r ^>l^i f/'i C^ ^ BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY A HENRY LEE HIGGINSON • a. m m A' ffli^^- "^TP?^ H SEVENTY-EIGHTH SEASON 1958-1959 Sanders Theatre, Cambridge [Harvard University] Boston Symphony Orchestra (Seventy-eighth Season, 1958-1959) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL ViOUNS Violas Bass Clarinet Richard Burgin Joseph de Pasquale Rosario Mazzeo Concert-master Jean Cauhape Bassoons Alfred Krips Eugen Lehner Albert Bernard Sherman Walt George Zazofsky Ernst Panenka Rolland Tapley George Humphrey Theodore Brewster Norbert Lauga Jerome Lipson Vladimir ResnikofE Robert Karol Contra-Bassoon Harry Dickson Reuben Green Richard Plaster Gottfried Wilfinger Bernard Kadinoff Horns Vincent Mauricci Einar Hansen James Stagliano Joseph Leibovici John Fiasca Charles Yancich Earl Hedberg Emil Kornsand Harry Shapiro Roger Shermont Violoncellos Harold Meek Minot Beale Samuel Mayes Paul Keaney Silberman Herman Alfred Zighera Osbourne McConathy Stanley Benson Jacobus Langendoen Trumpets Leo Panasevich Mischa Nieland Roger Voisin Sheldon Rotenberg Karl Zeise Armando Ghitalla Fredy Ostrovsky Josef Zimbler Andr^ Come Clarence Knudson Bernard Parronchi Gerard Goguen Pierre Mayer Martin Hoherman Trombones Manuel Zung Louis Berger William Gibson Samuel Richard Kapuscinski Diamond William Moyer Victor Manusevitch Robert Ripley Kauko Kabila James Nagy Winifred Winograd Josef Orosz Melvin Bryant Flutes Lloyd Stonestreet Tuba Doriot Anthony Dwyer K. Vinal Smith Messina Saverio James Pappoutsakis William Waterhouse Phillip Kaplan Harps William Marshall Bernard Zighera Leonard Moss Piccolo Olivia Luetcke Ccci George Madsen Jesse Timpani Noah Bielski Oboes Everett Firth Alfred Schneider Ralph Gomberg Harold Farberman Joseph Silvcrstein Jean Devergie • Percussion John Holmes Basses Charles Smith Georges Moleux English Horn Harold Thompson Henry Freeman Arthur Press Louis Speyer Irving Frankel Piano Henry Portnoi Clarinets Bernard Zighera Henri Girard Gino Cioffi John Barwicki Manuel Valerio Library Leslie Martin Pasquale Cardillo Victor Alpert Ortiz Walton E\) Clarinet William Shisler SE VE N T Y- E I G H T H SEASON, 1958-1959 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 Jacob J. Kaplan Vice-President Richard C. Paine 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 Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 HIS DEDICATION AND INTERPRETIVE POWERS ARE MOVINGLY REVEALED IN NEW ORTHOPHONIG SOUND, ON RCAVictor records exclusively other recept albums by Charles Munch and the Boston Symphony Orchestra in New Orthophonic Sound: Berlioz: Harold in Italy *; Beethoven: Symphony No. 5 , " and Schubert: Unfinished" Symphony ; Ravel: Daphnis and Chloe . For your 11 x 14 copy of this drawing, suitable for framing, send 25i with your return address to RCA Victor Record Division, Dept. F-2, Box 469, Madison Post Office, N.Y. 10, N.Y- *AL80 AVAILABLE ON NEW LIVING STEREO RECORDS. m IMoi* T RADIO CORPORATION OF AMERICIt [zl SEVENTY-EIGHTH SEASON • NINETEEN HUNDRED FIFTY-EIGHT - FIFTY-NINE Fourth Program TUESDAY EVENING, February 3, at 8:30 o'clock SIR JOHN BARBIROLLI, Guest Conductor Barbirolli An Elizabethan Suite, arranged from the "Fitzwilliam Virginal Book" I. The Earl of Salisbury's Pavane — William Byrd II. The Irishe Ho Hoane — Anonymous III. A Toye — Giles Farnaby IV. The King's Hunt — John Bull Delius "The Walk to the Paradise Garden," Intermezzo from "A Village Romeo and Juliet" \ Walton Partita for Orchestra I, Toccata: brioso II. Pastorale siciliana III. Giga burlesca INTERMISSION I Brahms *Symphony No. 2, in D major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso, quasi andantino IV. Allegro con spirito BALDWIN PIANO *RCA VICTOR RECORDS . [S] SIR JOHN BARBIROLLI Our guest of the past week was born "His re-creation of the Halle Orches- in London, of an Italian father (who tra from the ruins during Hitler's war was also a professional musician) and a has been his great unselfish service to French mother, on December 2, 1899. British music. To come to Manchester He made his first public appearance as in war-time, to build anew from the a cellist at the age of eleven, and joined ashes, he gave up the conductorship of the Queen's Hall Orchestra at sixteen. the Philharmonic Orchestra of New He soon gave his full energies to con- York, which position of renown he in- ducting, both symphonic and operatic, herited from Arturo Toscanini. His notably the London Symphony and devotion to his Halle 'boys' (and *girls') Royal Philharmonic Orchestras, and had persuaded him to turn away from temp- several seasons at Covent Garden. In tations to direct Covent Garden Opera. 