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Boston Symphony Orchestra Concert Programs, Season 78, 1958-1959

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Boston Symphony Orchestra Concert Programs, Season 78, 1958-1959 ' BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON SEVENTY-EIGHTH SEASON 1958-1959 Academy of Music, Brooklyn Under the auspices of the Brooklyn Institute of Arts and Sciences and the PHILHARMONIC SOCIETY OF BROOKLYN 1958-59 THE WOMEN'S COMMITTEE FOR The Boston Symphony Orchestra Concerts IN BROOKLYN Mrs. Albert C. Magee, Chairman Mrs. Edward C. Blum Mrs. Edwin P. Maynard, Jr. Mrs. H. Haughton Bell Vice-chairman Vice-Chairman Vice-chairman Mrs. Donald Edgar Swift, Secretary Mrs. John F. Thompson, Jr., Treasurer Mrs. Irving G. Idler Mrs. William T. Daily Chairman of Boxes Chairman of Membership Honorary Chairman, Mrs. Carroll J. Dickson Mrs. Alexander Aldrich Mrs. Edwin L. Garvin Miss Emma Jessie Ogg Mrs. Ostergren Mrs. Elias J. Audi Mrs. Silas M. R. Giddings Harold Mrs. Charles L. Babcock, Jr. Mrs. Andrew L. Gomory Mrs. William M. Parke Mrs. C. Rankin Barnes Mrs. R. Whitney Gosnell Mrs. William B. Parker Mrs. Bernard S. Barr Mrs. Morgan Grossman Mrs. Frank H. Parsons Mrs. John R. Bartels Mrs. Warren L. Hafely Mrs. Raymond King Pendleton Mrs. George M. Billings Mrs. Arthur C. Hallan Mrs. Franklyn H. Peper Mrs. John R. H. Blum Mrs. Frederick H. Rohlfs Mrs. J. Victor Herd Mrs. Robert E. Blum Mrs. William B. Hewson Mrs. Donald Ross Mrs. Mrs. M. Sands Lawrence J. Bolvig Mrs. James M. Hills Abraham Mrs. Otis Swan Carroll Mrs. Irving Sands Mrs. David S. Hunter J. Mrs. Francis T. Christy Mrs. Raymond V. Ingersoll Mrs. Martin Segal Miss Edith U. Conard Mrs. Henry A. Ingraham Mrs. Eliot H. Sharp Mrs. Benjamin Mrs. Sinclair J. Conroy Mrs. Darwin R. James, III Donald G. C. Mrs. Donald M. Crawford Mrs. Ainsworth L. Smith Mrs. Walter M. Jeffords, Jr. Mrs. Russell V. Cruikshank Mrs. Miles M. Kastendieck Mrs. Sidney L. Solomon Mrs. I. Frederick Daniels Mrs. James Vincent Keogh Mrs. Harry H. Spencer Miss Ruth G. Davis Mrs. Jeanne Toomey Terranova Mrs. John Bailey King Mrs. Berton Delmhorst Mrs. Hollis K. Thayer J. Mrs. Abbott Lippmann Mrs. Anthony Di Giovanna Mrs. Gilbert H. Thirkield Mrs. Everett Livesey Mrs. James B. Donovan J. Mrs. Theodore N. Trynin Mrs. Frederick Lohman, Jr. Mrs. Remick C. Eckardt J. Mrs. Franklin B. Tuttle Mrs. John Madden Mrs. Alfred H. Everson J. Mrs. Adrian Van Sindereh Mrs. Eugene R. MarzuUo Mrs. James F. Fairman Mrs. Robert F. Warren Mrs. John W. Faison Mrs. Carleton D. Mason Mrs. Harold E. Weeks Mrs. Merrill N. Foote Mrs. Richard S. Maynard Mrs. Frederick Weisbrod Mrs. Lewis W. Francis Miss Helen M. McWilliams Mrs. Travis H. Whitney Mrs. Laurance E. Frost Mrs. Alfred L. Megill Miss Elizabeth T. Wright S E V E N T Y - E I G H T H SEASON, 1958-1959 Boston Symphony Orchestra CHARLES MUNCH, Musk 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 Jacob J. Kaplan Vice-President Richard C. Pai»ne Treasurer Talcott M. Banks Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. Perry, Jr., Manager S. Norman Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [»1 Saturday evenings at 8:30 WQXR brings you the concerts of the Boston Symphony direct from Boston. And every day^ early morning to late at nighty VyUJiri broadcasts fine music and the hourly news bulletins of The New York Times. Treat yourself to wonderful listening. Tune to WQXR, 1560 AM, 96.3 FM, I the radio station of The New York Times. [2] SEVENTY-EIGHTH SEASON • NINETEEN HUNDRED FIFTY-EIGHT - FIFTY-NINE FRIDAY EVENING, November 14, at 8:30 o'clock Program Bach Suite No. 4, in D major Overture Bourr^es I and II Gavotte Minuet R^jouissance Debussy "La Mer," Three Orchestral Sketches I. De I'aube k midi sur la mer II. Jeux de vagues III. Dialogue du vent et de la mer INTERMISSION Beethoven Symphony No. 6, in F major, "Pastoral," Op. 68 I. Awakening of serene impressions on arriving in the country: Allegro ma non troppo II. Scene by the brookside: Andante molto moto III. Jolly gathering of country folk: Allegro; in tempo d'allegro; Thunderstorm; Tempest; Allegro IV. Shepherd's Song: Gladsome and thankful feelings after the storm: Allegretto BALDWIN PIANO RCA VICTOR RECORDS [S] SUITE NO. 4 IN D MAJOR By JoHANN Sebastian Bach Born in Eisenach, March 21, 1685; died in Leipzig, July 28, 1750 This Suite is scored for 3 oboes, bassoon, 3 trumpets, timpani, and strings. There is in each of the suites a figured bass for the presiding harpsichordist. Bach's four orchestral suites are usually