BOSTON SYMPHONY ORCHESTRA
FOUNDED IN 1881 BY HENRY LEE HIGGINSON
SEASON BAYARD TUCKERMAN, JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER
ARTHUR J. ANDERSON, JR. HERBERT S. TUCKERMAN
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SEVENTY-FIFTH SEASON, 1955-1956 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, 1956, BY BOSTON SYMPHONY ORCHESTRA, Zf»C.
The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.
Henry B. Cabot . President
Jacob J. Kaplan Vice-President
Richard C. Paine . Treasurer
Talcott M. Banks, Jr. C. D. Jackson John Nicholas Brown Michael T, Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Charles H. Stockton Francis W. Hatch Edward A. Taft Harold D. Hodgkinson Raymond S. Wilkins Oliver Wolgott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry
Thomas D. Perry, Jr., Manager
) Assistant G. W. Rector Assistant J. J. Brosnahan, Treasurer
N. S. Shirk \ Managers Rosario Mazzeo, Personnel Manager
[ 1301 ] THE LIVING TRUST
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[1302] SYMPHONIANA Season 1955-1956 Exhibitions List of Articles Message A THE TROUSSEAU HOUSE OF BOSTON
EXHIBITIONS The exhibitions shown in the Gallery gossamer as a mid- during the season past were as follows: Paintings by Paul Barruel and Andrew summer night's dream, Wyeth (September 30-November 5) this misty double nylon "Seventy-five years of Painting in Bos- ton" (November 11-November 26) negligee in blue or Contemporary Italian Paintings (Gal- pink flocked with tiny leria dell' Obelisco, Rome) (Decem- ber 2-December 23) blossoms. Sizes 10 to Subscribers' Exhibition (December 30- January 7) "Portraits in Print" (Print Department 9.95 of the Boston Public Library) (Janu- ary 20-February 4) Drawings by Robert Nash (January 20) Exhibition from the DeCordova Muse- um (February 16-March 3) Color Drawings of Stained Glass Win- dows (March 8-March 17) Boston Society of Water Color Painters (March 28-April 8) Berkshire Artists (April 10-April 29)
LIST OF ARTICLES Page Features of the 75th Anniversary Season 3 The Tour 55 This Week's Program on Long- playing Records (Martin Bookspan) 56 Gustav Mahler and his First Symphony (Bruno Walter) 107 Fidelio in Beethoven's Vienna 159 Reminiscence 189 Seventy-five Years of Painting in Boston 215 Salute to Rome 271 Orchestral Beginnings (Helen Henschel) 271 A Letter from Arthur Honegger 327 Network Stations 383 A British View of Arthur Fiedler 415 Honegger and the "Six" 415 416 Boylston St., Boston KE 6-6238 Ernest Ansermet 439 -"" L *• \ \ \V\ III W I. ^r' "Seamless Tapestry of Music" 440 ? 54 Central St., Wellesley WE 5-3430 Whistler's "Nocturnes" and Debussy's 495 A "Communication" from Ansermet 551 Subscribers' Exhibition 1955 551 The European Tour 607
»3<>3 Page Portraits in Prints 663 Debussy vs. Orthodoxy 664 Mozart on the Violin (Heifetz) 719 Mr. Munch's Concert in Paris 775 C^handlanaier s How to be Efficient with Fewer Tremont and West Streets, Boston Violins 776 "If This Be Long Hair" (Dedham Transcript) 831 Exhibition (DeCordova Museum) 832 Berkshire Festival Plans 887 Martinu Honored 888 "When Critics Disagree" (Neville Cardus) 888 Exhibition (Joseph G. Reynolds) 943 Berkshire Music Center Announces Summer Plans 944 Grand Prix for "The Damnation of Faust" 975 Martinu (Milos Safranek) 999 A Program to Evoke Memories 1111 Boston Society of Water Color Painters 1111 Some Berkshire Painters 1167
A MESSAGE
Henry B. Cabot, as President of the Board of Trustees, addressed the Friends of the Boston Symphony Orchestra at the annual meeting on April 18, as follows:— Ladies and Gentlemen—Friends of the Boston Symphony Orchestra
These annual meetings of the Friends are to my mind not only very pleasant but also very important. First, they constitute a visual demonstration of the large company of people who believe that this Orchestra is important to our community and who not only contribute their dollars, but come in person to hear about its affairs. Second, this meeting gives the Trustees an opportunity of reporting to you and to the public through you on the financial situation and other matters of interest. I am, there- fore, delighted at the large attendance here today. We are now approaching the end of laniddimo . . . the 75th Boston season and you know as well as I that this Orchestra has never been better. I think I can report softly let the music that the morale of the players and the fall upon the eye. whole organization has never been higher. You may be proud of this from a score of equal triumphs at Orchestra and that you are one of its Friends, but your pride is as nothing to that of the ladies and gentlemen who CHANDLER'S MISSES' DRESSES sit behind me. Be careful you make no SECOND FLOOR disparaging remarks about the Boston Symphony Orchestra in their presence. Continued on page 1355)
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[ 1305 ] Mr. Steppington Declares a Dividend
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[1306] SEVENTY-FIFTH SEASON • NINETEEN HUNDRED FIFTY-FIVE AND FIFTY-SIX
Twenty-fourth Program
FRIDAY AFTERNOON, April 27, at 2:15 o'clock
SATURDAY EVENING, April 28, at 8:30 o'clock
Daniels A Psalm of Praise, for Mixed Chorus, Three Trumpets, Percussion and Strings
(Composed for the y^th Anniversary of Radcliffe College; first performance at these concerts)
Beethoven Symphony No. 9 in D minor, with final chorus on Schiller's Ode to Joy, Op. 125
I. Allegro, ma non troppo, un poco maestoso II. Molto vivace: Presto III. Adagio molto e cantabile IV. Presto; Allegro Allegro assai Presto Baritone Recitative Quartet and Chorus: Allegro assai Tenor Solo and Chorus: Allegro assai vivace, alia marcia Chorus: Andante maestoso Adagio, ma non troppo, ma divoto Allegro energico, sempre ben marcato Quartet and Chorus: Allegro ma non tanto Chorus: Prestissimo Chorus of the HARVARD GLEE CLUB and RADCLIFFE CHORAL SOCIETY (G. Wallace Woodworth, Conductor)
Soloists Adele Addison, Soprano David Lloyd, Tenor Eunice Alberts, Contralto Mac Morgan, Bass
These concerts will end about 3:35 o'clock on Friday Afternoon; 9:50 o'clock on Saturday Evening.
For the program of the extra concert on April 29, see page 1 347. BALDWIN PIANO RCA VICTOR RECORDS
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[1308] A PSALM OF PRAISE FOR MIXED CHORUS, THREE TRUMPETS, PERCUSSION AND STRINGS By Mabel Daniels
Born in Swampscott, Massachusetts
Composed for the 75th anniversary of Radcliffe College this work was first per- formed by the Harvard Glee Club and Radcliffe Choral Society under the direction
of G. Wallace Woodworth in Sanders Theatre on December 3, 1954. In the first performance a piano took the place of the string parts, which were composed later.
The father of Mabel Daniels, George F. Daniels, was President of the Handel and Haydn Society for many years, until his death.
Miss Daniels is a graduate (magna cum laude) of Radcliffe College. There she composed two operettas, which were performed by the students. Her training in counterpoint and orchestration was from George W. Chadwick in Boston, and Ludwig Thuille in Munich. On her return from abroad, her book appeared, "An American Girl in Munich; Impressions of a Music Student." Miss Daniels' choral work,
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[ 1309 ] Exultate Deo, composed for the fiftieth anniversary of Radcliffe, was performed twenty-five years ago at the exercises in Symphony Hall. Mr. Woodworth conducted the Radcliffe-Harvard Chorus and members of this Orchestra. It was performed at these concerts on April 15, 1932, and her orchestral prelude, Deep Forest, on April 16, 1937. Her choral works are numerous, including the following with orchestra: Songs of Elfland, The Holy Star, A Holiday Fantasy, and Peace with a Sword (Peace in Liberty). The Song of Jael, a cantata, was performed at the Worcester Festival in 1940. She has also written choral works with accompaniment of fewer instruments, or a cappella. There are numerous instrumental works in chamber forms, many songs and part- songs.
The text for A Psalm of Praise consists of passages from the Old Testament: Hear, all ye kings; give ear, all ye princes; Let us give praise on this day with psalms of thanksgiving, Sing aloud with the voice of triumph and joy! With musical instruments, O come ye with psaltery and the pleasant harp, O come with flute, with stringed viol ^nd lute,
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[1310] A Matter of Trust
MOZART
Once a composer has completed his symphony, he entrusts the music he has conceived to performers who come after him. An incompetent performance of a great masterwork does not carry through the composer's intention—it takes great skill, knowledge and experience to bring out the spirit as well as the letter of a song or tone poem.
We are in the business of carrying out the financial intentions of others, according to the spirit, as well as the letter, of the trust funds they have placed with us. Our experienced officers devote their lives to trust and estate work, specializing in trust invest- ment and efficient administration. You may appoint this Bank as your *«« aH'issaifi trustee — your attorney will advise fc'lvlS^Liti&itA you now— either m your Will or now
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[^n] O come ye with trumpet, with trumpet sound praise to the Lord. Sing with the dance, pipe and timbrel, Sing with the dance, drum and sackbut, with cymbals of brass sounding loudly with dulcimer and shawm. Let all the people rejoicing praise Him with music and singing, Let all the people sound with trumpets psalms of thanksgiving unto God!
Lord, let our prayer come unto Thee; By Thy wisdom lead, by Thy counsel guide, Uphold us now and bless us with Thy peace; Shew us the way wherein we should walk, for without Thee our labor
is vain. Thou hast been our strength, Help Thy servants, Lord, who trust in Thee.
Chant to the sound of the viol a psalm of thanksgiving, Sing aloud with the voice of triumph! Let us give praise this day to the Lord!
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[1313] SYMPHONY NO. 9 IN D MINOR, with Final Chorus on Schiller's "Ode to Joy/' Op. 125 By Ludwig van Beethoven
Horn at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827
Completed in 1824, Beethoven's Ninth Symphony was first performed at the
Karnthnerthortheater in Vienna on May 7 of that year and repeated on May 23. The first performance in this country was given by the New York Philharmonic Society, May 20, 1846. The Germania Musical Society in Boston, assisted by a
chorus from the Handel and Haydn Society, gave a performance here February 5, 1853. The Symphony was given annually by Georg Henschel to conclude each of the Boston Symphony Orchestra's first three seasons.
