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Boston Symphony Orchestra Concert Programs, Summer, 1951-1953

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Boston Symphony Orchestra Concert Programs, Summer, 1951-1953 TANGLEWOOD ">••••: : : :S* :Si : In Massachusetts and New Hampshire new Steinway Pianos are sold ONLY by M. STEINERT & SONS STEINWAY... A century of leadership is significant of the unfailing QUALITY of the Steinway Piano. Since 1 853 this superb instrument has been chosen by an overwhelming majority of musicians and concert artists— and by thousands of homes, large and small— as all that is finest in music. Many Steinway models, vertical or grand, invite your comparison, for beauty of tone, exacting craftsmanship and sustained stamina. No other piano is so worthy of your consideration. /JJyjN M'Stoinert & Sons 162 BOYLSTON STREET • BOSTON Jerome F. Murphy, President BRANCHES IN WORCESTER • SPRINGFIELD • WELLESLEY HILLS BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director Berkshire Festival Season igj2 TANGLEWOOD, LENOX, MASSACHUSETTS THEATRE-CONCERT HALL Concerts by Members of the Orchestra Charles Munch, Conducting Concert Bulletin, with historical and descriptive notes by John N. Burk COPYRIGHT, 1952, BY BOSTON SYMPHONY ORCHESTRA, INC. Trustees of the Boston Symphony Orchestra, Inc. Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richard C. Paine, Treasurer Philip R. Allen Theodore P. Ferris N. Penrose Hallowell M. A. De Wolfe Howe Michael T. Kellehkr Lewis Perry John Nicholas Brown Alvan T. Fuller Francis W. Hatch Charles D. Jackson Edward A. Taft Raymond S. Wilkins Oliver Wolcott Tanglewood Advisory Committee \V. F. Anthony Hanlon George E. Mole Whitney S. Stoddard Alan J. Blau Henry Dwight Lenges Bull Georcf. W. Edman Lawrence K. Miller James T. Owens Robert K. Wheeler George E. Judd, Manager Assistant Managers: T. D. Perry, Jr. N. S. Shirk gfWNtffWffWtffW^^ On July 24 — First Boston Symphony Concert Since London Of year-round Upera Season Charles Munch will assemble the Boston Symphony at your Uwn L/urtain C^bne Orchestra in full force for the first time since the orches- tra's return from Europe at the opening Shed concert on July 24. This Orchestra made its first visit to Europe for three weeks of concerts in May, playing under the auspices of the Congress for Cultural Freedom and in- 39 OPERAS vited (expenses assured) to represent America in the Congress's Festival of the Twentieth Century Arts in (Ml Paris. Charles Munch gave the opening concert in the historic Opera House in Paris on May 6, and Pierre Monteux conducted at the Theatre des Champs Elysees CETHA SOMA RECORDS on May 8, repeating Stravinsky's Rite of Spring which he had given its first performance in the same theatre RECORDED IN ITALY WITH GREAT ITALIAN ARTISTS 39 years before, then causing a riot which has become history. The- two conductors divided the concerts of the tour, BELLINI ROSSINI Mr. Munch conducting in the Hague and Mr. Monteux Norma II Barbiere di Siviglia respectively; Mr. Cenerentola in Amsterdam on May io and n CILEA William Tell Munch conducting in Brussels on May 12 and the two Adriana Lecouvreur conductors alternating in Frankfort on May 13 and 14. A. SCARLATTI The Orchestra visited Germany by invitation of the CIMAROSA II Trionfo dell' Onore State Department (HICOG) and likewise gave a concert II Motrimonio Segreto SPONTINI in Berlin on May 15 under Mr. Monteux's direction. DONIZETTI La Vestale Charles Munch brought his orchestra to Strasbourg (Al- II Campanello STRAUSS sace), the town of his birth, on May 17 and also con- La Figlia del Reggimento 19. Mr. Monteux con- Elektra ducted in Metz (Lorraine) on May Lucia di Lammermoor ducted at Lyon on May 20, Mr. Munch in Paris on May VECCHI FIORAVANTI 21 (at the Champs Elysees). The two conductors divided L'Amfiparnaso and and Le Cantatrici Villane honors for two concerts in Bordeaux May 24 25 VERDI Mr. Munch completed