1933 he became the conductor of the Here we have possibly lost much—if Scottish Orchestra and the Leeds Or- not as much as we have gained from chestra. In 1936 he was appointed the Barbirolli's 'Halle.' For Barbirolli, au conductor of the New York Philhar- fond, is an opera conductor. monic Symphony Society orchestra, suc- "Years ago, when he was one of the ceeding Toscanini, continuing at that old British National Opera Company, post until 1943. He then became the I heard Barbirolli conduct Strauss's conductor of the Halle Orchestra in Rosenkavalier. It remains in my mem- Manchester, the position he now holds. ory as the equal of anything done with His return to the United States, to con- the same opera by Krauss or Kleiber. duct the New York Philharmonic and Sir John is today in his prime. If he Boston Orchestras, therefore follows an will only try to harbour his physical absence of sixteen years. resources, it may be that the best in Neville Cardus wrote of him in the him is still to come." Manchester Guardian in January, 1958: AN ELIZABETHAN SUITE, arranged by Barbirolli FROM THE 'TiTZWILLIAM ViRGINAL BoOK" FOR String Orchestra and Four Horns This suite, published in 1943, calls for a string orchestra supplemented by four horns in the final movement. It is dedicated "to St. Anthony and St. Nicholas (V.H.)." SIR John Barbirolli has drawn his suite from the Fitzwilliam Virginal Book, a treasured historic document in the Fitzwilliam Museum at Cambridge University. It is a finely bound manuscript collection of keyboard pieces used by virginal players in the late sixteenth^ century.* The manuscript, containing 297 pieces, was assembled and copied by one hand in the early seventeenth century. It was once thought to have been in the possession of Queen Elizabeth, who was indeed a virginal player, although Burney expressed his doubt on this point. "If her majesty was ever able to execute any of the pieces that are preserved in a MS, which goes under the name of * The Fitzwilliam Virginal Book has been edited and published by J. A. Fuller Maitland and William Barclay Squire, 1894-99. [4] 'Queen Elizabeth's Virginal Book,' she must have been a very great player, as some of the pieces are so difficult that it would be hardly possible to find a master in Europe who would undertake to play one of them at the end of a month's practice." Sir John Hawkins in his History of Music also referred to it as "Queen Elizabeth's Virginal Book," but the assumption is nullified by the contents, for some of the pieces are carefully dated as after Elizabeth's death. The first mention of it was in 1740, when the book was in the possession of Dr. Pepusch. Robert Brenmer purchased it in 1762 from Pepusch for the sum of ten guineas and presented it to Viscount Fitzwilliam who, on his death in 1816, bequeathed it with his library to the University of Cambridge. Sir John Barbirolli has chosen from many pavanes this one by William Byrd, who figures strongly in the collection. It consists of 16 bars and has been inscribed by the arranger "stately, with dignity." The Irishe Ho-Hoane (an andante — "simply and rather sadly") is performed by the muted strings. A Toye, by Giles Farnaby, is a rhythmic allegretto. Giles Farnaby's Dreame is set for the violas and cellos with solo phrases. The King's Hunt, by John Bull, brings the horns into full play. It is the longest number of the suite and is inscribed "jolly and rather heavy." William Byrd, born probably in Lincolnshire in 1543, died in Stondon, Essex, July 4, 1623. He was one of the most important English composers of that epoch. He held important posts as organist and was granted by Queen Elizabeth, together with Thomas Tallis, an exclusive privilege of printing music and selling music paper. His many choral works perpetuate his creative genius. John Bull was born in Somersetshire about 1562 and died in Antwerp in March, 1628. Like Byrd, he held a number of positions as cathedral organist. He left England in 1609 to establish himself as organist in Wlmy Your grandfather turned up safe and sound, back where he'd first seen that fascinat- Gpa.nclfia.tHex* Ran ing engine. No spanking from his re- Away, rrHat Day 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.