The most recent performances in this series were on April 30 and May 1, 1954.
The Symphony is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and contra-bassoon, 4 horns, 2 trumpets, 3 trombones, timpani, bass drum, triangle,
cymbals and strings. The score is dedicated to Wilhelm III of Prussia.
>npHE fact that twelve years (1812-24) elapsed between Beethoven's A Eighth Symphony and the completion of his Ninth does not signify that on entering the last phase of his creative life he de- liberately turned away from the form in which he had dwelt so long and so magnificently. Did practical considerations deter him, considera-
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[1314] ^
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aristocracy, who made that lady marcot asquith of the English was appalled at the size of Symphony an American lecture tour in 1922, it's a of it; "This is not a hall - Halt nvhicl she was to speak, and said engines or aerop anes see the end of it; it's made for "Sway tunnel ! I cannot then 42 years old and more than slightly that in 19 21, Isadora Duncan, in Symphony Hall to a very un. tight, presented her dance program ove number, Miss Duncan audience. At the completion of her final en 1 us as ic pointed a finger at the great anger, advanced to the footlights Hushed with hissed, in Boston's beloved Hall, and statues towering above the audience Don't let your- been told that that is Greek art '•Look UPP there You have is Aphrodite? That is Artemis is not there, and where seT2 be deceived. art. art - that is canned . not living art. That is sterilized Pops Concerts were known Din YOU KNOW that Symphony Hall's Pops days, the musical Promenades" until 190 and that in earlier as "The especially on competed with the brash antics of the audience, program often through the students performed snake-dances college nights, when Harvard they d u 'hmriunr and piled tables on tables until ^£*' acquaintance with Mr. Philip Hale,^£ot the that Paderewski, recalling h.s the famous music critic was with Boston Herald, mentioned how concerned Paderewski said: "I must confess ^was fhe great piamt's shock of hair. whether he was envious of my ha.r or simply always a question in my mind disturbed by the sight of it"? master of the thai when Dr. Karl Muck was D ,D you know works to 19 08, he conducted the in Symphony Hall from 190 6 orchestra led a per- and story has it that he once of TchaTkovsky only under pressure rehearsal because he detested it? tmance of the -Tathetique" without a single Merchants act as your Agent D ,D YOU know that by having The assured of expert, Trustee, you and your family will be or as Executor and much, our Trust Department will accept as ndertanding guidance . . . that u property as you for the management of your "as tie o"?he responsibilityP .to the tediovu bu superior , , delegate - from complete financial choose to further whatever your need, you need look no necessary details . . . that than The Merchants?
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[1315] tions which included the need of money, or did his growing artist's nature require a pause for a new gathering of forces, a considered ap- proach to the problem of writing a symphony which should expand and alter the old orthodox formula with all of the adventurous free- dom he was then applying to the piano sonatas — transforming the moods and contours of his favorite form into something leagues re- moved from the Seventh and Eighth Symphonies and their prede-
cessors? There is a good case for each point of view; let him decide who can. The historian's meticulous chronicle of these years shows a Bee- thoven preoccupied with material cares which were no less real to him because they were largely self-imposed, or imaginary. They appear sordid indeed when compared to the ideal world of tones which at times they held in abeyance. There were the petty commissions, the occasional pieces such as the "Wellington's Sieg," and the consequent law-suit with Maelzel ("Such things," he wrote to his lawyer, "exhaust me more than the greatest efforts in composition"); the attempts at or- ganizing concerts, the negotiations with patrons and publishers on a plane something short of accepted business ethics; all of which may be
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[1317] summed up as an attempt to "feather his nest" and lay aside a money portion for his nephew. The five years' struggle for the guardianship of Karl began with the death of the boy's father (Beethoven's brother Caspar) in 1815. No uncle was ever more grotesquely unfitted for such a charge. Increasingly solitary, lamentably deaf, morbidly sus- picious and irascible, Beethoven goaded his nephew to extremes by his rigid exactions, while he raged at his servants, quarrelled with his friends. One cannot assume, despite all of this corroborative evidence, that Beethoven was deflected by external circumstances from continuing the symphonic succession. The musical inquirers are inclined to seek a deeper and more inward direction of the creative currents, just as they cannot accept as sufficient Wagner's assertion on laying the "Ring" aside to write "Tristan," that considerations of early production and profit were guiding him. Beethoven, too, dwelt lengthily on financial advantages, but just as Wagner, with every intention of writing a performable and profitable piece, turned out a "Tristan" that was be- yond any theatre in Europe, Beethoven could not order his Missa Solemnis to an occasion, nor compose a serviceable symphony at the urgent bidding of the long expectant London Philharmonic Society.
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[1319] Beethoven's sketchbooks, as close a record of a great artist's shaping processes as posterity may hope to possess, show the long germination of the Ninth Symphony in Beethoven's mind. He had even from the Bonn days made musical notations of a possible setting for Schiller's "Ode to Joy," but these musical phrases have nothing in common with the theme he finally evolved, except in their diatonic simplicity. Apparently it did not occur to him until the symphony had reached an advanced stage to introduce Schiller's lines in this particular work. Although he had long pondered the unprecedented idea of introduc- ing human voices in a symphony, he planned for this one an instru- mental finale, the subject matter of which he ultimately used for the Finale of his String Quartet in A minor. Thoughts of a "symphony in D minor" were noted by Beethoven while he was making sketches for his Seventh and Eighth in 1812. In 1815 there occurs an intended subject for a fugue which was destined to become the theme of the Scherzo. It was in 1817 that he began consciously to work upon a symphony, making drafts for the first movement, which in the next year took extended form. In 1818 his imagination was stimulated; the spell of the Missa Solemnis, newly begun, induced thoughts of a religious, modal symphony, even a choral symphony. A Greek text was an alternate idea. He realized that
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German verses would not be appropriate for London, and he thought of two symphonies, one to be instrumental. The bold, disparate thoughts became diffused as they were pushed into the background by the all-absorbing Missa Solemnis. When at last he was released from lingering anxieties over details of the Mass, the Symphony progressed no doubt the more rapidly for its long delay. With the first movement nearly completed in sketch form, Beethoven developed the other three simultaneously, according to his way. The first theme of the Adagio did not occur to him until the summer of 1823. Like the choral theme, it reached its perfection of simplicity, not by sudden inspiration, but by laborious and minute stages. Beethoven was faced with a real problem of integration when he came to the point of introducing plausibly a vocal text, after three prolonged instrumental movements, into the wordless realm wherein the symphony had always dwelt. "When he reached the development of the fourth movement," wrote Schindler, "there began a struggle such as is seldom seen. The object was to find a proper manner of introducing Schiller's ode. One day entering the room he exclaimed,
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[1323] many trials, and were changed in their turn. The symphony was com- pletely sketched by the end of 1823; written out in full score by February, 1824. Thayer, summing up its progress, points out that work upon the symphony as such extended, with interruptions, over six years and a half. "Serious and continuous labor" upon it, follow- ing the completion of the Mass, took a little more than a year.
I.
Themes which are gradually unfolded from mysterious murmurings in the orchestra — no uncommon experience nowadays — all date back to the opening meas ures of the Ninth Symphony, where Beethoven conceived the idea of building a music of indeterminate open fifths on the dominant, accumulating a great crescendo of suspense until the theme itself is revealed in the pregnant key of D minor, proclaimed fortissimo by the whole orchestra in unison. It might be added that no one since has quite equaled the mighty effect of Beethoven's own precedent — not even Wagner, who held this particular page in mystic awe, and no doubt remembered it when he depicted the elementary serenity of the Rhine in a very similar manner at the opening of the "Ring." The development in this, the longest of Beethoven's first movements, progresses with unflagging power and majesty through many an episode, many a sudden illumi- nation from some fragment of his themes. At the restatement of the main theme the orchestra is flooded with the triumph of the D major long withheld. The long coda, coming at the point where it would seem that nothing more could be said on a much developed subject, calls forth new vistas from the inexhaustible im- agination of the tone magician who needed little more than the common chord upon which to erect his vast schemes. Tovey writes of this movement (in "Essays of Musical Analysis") that it "dwarfs every other first movement, long or short, that has been written before or since," attaining its stature, in his opinion, by a perfect balance in the organization of its parts. And Grove goes further still ("Beethoven and his Nine Symphonies"): "Great as are the beauties of the second and third
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[>325] movements — and it is impossible to exaggerate them — and original, vigorous and impressive as are many portions of the finale, it is still the opening allegro that one thinks of when the Ninth Symphony is mentioned. In many respects it differs from other first movements of Beethoven; everything seems to comhine to make it the greatest of them all."
II.
In this symphony alone among his nine, Beethoven put his scherzo second in order and before the slow movement. A scherzo it is in everything but name, with the usual repeats, trio, and da capo (with bridge passages added). There is the dancelike character of earlier scherzos, and an echo of rusticity in the trio, recalling the Sixth and Seventh. Yet all is lifted to the prevailing mood of rarefied purity as this movement, like the others, adds a new voice to an old form. This scherzo has been called "a miracle of repetition in monotony," by virtue of the incessant impact of its rhythm (associated with the kettledrums, timed in octaves) which keeps a constant course through the most astonishing variety in modulation, color, counterpoint. The movement begins as a five-voice fugue, re- calling the face that Beethoven first conceived the theme as the subject for a fugue — the earliest of his sketches which eventually found its way into the symphony. The trio continues the contrapuntal interest by the combination of two themes. The famous passage for the oboe against wind chords reminded Berlioz of "the effect produced by the fresh morning air, and the first rays of the rising sun in May."
III.
The slow movement is built upon two themes whose structural relation lies principally in contrast: the first, adagio in B-flat, 4-4 time, the second, andante moderato in D major, triple time. After the almost static adagio, the second theme attains flowing motion in its melody, which Beethoven has marked "espressivo." This theme recurs in alternation with the other, but unlike the other is hardly
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[1326] J varied, except in the instrumentation. The adagio theme undergoes variations of increasingly intricate melodic ornament like those by which Beethoven also lifted his last sonatas and quartets to such indescribable beauty.
IV.
