ft'i

T\) SYMPHONY ORCHESTRA

FOUNDED IN 1881 BY HENRY LEE HIGGINSON

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X ^%J IHIIMK >?5777?<2. H

SEVENTY-FIRST SEASON

^c BAYARD TUCKERMAN, Jr. ARTHUR J. ANDERSON ROBERT J. DUNKLE, Jn. ROBERT T. FORREST JULIUS F. HALLER

ARTHUR J. ANDERSON, Jr. HERBERT SEARS TUCKERMAN

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Telephone, Commonwealth 6-1492

SEVENTY-FIRST SEASON, 1951-1952

CONCERT BULLETIN of the

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Richard Burgin, Associate Conductor

with historical and descriptive notes by

John N. Burk

COPYRIGHT, J 95 1, BY BOSTON SYMPHONY ORCHESTRA, hlC.

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

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SYMPHONIANA

EXHIBITION An exhibition of engravings and draw- THE TROUSSEAU HOUSE OF BOSTON ings of composers from the Willson

Collection is on view in the gallery. They are shown by courtesy of the Childs Gallery, Boston.

ORCHESTRAL ROLL OF HONOR The Boston Symphony Orchestra has been fortunate in the long and valued service of five members, retired at the end of the past season, who have been with us for twenty-five years or more. They are Charles van Wynbergen, viola, who joined the Orchestra in 1910, Sieg- fried Gerhardt, viola (1919), Henri Erkelens, violin (1920), John Murray, violin (1920), Elford Caughey, harp (1925).

FRIDAY AND SATURDAY CONCERTS ON WGBH (FM)

The Boston Symphony Orchestra is proud to be a participant in a new, non- commercial educational FM radio sta- tion, which will be operated with the advice and cooperation of the Lowell Institute Cooperative Broadcasting Council. The station, installed in Sym-

phony Hall, is equipped to broadcast complete symphony concerts, together with daily programs of academic in- terest.

Station WGBH will give its inaugural broadcast this Saturday, October 6, when the first evening concert of the season will be on the air, entire. Full- Like Joseph's Coat of many length Friday afternoon and Saturday colors, a puckered rayon taffeta evening performances in Symphony Hall, teagown scintillating in jewel through the season, will be broadcast tones of green, fuchsia and direct from the stage. Other music in blue. Velvet belt. Sizes 12 to 20. live performance is planned, and pro- grams presented each day 3:00 P.M. to 35.00 10:30 P.M. (Fridays at 2:15 for Sym- phony concerts only) by the six colleges 416 Boylston St., Boston and universities of Greater Boston which are members of the Council 54 Central St., Wellesley Boston College, Boston University,

[31 Harvard, M.I.T., Northeastern and Tufts, in association with the Lowell I Institute. Station WGBH. which derives its call FAMOUS FOR FINE FURS AND letters from Great Z?lue H'\\\ in Milton, FASHIONS FOR 81 YEARS will operate from the Harvard Ob- servatory there. The 92-foot tower and antenna, which rise 724 feet above sea level, will bring programs to listeners within a 67-mile radius of Boston. With a power of 20,000 watts, WGBH will operate at 89.7 megacycles in the FM band, on Channel 209.

Extends to the FM listeners of Greater Boston who are already blessed with daily programs exclusively of the best music from Sta- tion WXHR, music in generous quan- tities from the non-commercial WBUR, and the nightly "Evening Concert" from Boston WCOP (with a "Preview" of the sym- phony program on Thursdays) may now add to their abundance live Boston Symphony Symphony concerts. In no other city of the (except possibly New York) are there comparable musical op- Orchestra portunities. With excellent FM sets purchasable at a low price and FM included in some television sets, it is to be expected that many thousands of music lovers will be quick to take ad- vantage of this new and unprecedented our sincerest wish development.

Parker Wheatley, Director of the for a Lowell Institute Cooperative Broad- casting Council, has been named Gen- eral Manager of WGBH, which will Successful Season operate from studios newly constructed in Symphony Hall. A microwave link on the roof will relay all programs to the transmitter on Great Blue Hill.

