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Boston Symphony Orchestra Concert Programs, Season 67, 1947-1948

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Boston Symphony Orchestra Concert Programs, Season 67, 1947-1948 //''; 5 BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON iQ '«// A^ KliliKi I>W © #1 SIXTY-SEVENTH SEASON 1947-1948 Metropolitan Theatre, Providence Friends of the Boston Symphony and Opera Lovers Radio Station WFCI has the honor to present The Boston Symphony Orchestra under the direction of Dr. SERGE KOUSSEVITZKY Tuesday Nights at 9:30 o'clock also The Metropolitan Opera Saturday Afternoons at 2 o'clock Metropolitan Theatre, Providence SIXTY-SEVENTH SEASON, 1947-1948 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Fifth Concert TUESDAY EVENING, March 30 with historical and descriptive notes by John N. Burk 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 Lewis Perry N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [1] A CHORAL CREED Robert Shaw, in the summer season THE MANOR ROOM choral director at the Berkshire Music Center, is at this time of year the leader the Collegiate Chorale in New York. for excellent food of In announcing the expansion of this group by the organization of an affiliated Brooklyn Chorale, Mr. Shaw remarked <§> interestingly {in the New York Herald- Tribune) upon the mission and intentions of his Chorale: THE SKY ROOM What we do have in the Collegiate Chorale is a community of interest and for choice cocktails conviction and endeavor. Creeds are always somewhat pompous in print, but if we had to re-examine ours in our seventh season, it would read somewhat like this: We believe that music is more a Excellent Facilities for necessity than a luxury — not simply because it is "therapeutic," nor because BANQUETS it is the "universal language," but be- cause it is the persistent focus of man's RECEPTIONS intelligence, aspiration and good will. We believe that music is always a WEDDINGS community enterprise. The solo per- formance does not exist. Even its crea- tion is an attempt to communicate, and every performance an effort to unite the minds of men even of different genera- tions. We believe that music is one art. WAYLAND The chorus, the symphony orchestra, the virtuoso recitalist and the string quartet are not competitive "attractions" MANOR for the public fashion in patronage, but are instruments of a single craft with HOTEL similar responsibilities. We believe that music is peculiarly Mary F. Hanley, Manager a doer's art, and its benefits are in direct proportions to active participation. We believe that it is the performer's Providence, R. I. business to get out of the way of music. 500 ANGELL STREET His craft is to "reveal — not to in- terpret." PL. 7700 We believe that the choral art stands in a unique position to be of service to man and music because it offers the [•] — ——— — most immediate and accessible avenue of active participation. Mo Poyl/Kij^tM #*$ton And we believe that the choral in- strument should assume a position of respect and musical responsibility com- mensurate with the distinction of its literature and comparable to that of \\ the major professional orchestras. APHORISMS (Compiled by "The Musical Digest," London) The best way to train a musical ear is to confront it with as much serious music as possible. Schoenberg $prina A large percentage of those who at- tend concerts have no business to be . see our orlakt there. They are not entertained. —Basil Maine flower hats . line The ability to maintain the same style in totally different moods is one of the Sf7 an early sprina hallmarks of the genuine composer, whether major or minor. bouauet . ourfluffy —Constant Lambert blouses The progress of music has been a con- (Si flower-fresh quest of discord, the liberation of the human ear. Carl Engel . tonic for a winter There is no substitute for the mastery of vocal technique. Maggie Teyte "^ Everyone can find in Bach precisely £)fx i it I AfU ?& breath - of - spnna what he wishes to find, because every- thing is contained in him. Cecil Gray prints . and ai While working you must suffer, you have absolutely no pleasure, only the ther slans of sprina effort and pain. Paderewski Anyone with average intelligence who t 2/redleus . possesses an ear can read music. —Sir Richard Terry t» [3] Avery Piano Co. is proud to represent EXCLUSIVELY in Rhode Island, Nearby Massachusetts and Connecticut Territory .... "THE INSTRUMENT OP THE IMMORTALS" THE STEINWAY P.ANO GRANDS AND SPINETS CAPEHART and MAGNAVOX RADIO — PHONOGRAPHS R.C.A. VICTOR ZENITH PHILCO EXCLUSIVE REPRESENTATIVES FOR WURLITZER ORGANS FORMERLY THE EVERETT ORGATRON Records - Music - Tuning - Repairing Avery Piano Co. Sole Steinway Representative in Rhode Island, Eastern Conn., and Fall River Territory 