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Boston Symphony Orchestra Concert Programs, Season 81, 1961

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Boston Symphony Orchestra Concert Programs, Season 81, 1961 ; ^/v $s^£V»>} * J'ilHillLV bu~{S>/ 2 "' 1 ViM" > ^—4 I > «<~*«js!i>>>'\ ,-. ''35* •*. ' t £ ?-. ><6CM**> ( ^ :• ^ % m ~ BOSTON V, K\ v.' SYMPHONY ,1# ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON CARNEGIE HALL NEW YORK 5* y EIGHTY-FIRST SEASON 1961-1962 1 Boston Symphony Orchestra (Eighty-first Season, 1961-1962) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Cellos Bassoons ilichard Burgin Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Jacobus Langendoen Matthew Ruggiero George Zazofsky Mischa Nieland Holland Tapley Karl Zeise Contra Bassoon Martin Joseph Silverstein Hoherman Richard Plaster Vladimir Resnikoff Bernard Parronchi Harry Dickson Richard Kapuscinski Horns Gottfried Wilfinger Robert Ripley James Stagliano Einar Hansen Winifred Winograd Charles Yancich Roger Shermont Louis Berger Harry Shapiro Minot Beale John Sant Ambrogio Harold Meek Herman Silberman Paul Keaney Joseph Leibovici Basses Osbourne McConathy Stanley Benson Georges Moleux Leo Panasevich Henry Freeman Trumpets Sheldon Rotenberg Irving Frankel Roger Voisin Fredy Ostrovsky Henry Portnoi Armando Ghitalla Noah Bielski Henri Girard Andre Come John Barwicki Gerard Goguen Clarence Knudson Pierre Mayer Leslie Martin Ortiz Walton Trombones Manuel Zung Samuel Diamond William Gibson William Marshall Flutes William Moyer Kauko Kahila Leonard Moss Doriot Anthony Dwyer Josef Orosz William Waterhouse James Pappoutsakis Alfred Schneider Phillip Kaplan Tuba Victor Manusevitch K. Vinal Smith Laszlo Nagy Piccolo Ayrton Pinto George Madsen Timpani Michel Sasson Everett Firth Lloyd Stonestreet Harold Farberman Julius Schulman Oboes Raymond Sird Ralph Gomberg Percussion Gerald Gelbloom Jean de Vergie Charles Smith John Holmes Harold Violas Thompson Arthur Press Joseph de Pasquale English Horn Jean Cauhape Louis Speyer Harps Eugen Lehner Bernard Zighera Albert Bernard Clarinets Olivia Luetcke George Humphrey Jerome Lipson Gino Cioffi Manuel Valerio Piano Robert Karol Reuben Green Pasquale Cardillo Bernard Zighera E\) Clarinet Bernard Kadinoff Vincent Mauricci Library Bass Clarinet Earl Hedberg Victor Alpert Joseph Pietropaolo Rosario Mazzeo William Shisler r 8 EIGHTY-FIRST SEASON, 1961-1962 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Theodore P. Ferris John T. Noonan Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. Raymond S. Wilkins Henry A. Laughlin Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft Palfrey Perkins Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [3] g l/V/NG STfRfO 8SSSBSII^K W THE CONDUCTOR: MUNCH THE ORCHESTRA: BOSTON ...and their artistry is im- mortally inscribed in these four treasured albums to own and to enjoy always. In Living Stereo and Mon- lural Hi-Fi. @ RCA\£CTOR@ The most trusted name in sound [4] EIGHTY-FIRST SEASON • NINETEEN HUNDRED SIXTY-ONE -SIXTY-TWO CARNEGIE HALL Seventy-sixth Season in New York Third Evening Concert WEDNESDAY, January 24, at 8:30 o'clock Trogram Debussy "Printemps," Suite symphonique I. Tres modere II. Modere Piston Symphony No. 6 I. Fluendo espressivo II. Leggerissimo vivace III. Adagio sereno IV. Allegro energico INTERMISSION Beethoven * Violin Concerto in D major, Op. 61 I. Allegro ma non troppo II. Larghetto III. Rondo SOLOIST ERICA MORINI Music of these programs is available at the Music Library, 58th Street Branch, the New York Public Library. BALDWIN PIANO *RCA VICTOR RECORDS [5] "PRINTEMPS," SUITE SYMPHONIQUE By Claude Debussy Born in St. Germain (Seine-et-Oise), France, August 22, 1862; died in Paris, March 25, 1918 Debussy's Printemps, composed in 1887 as a work for orchestra, piano and chorus, appeared in transcription for chorus with piano (four hands) in 1904. It was pub- lished in its final version for orchestra and piano duet (without chorus) in 1913 — the one here performed. Printemps in this version was first played by the Societe Nationale de Musique in Paris, April 18, 1913, when Rhene-Baton conducted. It was introduced in New York by Walter Damrosch and the New York Symphony Society, December 5 of the same year, and in Boston January 23, 1914 by the Boston Symphony Orchestra under the direction of Karl Muck, who repeated it October 26, 1917. Pierre Monteux conducted the work at these concerts March 23, 1923; Charles Munch on December 19, 1952. The orchestration includes 2 flutes and piccolo, oboe, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, side drum, cymbals, triangle, harp, pianoforte (four hands) and strings. t^vebussy's Printemps, composed as a Prix de Rome Envoi, has no *S connection with an earlier work for chorus with the same title, composed as a Prix de Rome competition piece in 1882, and posthu- mously published as