the tour in London on May 26 GIORDANO Aida in the new Royal Festival Hall. The tour was a succes- Fedora La Battaglia di Legnano sion of triumphs unparalleled by any visiting orchestra. LEONCAVALLO Ernani FalstafT Exhibition Pagliacci La Forza del Destino Photos, programs, posters, etc. depicting the tour are MASCAGNI Un Giorno di Regno now on exhibition in the Berkshire Museum in Pittsfield. L'Amico Fritz 1 Lombardi Cavalleria Rusticana Luisa Miller "Tanglewood on Parade" Nabucco The present session of the Berkshire Music Center is MONTEMEZZI Rigoletto its tenth. For the anniversary of the school at Tangle- L'Amore dei Tre Re (arias and duets) Simon Boccanegra wood a special celebration is planned. "Tanglewood on 1. prodi- MOZART II Trovatore Parade" will be given on Friday, August The le Nozze di Figaro gious talent which the Berkshire Music Center can ZANDONAI boast among its alumni will be called upon. PERGOLESI Francesco da Rimini La Serva Padrona Tanglewood OPERA RECITALS Chamber Concerts in in the Library of PONCHIELLI by The Elizabeth Coolidge Foundation La Gioconda Galliano Masini Congress announce four concerts in the Theatre at (highlighfs) Lina Pagliughi Tanglewood on Wednesday Evenings July 9, 16, 23, 30. PUCCINI Nicola Rossi-Lemeni The concerts are open by invitation to members of the Center. La Fanciulla del West Cesare Siepi Society of Friends of the Berkshire Music Gianni Schicchi Ebe Stignani Suor Angelica Italo Tajo South Mountain Concerts II Tabarro Pia Tassinari A series of six free chamber concerts will be given by Tosca TagliaviniandTassinari the South Mountain Association through the remainder Turandot (in opera duets) of the season. The Julliard Quartet will play on Satur- 26 at p.m. There will be At All Good Record Shops day afternoons, July 12, 4 concerts on Sunday afternoons August 17, 24, 31 and Write Us . We'll Tell You Where September 7 at the same hour. Our Neighbors in the Arts CETRA-SORI A RECORDS Recommended to visitors: The Berkshire Museum, Pillow Dance 38 West 48th Street • New York 36, N. Y. The Stockbridge Playhouse, Jacob's Festival, The Berkshire Garden Center, The Pleasant Valley Wild Flower and Bird Sanctuary. A rare collec- | ^i' uii'»iii't»ii'iui'*iiiiiiiiii{jiiiuiti[jiiiai i uii^iii i i]r*'ii^'»iii'^ji'^ tion of silver is being shown at the Art Gallery of Williams College; Ture Bengtz exhibit at the Lenox School. -»»-»» <«-<«• ^-$«-^- -^->$>->>HSfr-^-^-^-^-^»>>» w BACHr\ r\ I . pi 4Sfr<«-<K<-<«-<«- ^-«c- iV t->i * First Program Saturday Evening, July 5, at 8:15 Bach The Musical Offering Ricercar (3 voices) Ricercar (6 voices) 8 Canons Trio Sonata (Largo — Allegro — Andante — Allegro moderato) Canonic Fugue (at the Fifth) Perpetual Canon INTERMISSION Bach Concerto in D minor, for Two Violins and String Orchestra I Vivace II Largo ma non tanto III Allegro Soloists . RUTH POSSELT, RICHARD BURGIN Bach Suite No. 3, in D major I Overture II Air III Gavotte I, Gavotte II IV Bourree V Gigue Second Program Sunday Afternoon, July 6, at 3:00 Handel . Concerto Grosso in A minor for String Orchestra, Op. 6, No. — 4 Larghetto affettuoso - Allegro — Largo, e piano— Allegro Dittersdorf , Symphony in C major I Allegro molto II Larghetto III Menuetti I and II IV Finale: prestissimo C. P. E. Bach . „ Symphony Nn 2, ]n F Mnjnr I Afleg^CWto II Larghetto III Presto INTERMISSION J. S. Bach Cantata, "Wachet auf, ruft uns die Stimme," No. 140 Chorale Recitative (Bass) Recitative (Tenor) Aria (Soprano and Bass) Aria (Soprano and Bass) Chorale Chorale (Tenors) Soloists . Soprano, SARAH FLEMING Tenor, JOHN McCOLLUM Mezzo Soprano, SHIRLEY WINSTON Bass, RICHARD SHARRETTS (Berkshire Festival Chorus, Hugh Ross conducting) BALDWINPIANO • RCAVICTORRECORDS Berkshire Festival TANGLEWOOD 1952 Program DVotes First (Program "The Musical Offering" By Johann Sebastian Bach Born in Eisenach on March 21, 1685; died in Leipzig, July 28, 1750 Bach composed his Musikalisches Opfer in 1747 