The finale opens with a frank discord, followed by a stormy and clamorous presto of seven bars. It is as if the composer, having wrested from his first three movements the very utmost drop that was in them, is still restless and unsatisfied. He must still advance upon his divine adventure, cast off his tragic or poignant moods, find some new expression, fulsome and radiant. A few measures of each movement are reviewed, and after each a recitative in the 'cellos and basses gives an answer of plain rejection; in the first two cases brusquely, in the case of the adagio softened by a tender memory. Beethoven's instruments seem on the very verge of speech. A hint of the coming choral theme is breathed in gentle accents by the wood winds, to which the recitative, now no longer confined to the strings, gives a convincing affirmative. Thereupon the theme in full is unfolded in its rightful D major. It is first heard in the utter simplicity* of the low strings in unison, piano. Gradually harmonies and instruments are added, until the exposition has been completely made.
* The choral theme has come in for some slighting remarks, probably on account of its ABC simplicity. It need scarcely be pointed out that a basic simplicity, treated with in- finite subtlety and variety, is the very essence of the score from the first measure to the last. It is not without significance that Beethoven refined and polished this theme through two hundred sketches, to attain its ultimate beauty and perfection. There are no lack of distinguished advocates for the theme. Grove wrote: "The result of years and years of search, it is worthy of all the pains which have been lavished on it, for a nobler and more enduring tune surely does not exist." Wagner: "Beethoven has emancipated this melody from all influences of fashion and variations of taste, and has raised it into a type of pure and lasting humanity." Tovey (to use a recent authority) says as much, in his way, in three words, calling it simply "a great theme."
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[1327 Once more there is the noisy presto passage, and the composer introduces words tor the first time into a symphony. The baritone has this recitative:
"O Freunde, nicht diese Tone, Oh friends, no longer these tones of sondern lasst uns angenehmere sadness! anstimmen, und freudenvollere." Rather sing a song of sharing and of gladness! Oh Joy, we hail Thee!
There immediately follow the first three verses of Schiller's Ode,+ by; the solo quartet and chorus: '
Freude, schoner Gotterfunken, joy> thou spark from heav'n immortal Tochter aus Elysium, Daughter of Elysium! Wir betreten feuertrunken, Drunk with fire> toward Heaven ad _ Himmltsche, detn Heihgthum. vancine Goddess, to thy shrine we come.
t The English translation here given has been made for the Boston Symphony Orchestra by Theodore Spencer, and is copyrighted. It may be noted here that of the eight verses of Schiller's poem, Beethoven chose the first three verses, at first without their four-line choruses, and then added three choruses in suc- cession, one of them, "Froh, wie seine Sonnen fiiegen," belonging to the fourth verse, which otherwise he did not use. obviously choosine these lines for their militant possibilities. Bee- thoven could scarcely have set more of the text; to set three stanzas required from him the longest symphonic movement which had ever been composed. Yet Grove thought that Beethoven was deterred by the "bad taste" of some ©f Schiller's verses. A line which the Englishman fastens upon in horrified italics as "one of the more flagrant escapades" is this • "Dieses Glas dem guten Geist!" ("This elass to the eood Spirit!")
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[1329] Deine Zauber binden wieder. Thy sweet magic brings together Was die Mode streng ge thrill; What stern Custom spreads afar; A lie Menschen werden Briider, All mankind knows all men brothers Wo dein sanftcr Flugel weilt. Where thy happy wing-beats are.
Wem der grosse Wurf gelungen, He whose luck has been so golden Eines Freundes Freund zu sein, Friend to have and friend to be, Wer ein holdes Weib errungen, He that's won a noble woman, Mische seinen Jubel ein! Join us in our jubilee.
Ja — wer auch nur eine Seele Oh if there is any being Sein nennt auf dem Erdenrund! Who may call one heart his own Und wer's nie gekonnt, der stehle Let him join us, or else, weeping, Weinend sich aus diesem Bund. Steal away to weep alone.
Freude trinken alle Wesen Nature's milk of joy all creatures An den BriXsten der Natur; Drink from that full breast of hers; Alle Guten, alle Bosen All things evil, all things lovely, Folgen ihrer Rosenspur. Rose-clad, are her followers. Kiisse gab sie tins und Reben, Kisses are her gift, and vine-leaves, Einen Freund, gepriift im Tod; Lasting friend on life's long road; Wollust ward dem Wurm gegeben, Joy the humblest worm is given, Und der Cherub steht vor Gott. Joy, the Seraph, dwells with God.
The four line chorus (to the unused fourth verse) summons in Beethoven's imagination a marching host, and he gives it to proud and striding measures "alia marcia," adding piccolo, double-bassoon, triangle, cymbals, and bass drum to his orchestra (again for the first time in a symphony). This is the verse, given to the tenor solo and chorus:
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[1330] Froh, wie seine Sonnen fliegen Glad as the suns that God sent flying Durch des Himmels pracht'gen Plan, Down their paths of glorious space, Wandelt, Briider, cure Bahn, Brothers, now forget all sadness Freudig, wie ein Held zum Siegen. Joyful run your hero's race.
After the excitement of this variation, Beethoven allows himself to be alone with his instruments once more, and for the last time, in a double fugue. The chorus next sings (andante maestoso) the following short verse of far-flung import, calling upon three trombones to add to the impressiveness of the sonority:
Seid umschlungen, Millionen! O embrace now all you millions, Diesen Kuss der ganzen Welt! With one kiss for all the world. Briider — iiberm Sternenzelt Brothers, high beyond all stars Muss ein lieber Vater wohnenl Surely dwells a loving Father.
A religious adagio in a mood of mystic devotion is the setting of the following verse:
Ihr sturzt nieder, Millionen? Kneel before him, all you millions Ahnest du den Schopfer, Welt? Know your true Creator, man! Such' ihn iiberm Sternenzelt! Seek him high beyond all stars, Ueber Sternen muss er wohnen. High beyond all stars adore Him.
But the key verse of the movement is the first: "Freude, schoner Gotterfunken," and this, with its chorus: "Seid umschlungen, Millionen," is resumed by the quartet and chorus, and finally exalted to its sweeping climax in the coda, prestissimo.
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When in 1812, Beethoven wrote of a "Sinfonie allemand," he became vague, projecting two symphonies. We know that he first sketched an instrumental finale for the Ninth, and finally brought in his voices only after anxious self-questioning. Czerny has left to posterity the explicit statement that after the first performance Beethoven thought of composing a new instrumental finale, a state- ment which Schindler emphatically denied. Thayer bestows his usual judicious paragraph to this controversy, and decides that although Beethoven very likely held such thoughts — "he had witnessed the extraordinary demonstration of delight with which the whole work had been received and he may have found it as easy as some of his commentators to believe that his device for presenting the choral finale as the logical and poetically just outcome of the preceding movements had been successful despite its obvious artificiality." Thayer adds, with sober reason: "Beethoven labored hard to estab- Luncheon Daily - Parly Catering on Order Unvarying Quality — Moderate Prices Restaurants of The Women's Educational and Industrial Union 264 Boylston Street, Boston 16 [»33«] Presto! Before you can say "Mcintosh," Your apple's neatly sliced! (Wonderful for pears, too!) This gleaming Sllcer quickly removes cores. Leaves fruit attractively ready-to-eat. Ideal for prepar- ing salads. Chromium-plated, with natural wood cutting board $5. (add 50tf for shipping) From our Gift Shop Center the Sheer.'" OmCVC CRUMP & LOW COMPANY Press. Cutting edges isolate the core and divide the into Boylston at Arlington Street, apple eight uniform slices. Boston, Massachusetts . your choice for fine luggage, feather goods, and gifts INSHIP, BOSTON - 57* BOYLSTON STREET WELLESLEY - 51 CENTRAL STREET Ert. 1776 [ 1333 ] lish arbitrarily an organic union between the ode and the first move- ments." It is specious to argue that the introduction of the text is inverse or forced logic. There is no logic in tones except the plausibility which the composer's conviction creates. Beethoven never reached a conclu- sion with a surer sense of inevitability. The instrumental Finale which he earlier contemplated would have been more pleasing to the purists. A Finale on the theme later to be used in the A minor Quartet would have sustained the elevation and other-worldliness of the Symphony. Its quality of swiftness and ethereal lightness, as if in flight, would have followed the Adagio with fine effect. Developed and concluded with more grandeur than in the Quartet, it would have rounded out a symphony more balanced and homogeneous than any symphony with a choral Finale could have been. But when Beethoven, tardily as usual, saw his way clearly, he knew that an instrumental rondo was simply what had occurred to him by the habit of convention. His aim had advanced beyond considerations of classical balance. It had become exploratory, upstriving. His