attributed to the period (1717-23) in which he was Kapellmeister to the young Prince Leopold of Anhalt-Cothen. Albert Schweitzer conjectures that they may belong to the subsequent Leipzig years, for Bach included them in the performances of the Telemann Musical Society, which he con- ducted from the years 1729 to 1736. But the larger part of his instru- mental music belongs to the years at Cothen where the Prince not only patronized but practised this department of the art — it is said that he could acquit himself more than acceptably upon the violin, the viola da gamba, and the clavier. It was for the pleasure of his Prince that Bach composed most of his chamber music, half of the Well-tempered Clavichord, the inventions. Composing the six concertos for the Margraf of Brandenburg at this time, he very likely made copies of his manuscripts and performed them at Cothen. The suites, partitas and "overtures," so titled, by Bach were no more than variants upon the suite form. When Bach labeled each of his orchestral suites as an "ouverture," there is no doubt that the French ouverture of Lully was in his mind. This composer, whom Bach closely regarded, had developed the operatic overture into a larger form with a slow introduction followed by a lively allegro of fugal character and a reprise. To this "overture" were sometimes added, even at operatic performances, a stately dance or two, such as were a customary and integral part of the operas of the period. These overtures, with several dance movements, were often performed at concerts, retaining the title of the more extended and impressive "opening" movement. Georg Muffat introduced the custom into Germany, and Bach followed him. Bach held to the formal outline of the French ouverture, but extended and elaborated it to his own purposes. In the dance melodies of these suites, Albert Schweitzer has said "a fragment of a vanished world of grace and eloquence has been preserved for us. They are the ideal musical picture of the rococo period. Their charm resides in the perfection of their blending of strength and grace." [copyrighted] [4] "THE SEA" (Three Orchestral Sketches) By Claude Debussy Born at Saint-Germain (Seine-et-Oise), France, August 22, 1862; died at Paris, March 25, 1918 It was in the years 1903-05 that Debussy composed "La Mer." It was first performed at the Concerts Lamoureux in Paris, October 15, 1905. The first per- formance at the Boston Symphony concerts was on March 2, 1907, Dr. Karl Muck conductor (this was also the first performance in the United States). "La Mer" is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 3 bassoons, double bassoon, 4 horns, 3 trumpets, 2 cornets-d-pistons, 3 trombones, tuba, cymbals, triangle, tam-tam, glockenspiel (or celesta), timpani, bass drum, 2 harps, and strings. Debussy made a considerable revision of the score, which was published in 1909. T T THEN Debussy composed "La Mer: Trois esquisses symphoniques," ^ '^ he was secure in his fame, the most argued composer in France, and, to his annoyance, the most imitated. "UApres-midi d'un Faune" of 1894 and the Nocturnes of 1898 were almost classics, and the first performance of "Pelleas et Melisande" was a recent event (1902). Piano, chamber works, songs were to follow ''La Mer" with some regularity; of larger works the three orchestral ''Images" were to occupy him for the next six years. "Le Martyr de St. Sebastien" was written in 1911; "Jeux" in 1912. In a preliminary draft* of "La Mer" Debussy labeled the first move- ment "Mer belle aux lies Sanguinaires" ; he was attracted probably by the sound of the words, for he was not familiar with Corsican scenery. The title "Jeux de Vagues" he kept; the finale was originally headed "Le Vent fait danser la mer." There could be no denying Debussy's passion for the sea: he fre- quently visited the coast resorts, spoke and wrote with constant enthu- • This draft, dated "Sunday, March 5 at six o'clock in the evening," is in present possession of the Eastman School of Music at Rochester. IWHy Your grandfather turned up safe and sound, back where he'd first seen that fascinat- OPAnicifcitliLeip Ra.n ing engine. No spanking from his re- Away, nriicit Oay lieved mother. For 95 years, children have been getting happily lost here, He was five years old, and he had seen among the red engines and other fas- a red engine here on a visit to Schwarz cinators we sell, at competitive prices. with his mother. Suddenly she missed Come in and get lost, and love it.
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