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Boston Symphony Orchestra Concert Programs, Season 66,1946-1947

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Boston Symphony Orchestra Concert Programs, Season 66,1946-1947 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTY-SIXTH SEASON, 1946-1947 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burr COPYRIGHT, 1946, BY BOSTON SYMPHONY ORCHESTRA, ItlC. 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. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [5*3] © © © YOU CAN HAVE A © HOW © © © Financial "Watch-Dog" © © © © © © © © © Webster defines a watch- dog as one kept to watch © and guard." With a Securities Custody Account at © the Shawmut Bank, you in effect put a financial watch- © dog on guard over your investments. And you are re- © © lieved of all the bothersome details connected with owning stocks or bonds. An Investment Management © Account provides all the services of a Securities Cus- © © tody Account and, in addition, you obtain the benefit © of the composite investment judgment of our Trust © Committee. 4& Why not get all the facts now, without obligation? © Call, write or telephone for our booklet: How to be Adore Efficient in Handling Your Investments." .© The Optional Shawmut Bank 40 Water Street^ Boston Member Federal Deposit Insurance Corporation Capital $10,000,000 Surplus $20,000,000 "Outstanding Strength" for no Tears [ 5H ] SYMPHONIANA Painters of Fantasy The Institute of Modern Art PAINTERS OF FANTASY The Institute of Modern Art has ar- ranged the current exhibition in Sym- phony Hall. ) Perhaps the painter of fantasy is closest to the musician of all who work with a brush. It is disarmingly obvious that he is not trying to present a scene but to record an emotion. The objects in his canvas are notes and the music they offer exists in the harmony which the artist has created between them. Since the fantasist does not repre- sent the outside world as an interest in itself he has nothing on which to im- pose a moral judgment: for better or worse he is concerned with neither good nor bad, neither justice nor injustice. He is concerned with happiness and sadness and he succeeds or fairs as he is equipped with imagination and tech- nical distinction. We should then not make demands on this lyric quality which asks so little of us, but take quite simply what it has to offer. This does not mean that the fantasist is shallow; he is often more Lace Frame for a pentrating than the realist, but tragedy Sundown Silhouette is not his vein. Only the greatest genius could create both Hamlet and the Tem- will always be a pest, and here we have Ariel before You our eyes. perfect picture in this The selections in view comprise a late day gown, expres- few widely known names: Ernst, Dali, Tanguy, Matta, Austin and Ozenfant. sive of the eternal femi- But if these are a touchstone the em- nine. Black rayon crepe phasis is on painters who are associated silhouetted in Chantilly- ( with New England, and especially on those painters who are young and type lace. 44.00 whose reputations are still solidify- ing. Several of these men appear to be at that exciting stage when the artist discovers that he has a language of his own and gives that language a style. The Institute of Modern Art means to miss no opportunity to underline its concern for these younger painters. At the risk of a seeming disproportion it has chosen to treat some of them more — ~?» l5»5] fully in order to show the richness and variety of a talent, deeming a mere extensive coverage, one canvas to a painter, too non-committal an approach. The Institute, now in its tenth year, welcomes the public to its Tenth An- niversary Retrospective exhibition in its home at 138 Newbury Street. Frederick S. Wight Lent by the Margaret Brown Gallery 1. Beach Fantasy, Channing Hare 2. Drummers, "Hopkins Hensel 3. Light Denied, Hopkins Hensel 4. "Clowns," Hopkins Hensel Lent by Kahil Gibran 5. Premonition and Memory, Kahil Gibran Lent by the Mirski Gallery 6. Sea Forms, Giglio Dante 7. Cosmic Portrait, Giglio Dante 8. Folk Dance, Esther Geller 9. Call for Boston Light Ale and Beer, Lawrence Kupfermann 10. Astrological Symbol : Ram, John Northey 11. Astrological Symbol: Leo, John Northey Lent by the Perls Galleries, New York 12. Christmas Day, Carol Blanchard 13. The Croquet Game, Sylvia Fein 14. The Hodeidah Dancer, Karl Priebe 15. The Lion, Darrell Austin Lent by the Stuart Gallery 16. Prophecy of a New Man, Salvador Dali 17. Portrait of Gipsy Rose Lee, Max Ernst 18. Bouquet in Blue Vase, Pure Silk Howard Gibbs 19. Fantasy by Moonlight, For a sheer and lace trimmed Howard Gibbs gown, white, blue, tearose 20. Genealogical Mementos, Sizes 32-38 Howard Gibbs 21. Journey into the Night, $39.50 Howard Gibbs 22. Bird o' Gold, Hermann di Giovanno 23. Ezekiel, Nathaniel