heart demanded the sounding word, and must recall to proclaim it the battalions of human voices lately used in the Missa Solemnis. Again, as in that work, the idea controls, combines elements traditionally alien, and sweeping all else aside, soars to its close. ffew the concert 4<[4m -zthome! It's so easy to enjoy the live quality of music in your home with distinguished General Electric High Fidelity components and cabinets ... the world's finest "Critical Quality" high fidelity equipment. GENERAL ELECTRIC G-E "Critical Quality" Hi-Fi Components avail LAFAYETTE RADIO THE MUSIC BOX, INC. 110 Federal Street, Boston 10 58 Central Street, Wellesley 81 Phone: HUbbard 2-7850 Phone: WEIIesley 5-5100 THE LISTENING POST. INC. RADIO SHACK CORP. 161 Nowbury Street, Boston 16 J 67 Washington Street, Boston 8 Phone: COpley 7-7530 Phone: LAfayette 3-3700 [*334] ' . {Continued from page 1304) In my opinion these results are chiefly due to the high character and great attainments of Charles Munch. ANGEL RECORDS The remainder of this 75th season is with pride the a busy one. After the Pops, the Espla- presents nade and the Berkshire season our Orchestra embarks on the European tour. They will give concerts in Ireland, Scotland, Norway, Sweden, Finland, Denmark, West Germany, Austria, we hope Italy, Switzerland, France and Nine England. Now such a tour has many advantages both for the Orchestra, Boston and the United States. As ambas- sadors of goodwill our Orchestra can't Symphonies be beat, but it also is very expensive. I want to assure you that no part of this ^a* with the * expense comes out of Boston Symphony Orchestra funds. This trip will be wholly rMILWAKMONlA financed by funds given for this trip and designated for this trip only. OF LONDON Now for our general financial picture. under the direction of Once again I can assure you that without your support the Orchestra could not HERBERT VON KARAJAN exist. You people who are Friends of Symphony No. 1 in C the Boston Symphony Orchestra are, it Overtures : "Egmont" and "Leonore" 3 seems to me, not only generous but are Angel 35097 doing in most cases about all that it is Symphony No. 2 in D fair to ask of you. Unfortunately the "Coriolan" Overture Angel 35196 fact remains that we need more money. Last season gifts to the Orchestra failed "Eroica" Symphony No. 3 in E flat to cover the deficit and we had to dip Angel 35000 deep into our surplus funds. This year I Symphony No. 4 in B flat fear we will again have to do so. This Aria: "Ah perfido!" cannot long continue. Our surplus is (Elisabeth Schwarzkopf) rapidly disappearing. We must have Angel 35203 more income. One way in which to Symphony No. 5 in C minor help is to include a legacy to the Orches- ' ! ' Aria : ' Abscheulicher tra in your will. This is a most important (Elisabeth Schwarzkopf) aid to the Orchestra. You don't need to Angel 35231 write a new will. short one-page A "Pastoral" Symphony No. 6 in F codicil will do the trick. I know for I Angel 35080 have just done it. Symphony No. 7 in A Angel 35005 For several years we have been seek- ing to enlist more support from business. Symphony No 8 in F Progress has been slow, but this year and minor we are beginning to pick up more speed. Symphony No. 9 in D The cause is Mr. Pinfield. He played Soloists: Elisabeth Schwarzkopf, Marga Hoffgen, the violin in our Orchestra for 43 years Ernst Hafliger, Otto Edelmann and last fall when he put down his Chorus: instrument he volunteered to help us Gesellschaft der Musikfreunde, Vienna raise money. His energy, tact and per- Angel Album 3544 B (35301-2) sistence have been a great help. We also Each 12" record want to increase the number of Friends in Gala Factory-Sealed Package: $4.98 by finding new ones and we may be In the attractive Standard Package: $3.48 calling on many of you to help us do this. This magnificent series . . All in all our financial situation is very all at your favorite dealer serious, but we believe that this com- munity will not be willing to let this great Orchestra fail for lack of support. However, to bring it forth will require energy and determination. [ 1335 ] Some Early Performances of the Ninth Symphony The early history of the symphony seems to have been one of in- different performances, with a lack of any unanimous public or critical favor. A year after the two initial performances in Vienna (May 7 and 23, 1824), the symphony was played in London, from a specially pre- pared manuscript copy, Sir George Smart conducting the Philharmonic Society. Schiller's verses were sung in Italian, while the audience had only a printed English version in prose to guide them. There was no great success. The critic William Ayrton took the typical attitude of instructing the composer. If the repeats were omitted and "the chorus were removed altogether — the symphony will be heard with unmixed pleasure." He convicted the composer of "verbosity" in a phrase which in itself is hardly free from that failing: "he has drawn out the thread of his verbosity finer than the staple of his argument." In the following spring (April 1, May 23) there were two per- formances on the Rhine, and at the second of them Ferdinand Ries, who was the conductor, was not withheld by his friendship for Bee- thoven from omitting the Scherzo altogether, and freely cutting the Adagio. One year later (March 6, 1826), the symphony found its way into the Gewandhaus concerts at Leipzig, and was twice repeated, once without the Finale. The symphony was long found difficult to understand as well as to perform. Habeneck did not bring it out in Paris until March 27, 1831, and, keeping it in his repertory, often omitted the choral finale. ESTAB. 1849 LOUISVILLE, KY. 7 100 PROOF KENTUCKY STRAIGHT BOURBON WHISKEY for superb footwear by master craftsmen Boaton Brookline [1336] HIRE A LIMOUSINE Enjoy every refinement of private limousine ownership at low cost. Courteous uniformed ROBIE chauffeurs. RENTING SERVICE FRANK THAYER 95 Mount Auburn Street, Cambridge General Manager UNiversity 4-4400 My master likes MELROSE 90 proof BUNDED WHISKEY, 40% STRAIGHT WHISKIES, 60% GRAIN NEUTRAL SPIRITS. MELROSE DISTILLERSCO.. N. Y, Tel. CO 6-7260 PARK YOUR CAR UPTOWN*' GARAGE 10 GAINSBOROUGH STREET, BOSTON TOWING and REPAIR SERVICE Near Symphony Hall, Boston Arena, Boston Opera House, Horticultural Hall, Jordan Hall, New England Conservatory of Music, only a few steps from Mechanics Building. Excellent Taxi Service to Theatres and Shopping District. Every Driver an Escort CHECKER TAXI CO. KEnmore 6-7000 LOngwood 6-7000 KIrkland 7-7000 Don't Take a Chance — Take a Checker [»337] ! For a long time the symphony was not accepted without onerous reservations, and when Mendelssohn conducted it at the Gewandhaus concerts on February 1, 1836, his sister Fanny found it in parts "grand" and in parts "abominable" — "a gigantic tragedy with a con- clusion meant to be dithyrambic, but falling from its height into the opposite extreme — into burlesque." Contrast with this Schumann's opinion, written after hearing a performance under Mendelssohn five years later: "It seems as if we were at last beginning to understand that in this work the great man has given us his greatest." Veneration and love for the work grew in the public consciousness, notably aided by the performances of it by Wagner in Dresden, and in London, March 26, 1855. Sir George Grove records the ultimate enthusiastic acceptance of it in England. He feels constrained, however, to point out that "in the Finale a restless, boisterous spirit occasionally mani- fests itself, not in keeping with the English feeling of the solemnity, even the sanctity of the subject." This he puts down as a reflection of "the bad taste which is manifested in certain parts of the lines adopted from Schiller's Ode, and which Beethoven, no doubt, thought it was his duty to carry out in his music. That he did not entirely approve of such extravagance may be inferred from the fact that, in the selection of the words, he has omitted some of the more flagrant escapades." It is worth noting that at a concert in Berlin, March 6, 1889, Hans von Bulow taxed the well-disposed endurance of audience and singers by performing the symphony twice over, with half an hour's rest between. 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WEUesley 5-2824 PASTENE PRODUCTS . . standard of good taste for 75 years can BOSTON COI*PA»V,«»C.. SPIRITS p^STtHtWHt& I PASHNE BUY AT THIS SIGN • PIANOS • ALL MUSIC • RADIOS BOSTON • ALL RECORDS • ORGANS MUSIC • BOOKS • MUSICAL Open BOYLSTON STREET TOYS & GIFTS Monday and Wednesday Near Colonial Theatre Evenings Established in Boston 1 885 Hancock Six Five O ne Hundred f 1339] ENTR'ACTE BEETHOVEN'S "MISTAKE'' By Ernest Newman The Sunday Times, London, April 8, 1956 // there is a single piece of music about the formal logic of which there will never be unanimous agreement, it is the finale of the Ninth Symphony, Sir Donald Francis Tovey has written in his Essays in Musical Analysis: "There is no part of Beethoven's Choral Symphony which does not become clearer to us when we assume that the choral finale is right; and there is hardly a point that does not become difficult and obscure as soon as we fall into the habit which assumes that the choral finale is wrong. I am not arguing that it is necessary to prove that it or any other work of art is perfect. That is never necessary, and most people would rashly say that it is never possible. All that is required is a point of view which assumes that Beethoven is not an inattentive artist who cannot keep his own plan in mind, until we have clear evidence to the contrary." featuring ISLAND S CANTONESE Food and Drink OPEN FROM 5 P.M. TO 2 A.M. Daily & Sunday fern Theatre-Goers! « I % Free After llP^i, HOTEL & I Parking Lot Commonwealth Avenue 400 6-2700_ KEnmore o.,.