Boston Symphony Orchestra Concert Programs, Season 68, 1948-1949
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BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HI SIXTY-EIGHTH SEASON I 94 8 - I 949 Carnegie Hall, New York Boston Symphony Orchestra [Sixty-eighth Season, 1948-1949] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL ViOUNS Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhap6 Ernst Panenka Alfred Krips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Rolland Tapley Albert Bernard Contra-Bassoon Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey Horns Paul Cherkassky Louis Arti^res Harry Dubbs Charles Van Wynbergen Willem Valkeniei James Stagliano Vladimir Resnikoff Hans Werner Principals Joseph Leibovid Jerome Lipson Harry Shapiro Siegfiied Gerhardt Einar Hansen Harold Meek Daniel Eisler Violoncellos Paul Keaney Norman Carol Walter Macdonald Carlos P infield Samuel Mayes Osbourne McConathy Alfred Zighera Paul Fedorovsky Harry Dickson Jacobus Langendoen Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmans Roger Voisin Karl Zeise Clarence Knudson Principals Pierre Mayer Josef Zimbler Marcel Lafosse Manuel Zung Bernard Parronchi Harry Herforth Samuel Diamond Enrico Fabrizio Ren^ Voisin Leon Marjollet Victor Manusevitch Trombones James Nagy Flutes Jacob Raichman Leon Gorodetzky Georges Laurent Lucien Hansottc Raphael Del Sordo James Pappoutsakis John Coffey Melvin Bryant Phillip Kaplan Josef Orosz John Murray Lloyd Stonestreet Piccolo Tuba Henri Erkelens George Madsen Vinal Smith Saverio Messina Herman Silberman Oboes Harps Bernard Zighera Stanley Benson Holmes John Elford Caughey Sheldon Rotenberg Jean Devergie Joseph Lukatsky Timpani Basses Roman Szulc English Horn Georges Moleux Max Polster Louis Speyer Willis Page Percussion Ludwig Juht Clarinets Simon Stemburg Irving Frankel Manuel Valerio Charles Smith Henry Greenberg Attilio Poto Emil Arcieri Henry Portnoi Pasquale Cardillo Piano Gaston Dufresne E\) Clarinet Lukas Foss Henri Girard Henry Freeman Bass Clarinet Librarian John Barwicki Rosario Mazzeo Leslie Rogers .^^^-^^ i9^4\ACi949 I* SIXTY-EIGHTH SEASON, 1948-1949 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Third Concert WEDNESDAY EVENING, February 16 AND THE Third Matinee ' SATURDAY AFTERNOON, February 19 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 Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Roger I. Lee Alvan T. Fuller Lewis Perry Jerome D. Greene Henry B. Sawyer N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager ANNUAL MEETING of the Friends of the Boston Symphony Orchestra It is a pleasure to announce that invitations to attend the Annual Meeting of the Friends of the Orchestra will be extended this year to all who con- tribute to the Serge Koussevitzky Fund of the Or- chestra before February 26, 1^4^. The meeting will be held at Symphony Hall on Wednesday, March 2nd, at four o'clock. By that time it is confidently hoped that the Fund, which, after three months, now stands at $130,000, will exceed $200,000. Such a showing would indeed amount to tangible evi- dence to Dr. Koussevitzky at the meeting of our devotion to him and our determination to stand steadfastly behind the Orchestra. A special program has been arranged by Dr. Koussevitzky to follow the meeting, and at the conclusion of the music the Trustees and Dr. Koussevitzky will receive our members at tea in the upper foyer. Your generous support before February 26 this year, either by gift or pledge, would be of tremendous help. Edward A. Taft Chairman, Anniversary Fund Gifts to the Anniversary Fund will constitute enroll- ment in the Society for the current season. Checks may he drawn payable to Boston Symphony 'Orches- tra and may be mailed to Fund Headquarters at Symphony Hall, Boston 75. Such gifts are tax de- ductible. C«] ^NNO UNCEMENT Instead of the Capriccio for Piano and Orchestra the following will be played: Stravinsky — Concerto for Piano and Wind Or- chestra (with double basses) I. Lento: Allegro; Lento IL Larghissimo IIL Finale: Allegro Wednesday Evening, February 16 Carnegie Hall, New York Sixty-third Season in Ne\v York Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director THIRD EVENING CONCERT WEDNESDAY, February i6 IGOR STRAVINSKY Conducting Ode in Three Parts, for Orchestra Eulogy Eclogue Epitaph Capriccio, for Piano and Orchestra I. Presto II. Andante rapsodico • III. Allegro capriccioso, ma tempo giusto (Played without pause) INTERMISSION STRAVINSKY. Concerto in D for String Orchestra I. Vivace II. Arioso: Andantino . III. Rondo: Allegro 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 dAction"; Third Scene — Apotheosis of Orpheus {First concert performance in New York) SOLOIST SOULIMA STRAVINSKY BALDWIN PIANO VICTOR RECORDS The music of these programs is available at the Music Library, 58th Street Branch, the New York Public Library-. The Boston Symphony Orchestra in Rehearsal is broadcast weekly