the CDusic Club `Presents Alt Star Concert Series

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BOSTON SYMPHONY ORCHESTRA

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BOST011 SYMPHOHY ORCHESTRA Seventy-Fifth. Anniversary Season CHARLES MUNCH, Music Director

PROGRAM

Symphony in B-flat, No. 102 Haydn I Largo: Allegro vivace II Adagio III Menuetto: Allegro; Trio IV Finale: Presto "La Mer," Three Orchestral Sketches . . Debussy I De Faube A midi sur la mer II Jeux de vagues III Dialogue du vent et de la mer

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Symphony No. 2, in D major, Op. 73 . Brainn:- I Allegro non troppo II Adagio non troppo III Adagietto grazioso, quasi andantino IV Allegro con spirito

PROGRAM NOTES by John N. Burk I. Symphony in B-flat Major, No. 102 .

(1732 - 1809) This is the symphony which Georg Henschel chose for the opening concert on October 22, 1881 by the then newly formed Boston Symphony Orchestra. Seventy-five years later Charles Munch has chosen it to open the anni- versary season. As elsewhere among his final symphonies, Haydn here dispenses with the ceremonious portal of a broad coup

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d'archet. A soft chord suffices to introduce the tender largo, with its gentle syncopated pulsations. The sprightly allegro vivace takes sudden possession of the movement. The Adagio is in effect the development of a single theme. The charm of the music lies in its delicacy and variety of detail, in which the device of a duple against a triple rhythm is much used. It is a single melodic unfolding of infinite resource, a mood so enkindled that it need never lapse into formula. The Minuet, together with its trio, re- establishes the tonic key. In the second part, the humor which sparkled in the opening movement reasserts itself in triple bass chords. The Finale, like most finales of Haydn when invention was ,fully unloosed, is indescrib-

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able. W. H. Hadow, in his study of Haydn as a "Croation composer," detects in the opening theme a march tune commonly played in Turopol at rustic weddings.

II.

"The Sea" (Three Orchestral Sketches) . Claude Debussy (1862.1918) There could be no denying Debussy's passion for the sea: he frequently visited the coast resorts, spoke and wrote with constant enthusiasm about "my old friend the sea, always innumerable and beautiful." He often recalled his impressions of the Mediterranean at Cannes, where he spent boyhood days. It is worth noting, however, that

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Debussy did not seek the seashore while at work upon his "La Mer." His score was with him at Dieppe, in 1904, but most of it was written in Paris, a milieu which he chose, if the report of a chance remark is trustworthy: "because the sight of the sea itself fascinated him to such a degree that it paralyzed his creative faculties."

It all goes to prove that the so-called "impressionist," however difficult he may be to define, may be counted upon to avoid the realistic, the baldly graphic in his art. This music may stir memories of the sea in the listener

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he might have been supposed to have been describing in tones. When he went to the country in the summer of 1903, two years before the completion of "La Mer," it was not the shore, but the hills of Burgundy, whence he wrote to his friend Andre Messager (September 12) : "You may not know that I was destined for a sailor's life and that it was only quite by chance that fate led me in another direction. But I have always retained a passionate love for her [the sea]. You will say that the Ocean does not exactly wash the Burgundian hillsides — and my sea- scapes might be studio landscapes; but I have an endless store of memories, and to my mind they are worth more than the reality, whose beauty often deadens thought." Debussy's deliberate remoteness from reality, con-

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sistent with his cultivation of a set and conscious style, may have drawn him from salty actuality to the curling lines, the rich detail and balanced symmetry of Hokusai's "The Wave." In any case, he had the famous print repro- duced upon the cover of his score. His love for Japanese art tempted him to purchases which in his modest student days were a strain upon his purse. His piano piece, "Poissons d'or," of 1907, was named from a piece of lacquer in his possession. III. Symphony No. 2, in D Major, Op. 73 . Johannes Brahms

(1833 - 1897) Having produced a First Symphony at great pains over a number of years and read many overstatements

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from friends and foe's alike about its "somber" and "tragic" character, it took Brahms just a year to follow it up (in 1877) with a symphony bright-hued throughout, every theme singing smoothly and easily, every develop- ment both deftly integrated and effortless. Brahms no doubt preferred to let his friends find this out for them- selves when they should hear the finished product in public performance.

Vienna did indeed take warmly to the new symphony, having been reluctant, even antagonistic about the First. Leipzig, on the other hand, which had welcomed the First

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Symphony as worthy of the Beethoven heritage, frowned upon the Second, or at best, condescended to it. Brahms' pupil, May, could report nothing warmer than courteous applause and polite recalls from the audience while Dorifel, the foremost critic and considered the most Brahmsian in Leipzig, regretted that this composer's latest would not live up to "expectations" and was not "dis- tinguished by inventive power." This appalling aural blind spot on the part of Herr Dorifel must have been caused in part by the groping and stumbling performance of the new score by the Gewandhaus orchestra, led by the none too expert Brahms himself.

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All of which prompts the reflection that many a mas- terpiece has been clouded and obscured by a poor first performance, the more so in those pre-Brahms days when conducting had not developed into a profession and an excellent orchestra was a true rarity. When music unknown is also disturbingly novel, when delicacy of detail and full-rounded beauty of line and design are not appre- hended by the performers, struggling with manuscript parts, when the Stimmung is missed by all concerned, including in some cases the conductor himself, then it is more often than not the composer who is found wanting.