„n • Tel.: KEnmore Boston 6-2700 400 Commonwealth Ave.. Boston. Custom Quality Service HOWES CLEANSING STadium 2-1400 "Same-Day* Coolidge Corner Chestnut Hill Center at stores: Harvard Square 10 Chauncy — 400 Stuart [»34°] The Ninth Symphony has not always and everywhere been accepted in its totality with the respect it has commanded in Germany and in musical quarters affiliated to the Germanic. The mature Verdi, for example, while characterizing the first three movements as "sublime." could not stomach the finale, which he regarded as "very badly put together" (pessima come fattura). Was Beethoven himself quite sure what he wanted to do in the finale, and exactly how to set about doing it? We may respectfully doubt it. The years between about 1818 and 1823 were the most difficult of all in his evolution as a creator. We see him not only shouldering almost simultaneously such gigantic tasks as the Ham- merklavier Sonata, the Piano Sonatas Op. 109, 110, and 111, the Ninth Symphony, the Diabelli Variations and the Missa Solemnis, but planning other works — that never came to anything — on a scale com- parable to these, in particular two symphonies the design of which is adumbrated in a Sketch Book of 1818. His titanic genius always needed, and in this period more than any other, the overcoming of a multitude of self-created difficulties before it could generate its full energy. Leisurely Dining , . . before the concert DINNER Gracious Service The newly redecorated French Room . . . after offers a charming: old world symphony atmosphere and superb cuisine served in the authentic French v that has made it j, manner SNACK famous throughout the world. A **^iiW Superlative facilities THE COZY INTIMATE J\I) for social functions. English Grill OF THE *' vwtich Room CO 6-WO • HOTEL VENDOME Commonwealth Avenue Mall at Dartmouth St. A smart distinctive shop where hate are different and moderately priced. Ala* bass, scarfs, handkerchiefs. newbury hat shop 33 newbury street [1341] Why did he decide on the present vocal-orchestral finale to the No. 9? We really cannot be sure. We have on the one hand the fact that from his adolescent years he had resolved on a setting of Schiller's Ode to Joy: and this may well have become an overpowering obses- sion with him round about 1820. On the other hand there are indica- tions about that time of an urge in him towards a vocal element within the symphonic form that was unconnected with Schiller. A Sketch Book of about 1818 shows him planning two symphonies other than the No. 9; in the second of these the voices were to "enter either in the finale or as early as the adagio, or the adagio to be in some way repeated in the last movements": the verbal text in the adagio was to be "a Greek mythos or a Cantique Eccl£siastique"; the "allegro" (presumably the orchestral finale) was to be "a Bacchic festival." There is no hint of a Schiller obsession in all this. To crown it all, there is evidence that after the completion (and actual per- formance) of the No. 9 he privately expressed his conviction that the vocal finale was a "mistake," and said that he intended to substitute for it a purely orchestral movement, having as its main theme — so d. w. DUNN CO. mm "The Man Who Est. 1896 Cares, Prepares" BOSTON M KILBY STREET, BOSTON RICHMOND 2-3890 KEnmore 6-5010 The Brown and White Fleet Safe Courteous Drivers [1342] - the evidence suggests — what ultimately became that of the finale of the quartet in A minor, Op. 132. (The Sketch for this is designated "finale instrumentato," which can only refer to an orchestral move- ment, not to a quartet.) * * We can only surmise that at some time or other the Schiller impulse within him became too powerful to be resisted. The problem then confronting him would be how to work in the vocal element organi- cally with the instrumental, for his unique faculty for organic structure would insist on the new design being logically inwrought with the old. But obviously he could neither (a) suddenly switch his hearers from the instrumental to the vocal without any explanation at all to them, nor (b) step straight into the new texture, as it were, in propria persona, with a verbal justification of some kind on his part — for in that case the tremendous impact of the Schiller Ode, with its invoca- THE MERCHANTS CO-OPERATIVE RANK OF 24 SCHOOL STREET, BOSTON It a friendly bank where you will be welcome to SAVE MONEY and FINANCE YOUR HOME Individual Accounts $8,000 Joint Accounts $16,000 Dividends Paid Constantly each Quarter since 1881 HENRY H. PIERCE, President ANYWHERE EVERYWHERE • MOVING • PACKING • SHIPPING 9 Outstanding • STORING sqpcr mmtis WATERTOWN-24 Mt. Auburn St. T. G. BUCKLEY CO. NEWTONVILLE - 279 Walnut St. WELLESLEY-448 Washington St. Since 1880 690 Dudley St.. Boston ^5 SOMERVIl.LE-401 Highland Ave. VC- t.uc».t,,rv- ja Telephone wi? MEDFORD - 75 Riverside Ave. - CO 5-4400 CHESTNUT HILL 1 Boylston St. CAMBRIDGE-699 Mt. Auburn St. Agents for Allied Von lines Inc. BROOKLINE - 1717 Beacon St. STONEHAM - 99 Main St. f »343] tion of "J°y> thou lovely spark divine," would be partly dissipated in advance. So he has to resort to the clumsy device of some "recitatives" for the double basses and cellos, apparently hoping that the conventional recitative form, imitating as it does the inflections of speech, will suggest speech — though just what the instruments are supposed to be "saying" cannot possibly be manifest to, or even surmisable by, the hearer until much later. Then he introduces in the orchestra brief reminiscences, in turn, of the first three movements of the symphony, which we are to imagine being rejected in further double-bass recita- tives; and after this there comes, in time, a full statement, in the orchestra, of the great theme to be associated later with the words of the Ode. This he develops at considerable length; then he unex- pectedly and unaccountably reverts to the opening "terror fanfare" Since 1832 J.S.Waterman £ Sons FUNERAL SERVICE AN INVITATION Come to Milton Hill House and enjoy the quiet charm of the country with the attractions of the city only half an hour distant. An ideal all-year residence. The rooms are furnished for comfort and pleasure. The fine food, deliciously prepared is enhanced by excellent service. MILTON HILL HOUSE yj Canton Avenue, Melton, Massachusetts Antique Silver SB Gebelein and Sib\revsmtIk Reproductions Gift Selections Workshop of the Craft Exclusive Repair Services 79 CHESTNUT STREET Foot of Beacon Hill LA 3-3871 Unusual and [»344] once more. The baritone soloist strikes in with the words "O friends, not these tones! Let us rather unite in others, pleasanter and more joyful"; whereupon the voices take up the melody to Schiller's words. The procedure is in more ways than one far from convincing, for, as we have just seen, included in the "tones" we are exhorted to discard is actually the great Joy theme that is henceforth to dominate the movement, and, indeed, is the raison d'etre of the vocal finale. The logic of it all is indeed hard to find; and I am fairly sure that had anyone else in that epoch turned out so faulty, so makeshift a struc- ture — the composer of "Lelio," let us say — the textbooks and the classrooms would ever since have resounded with cries of derision. It is only the musical magic of the ultimate vocal structure that enables Beethoven to "get away with it." Of one thing we can be certain. The soloists should not be allowed to come upon the platform when it suits their convenience, breaking the intellectual thread of the work with smiling acknowledgments of the greetings of their admirers. Beethoven of a surety intended the first dissonant "terror fanfare" to follow the last chord of the dream- like adagio without a moment's break; it should come upon us, as Grove put it, like a thunderclap. It was Beethoven's practice to indicate the definite close of a movement by a fermata over the last bar. There is no fermata in the score after the adagio of the No. 9, and the wild fanfare ought to hit us full in the face without a second's warning. dinners of Distinction in Old Boston Number 9 Knox Street Edmund B. Stanley by reservation only HU 2-3494 [ *345 ] KNEISEL HALL, BLUE HILL, MAINE Summer School July 2nd to August 25th, 1956 INTENSIVE ENSEMBLE and INDIVIDUAL TRAINING Distinguished Faculty includes: JOSEPH FUCHS - LOUIS PERSINGER EDOUARD DETHIER - FRANK KNEISEL ARTUR BALSAM - MARIE ROEMAET - LIEFF ROSANOFF MARIANNE KNEISEL, Director 190 RIVERSIDE DRIVE, NEW YORK 24, N. Y. WORLD'S FOREMOST IMPORTED SHERRIES AND PORTS ks§v^ IMPORTED BY PARK & TILFORD DISTILLERS CORP., NEW YORK Fleuriste Francais Est. 1891 34 CHARLES STREET, BOSTON, MASS. Tel. CA 7-8080 ' nes -^.i^^^^ggg^^^^^ \Jlie flay of/u/e 1 -. * • If ; ; ~*=Ss§g ft- i^l^l0mmyo ^ 1 Mitt, §>; ijcujtT>£ (Ed. • 11 r y^^^^^^^^^f^M ; SOLID SILVER FLUTES PICCOLOS — ' 1 1U;14 #rri»mmtt §»trrrt.' ¥aka^ 10. iH'riss. 1 Hi 1346] Extra Concert To bring to a close the 75th Season of the Boston Symphony Orchestra CHARLES MUNCH, Music Director in SYMPHONY HALL SUNDAY EVENING, April 29, at 8:30 CHARLES MUNCH will conduct: Beethoven Symphony No. 7, in A major Tchaikovsky Symphony No. 6, "Pathetique" The proceeds of this concert will be used to help supply funds still needed for the European tour next August and September. Tickets may now be obtained at the Box Office, at $2.50, $3.00, $3.50, $4.00, $5.00. Ellis Excellence For 83 Years m The modern ocean racer is a beautiful thing which embodies perfect sympathy between art and science in its design, and crafts- manship and pains-taking care in its