The broadcasts are rich, not only in immediate promise, but in future possi- bilities. Regular program features will include lecture courses, forums and panel discussions, a daily children's news broadcasts with Store Hours program, and faculty commentary. There will be P. M. 9:30 A. M. to 5:30 further educational features (by tran- scription) from other colleges and uni- Wednesday versities throughout the country, and special programs from such international A. M. to 9:00 P. M. 10:30 services as the British Broadcasting Corporation, Radiodiffusion Franchise and the Canadian Broadcasting Corpora- tion. The features for the first week are BOYLSTON AT ARLINGTON J announced on page 43.

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SEVENTY-FIRST SEASON NINETEEN HUNDRED FIFTY-ONE AND FIFTY-TW

Cjfirst Program

FRIDAY AFTERNOON, October 5, at 2:15 o'clock

SATURDAY EVENING, October 6, at 8:30 o'clock

In memory of July 26, 1874 — June 4, 1951 H

Mozart Masonic Funeral Music (K. 477)

Strauss "Death and Transfiguration," Tone Poem, Op. 24

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 lamentoso

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This program will end about 4:00 o'clock on Friday Afternoon, 10: 15 on Saturday Evening.

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[8] KOUSSEVITZKY

(Editorial in the Boston Globe, June 6, 1951.)

What this community owes to him is immeasurable. But exactly the same can be said of the greater community of America and

Europe which he served with his music-making through his long life- time from early youth up until nearly the end of his 77th year, for that would have been his age on the 26th of July.

Such is the common debt of mortality, but what we have to consider is our debt to his immortality. For it was in that greater world that he chiefly lived. His career, however briefly recited, is fabulous; his rise from obscurity to fame as a virtuoso performer on the double bass, his early adventures as conductor of an orchestra on a steamboat cruising the Volga and bringing music to the people — his life-long passion. Next, he survives the Russian Revolution, builds him a new career as orchestral conductor and music publisher in Paris; then, in middle life, begins his third and greatest earthly reincarnation here in Boston as the rebuilder of the Boston Symphony Orchestra which, in the next quarter of a century, he makes one of the greatest musical instruments that has ever existed. Add -to these the Berkshire Symphonic Festival and Music Center at Tanglewood which his daring, his energy and his artistic imagina-

[9] tion seemed to create almost out of nothing, or at least out of only the most meager beginnings — an orchestra under a circus tent until it was drowned out by a beneficent Wagnerian thunderstorm to re- emerge in the great Music Shed at Tanglewood. Who says the day of great and creative individualists and individual careers is over? The test is whether a writer of fiction would have dared invent such a life history. He would not, for it would sound preposterous were it not a matter of such common knowledge. Koussevitzky believed in predestination as firmly as did ever the Reverend Jonathan Edwards, a one-time dweller near Tanglewood, in the Calvinistic form of that belief. He believed in his own destiny

and by the firmness of that belief created it. This destiny looked personal but was not. It was that of music- making as a mission to his fellow-mortals, a mission which, as the years went on, became tinged with the messianic. With him, music had the force of religion which term meant the whole range of human experience. As drill-master of an orchestra which had been through a first World War and an internal revolution when he took it, he was implacable. This sternness, coupled with his artistic scruples which were shared by the players, carried the Boston Symphony Orchestra to the topmost rank. His rehearsals may have been ordeals, but their worth was revealed in the public performances. Without his 'intense religious feeling about the music he made, he could scarcely have

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The Permanent Charity Fund also ac- cepts and holds special-purpose funds, the income of which is disbursed for the special purposes requested by the donors as provided in the Trust Agreement.