J. Jacobson 24. Philosophical Flower, Matta 25. Fisher in the Night, The Trousseau House of Boston Amedee Ozenfant 41 6 BOYLSTDN STREET 26. Through Birds, Through Fire but not Through Glass, WEU.ESLEY - HYANNIS ~ PALM BEACH Ives Tanguy 27. Melancholia, Karl Zerbe C516I THE INSTITUTE OF MODERN ART The Institute is celebrating its tenth anniversary with an exhibition "Anni- versary Retrospective" in its rooms at 138 Newbury Street. It is drawn from the forty exhibitions available to the Boston public. Seventeen of these have brought to New England the work —of approximately 250 American artists HI newcomers considered deserving as well as figures of established reputations — including Hartley, Davis, Austin, Bloom, Shahn, Spruce, Levine, Berman, and Milles. Although its sponsorship has been predominantly American, the painting and sculpture of France has been shown six times, while artists of Britain, Germany, Spain, Cuba, and Mexico were represented. The Institute plans to take an even more active part in the whole New England community. Its pioneering ef- forts have encouraged acceptance of — and in a sense have been impetus for — the progressive movements in art and architecture which flourish here to- day. The following statement by Serge Koussevitzky, made in 1940, is displayed 1I3I&. in the galleries: "Not all modern music and modern art will endure, but Boston deserves to hear and see both." A technical research center for the w,. all ag»ov/ study of painter's methods and ma- terials is among projects which include work as an intermediary between artist or tlli "Tk/5- /ovnaSTuc and industry, an extension of library and information services, and a program of circulating exhibitions. But true to +Wt|»v,£ its primary function as a center for the presentation of contemporary art in all its phases, work is under way on two major exhibitions to begin the Insti- tute's second decade. January will bring an important marine retrospective of oils as well as watercolors, and in Feb- ruary Luis Sullivan, early twentieth- century prophet of modern architecture, will be given his first exhibition. [517] How good is "Club Car Advice"? A sound investment program in gathering and interpreting in- today cannot be built on hap- formation from hundreds of hazard advice, no matter how well sources. Their experienced judg- meant. It must be based on con- ment is developed to meet the re- stant, up-to-the-minute informa- quirements of all investors. tion about rapidly changing con- We shall be glad to explain how ditions in business, finance and our services may be of assistance government. to you. Few individuals today have time and facilities for gathering and analyzing the information WORTHY OF YOUR TRUST necessary to keep abreast of all trends which may affect the value Old Colony of their securities. An organization Trust Company of trained specialists, spending full ONE FEDERAL STREET, BOSTON time in investment research, can T. Jefferson Coolidge best analyze conditions and inter- Chairman, Trust Committee pret their effect upon an individ- Robert Cutler, President ual's investment program. • Old Colony Trust Company has Allied with such a staff of specialists, engaged The First National Bank of Boston [5i8] SIXTY-SIXTH SEASON • NINETEEN HUNDRED FORTY-SIX AND FORTY-SEVEN Ninth Program FRIDAY AFTERNOON, December 13, at 2:30 o'clock SATURDAY EVENING, December 14, at 8:30 o'clock Copland Symphony No. 3 I. Molto moderato, with simple expression II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato (Fanfare) ; allegro risoluto INTERMISSION Haydn Violoncello Concerto in D major I. Allegro moderato II. Adagio III. Allegro Wagner Prelude to "Lohengrin" Wagner Prelude to "Die Meistersinger von Nurnberg" SOLOIST GREGOR PIATIGORSKY This program will end about 4:25 on Friday Afternoon 10:25 o'clock on Saturday Evening BALDWIN PIANO VICTOR RECORDS [519] 'a^v /vtafaf^ LET-OD SOUTHERN BACK HIISEt.IT Full, silk/ skins let out to flowing, minklike stripes. Fashioned luxuriously to deep, satisfying lines . embellished by great, push-up sleeves. Mink blended muskrat. Misses sizes. $595.00 plus tax. JORDAN MARSH-FUR SALON-THIRD FLOOR-MAIN STORE D-37 [520] SYMPHONY NO. 3 By Aaron Copland Born in Brooklyn, New York, November 14, 1900 Completed September 29, 1946, this symphony was commissioned by the Kous- sevitzky Music Foundation and is dedicated "To the Memory of My Dear Friend Natalie Koussevitzky." It was first performed at these concerts, October 18, 1946. The symphony is scored for three flutes and piccolo, two oboes and English horn, two clarinets, E-flat clarinet and bass clarinet, two bassoons, contra-bassoon, four horns, four trumpets, three trombones, tuba, two harps, piano, celesta, timpani, numerous instruments of percussion, and strings.
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