structure. This same synthesis of qualities is true of Ellis printing: it is conceived and produced for the buyer who desires elegance and beauty in form combined with expediency and fine quality! This is a reproduction of our 1 956 calendar. We have a few /off 14" x 22" . . . if you would like one, kindly send 50c to cover mailing cost. Geo. H. Ellis Co., Inc. 272 Congress St., Boston 10, Mass., Liberty 2-7800 [!347] SYMPHONY HALL OPENING TUESDAY NIGHT, MAY 1, at 8:30 POPSTHE BOSTON ARTHUR FIEDLER, Conductor 7 1st Season The Pops will be given each night (Sundays in May) through June 30. Tickets at Box Office — Table seats $2.50 1st balcony $1.50, $1.00; 2nd balcony (unreserved seats) 50^ [1348] The Trustees of the Boston Symphony Orchestra acknowledge with pleasure the support of the following businesses—) Boston and Old Colony Insurance Companies Carling Brewing Company Cott Bottling Company, Inc. Wm. Filene's Sons Company First National Stores, Inc. Jordan Marsh Company New England Confectionery Company New England Mutual Life Insurance Company Merchants National Bank Old Colony Trust Company and The Junior League These firms have joined the Orchestra in the public service it renders to the community, so helping to preserve one of Boston's chief cultural assets. For the Trustees sJU^u. ll C CuLA President [»349l K.412 KA17 K.447 JAMES STAGLIANO, above, is First Horn of the Boston Symphony Orchestra, president of KA95 Boston Records, and M. C. of Radio Shack's Thursday night two-hour programs on Radio Station WXHR. "horning in" mozarf picture! RADIO SHACK REPORTS here a stunning series of "firsts" of interest to every lover of music: the FIRST American arid FIRST high-fidelity LP recording of the complete 4 concerti for born by Mozart; the FIRST LP recording ma(Le in M.I.T/s fabulous new Kresge auditorium; and, finally, Radio Shack is FIRST in the entire country to have this great "Mozart Year" record in stock for immediate delivery. With a vital assist from the highly regarded Zimbler Sinfonietta, both Mr. Stagliano and Mr. Mozart are heard at their very best in an LP certain to be heralded as "definitive" for many years to come. Ask at Radio Shack for Boston LP number B-401. We carry every Boston record, and at prices that reflect only too well Newton's laws of gravity! THE FRENCH HORN, below, and other parts belong to the same James Stagliano elsewhere RECORD MADE WITH THE NEW shown head and shoulders above all but the COOK MICROFUSION PROCESS Koechel listing. The "4 Horn Concerti" is espe- cially processed for hi-fi, using Emory Cbok's (profiled in New Yorker) latest techniques! ANOTHER BOSTON RELEASE: BRAHMS TRIO IN E FLAT On Boston B-209, Stagliano, horn, Arthur Grumiaux, violin, Gregory Tucker, piano. Quartet by Wenzel Stich on 2nd side. RADIO 167 Washington St., Boston [1350] ANNOUNCEMENT 76th SEASON, 1956-1957 SYMPHONY HALL Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor 24 FRIDAY AFTERNOON CONCERTS 24 SATURDAY EVENING CONCERTS 9 TUESDAY EVENING CONCERTS 6 SUNDAY AFTERNOON CONCERTS from October 5 to April 27 SOLOISTS AND GUEST CONDUCTORS TO BE ANNOUNCED Subscription renewal cards have been sent to all Friday Afternoon and Saturday Evening season ticket holders. Please note that option on these tickets expires May 1. You may signify your wish to renew by signing and returning the card by that date. Telephone Commonwealth 6-1492 [1351] MUSICAL INSTRUCTION LEONARD ALTMAN Teacher of Pianoforte 280 Dartmouth Street Boston, Massachusetts KE 6-5183 DAVID BLAIR McCLOSKY teacher of singing voice therapist boston university college of music, boston, mass. director: plymouth rock center of music and drama, inc. By Appointment CO 6-6070 GERTRUDE R. NISSENBAUM VIOLIN THROUGH ALL THE GRADES UP TO VIRTUOSO STUDY 500 BOYLSTON STREET REMEDIAL TEACHING A SPECIALTY BOSTON 16. MASSACHUSETTS ADULT REFRESHER COURSES TEL. COMMONWEALTH 6-3361 EDNA NITKIN, M. Mus. PIANIST ACCOMPANIST TEACHER Studio: 500 Boyliton St., Copley Sq. Boston KE 6-4062 UNUSED TICKETS In the present completely subscribed season, many people are waiting for an opportunity to hear a Boston Symphony concert. Sub- scribers who at any time are unable to use their tickets will do a double service in turning them in for resale. The resale of tickets last season made a substantial reduction of the Orchestra's deficit. Leave the ticket at the Box Office, or, if more convenient, telephone the location — Commonwealth 6-1492. [1352] Berkshire Festival, 1956 Boston Symphony Orchestra CHARLES MUNCH, Music Director July 4 - August 12 At Tanglewood (SIX WEEKS) LENOX, MASSACHUSETTS CHARLES MUNCH, Conductor GUEST CONDUCTORS LEONARD BERNSTEIN ELEAZAR DE CARVALHO RICHARD BURGIN LUKAS FOSS PIERRE MONTEUX SOLOISTS ADELE ADDISON WILLIAM KROLL EUNICE ALBERTS DAVID LLOYD ALBERT DA COSTA LUBOSHUTZ and NEMENOFF LUKAS FOSS MAC MORGAN ZINO FRANCESCATTI JOCY DE OLIVEIRA BORIS GOLDOVSKY JAMES PEASE BENNY GOODMAN RUTH POSSELT MARGARET HARSHAW RUDOLF SERKIN MARGUERITE WILLAUER CHORUSES The Berkshire Festival Chorus, Hugh Ross, Conductor The Yale Glee Club, Fenno Heath, Director Weekly Schedule FRIDAY EVENINGS AT 8:30 SATURDAY EVENINGS AT 8:30 SUNDAY AFTERNOONS AT 2:30 The first two week-ends will consist of "Bach-Mozart" concerts by a chamber orchestra from the Boston Symphony, in the Theatre- Concert Hall. The concerts of the last four week-ends will be given by the full Orchestra in the Music Shed. The chamber music concerts will be given on Wednesday evening of each week in the Theatre-Concert Hall by famous chamber groups. Series Subscriptions for each week now available at the Festival Office, Symphony Hall, Boston. Thomas D. Perry Jr., Mgr. Programs on request. [ 1353 ] WORKS PERFORMED AT THIS SERIES OF CONCERTS DURING THE SEASON 1955-1956 PAGE Each: Sinfonia and Chorale from the "Christmas Oratorio" IX December 22-23 445 The Passion According to St. John XX March 29, 31 1061 Bartok: Music for Strings, Percussion and Celesta (Ernest Ansermet, Conductor) XI January 6-7 558 Beethoven: Overture, "The Consecration of the House," Op. 124 I September 30-October 1 9 Overture to "Fidelio" IV November 4-5 165 Violin Concerto in D major, Op. 61 (Heifetz, Soloist) VI November 25-26 314 Symphony No. 8, in F major, Op. 93 (Arthur Fiedler, Conductor) VIII December 16-17 400 Overture, "Leonore," No. 2 XII January 20-21 613 Piano Concerto No. 4, in G major, Op. 58 (Eugene Istomin, Soloist) XVII March 2-3 931 Overture to "Coriolan," Op. 62 XIX March 16-17 1005 Symphony No. 9, in D minor, with final chorus on Schiller's Ode to Joy, Op. 125 XXIV April 27-28 1314 Berg: Lyric Suite, Arranged for String Orchestra (Ernest An- sermet, Conductor) X December 30-31 512 Berlioz: Overture, "The Roman Carnival," Op. 9 VII December 2-3 368 Brahms: Symphony No. 2, in D major, Op. 73 I September %o-October 1 36 Tragic Overture, Op. 81 VI November 25-26 277 Piano Concerto No. 1, in D minor, Op. 15 (Rudolf Serkin, Soloist) XII January 20-21 650 Symphony No. 4, in E minor, Op. 98 XIV February 3-4 765 Violin Concerto in D major, Op. 77 (Pierre Monteux, Conductor; David Abel, Soloist) XV February 17-18 786 Concerto in A minor for Violin and Violoncello, Op. 102 (Zino Francescatti and Samuel Mayes, Soloists) XXII April 13-14 1216 Copland: Symphonic Ode XIV February 3-4 755 Creston: Symphony No. 2, Op. 35 (Pierre Monteux, Con- ductor) XVI February 24-25 844 Daniels: A Psalm of Praise, for Mixed Chorus XXIV April 27-28 1309 Debussy: Three Nocturnes (Ernest Ansermet, Conductor) X December 30-31 529 "Prelude a l'Apres-midi d'un Faune" (Eclogue by Stephane Mallarme) XII January 20-21 620 [1354] Music for "Le Mar tyre de Saint Sebastien," with Chorus and Soloists (Mystery Play by Gabriele d'Annunzio) XIII January 27-28 669 Dvorak: Concerto for Violoncello, in B minor, Op. 104 (Leonard Rose, Soloist) XIX March 16-17 104CK Falla: Three Dances from the Ballet "El Sombrero de Tres Picos" XIX March 16-17 1044 Faure: Requiem, for Chorus and Orchestra, with Soprano and Baritone Solo, Op. 48 XVIII March 9-10 979 Franck: Symphony in D minor (Ernest Ansermet, Conductor) XI January 6-7 591 Freed: Festival Overture (Pierre Monteux, Conductor) XV February 17-18 782 Frescobaldi: Toccata, Freely transcribed for orchestra by Hans Kindler (Arthur Fiedler, Conductor) VIII December 16-17 390 Handel: Suite for Orchestra, "The Faithful Shepherd" (Ar- ranged by Sir Thomas Beecham) XXIII April 20-21 1229 Hanson: Elegy in Memory of Serge Koussevitzky, Op. 44 XII January 20-21 628 Haydn: Symphony in B-flat, No. 102 I September 30- October 1 12 Symphony in G major, No. 94, "Surprise" (Pierre Mon- teux, Conductor) XVI February 24-25 838 Honegger: Symphony No. 4, "Deliciae Basilienses" IV November 4-5 174 Fifth Symphony, First Movement VII December 2-3 331 Symphony No. 3, "Liturgique" XXIII April 20-21 1263 "Chant de joie" XXIII April 20-21 1267 d'Indy: Symphonic Variations, "Istar," Op. 42 (Pierre Mon- teux, Conductor) XV February 17-18 811 Khatchaturian: Concerto for Violin and Orchestra (Richard Burgin, Conductor; Ruth Posselt, Soloist) III October 28-29 120 Kodaly: Dances of Galanta (Arthur Fiedler, Conductor) VIII December 16-17 42 ^ Mahler: Symphony in D major, No. 1 (Richard Burgin, Con- ductor) III October 28-29 145 Martinu: "Fantaisies symphoniques" (Symphony No 6) IX March 16-17 101 ^ Mendelssohn: Symphony No. 4, in A major, "Italian", Op. 90 VII December 2-3 360 Concerto for Violin and Orchestra, in E minor, Op. 64 (Mischa Elman, Soloist) XIII January 27-28 711 Milhaud: Symphony No. 6 II October 7-8 72 Moevs: Fourteen Variations for Orchestra (Leonard Bern- stein, Conductor) XXI April 6-7 1130 [ 1355 ] Mozart: Symphony in G minor, K. 550 II October 7-8 61 "Eine kleine Nachtmusik," Serenade for String