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i " i sustained the spending of his forces so lavishly and so long. More than once he said that times when he started a concert in a state of fatigue, he finished it in elation and with his energy fully restored by the return wave of appreciation and gratitude which flowed over him from his audiences. This did not surprise him in the least; he knew that process for what it is, the working of spiritual law. It would be unfitting to omit here, at this time, the ever-abiding question of artistic temperament. When a man is ready and able at half-past-two in the afternoon or at eight-thirty in the evening to walk out on a concert platform, mount the podium, and turn on a dynamic charge of divine electricity, those other qualities without which this one could not exist must be included amongst his virtues. And this was the feeling of his nearest friends. The goodness, the greatness, the unconscious moral elevation which he diffused through his music have left their mark here as well as over his wider orbit, and it will not be effaced, for it abides indestruct- ibly in the hearts of his listeners. What else could have upborne him triumphantly to his end amid the wrecks of time and change in his own life and those of our contemporary world? Three wars, a revolution, a financial debacle, and yet the music goes on. "One good thing that abideth." Thus he joins the immortals and dwells with them in the spirit, for it was in the eternity of spirit that he lived and wrought in his mortal life.

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'Take one large measure of the most solid Have you heard Charles Munch conduct the Boston Symphony Orchestra in craftsmanship, add two dashes of international Brahms: Symphony No. 4* elegance of the rarest vintage, sprinkle with a Haydn: Symphony No. 104, "London"* soupqon of Gallic wit, age in years of experi- Beethoven: Symphony No. 7* 2* ence, and you have the essential personality Schubert: Symphony No. Ravel: La Valse of Charles Munch. Funny thing, too, how it Bruch: Concerto No. 1 in G Minor. all comes through whether he's playing Haydn, Menuhin, violinist.* *0n both 45 rpm and Long Play. Debussy, or Prokofieff. Inspiration with ele- ti gance—that's Charles Munch." Moss Hart RCA VICTOR RECORDS

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BOSTON MUSIC COMPANY CHARLES W. HOMEYER & CO. INC. MOSHER MUSIC COMPANY, INC. 116 Boylston Street 498 Boylston Street 181 Tremont Street MASONIC FUNERAL MUSIC, Koechel No. 477 By

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 , one , 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

* 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.

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[15] 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,

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bfc :^- ^- t=sJ: i 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.

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 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 g, 1778: "After you have first given way to natural and only too well

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[17] 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,

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[19] 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.

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[21] 'TOD UND VERKLARUNG" ("DEATH AND TRANSFIGURA- TION"), Tone Poem, Op. 24 By Richard Strauss

Born at Munich, June 11, 1864; died at Garmisch, September 8, 1949

Tod und Verklarung was first performed from the manuscript, the composer conducting, at Eisenach, June 21, 1890, when his "Burleske" was also first heard.

Anton Seidl gave the first American performance with the Philharmonic Society of New York, January 9, 1892. Emil Paur introduced it at the Boston Symphony concerts, February 6, 1897. The most recent performance in this series was April 8, 1949. The tone-poem is dedicated to Friedrich Rosch and scored for three flutes, two oboes, English horn, two , bass clarinet, two bassoons, double-bassoon, four horns, three trumpets, three trombones, tuba, timpani, two harps, gong, strings.

Wien Death and Transfiguration first appeared, an unrhymed poem was printed in the score, giving a more explicit story than Strauss, always reticent about such matters, usually attached to his symphonic poems. The verses were unsigned but were soon discovered to be from the pen of none other than Alexander Ritter, the militant champion of Wagner and Liszt, who had recruited the youthful Strauss at Meiningen to the cause of "programme music."

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&•:•:&:&! —^ si Arlington street • HAncock 6-1500 The verses, it was found out, were actually written after the music had been composed, and were inserted in the score as it went to the printer. The analyst forthwith questioned the authenticity of the words as a direct guide to the music. But surely Strauss and Ritter must have been too intimately associated at this time not to have a clear understanding. It was Ritter who had goaded the brilliant young musician to set his back firmly upon symphonies and sonatas, and fly the banner of "Musik als Ausdruck." Assuming that the older man could hardly have done more than help the younger one to find himself, the fact remains that Strauss, embarking upon programme music with the Aus Italien which he called a "symphonic fantasia," in 1886, made quick and triumphant progress with three symphonic poems: Mac beth, Don Juan, and Tod und Verklarung, all within the space of three years.*

The work divides naturally into four parts:

* Strauss wrote of Ritter : "His influence was in the nature of the storm-wind. He urged me on to the development of the poetic, the expressive in music, as exemplified in the works of Liszt, Wagner and Berlioz. My symphonic fantasia, Aus Italien, is the connecting link between the old and the new methods." EXCLUSIVE VERY REASONABLY PRICED LAMPS • Emerald Green — Clear — Blue • Hand blown • Extra Service spun glass shade • Fourteen inches tall • Only Twelve-fifty THE SOCIETY OF ARTS & CRAFTS 145 Newbury Street, Boston 16, Massachusetts

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[«4] 1. In a dark room, silent except for the ticking of the clock, is a dying man. He has fallen asleep and is dreaming of childhood. 2. The struggle between life and death begins anew. He sees his life over again. He remembers childhood, youth, and the strivings of manhood after ideals that are still unrealized. 4- From heaven comes to him what he had vainly sought upon earth, "Welterlbsung, Weltverklarung" : "World-redemption, world-transfiguration."

The poem of Alexander Ritter has been paraphrased as follows:

A sick man lies upon his mattress in a poor and squalid garret, lit by the flickering glare of a candle burnt almost to its stump. Ex- hausted by a desperate fight with death, he has sunk into sleep; no sound breaks the silence of approaching dissolution, save the low, monotonous ticking of a clock on the wall. A plaintive smile from time to time lights up the man's wan features; at life's last limit, dreams are telling him of childhood's golden days. But death will not long grant its victim sleep and dreams. Dreadly M it plucks at him, and once again begins the strife; desire of life against might of death! A gruesome combat! Neither yet gains the victory; the dying man sinks back upon his couch, and silence reigns once more.

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We Meet Delver Forfax Like the musical world, the insurance j world has its romantic side.

And like the insurance world, that of

music has its factual side. This was impressed on an insurance man visiting Symphony Hall. His interest was aroused when he caught sight of a man standing before a bookcase filled with bulky scrapbooks, and poring over one of them.

"These are contemporary newspaper accounts of the Boston Symphony Orches- tra's activities through the years," the man at the book stack replied to a ques- tion. "And what's the job you're doing?" the visitor queried further.

"I dig after forgotten facts. Legends have a way of getting substituted for musical history. But there are plenty of facts as romantic as the legends." The insurance man was convinced and fascinated by some examples.

And so the Employers' Group feels that the pleasure of Boston Symphony patrons may be enhanced by some of the dis- coveries of the research man, whom we

shall call Delver Forfax. On the adjoining page we present Del- ver in his account of: [26] Col. Higginson and Tchaikovsky

« see by the New York papers that Tchaikovsky has just made his first I American appearance as composer-con- ductor. It also says here that Colonel Henry L. Higginson was in the distinguished audience." The newspaper from which Delver Forfax looked up was a yellowed clipping in a Boston Symphony scrapbook.

"It happened 60 years ago, on May 5, 1891. A very interesting overlooked anniversary. On the stage, and in the audience, Tchaikovsky and Col. Higginson took part in the dedication by the New York Symphony Society of its new home, Music (later, Carnegie) Kali.

What an Introduction! "The Colonel had founded his Boston Symphony Orchestra ten years before. What music of Tchaikovsky, who was just turning fifty-one, had Higginson's men played in Boston's Music Hall up to now? Exactly three complete works and two fragments. Tchaikovsky's name first went on a Boston Symphony program with the "Marche Slave," in 1883. Then, at wide intervals, came the First Piano Concerto, the Serenade for Strings, and the 'Romeo and Juliet' Overture. What about the five symphonies then existing? Only the two middle movements of the Fourth had been played.

Fruition After Disappointment "If Colonel Higginson had expected to make new discoveries for his orchestra to play, the new Music Hall dedication concert was no help. The long program of speeches and of music conducted by Walter Dam- rosch (aged 29) assigned little time to Tchaikovsky. The audience and musicians were thrilled to see him, the critics praised his conducting. But what masterpieces of his did he present? None — just his quite un- extraordinary march for the coronation of Czar Alexander III. "But more and better works were conducted by Tchaikovsky in the course of three more festive concerts shared with Damrosch. In- cluded was his Third Suite. Colonel Higginson may have heard it — although I haven't seen documentary proof. But at any rate, Arthur Nikisch introduced it with success at a Boston Symphony concert toward the start of the fol- lowing season.

