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BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON SEVENTY- FIRST SEASON 1951-1952 Constitution Hall, Washington Boston Symphony Orchestra (Seventy-first Season, 1951-1952) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Bassoons Violins Violas AUard Joseph de Pasquale Raymond Richard Burgin, Panenka Jean Cauhape Ernst Concert-master Theodore Brewster Fourel Alfred Krips Georges Eugen Lehner Gaston Elcus Con fra-Bassoon Rolland Tapley Albert Bernard George Humphrey Bonz Piller Norbert Lauga George Zazofsky Jerome Lipson Louis Arti^'res Horns Paul Cherkassky Harry Dubbs Robert Karol James Stagliano Reuben Green Harry Shapiro Vladimir Resnikoff Kadinoff Harold Meek Joseph Leibovici Bernard Vincent Mauricci Paul Keaney Einar Hansen Walter Macdonald Harry Dickson Violoncellos Osbourne McConathy Kornsand Emil Samuel Mayes Pinfield Carlos Alfred Zighera Fedorovsky TrUMI'ETS Paul Jacobus Langendoen Minot Beale Mischa Nieland Roger Voisin Silberman Marcel Lafosse Herman Hippolyte Droeghmans Roger Schermanski Armando Ghitalla Karl Zeise Rene Voisin Stanley Benson Josef Zimbler Wilfinger Gottfried Bernard Parronchi Tromuonks Enrico Fabrizio Knudson Clarence Leon Marjollet Jacob Raichman Pierre Mayer Lucien Hansotte Manuel Zung Fluffs John Coffey Diamond Josef Orosz Samuel Georges Laurent Victor Manusevitch James Pappoutsakis James Nagy Phillip Kaplan Tuba Leon Gorodetzky Vinal Smith Raphael Del Sordo Piccolo Melvin Bryant George Madsen Harps Lloyd Stonestreet Bernard Zighera Oroes Saverio Messina Olivia Luetcke Sheldon Rotenberg Ralph Gomberg Devergie Leo Panasevich jean Holmes TiMl'ANI William Waterhouse John Roman Szulc English Horn Charles Smith Bassks Louis Speyer Georges Moleux Percussion Willis Page Clarinets Max Polster Juht Ludwig Gino Cioffi Simon Sternburg Irving Frankel Manuel Valerio Harold Farberman Henry Greenberg Pasquale Cardillo Henry Portnoi Clarinet E\) Librarians Henry Freeman Rogers Henri Girard Bass Clarinet Leslie Mazzeo Leonard Burkat John Barwicki Rosario Constitution Hall, Washington SEVENTY-FIRST SEASON, 1951-1952 Boston Symphony Orchestra CHARLES MUNCH, Music director Richard Burgin, Associate Conductor Concert Bulletin of the First Concert THURSDAY EVENING, November 15 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 Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [») BOX HOLDERS 1951-1952 The President and Mrs. Harry S. Truman Mr. and Mrs. Stanley Adams Mrs. Margaretta Stroup Austin Mrs. Rebert Low Bacon Mr. and Mrs. Robert Woods Bliss The Ambassador of France and Madame Bonnet Mr. A. Marvin Braverman Mr. and Mrs. Earl Campbell Mr. and Mrs. William R. Castle Mr. and Mrs. Henry P. Caulfield Mr. and Mrs. A. M. Chaite Mrs. William Crozier The Ambassador of the Philippines, Mr. Joaquin M. Elizal^e Mr. and Mrs. Joseph C. Grew Mr. and Mrs. Albert H. Hamilton Mr. George Judd Mrs. Florence A. Keep Colonel Angel G. de Mendoza Mr. and Mrs. Eugene Meyer Mr. and Mrs. Howard Mitchell Mr. and Mrs. Charles Munch Mrs. George Hewitt Myers Judge and Mrs. George Neilson Mrs. James Patton Mr. and Mrs. Pierre- Paul Schweitzer Mr. and Mrs. Jouett Shouse Mr. and Mrs. Andrew J. Snow Mrs. Eliot Wadsworth Mrs. Edwin M. Watson t«] Constitution Hall, Washington Boston Symphony Orchestra SEVENTY-FIRST SEASON, 1951-1952 CHARLES MUNCH, Music Director FIRST CONCERT THURSDAY EVENING, November 15, at 8:30 o'clock In memory of SERGE KOUSSEVITZKY July 26. 1874 — June 4. 1951 Program Mozart Masonic Funeral Music (K. 477) HoNEGGER Symphony No. 5 I. Grave II. Allegretto III. Allegro marcato INTERMISSION Tchaikovsky Symphony No. 6 in B minor, "Pathetique," Op. 74 I. Adagio; Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamcntoso BALDWIN PIANO I^CA VICTOR RECORDS [S] MASONIC FUNERAL MUSIC, Koechel No. 477 By Wolfgang Amadeus Mozart Born at Salzburg, January 27, 1756; died in Vienna, December 5, 1791 Mozart composed his Maurerische Trauermusik on the death of two fellow Freemasons, the Duke Georg August von Mecklenburg Strelitz and Franz Count Esterhazy von Galantha. It was accordingly played at a memorial service for the two notables on November 17, 1785.