this symphony are taken from an unfinished opera, 'The Pilgrim's Progress,' but except in the slow movement the symphony has no dramatic connection with Bunyan's allegory." Yet the slow movement has such a "dramatic connection," for the score at this point quotes the following line from John Bunyan: "Upon that place there stood a cross, and a little below, a sepulchre. Then he said: 'He hath given me rest by His sorrow, and life by " His death.' It should be recalled that this music, confident and placid, was written in the time of England's great stress. The symphony is markedly different from its predecessor, in F minor, which is harmonically challenging, an excursion into a dis- NEW ENGLAND CONSERVATORY OF MUSIC CONCERT BY THE CONSERVATORY ORCHESTRA Malcolm H. Holmes, Conducting Soloist: MIKLOS SCHWALB, pianist for the benefit of the Scholarship Fund JORDAN HALL, WEDNESDAY EVENING, MARCH 19 AT 8:15 P.M. Tickets: $1.80, $1.20, $0.90 at Jordan Hall Box Office WADSWORTH PROVANDIE TEACHER OF SINGING Symphony Chambers 246 Huntington Avenue Boston, Massachusetts Accredited in the art of singing by Jean de Reszke, Paris, and in mise en scene by Roberto Villani, Milan Studio : Kenmore 9495 Residence : Maiden 6190 [6] Beautifully packaged in a useful record brush . brand new . At all leading record and music shops. {Other Fidelitone needles at $150, $1 and 50<f.) No finer needle at any price! PERtAO,<$icwfe>><a6Mf CHICAGO 26 More Permo Needles sold than all other longlife needles combined [7l . Koussevitzky's great performances are yours to enjoy always . on RCA Victor Records The Boston Symphony Orchestra, under the inspired direction of Serge Koussevitzky, has recorded many of its finest performances exclusively on RCA Victor Red Seal Records. In the RCA Victor catalog and supplement you'll find a wealth of Boston Symphony re- cordings to choose from. 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