BOSTON SYMPHONY ORCH ESTRA MUSIC DIRECTOR. AT TANGLEWOOD 1949 . The Steinway, is the official pian~ ~"~""~~" Arkansas Philharmonic "~— Buffalo Philharmonic Chattanooga Symphony Cleveland Orchestra Columbus Philharmonic Dallas Symphony Denver Symphony Detroit Symphony Duluth Civic Symphony sIteinway . instrument of the El Paso Symphony immortals ! For excellence of Harrisburg Symphony Hollywood Bowl, Los Angeles Symphony workmanship, resonance of tone, responsiveness Houston Indianapolis Symphony to the player's touch, and durability of construction, Los Angeles Philharmonic Louisville Philharmonic the Steinway, from the smallest, lowest priced Miami Symphony Symphony vertical, to the Steinway concert grand, the Nashville Nat. Orchestral Assoc, of N. Y. Nat. Symphony, Wash., D. C. overwhelming choice of concert artists New Jersey Symphony and symphony orchestras, has no equal. It is New Orleans Civic Symphony New York Philharmonic Symphony Philadelphia Orchestra the recognized standard by which all other Pittsburgh Symphony pianos are judged. It is the best .. Portland Symphony Robin Hood Dell Concerts, Phila. Symphony and you cannot afford anything but the best. Rochester St. Louis Symphony Seattle Symphony Stadium Concerts, N. Y. City in Massachusetts and New Hampshire Syracuse Symphony Tulsa Philharmonic new Steinway pianos are sold ONLY by Vancouver Symphony M'StQineruSons Jerome F. Murphy, President 162 BoyIs ton St., Boston Branches in Worcester, Springfield and Wellesley Hills ^Berkshire Festival SEASON 1949 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor Concert Bulletin, with historical and descriptive notes by John N. Burk COPYRIGHT, I949, BY BOSTON SYMPHONY ORCHESTRA, INC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Philip R. Allen Alvan T. Fuller N. Penrose Hallowell M. A. De Wolfe Howe Lewis Perry John Nicholas Brown Jerome D. Greene Francis W. Hatch Roger I. Lee Edward A. Taft Raymond S. Wilkins Oliver Wolcott Tanglewood Advisory Committee Alan J. Blau Bruce Crane George W. Edman Lawrence K. Miller Lester Roberts George P. Clayson Henry W. Dwight F. Anthony Hanlon James T. Owens Whitney S. Stoddard Robert K. Wheeler George E. Judd, Manager THE WAVES And plying the skill of the spirit's physician (Homage to Serge Koussevitzky) Who lifts up our hearts with a winged transition To levels where life on the heights may be led. Prisoned in strings and wood and the brasses, Waves are awaiting their leave to go free, At the will of the master the waves are set rolling Waves of the musical speech that surpasses Far out to the shores where they come to their rest, Tongues of all nations and kindreds and classes — And the sound of the surf on the beach at its shoaling Waves all impatient to ruffle the sea. Floats back in applause, with a joyous extolling Of waves with the burden of music blest. And now who shall free them, what worker of wonder Shall order the fingers and breathings to loose For the waves of sound stir the waves of feeling, From the bonds that hold music and hearing asunder And these to the master's feet roll back, All the ripplings of rills and the rollings of thunder, Bearing all thanks for the strength and the healing All the murmurs that magic may turn to its use? Through year upon year of beauty's revealing — Years lettered with gold in love's almanac. It shall come through the wand of a master-magician Glancing at scrolls that before him are spread, — M. A. DeWolfe Howe The Boston Symphony Orchestra cordially invites you to a demonstration of . RCA VICTOR Berkshire Series At a Tanglewood benefit concert in 1947, the Berkshire Model was first heard in public and given the supreme test of a direct comparison, as the Boston Symphony Orchestra performed the first half of the "Egmont" Overture and then allowed the new instrument to complete it in their own recorded performance. The RCA Victor Company was willing to make a proportionate donation from sales of the Berkshire, with the result that the Berkshire Music Center Scholarship Fund has received $50,000. The Victor Company has now generously proposed that the gross proceeds from all Berkshire Models purchased through this Orchestra shall go toward doubling the fund. Several models are on display at the Tanglewood Exhibition Room, with full particulars. If you are contem- plating a new instrument for record playing, radio, television or any combination of these, we suggest that you may serve your own needs while increasing our scholarship fund by the total amount of your check. We are permitted to make liberal allowances on old instruments. — George E. Judd, Manager, Boston Symphony Orchestra For private demonstration of all BERKSHIRE MODELS at Brotherhood Club, Lenox, phone Lenox 600 for appointments. Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Eleventh Program Thursday Evening, August n, at 8:15 LEONARD BERNSTEIN Conducting Schubert Symphony No. 2, in B-flat major I. Largo: Allegro vivace III. Menuetto; Allegro vivace II. Andante IV. Presto vivace INTERMISSION Shostakovitch Symphony No. 7, Op. 60 I. Allegretto; poco piu mosso III. ( Adagio; Largo; Adagio II. Moderato poco allegretto IV. I Allegro non troppo BALDWIN PIANO R.C.A. VICTOR RECORDS vSerkikire ^jreitival TANGLEWOOD 9 4 9 Eleventh ^Program SUNDAY EVENINGS 8:30 U. S. STEEL SYMPHONY NO. 2 IN B-FLAT MAJOR By Franz Schubert presents the Born in Lichtenthal, near Vienna, January 31, 1797; died in Vienna, November 19, 1828 NBC SYMPHONY Schubert wrote his Second Symphony between December, 1 814, and March, 181 5. Records do not reveal a public performance before it was played from the manuscript at ORCHESTRA the Crystal Palace Concerts in London on October 20, 1877 (a newspaper then stated that it was being "produced probably for the very first time since its birth"). Summer* The introductory Largo opens with broad chords, gradually subsiding to Pianissimo. The Vivace dis- closes the principal subject which is to dominate the Concerts movement without cessation — a smooth-running fig- ure in the violins which gives the whole its brilliant World -Famed Conductors quality, its marked string accentuation. The move- ment is swift, adroit, extended in sheer exuberant Distinguished Soloists resource. The Andante (in E-flat) is more docile, making no attempt to unseat the accepted ways of 12, 19 JUNE a century past. The theme could be called Hay- Fritz Reiner dnesque, naive. There are five variations and a Coda. The Minuet (in C minor) shows renewed vigor, with a contrasting quiet Trio in the major, JUNE 26, JULY 3, 10 where the oboe has the melody and the clarinet takes Arthur Fiedler it in imitation. The Finale, a true Presto vivace, rides its full course on a reiterated rhythm, at first JULY 17 subdued, gathering thrust and impact. Albert Roussel once wrote of this Finale, "To my mind the Sigmund Romberg final Presto contains the most interesting passages L of the whole symphony. The first bar of the open- JULY 24, 31 ing theme of this Presto afterward gives opportunity, Wilfred Pelletier towards the middle of the movement, for a develop- ment of rather Beethovenian character, but original AUGUST 7 and daring and evidently contemporaneous with the writing of the 'Erlkonig.' It is also noteworthy that Percy Faith the second theme of this movement, in E-flat, is re- peated at the end of G minor. So we see that Schu- AUGUST 14, 21 bert in his early works makes a habit of departing Mitropoulos from classical traditions." Dimitri Roussel's reference to the "Erlkonig" is a re- minder that the Schubert who composed this sym- AUGUST 28 phony, even though still at the threshold of sym- Antal Dorati phonic possibilities, was no novice in other forms. By the year 1815, the year of this symphony, he had SEPTEMBER 4 composed 182 songs which have been published, and many more which have not. They include such Harold Levey little masterpieces as "Gretchen am Spinnrade" (Oc- tober 19, 1814), and, in 1815, "Der Erlkonig," "Heidenroslein" "Rastlose Liebe," "Sehnsucht," U.S. STEEL HOUR "An den Friihling" "Wanderers Nachtlied." At eighteen he was very definitely a matured artist — to quote GiLman, "a lyric and musico-dramatic genius, by the grace of God." Schubert wrote his NBC NETWORK WGY first six symphonies between 1813 and 1818, the "Unfinished" in 1822, and the great C major in iSiota eniou ^&Iokwu4 ^edtwatd oJ\yflu4ie In ueuv own nowiei/ The Ultimate in Recorded Music! THE SENSATIONAL COLUMBIA ® MICROGROOVE RECORD a The Record that plays up to 50 minutes ?? Uninterrupted Music! • No Breaks In Music Not Planned By The Composer Himself! • Complete Works On One Record! • Finer Tone Quality! • More Music For Your Money! • 4 hours of continuous music on automatic changers! • Saves Storage Space! • Nonbreakable! • 33 V3 rpm Speed— the record speed that best combines highest quality reproduction and longest playing time. See Them—Hear Them At Your Dealer's Now I <§)-THE NEW STANDARD OF RECORD PERFECTION— THE FINEST PHONOGRAPH RECORD EVER MANUFACTURED "Columbia," "Masterworks" and ©D Trade-marks, Reg. U. S. Pat. Off. Marcas Registradas ® Trademark 8 ff-terkiklye festival TANGLEWOOD 10 4 9 *- 1828.* That the first six were closer to eighteenth- century symphonic patterns than the two famous posthumous ones, less free in their scope, cannot WHERE TO GO AND WHAT TO DO IN with any certainty be laid to limitations in the com- poser's imagination or skill at the time, which he demonstrated by a vast quantity of music in all forms. It should rather be laid to the very limited LIME orchestras which were ROCK on hand to perform them. CONNECTICUT Sometimes Schubert composed purely for his own pleasure, without prospect of performance, some- a typical New England village with times for specific performance by players strictly old charm and new cordiality.