256 WEYBOSSET ST. 212 THAMES ST., NEWPORT [4] Metropolitan Theatre, Providence Two Hundred and Ninety-sixth Concert in Providence Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director FIFTH CONCERT TUESDAY EVENING, March 30 Program CHARLES MUNCH Conducting Rameau Suite from the Opera "Dardanus" I. Entree II. Rondeau du sommeil III. Rigaudon IV. Rondeau gai Schubert Symphony No. 5 in B-flat major I. Allegro II. Andante con moto III. Menuetto: Allegro molto IV. Allegro vivace INTER MI S S I O N Mozart Symphony in D major, "Prague," No. 38 (Kochel No. 504) I. Adagio; allegro II. Andante III. Finale: Presto Schumann Symphony No. 4 in D minor, Op. 120 I. Andante: Allegro II. Romanza III. \ Scherzo IV. \ Largo: Finale (Played without pause) BALDWIN PIANO VICTOR RECORDS In conformance with City Regulations ladies are respectfully requested to remove their hats [5] CHARLES MUNCH Charles Munch was born at Strasbourg, Alsace, in 1891. His father was the founder of the Saint Guillaume Chorus in Strasbourg, and it was at home, under his father's guidance, that he first studied violin, harmony, and singing. He went to Paris before the first World War, and studied violin with Lucien Capet. In 1919 he was made professor at the Strasbourg Conservatory, and later conductor of the orchestra. He gained further experience in what was destined to be his career when he worked under Wilhelm Furtwangler at the Gewand- haus Concerts in Leipzig. He returned to Paris, where in 1930 he founded the Orchestre de la Societe Philharmonique de Paris. In 1937 he succeeded Philippe Gaubert as the conductor of the Societe des concerts du Conservatoire. M. Munch, visiting America last season and several European countries in the spring and summer, has appeared many times as guest conductor (he conducted the Boston Symphony Orchestra on December 27-28) . Returning this season, he has conducted concerts of the New York Philharmonic-Symphony Society and has visited other or- chestras of our East and West. xelr od-fTlu SIC Established 1910 45 Snow Street—Providence 3, R. I. GA 4833 Publishers—Importers—Dealers Headquarters for the Music Profession fttottt aft IKattpjeT CHOOSE YOUR,PIANO AS THE ARTISTS DO COME. IN AND BROWSE:—Band and orchestral instruments and music—Popular music, new and old—Music teachers' and' Music School supplies—Records; all makes, Classic, Popular and Jazz—Repair department. 37 Yearn of Continuous Service to the Music Profession ^mmm^ METAL CRAFTS SHOP The specialty shop for things in metal Antique and modern copper, brass and pewter. Jewelry and small pieces of silver. Excellent metal polish,—repairing,—restoring. 10 THOMAS STREET, PROVIDENCE, R.L [6] SUITE FROM "DARDANUS" By Jean Philippe Rameau Born in Dijon, September 25, 1683; died in Paris, September 12, 1764 "Dardanus, Tragedie lyrique en cinq actes et un prologue," to the text of Le Clerc de la Bruere, was first performed at the Academie Royale de Musique in Paris, October 19, 1739. This Suite is drawn from two edited by Vincent d'Indy. although Rameau showed himself a musician, playing upon his **• father's clavecin, at the age of seven, and in his early manhood made his mark in Paris as organist, violinist, and musical theorist, it was not until 1733, at the age of fifty, that he composed his first ambitious stage work. This was "Hippolyte et Aricie" a setting of Racine's "Phedre." It was as a musical theorist that Rameau had at- tracted most attention. His several treatises on the science of his art, and in particular the investigation of the disposition of chords, though not always found acceptable according to later views, were undoubtedly a stimulus to constructive thought on the subject. The composer had long sought recognition in the profitable field of For Better Luggage ^n£% To suit the taste g^ffl lUhfi of the most discriminating— MUlllll/v / And Leather Goods /to\nu&P From a carefully chosen selection VISIT ^J. ^W. ^/\ound± Go., J2td. 52 Washington Street PROVIDENCE, R. I. BUY WORDS "THE AMERICAN IMAGINATION AT WORK" as edited by BEN CLOUGH is a wondrous collection of tales true and false and we're selling1 * it here, and how! Rfiftk SihOT) *$6.00 a copy postpaid (plus 6<£ tax in Rhode Island) t 5QTOSVenOT Butldin6 TOE BOOK SHOP 5 Grosvenor Building 'Providence 3.5?/. providence 3 Rhode island [7] opera, but success in opera at that time depended upon an alliance with a librettist of the highest standing, and this alliance he had not been able to make. A collaboration with the two-edged Voltaire did him no good, for the resulting piece, "Samson" was banned on the eve of performance. After "Hippolyte et Aricie," which gave him the theatrical standing he had lacked, he produced operas, ballets and divertissements in quick succession.
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