Orchestra, K. 525 (Richard Burgin, Conductor) III October 28-29 113 Masonic Funeral Music, K. 477 V November 11-12 221 Sinfonia Concertante, for Oboe, Clarinet, Horn and Bas- soon, K. 297b V November 11-12 228 Symphony in D major, "Haffner," No. 35, K. 385 IX December 22-23 44& Symphony in C major, "Jupiter," K. 551 (Ernest Anser- met, Conductor) X December 30-31 502 Adagio and Fugue for String Orchestra, K. 546 XIV February 3-4 725 Serenade in B-flat major for 13 Wind Instruments, K. 361 XIV February 3-4 748 "Regina coeli," for Chorus, Soprano Solo, and Orchestra, K. 108 (G. W. Woodworth, Conductor) XVIII March 9-10 949 "Ave, verum corpus," Motet for Chorus and String Orches- tra, K. 618 (G. W. Woodworth, Conductor) XVIII March 9-10 952 "Vesperae de dominica," for Chorus and Orchestra, with Soprano, Alto, Tenor, and Bass Solo, K. 321 (G. W. Woodworth, Conductor) XVIII March 9-10 954 Symphony in A major, K. 201 (Leonard Bernstein, Con- ductor) XXI Aprils-*] 1118 Piano Concerto in D major, K. 451 (Rudolf Firkusny, So- loist) ' XXIII April 20-21 1238 Petrassi: Fifth Concerto for Orchestra VII December 2-3 340 Piston: Symphony No. 6 VI November 25-26 282 Prokofieff: Symphony No. 5, Op. 100 (Leonard Bernstein, Conductor) XXI April 6-7 1157 Violin Concerto No. 2, in G minor, Op. 63 (Zino Fran- cescatti, Soloist) XXII April 13-14 1186 Rachmaninoff: Rhapsody on a Theme of Paganini, for Piano and Orchestra, Op. 43 (Arthur Fiedler, Conductor; Aldo Ciccolini, Soloist) VIII December 16-17 424 Ravel: Introduction and Allegro for Harp and Orchestra (Ber- nard Zighera, Soloist) II October 7-8 95 Rapsodie Espagnole II October 7-8 98 Bolero (Ernest Ansermet, Conductor) X December 30-31 536 Respighi: "Ancient Dances and Airs for the Lute," Suite No. 1 VII December 2-3 333 Schubert: Symphony in C major, No. 7 (Pierre Monteux, Conductor) XVI February 24-25 870 Schumann: Symphony No. 2, in C major, Op. 61 V November 11-12 254 [1356] , Sibelius: Symphony No. 7, in One Movement, Op. 105 IX December 22-23 45^ Concerto for Violin and Orchestra, in D minor, Op. 47 (Richard Burgin, Soloist) IX December 22-23 485 Strauss: "Don Juan," Tone Poem (after Nikolaus Lenau) Op. 20 I September $o-October 1 20 Suite from "Der Rosenkavalier" (Pierre Monteux, Con- ductor) XV February 17-18 819 Stravinsky: Symphonies for Wind Instruments (Ernest An- sermet, Conductor) XI January 6-7 568 Capri ccio, for Piano and Orchestra (Leonard Bernstein, Conductor; Jesus Maria Sanroma, Soloist) XXI April 6-7 1134 Tchaikovsky: Symphony No. 4, in F minor, Op. 36 IV November 4-5 195 "Romeo and Juliet," Overture-Fantasia XVII March 2-3 893 "Francesca da Rimini," Orchestral Fantasia after Dante, Op. 32 XXII April 13-14 1173 Villa-Lobos: Symphony No. 11 XVII March 2-3 900 The 7th pair of concerts was given as part of the "Salute to Rome Week," so designated by the City of Boston. The First Movement of Honegger's Fifth Symphony was played at the 7th pair of concerts in memory of the composer. Sibelius' Symphony No. 7 and his Concerto for Violin and Orchestra were played at the 9th pair of concerts in honor of his 90th birthday. Mozart's Masonic Funeral Music was played at the 5th pair of concerts in memory of Olin Downes. WORKS PERFORMED FOR THE FIRST TIME IN THE FRIDAY-SATURDAY SERIES Berg Lyric Suite (Arranged for String Orchestra) Copland * Symphonic Ode (Revised) Daniels A Psalm of Praise, for Mixed Chorus Freed Festival Overture Frescobaldi Toccata (Freely transcribed for orchestra by Hans Kindler) Hanson # Elegy in Memory of Serge Koussevitzky, Op. 44 Honegger "Chant de Joie" Khatchaturian Concerto for Violin and Orchestra Kodaly Dances of Galanta Milhaud *Symphony No. 6 Moevs Fourteen Variations for Orchestra [1357] 1 .. Mozart Sinfonia Concertante, for Oboe, Clarinet, Horn and Bassoon, K. 297b "Regina coeli," for Chorus, Soprano Solo, and Orchestra, K. 108 "Ave, verum corpus," Motet for Chorus and String Orchestra, K. 618 "Vesperae de dominica," for Chorus and Or- chestra, with Soprano, Alto, Tenor, and Bass Solo, K. 321 Piano Concerto in D major, K. 451 Petrassi * Fifth Concerto for Orchestra Piston * Symphony No. 6 Stravinsky Symphonies for Wind Instruments Villa-Lobos * Symphony No. 1 NUMERICAL SUMMARY OF WORKS PERFORMED Works by Mozart— 13; Beethoven — 8; Brahms — 6; Honegger — 4; Debussy, Ravel, Tchaikovsky — 3; Bach, Haydn, Mendelssohn, Pro- kofieff, Sibelius, Strauss, Stravinsky — 2; Bartok, Berg, Berlioz, Cop- land, Creston, Daniels, Dvorak, Falla, Faure, Franck, Freed, Fresco- baldi, Handel, Hanson, d'Indy, Khatchaturian, Kodaly, Mahler, Martinu, Milhaud, Moevs, Petrassi, Piston, Rachmaninoff, Respighi, Schubert, Schumann, Villa-Lobos — 1 each. Total — 82 works by 42 composers. ARTISTS WHO HAVE APPEARED AS SOLOISTS *Abel, David (Brahms: Violin Concerto in D major) . Feb- ruary 17-18. Sketch 803 Burgin, Richard (Sibelius: Concerto for Violin and Orchestra) December 22-23. Ciccolini, Aldo (Rachmaninoff: Rhapsody on a Theme of Pa- ganini, for Piano and Orchestra) . December 16-17. Sketch 427 Elman, Mischa (Mendelssohn: Concerto for Violin and Orches- tra) . January 27-28. Sketch 710 Firkusny, Rudolf (Mozart: Piano Concerto in D major, K. 451). April 20-21. Sketch 1246 Francescatti, Zino (Prokofieff: Violin Concerto No. 2; Brahms: Concerto in A minor for Violin and Violoncello) April 13-14. Sketch 1190 Heifetz, Jascha (Beethoven: Violin Concerto in D major) November 25-26. Sketch . . . . . 313 *Istomin, Eugene (Beethoven: Piano Concerto No. 4) . March 2-3. Sketch 930 * First performance ; commissioned for the 75th anniversary of the Boston Symphony Orchestra. [1358] Mayes, Samuel (Brahms: Concerto in A minor for Violin and Violoncello). April 13-14. Sketch . 1192 Posselt, Ruth (Khatchaturian: Concerto for Violin and Or- chestra) . October 28-29. Sketch ..... 132 j-Rose, Leonard (Dvorak: Concerto for Violoncello. March 16-17. Sketch 1043 Sanroma, Jesus Maria (Stravinsky: Capriccio, for Piano and Orchestra) . April 6-7. Sketch 1132 Serkin, Rudolf (Brahms: Piano Concerto No. 1) . January 20- 21. Sketch 649 Zighera, Bernard (Ravel: Introduction and Allegro for Harp and Orchestra) . October 7-8. Sketch .... 96 ARTISTS WHO HAVE ASSISTED IN PERFORMANCES Choruses: Harvard Glee Club and Radcliffe Choral Society, G. Wallace Woodworth, Conductor (Mozart: Regina coeli, Ave, verum corpus, Vesperae de dominica; Faure: Requiem; Bach: The Passion According to St. John; Beethoven: Symphony No. 9; Daniels: A Psalm of Praise) New England Conservatory Chorus, Lorna Cooke de Varon, Conductor (Debussy: Nocturne, Sirenes; Music for Le Martyre de Saint Sebastien) Sopranos: Adele Addison (Mozart: Regina coeli, Vesperae de dominica; Faure: Requiem; Bach: The Passion According to St. John; Beethoven: Symphony No. 9) Phyllis Curtin (Debussy: Music for Le Martyre de Saint Sebastien) Contraltos: Eunice Alberts (Beethoven: Symphony No. 9) Betty Allen (Bach: The Passion According to St. John) Catherine Akos (Debussy: Music for Le Martyre de Saint Sebastien) *Eleanor Davis (Mozart: Vesperae de dominica) Florence Kopleff (Debussy: Music for Le Martyre de Saint Sebastien) Tenors. * Richard Gilley (Mozart: Vesperae de dominica) David Lloyd (Bach: The Passion According to St. John; Beethoven: Symphony No. 9) Basses. Donald Gramm (Mozart: Vesperae de dominica; Faure: Requiem) * James Joyce (Bach: The Passion According to St. John) tFirst appearance with the Boston Symphony Orchestra in Boston. [1359] Mac Morgan (Bach: The Passion According to St. John; Beethoven: Symphony No. 9) Oboe: Ralph Gomberg (Mozart: Sinfonia Concertante Clarinet Gino Cioffi for Oboe, Clarinet, Horn Horn: Stagliano James and Bassoon, K. 297b) Bassoon Sherman Walt Harpsichord: Daniel Pinkham (Bach: The Passion Accord- Viola da Gam ba .'Alfred Zighera ing to St. John) Organ: Edouard Nies-Berger Speaker: Arnold Moss (Debussy: Music for Le Martyre de Saint Sebastien) GUEST CONDUCTORS page Richard Burgin (Associate Conductor) : October 28-29 . Arthur Fiedler: December 16-17. Sketch .... 389 Ernest Ansermet: December 30-31; January 6-7. Sketch . 501 Pierre Monteux: February 17-18; 24-25. Sketch 78. Villa-Lobos: Conducted his Symphony No. 11, March 2-3. G. Wallace Woodworth: Conducted Mozart's "Regina coeli,' "Ave, verum corpus," and "Vesperae de dominica,' March 9-10. Leonard Bernstein: April 6-7. Sketch .... 1171 ENTR'ACTES PAGE Auden, W. H. Putting it in English 1254 Beecham, Sir Thomas Marxist Music 134 Berkowitz, Ralph Letter from Los Angeles 1194 Boulanger, Nadia The Religious Music of Gabriel Faur£ . . . 983 Burk, John N. Musical Boston 75 Years Ago 44 Notes Without Music 78 Honegger and the Boston Symphony Orchestra . 421 Alban Berg 518 Cesar Franck: "Pater Seraphicus"? .... 579 For a 200th Birthday ...... 702 Gabriel Faure" 987 The Fourth Gospel 1099 Busoni, Ferruccio Mozart — Aphorisms 1204 Cardus, Neville Vienna Regains a Lost Glory 479 Mozart the Unparalleled 972 Carner, Mosco Goethe and Music 1207 Copland, Aaron At the Thought of Mozart ...... 761 * First appearance with the Boston Symphony Orchestra. [1360] Downes, Olin Martinu 1026 Durgin, Cyrus W. Three Wishes from a Genie, or Things Will Work out Fairly Well, Given Time .... 850 Einstein, Alfred Mozart and Counterpoint 738 Frankenstein, Alfred American Music at Home 1033 Grover, Stuart Musicology a la Francaise 1201 Hale, Philip Philip Hale — Editor ...... 243 The Phantasmal "Monsieur Croche" .... 