"The Courier called it 'a characteristic and worthy product ... of a kind that might be expected ... of the original yet not eccentric, bold yet not reckless genius who stands first today among Russian composers.' " [27] !

Weary with struggling, reft of sleep, in the delirium of fever he sees his life, unrolled before him, stage by stage. First, the dawn of childhood, radiant with pure innocence. Next, the youth who tests and practices his forces for manhood's fight. And then the man in battle for life's greatest prize: to realize a high ideal, and make it all the higher by his act — this the proud aim that shapes his course. Cold and scornful, the world heaps obstacle after obstacle in his path: if he deems the goal at hand, a voice of thunder bids him "Halt" — "Let each hindrance be thy ladder," he thinks. "Higher, ever higher mount!" And so he climbs, and so he urges, breathless with hallowed fire. All that his heart had ever longed for, he seeks it still in death's last sweat — seeks, but never finds it! Though now he sees it more and more plainly; though now it looms before him, he yet can ne'er embrace it wholly, ne'er put the last touch to his endeavor. Then sounds the iron stroke of Death's chill hammer; breaks the earthly shell in twain, enshrouds the eye with the pall of night. But now from on high come sounds of triumph; what here on earth he sought in vain, from heaven it greets him: Deliverance, Transfiguration

Death and Transfiguration had a wide vogue in its early days.

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•fCo/uDiiio," "Masterworks" aadQJ) Trade Marks Reg. U.S. Pat. Off. Marcos Registradas (LJ>) Trade Mark Billow admired it with reservations — "a very important work in spite of sundry poor passages, and also refreshing." Professor Niecks, dis- cussing programme music, considered it "the most musical of all Strauss' programmes." Ernest Newman, in his book of 1908, praised this tone poem as Strauss' nearest approximation to "a perfect fusion of matter and style," truly symphonic in thematic development, show- ing "quite a Beethovenian unity and breadth of conception." Mauke pointed out that here, if anywhere, Strauss heeded the ways of Liszt, and made his score upon the model of Tasso. The piece, for the benefit of its earlier hearers, was minutely dissected, thematically catalogued bit by bit. Wilhelm Mauke, Strauss' most industrious analyst, wrote a description sixteen pages long, with twenty-one examples in notation. Max Steinitzer disapproved Mauke's "un- Straussian distillations."

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Also at Wellesley Hills, Worcester and Springfield [3i] SYMPHONY NO. 6, IN B MINOR, "PATHETIC," * Op. 74 By Peter Ilitsch Tchaikovsky

Born at Votkinsk in the government of Viatka, Russia, May 7, 1840; died at St. Petersburg, November 6, 1893

Completed in 1893, Tchaikovsky's Sixth Symphony was first performed at St. Petersburg, October 28 of the same year. Following the composer's death Napravnik conducted the symphony with great success at a concert of Tchaikovsky's music, November 18, 1893. The piece at-

tained a quick popularity, and reached America the following spring, when it was produced by the New York Symphony Society, March 16, 1894. It was performed bv the Boston Symphony Orchestra on December 28 following, Emil Paur con- ducting. The most recent performance in this series was on December 22, 1949. The orchestration consists of two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, tam tam and strings.

Talking with his brother Modes te on the day after the first per- formance of the Sixth Symphony, Tchaikovsky discussed the problem of a title, for he was about to send the score to the publisher. He had thought of calling it "A Programme Symphony" and had written to his nephew, Vladimir Davidoff, of this intention, adding,

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[33] "This programme is penetrated by subjective sentiment. . . . The programme is of a kind which remains an enigma to all — let them guess it who can." And he said to Modes te when the question of a title was under discussion, "What does 'programme symphony' mean when I will give it no programme?" In other words, he foresaw that

to give it such a name would at the same time explain nothing and invite from every side a question which he could not answer. He ac- cepted Modeste's suggestion of "Pathetique" but thought better of it after the score had been shipped to Jurgenson, and wrot