and pre- sented it engraved to the King of Prussia with a suitable dedication on July 7 of that year. The Musical Offering consists of thirteen contrapuntal numbers upon a theme provided by Frederick the Great: two ricercari,* one in 3 and one in 6 voices; 10 canons and a trio sonata. The first five canons are labeled "Super Tlirma Regium," and the second five "Thematis Regit Elaborationes Canonicae." The order of publication (not CRANE F. always adhered to) has been maintained by Oubradous in his orchestration, here used. The Musical Offering is a theoretical work giving only an occasional indication of MUSEUM specific instruments. Ricercar — 3 voices Canon perpetuus Canon — 2 voices — Canon contrarium stride rever- sum Canon — 4 voices Canon — 2 voices — Canon cancrizans Canon — 2 violins in unisono Canon — 2 voices — Per motum contrarium Canon — 2 voices — Per augmentationem contrario motu Canon — 2 voices — Cicularis per tonos bince 4804 Fuga canonica in Epidiapente [at the fifth] Ricercar — 6 voices Sonata (Largo — Allegro — Andante — Allegro moder- ate) often 2 to Sfi.vn. Canon perpetuus About one incident in Bach's life there have come down to us two detailed accounts. The reason is wion,cta>u> tri/iouaA fiic/au that a king was involved. Carl Philipp Emanuel Bach, having entered the service of Frederick the Great in 1740, continually spoke of his father's fane- 6efi/ent6ek extraordinary abilities at fugal improvisation until the King, his curiosity aroused, commanded the pres- ence of the Leipzig cantor. Bach accordingly visited Q)a/fcn, tsfflatoacAu&e/fo Potsdam in May, 1847, three years before his death. Wilhelm Friedemann Bach, who accompanied his father on this journey, later told the story to Johann Nicolaus Forkel who related it in his biography. "One evening," according to this version, "just as the King was getting his flute ready and his musi- cians were assembled, an officer brought in the list of the strangers who had arrived. With his flute in his hand he ran over the list, but immediately 2fcw> *ru/e& eatf cfgPa&fietd turned to the assembled musicians, and said, with a ' oft bottle no.
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  • ARSC Journal
    ELISABETH SCHU}~.NN ON THE ART OF SONG INTERPRETATION: MOZART: Das Veilchen; SCHLiF::rr: Lachen unc~ weinen; BRAHMS: Vergebliches Standchen; STRAUSS: Morgen; SCHUBERT: Die Forelle; WOLF: Mausfallen-Spruchlein; In dem Schetteil°meiner Locken (with Ernest Lush, piano) (1950). Pre­ ceded by MOZART: Il Re pastore--L'amero sero costante; Alleluia (with BBC Symphony; Sir Henry Wood, conductor, 8 September 1936). IGI 274 (Educational Media Association, P. 0. Box 921, Berkeley, California 94701) These lectures have been around before as EJS 328. Schumann opens with some general remarks on singing and teaching in rather quaint but perfectly clear and understandable English. She sings each song through, then offers a few points on interpretation. She places strong emphasis on the importance of the words. There are points about the art of coloring the voice, about breath control and vowel sounds. In Morgen, she says, the singer must be "singing" mentally from the beginning of the prelude, so that when she comes in she is already with it. One remembers her as one of the few singers who really did this. Also in this song, she speaks of the importance of counting the rests in the final lines. Her voice in 1950 was by no means what it had been, but some of the old sparkle was still there, even when the going was not easy. She concludes her talk with encouragement to the young singer - don't worry - have confidence. The lecture is preceded by the Re pastore aria and the Alleluia in a public performance, complete with tumultuous applause. L'amero is less fresh vocally than in her earlier commercial recording; the old radiance is there in the upper voice, but the bottom is rather weak.
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