Salut, Printemps, to distinguish it from the later work. The third Image, Rondes de Printemps, is again an entirely different work. Printemps was Debussy's second Envoi as a Prix de Rome laureate. He went to Rome in January, 1885, but, restive about giving three years of his young life to what he considered stagnation in the Villa Medici, he returned to Paris in the spring of 1887. He wrote of the place as "a cosmopolitan hotel, a private college and a compulsory civilian barracks . the abominable villa." But Debussy was not as unhappy in Rome as he liked to make out. He had congenial friends there to share his enthusiasms, some of them connected with the other arts. Even the conventional musicians (of which there were also plenty in Paris) were useful as an irritant — by stimulating his antagonisms they would have sharpened his independent growth. The alert and sensitive artist was inevitably broadened by his surroundings and responsive to the treasures of beauty the Eternal City had to offer — conspicuously, the pure, churchly counterpoints of Palestrina or Lassus. Debussy had competed for the Prix de Rome honor perhaps for no more definite reason than that it was the obvious line of endeavour pursued by many Conservatory students at the time. He had taken the prize with the Cantata L'Enfant Prodigue in 1884. This score showed in the student who was still learning his metier a developing dramatic sense and a growing skill in the handling of detail. These qualities, together with a dependence upon the lyric style of Massenet, out- weighed in the minds of the judges certain harmonic and other liberties prophetic of the future Debussy. Massenet was one of these judges, and Debussy privately admitted having curried their favor by imitation of [6] his teacher and friend. It was an annoyance to him in his later years that from this score, redolent of Manon or Herodiade, a single air survived as a prima donna's favorite. At Rome Debussy attempted two choral settings of texts according to the expectations of his benefactors, but neither Zuleima which became his first Envoi nor Diane aux Bois satisfied the self-searching composer. He did not readily find music to express "action" in the librettos and looked for something less binding, such as "states of soul." Botticelli's Primavera, which may well have excited his imagination in Florence, was his admitted inspiration for Printemps. In this he committed him- self to no text whatever, but only wordless syllables. His increasing tendency to use voices as an element of color, blending in the orchestral palette, was frowned upon. The use of the "unorchestral" key of F-sharp major in Printemps brought lugubrious head-shakings from the judges, who consisted of the following musicians, worlds removed from the ways of "impressionism": Thomas, Gounod, Delibes, Reyer, Massenet, Saint-Saens. The official report of the Secretary of the Academie des Beaux-Arts said this about Printemps: "His feeling for musical color is so strong that he is apt to forget the importance of accuracy of line and form. He should beware of this vague impressionism which is one of the most dangerous enemies of artistic truth. The first movement of M. Debussy's symphonic work is a kind of prelude — an adagio. Its dreamy atmosphere and its studied effects result in confusion. The second movement is a bizarre, inco- herent transformation of the first, but the rhythmical combinations make it somewhat clearer and more comprehensible. The Academy awaits and expects something better from such a gifted musician as M. Debussy." The Academicians were to remain consistent in deploring those very qualities which were soon to be Debussy's supreme contribution to music. His next score to be submitted was La Damoiselle elue, about which the official report said: "It is not deficient either in poetry or charm, although it still bears the marks of that systematic tendency towards vagueness of expression and form of which the Academy has already complained." La Damoiselle elue was not performed until 1893, Printemps not until 1913. It was said that Debussy, disgusted because the Academy refused to sanction a performance of Printemps, Aenltatt-i^ktmter ©njan Company Designers of the instruments for: THE BOSTON SYMPHONY ORCHESTRA THE DETROIT SYMPHONY ORCHESTRA THE PHILADELPHIA ORCHESTRA THE NEW YORK PHILHARMONIC [7] would not write what was traditionally expected of him — an overture for the official exercises. He may have considered himself well rid of this uncongenial task. Printemps lay quite unnoticed until the Revue Musicale published it as a supplement in 1904 in a version for six voice parts with accom- paniment of piano duet. Durand published it in the same year, and in 1913 brought out the definitive version, without chorus. The parts for two pianists were preserved and the orchestration restored.
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