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MARY OGILVIE DOUGLAS ANNA MAE FARMER Teacher of Piano Harmony — Violin — Piano 209 Paramount Theater Bldg. — LA. 5211 207 Paramount Theatre Bldg. VE. 9741 Res. 4521 Briarcliff Rd., N. E. — Clarkston 3-7425 JESSIE DAVENPORT JONES JANE MATTINGLY, Piano Teacher of Piano Teacher — Composer — Theory — Harmony Matthoy Principles 880 Wildwood Rd., N. E. VE. 2306 Phone EL. 5066 734 Frederica St,, N. E. JACK BUTLER Pianist — Teacher Private and Class Lessons 945 Myrtle Street, N. E. AT 7808

ANNIE MAE NORTON RALPH LAWTON Pianist Piano — Organ — Voice Recitals, Private & Class Lessons, Lectures Professional Accompanist Studio 1720 P'tree Rd., N. W. AT. 8712 630 Cumberland Rd., N. E. VE. 0801 (Cottage in rear)

Wherever there is music at its best — there you will find the "Baldwin" LANIER PIANO CO. 3178 PEACHTREE RD., N. E. 628 LEE ST., S. W.

Exclusive dealer in this territory for the entire line — Baldwin Pianos and Baldwin Organs

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EAST POINT, GEORGIA

MUSICAL DIRECTORY Piano andnotrumental i SENTA MUELLER HUTCHESON VE. 8219 Vio:in — Viola 202 Paramount Theater Bldg. 636 Elmwood Drive, N. E. William R. Griffith L'Ella Griffith Be(lard Margie Griffith Mary Griffith Dobbs GRIFFITH SCHOOL OF MUSIC Established 1890 Piano • Harp • Harmony • Accordion and Fretted Instruments 650 Bonaventure Ave., N. E. Members MTNA VE. 4411

Voice

JOHN D. HOFFMAN Teacher of Singing 21/2 Auburn Ave. CY. 3134

MARGARET MARIE HECHT

EL. 6924 Teacher of Voice Clermont Hotel Apt. 119 GERTRUDE R. BLANCHARD Teacher of Beverly Wolff Voice Culture Coach and Acc. 204 Paramount Theater Bldg. Home EL. 8393

2)ance ATLANTA CIVIC BALLET DOROTHY ALEXANDER, Director

9 Ansley Dr. AT. 5821 EUGENIE DOZIER Dance Studio 45 Peachtree Arcade WA. 1133 CORRY-CON RAD School of Ballet 34 Twelfth St., N. W. Emerson 3656

2)rainatic3 and Speec h

VINNIE REAM BOYD (MRS. JOHN F. BOYD) Plays Miscellaneous Readings Sketches Teacher of the Spoken Word Visits and Receives Pupils 892 Forrest Rd., N. E. Mornings WA. 9629

DRUITT STUDIO OF SPEECH — 2204 Peachtree Rd., N. W. EL. 3440 Diction — Voice Modulation — Voice Recordings — Posture Adults and Students

MARGUERITE GERARD French Native Parisienne Operatic Pronunciation — Conversational French Grammar Group and Private Instruction — VE. 8169 EL. 1582 Compliments of "TOPS IN PERFORMANCE" A. R. ABRAMS, INC.

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Cable's The All-Music Department Store

Whatever your musical need, we have it here. For 58 years, this has been a convenient place to shop for everything musical. For a rich- voiced spinet, or a vibrant-toned grand ... for a Hammond organ ... for a saxophone, a violin, or anything musical, our stocks are splen- didly complete.

Home of the celebrated Mason & Hamlin Piano

CAB LE Piano Cony)any

235 Peachtree Street, N. E. WAlnut 1041

This space contributed by a friend of The Atlanta Music Club a Exchange Atlanta's Largest 9261 -eutottek;4 Flower Shops -FLOWER SF1OPS

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1955 - 1956 SEASON

All-Star Concert Series Membership Series SEASON 1955 - 1956 CHARLES MUNCH will conduct the BOSTON SYMPHONY ORCHESTRA GOLDOVSKY OPERA THEATRE here on Sunday afternoon, October 16, in Donizetti's comic opera, "Don Pas- at 4:00 P.M. quale," sung in English. Beautifully staged and costumed. Personally directed and conducted by . BALLETS ESPAGNOLS, the sensa- Friday Evening, October 28 tional new Spanish ballet, company of 36, starring TERESA AND LUISILLO, will be presented here for the first time on Wednesday evening, November 16. RAYA GARBOUSOVA World-renowned Cellist JUSSI BJOERLING, the world's fore- Friday Evening, December 2 most lyric tenor, will be heard in recital on Thursday evening, December 8.

DAME MYRA HESS ZINO FRANCESCATTI, internationally Eminent English Pianist famous French violinist, plays here on Saturday Evening, January 28 Monday evening, January 9.

WALTER GIESEKING, renowned pi- anist, is being brought back to Atlanta PAGANINI STRING QUARTET, with by popular request, on Wednesday eve- GARY GRAFFMAN ning, February 29. Pianist Tuesday Evening, February 21 BALLET RUSSE DE MONTE CARLO, always a favorite with Atlanta audiences, will be presented on Saturday evening, March 24. LOIS MARSHALL One of the finest lyric soprano voices of the day. EUGENE ORMANDY will direct the Tuesday Evening, March 20 ORCHESTRA, as the closing event of the season, Saturday evening, April 21. MUNICIPAL AUDITORIUM WOMAN'S CLUB AUDITORIUM 8:30 P. M. 8:30 P.M.

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proudly salutes Atlanta and its many

civic music organizations and their members whose cooperating spirit has

placed our city on the cultural

pinnacle of the South

serving America for 69 years

atlanta Coke brings you back refreshed

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