on the N.B.C. Network (Station WNBC) Tuesday, 11:30-12:00 P.M. [31 i THE KOUSSEVITZKY BASS RECORDS Among the many reviews of the new album of double bass recordings by Serge Koussevitzky, the following are quoted'- Claudia Cassidy (in the Chicago Tribune) : "Collectors in search of Serge Kous- sevitzky's double bass recordings are being rescued by a series of circum- stances. Perhaps you remember that when Boston asked its renowned con- ductor what he wanted in token of ad- miration and affection in the 25th and farewell season, he said he wanted "a big gift" for his orchestra. That gift was a backlog of financial security, and the fast growing Serge Koussevitzky Anniversary fund is the result. To augment it, a limited edition of 1,000 albums of Koussevitzky recordings has been made available by the Boston or- chestra in cooperation with RCA Victor. Each is autographed, holds the portrait of the player with his instrument now hanging in Koussevitzky's Tanglewood home, and features three 12-inch, ruby vinylite records of the slow movement from Koussevitzky's double bass con- certo, his Chanson Triste and Valse Miniature, and his arrangement of a largo by Eccles, plus a lullaby by Laska. The recordings were made in 1929, and you have to hear what they can do with the double bass to believe it. Pierre Luboshutz is the accompanist. The price is $10, including mailing costs. Address the Boston Symphony Orchestra, Sym- phony Hall, Boston 15." Jay C. Rosenfeld (in the Berkshire Eagle) : "Immediately discernible are the at- tributes which make orchestral music under his direction so absorbing; a magnificent conception of line, a con- tinuously glowing tone and the peerless faculty of maintaining and re-instilling vigorous urgency in the music. Except AT YOUR DEALER'S—A FULL SELECTION OF for a propensity to make his shifts and FINE FIDELITONE NEEDLES slides very noticeable, the mechanics Fidelifone Supreme $2.50 of the playing are formidable. His in- Fidelitone Master 1.50 tonation has the character associated Nylon Fidelitone 1 .25 Fidelitone Deluxe. 1 .00 with Casals and Heifetz, the tone has Fidelitohe Floating Point 50c a vivid warmth and the bowing the un- canny amplitude of those masters who rCKIflU/ Incorporated know the secret of preserving intensity CHICAGO 26 without expending all their resources. [4] "ODE," IN Three Parts for Orchestra By Igor Stravinsky Born at Oranienbaum, near St. Petersburg, June 17, il The Ode was composed for the Koussevitzky Music Foundation, Inc., and is dedi- cated to the memory of Mme. Natalie Koussevitzky. It was first performed bv the Boston Symphony Orchestra, October 8, 1943. It is scored for two flutes and piccolo, two oboes, two clarinets, t^\o bassoons, four horns, two trumpets, timpani and strings. THE composer has provided this explanation: "I was asked by the Koussevitzky Music Foundation to compose a symphonic piece which I have called 'Ode.' The Ode is a chant in three parts for orchestra. It is an appreciation of Natalie Koussevitzky's spiritual con- tribution to the art of the eminent conductor, her husband. Dr. Serge Koussevitzky. 'Tart I. 'Eulogy,' praise, a song in sustained melody with accom- paniment, the whole in fugal treatment. "Part II. 'Eclogue,' a piece in lively mood, a kind of concert champetre, suggesting out-of-door music, an idea cherished by Nat- alie Koussevitzky and brilliantly materialized at Tanglewood by her husband. "Part III. 'Epitaph,' an inscription, serein air, closes this memorial triptych." [copyrighted] CAPRICCIO FOR PIANO AND ORCHESTRA By Igor Stravinsky Born at Oranienbaum, near St. Petersburg, June 17, 1882 Stravinsky began to compose his Capriccio at Christmas of 1928 and completed it by the end of September 1929. The first performance was at a concert of the Orchestre Symphonique de Paris, on December 6 following, Ansermet conducting, and the composer playing the piano solo. The first performance in America was at a concert of the Boston Symphony Orchestra, December 19, 1930, Jesus Maria Sanromd taking the piano part. The same Orchestra and soloist introduced the work to New York, February 7, 1931, and repeated it in Boston, under the com- poser's direction, December 1, 1939. The orchestration is as follows: wood winds in threes, four horns, two trumpets, three trombones and tuba, timpani, and strings. STRAVINSKY, appearing as piano soloist in various European cities, decided that it would be advisable to have another work of his own than the Piano Concerto, which he had performed innumerable times. "That is why I wrote another concerto," he tells us in his auto- biography, "which I called 'Capriccio,' that name seeming to indicate best the character of the music. I had in mind the definition of a [51 capriccio given by Praetorius, the celebrated musical authority of the seventeenth century.* He regarded it as a synonym of the fantasia, which was a free form made up of fugato instrumental passages.