* The music was originally scored for two violins, viola, bass, two oboes, one clarinet, three basset horns and contra-bassoon. Mozart evidently included the parts for basset horn to accommodate musicians available at the time, for he later indicated two of the parts for French horns. The contra-bassoon part is indicated as not obligatory. In the present performances, one basset horn and two additional French horns are used. THE movement is an adagio in common time. The woodwinds have the burden of the introduction with a melody in a restrained mourning of C minor, more moving and personal, especially by virtue of the poignant harmonies, than a formal ceremonial might have prompted. The woodwinds are matched with an ornamental violin figure. At the twenty-fifth bar^ the oboes and clarinet (soon to be joined by the wind choir) intone a chorale of sombre ritual suggestion. with accompanying chords from the lower strings and a continuing violin filigree. Mozart must have known Bach's chorale preludes; the cantus firmus here serves as a slow march. The melody of the intro- ductory part returns to close this gentle slow movement pianissimo. Alfred Einstein finds this Adagio "the link between the Solemn Mass in C minor and the Requiem/' being a development of the mood and matter of the Kyrie in the first work and an anticipation of his last work, which was moved by thoughts of death and interrupted by death. Otto Jahn summed up the work neatly when he wrote: "Mozart has composed nothing finer than this short Adagio in technical treat- ment, sense of color, earnest feeling and psychological truth. It is the * The work was listed by Mozart as composed "in the month of July, 1785," but his two brother Masons died on November 6 and 7 respectively. Alfred Einstein surmises that Mozart, making a later notation of the score, "simply forgot," being much preoccupied at the time with Figaro. musical expression of that manly calm which gives sorrow its due, and no more than its due, in the presence of death." Mozart, being a fatalist, never gave death more than its due. When his mother died in Paris, he wrote to his father from there July 9, 1778: "After you have first given way to natural and only too well justified tears and anguish, you will eventually resign yourself to the will of God and worship His unsearchable, unfathomable and all-wise providence. ... I have indeed suffered and wept — but what did it avail, so I have tried to console myself, and please do so too, my dear father, my dear sister! Weep, weep, but take comfort at last. Remem- ber that almighty God willed it thus — and how can we rebel against Him?' Two years after composing the Masonic Funeral Music, Mozart again wrote his thoughts upon death in a letter to his father, April 4, 1787: "Since death (properly speaking) is the true end of our life, I have made myself so acquainted during the last two years with this, our best and truest friend, that its aspect has no more terrors for me; nothing but peace and solace! And I thank God for enabling me to discern in death (you will understand me) the key to our true blessedness. I never lie down in bed without remembering that per- haps, young as I am, I may never see another day; and yet no one who knows me can say that I go about moody or gloomy. For this blessing I thank my Maker every day and desire nothing more than to share it with my fellow men." This calm submission to his destiny and his Maker might not have pleased a priest of his church at the time, who would have preached, not complete resignation, but repentance and fear of God. Mozart, like his father, was a punctilious church-going Catholic, but, also like his father, he had recently espoused Freemasonry, a free-thinking movement, a reaction to dogma, which was by no means wholly ap- proved by the Roman Catholic hierarchy. Mozart was a simple and whole-hearted believer. It would never have occurred to him to discuss the nature of the Deity or to analyse his faith. Such matters were accepted without question. He was deeply drawn by the ideals of Freemasonry, as is amply proved by The Magic Flute or by this Adagio, or by much other music which he wrote for his Lodge. He must surely have welcomed a blood brotherhood which would have put him on an equal footing with a Duke and a Count in con- trast to his lowly standing as a mere musician in the society of his time. Being a realist with a sense of humour, he was dazzled neither by the pomp of churchly office, as exemplified in his haughty employer, the Archbishop of Salzburg, nor by the mummery of the Masons. He privately made fun of both, while his acceptance of what they stood for was unimpaired. [copyrighted] [5] SYMPHONY NO. 5 By Arthur Honegger Born in Le Havre, March 10, 1892 This Symphony was completed last December in Paris (indications on the manu- script score show the dates of completion of the sketch and the orchestration of each movement. First movement: September 5, October 28; Second movement: October 1, November 23; Third movement: November 10, December 3.) The orchestra includes three flutes, two oboes, and English horn, two clarinets and bass clarinet, three bassoons, four horns, three trumpets, three trombones and tuba, timpani and strings.

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