638 The Daughter of the Moon-God . . . ^ 815 Mozart as Pianist 1248 Harley, John Shaw as Music Critic 643 Harrison, Jay S. A Talk with Villa-Lobos: He Composes Amid Chaos 904 Honegger, Arthur How I Compose 1259 Jacobs, Arthur London's Musical Ghosts 923 Lang, Paul Henry The Role of Invention 298 London Times Strauss in His Letters 1139 Marx, Burle The Fabulous Villa-Lobos 912 Musical Times Another Anniversary 1154 New York Times A Debut 634 Newman, Ernest Musical Malaise 190 Musical Environments 302 Two Composers 865 Strauss: The Middle Years 1150 Beethoven's "Mistake" 134° Ormandy, Eugene A Meeting with Sibelius 476 Price, Lucien A Memoir of Olin Downes 26 Santayana, George Old Age in Italy 350 schonberg, harold c. In Defense of Critics 307 Slonimsky, Nicolas The Prizeless Ravel 542 Taubman, Howard Piston at Sixty 290 Man of Our Time 413 Torne, Bengt de Sibelius: A Close-up 467 Walkey, Frederick P. Artists at Liberty 804 BIOGRAPHICAL SKETCHES Honegger, Arthur 178 Petrassi, Goffredo 342 Bartok, Bela 564 Gottfried, Baron von Swieten 728 PROGRAMS OF THE SUNDAY AFTERNOON SERIES Six Symphony concerts were given in Symphony Hall on Sunday afternoons. (Arthur Fiedler conducted the concert of December 18; Pierre Monteux con- ducted the concert of February 19; Leonard Bernstein conducted the concert of April 8.) 1955, November 6. Beethoven: Overture to Fidelio; Milhaud: Symphony No. 6; Tchaikovsky: Symphony No. 4 in F minor, Op. 36. 1955, December 18. Frescobaldi: Toccata, Freely transcribed for orchestra by Hans [1361] . , Kindler; Beethoven: Symphony No. 8, in F major, Op. 93; Rachmaninoff: Rhapsody on a Theme of Paganini, for Piano and Orchestra, Op. 43 (Soloist, Aldo Occolini) ; Kodaly: Dances of Galanta. 1956, January 22. Beethoven: Overture, Leonore, No. 2; Debussy: Prelude a VApres-midi d'un Faune; Hanson: Elegy in Memory of Serge Koussevitzky Op. 44; Brahms: Piano Concerto No. 1, in D minor, Op. 15 (Soloist, Rudolf Serkin) . 1956, February 19. Freed: Festival Overture; Brahms: Symphony No. 3, in F major, Op. 90; d'Indy: Symphonic Variations, Istar, Op. 42; Strauss: Suite from Der Rosenkavalier. 1956, April 8. Mozart: Symphony in A major, K. 201; Moevs: Fourteen Varia- tions for Orchestra; Stravinsky: Capriccio, for Piano and Orchestra (Soloist, Jesus Maria Sanroma); Prokofieff: Symphony No. 5, Op. 100. 1956, April 22. Mozart: Symphony in D major, "Haffner," No. 35, K. 385; Tchai- kovsky: Romeo and Juliet, Overture-Fantasia; Martinu: Fantaisies sympho- niques (Symphony No. 6) ; Falla: Three Dances from the Ballet El Sombrero de Tres Picos. PROGRAMS OF THE TUESDAY EVENING SERIES Nine Symphony concerts were given in Symphony Hall on Tuesday evenings. (Richard Burgin conducted the concert of November 1; Arthur Fiedler con- ducted the concert of December 20; Ernest' Ansermet conducted the concert of January 3; Pierre Monteux conducted the concert of February 21; G. Wallace Woodworth conducted the first part of the conceit of March 13; Leonard Bern- stein conducted the concert of April 10.) 1955, October 4. Beethoven: Overture, The Consecration of the House, Op. 124; Haydn: Symphony in B-flat, No. 102; Ravel: Rapsodie Espagnole; Ravel: Introduction and Allegro for Harp and Orchestra (Soloist, Bernard Zighera) ; Ravel: Daphnis et Chloe, Ballet (Second Suite) 1955, November 1. Mozart: Eine kleine Nachtmusik, Serenade for String Orches- tra (K. 525) ; Khatchaturian: Concerto for Violin and Orchestra (Soloist, Ruth Posselt) ; Mahler: Symphony in D major, No. 1. 1955, November 29. Brahms: Tragic Overture, Op. 81; Mozart: Sinfonia Con- certante, for Oboe, Clarinet, Horn and Bassoon, K. 297 b (Soloists, Ralph Gomberg, Gino Cioffi, James Stagliano, Sherman Walt) ; Schumann: Sym- phony No. 2, in C major, Op. 61. 1955, December 20. Frescobaldi: Toccata, Freely transcribed for orchestra by Hans Kindler; Beethoven: Symphony No. 8, in F major, Op. 93; Rachmani- noff: Rhapsody on a Theme of Paganini, for Piano and Orchestra, Op. 43 (Soloist, Aldo Ciccolini) ; Kodaly: Dances of Galanta. 1956, January 5. Mozart: Symphony in C major, "Jupiter" (K. 551) ; Berg: Lyric Suite (arranged for String Orchestra) ; Debussy: Three Nocturnes (New England Conservatory Chorus, Lorna Cooke de Varon, Director) ; Ravel: Bolero. 1956, February 21. Freed: Festival Overture; Brahms: Symphony No. 3, in F major, Op. 90; d'Indy: Symphonic Variations, Istar, Op. 42; Strauss: Suite from Der Rosenkavalier. 1956, March 13. Mozart: Regina coeli, for Chorus, Soprano Solo, and Orchestra, K. 108; Ave, verum corpus, Motet for Chorus and String Orchestra, K. 618; Vesperae de dominica, for Chorus and Orchestra, with Soprano, Alto, Tenor, [1362] and Bass Solo, K. 321; Faure: Requiem, for Chorus and Orchestra, with Soprano and Baritone Solo, Op. 4$. 1956, April 10. Mozart: Symphony in A major, K. 201; Moevs: Fourteen Varia- ations for Orchestra; Stravinsky: Capriccio, for Piano and Orchestra (Soloist: Jesus Maria Sanroma); Prokofieff: Symphony No. 5, Op. 100. 1956, April 24. Handel: Suite for Orchestra, "The Faithful Shepherd" (Arranged by Sir Thomas Beecham) ; Honegger: Symphony No. 3, Liturgique; Brahms: Symphony No. 4, in E minor, Op. 98. PENSION FUND CONCERT (120th) A Pension Fund concert was conducted by Charles Munch with David Oistrakh as soloist in Symphony Hall on Thursday evening, December 15th. The program consisted of Haydn's Symphony in B-flat, No. 102, Mozart's Violin Concerto No. 5,, in A major, K 219, and Brahms' Violin Concerto in D major, Op. 77. The Saturday morning rehearsals for the Berkshire Festival (July 23, 30, August 6 and 13), six regular Open Rehearsals at Symphony Hall during the season past (November 10, January 5, February 16, March 8, April 5, April 19) and an extra Open Rehearsal on March 28 benefited the Pension Fund. The Treasurer's financial report for the season 1955-1956 will be found on page 599- MEETING OF THE FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA The 22nd annual meeting of the Friends of the Boston Symphony Orchestra was held in Symphony Hall on April 18, 1956. Mr. Henry B. Cabot addressed the Friends and introduced the Chairman, Dr. Palfrey Perkins. Charles Munch con- ducted the Orchestra in Mozart's "Haffner" Symphony and Falla's "The Three- Cornered Hat," after which Mr. Munch and the Trustees received the members, at tea. SPECIAL CONCERTS Kresge Auditorium, M.I.T., Cambridge, October 3; Symphony Hall, American Medical Association, Boston, December 5; concert given on April 29 consisting of Beethoven's Seventh Symphony and Tchaikovsky's "Pathetique" "to close the anni- versary season" and "to help supply funds still needed for the European tour next August and September." CONCERTS OUTSIDE BOSTON Six concerts in Sanders Theatre, Harvard University, Cambridge (Tuesday evenings) : November 22 (Bernard Zighera, Soloist) ; December 27 (Arthur Fiedler, Conductor; Aldo Ciccolini, Soloist) ; January 17; February 14 (Pierre Monteux, Conductor) ; March 6, March 27. Five concerts in the Veterans Memorial Auditorium, Providence, Rhode Island (Tuesday evenings) : November 8 (Bernard Zighera, Soloist) ; December 13,. (Arthur Fiedler, Conductor; Aldo Ciccolini, Soloist) ; January 24; Febru- ary 28; April 17 Ten concerts in Carnegie Hall, New York City (5 Wednesday evenings and 5 Satur- [1563] . . day afternoons): November 16, 19 (Bernard Zighera, Soloist on Wednesday evening); December 7, 10; January 11, 14 (Ernest Ansermet, Conductor); February 8, 11; March 21, 24 (Leonard Rose, Soloist on Saturday afternoon). Five concerts in the Academy of Music, Brooklyn, N.Y. (Friday evenings) : Novem- ber 18; December 9; January 13 (Ernest Ansermet, Conductor) ; February 10; March 23 (Leonard Rose, Soloist) Three concerts in Constitution Hall, Washington, D.C. (Thursday evenings); Nov- ember 17 (Bernard Zighera, Soloist) ; December 8; January 12 (Ernest Ansermet, Conductor) Concerts in other cities: Norfolk, October 10; Charlotte, October 11; Birmingham, October 12; New Orleans, October 13; Shreveport, October 14; Jackson, October 15; Atlanta, October 16; Chattanooga, October 18; Urbana, Octo- ber 19; Lafayette, October 20; Fort Wayne, October 21; Detroit, October 22; Saginaw, October 23; Ann Arbor, October 24; Utica, October 25; North- ampton, November 14 (Bernard Zighera, Soloist) ; New Haven, November 15 (Bernard Zighera, Soloist) and March 20; Storrs, December 6; Newark, January 10 (Ernest Ansermet, Conductor) ; Springfield, February 6; New London, February 7; Philadelphia, February 9; New Brunswick, March 22 Soloist) (Leonard Rose, ; Hartford, April 4 (Leonard Bernstein, Con- ductor) . POPS CONCERTS The 70th season of concerts by the Boston Pops Orchestra, Arthur Fiedler, Conductor, was given in Symphony Hall from May 3 to July 1, 1955. The "Boston Pops Tour Orchestra," consisting of musicians assembled for the purpose and conducted by Mr. Fiedler, made a tour of 79 cities, giving 81 concerts from January 1 through March 24. ESPLANADE CONCERTS The 27th consecutive season of Esplanade Concerts by members of the Boston Symphony Orchestra, Arthur Fiedler, Conductor, was given in the Edward Hatch Memorial Shell with scheduled concerts on the evenings of July 5 through 17 (omitting July 11); August 15 through 20; and Wednesday mornings on July 6, 13, August 17. BROADCASTS Concerts of this Orchestra and the Boston Pops were carried by delayed broad- cast on the NBC Network, Monday evenings, 8: 15 to 9:00 p.m. beginning last May 23 and continuing through the Pops, Berkshire Festival and winter seasons. The Friday and Saturday concerts in full were broadcast by the FM radio station, WGBH. The Saturday evening concerts of the Pops season were broadcast by WGBH. Thirty-six concerts of the Berkshire Festival (including the six Wednesday eve- ning chamber concerts and twelve Music Center concerts) were put on the air by delayed broadcast through the winter season over Station WGBH. A special concert in honor of the Seventh Anniversary of the Proclamation of the Universal Declaration of Human Rights was given on December 10, 1955, in the United Nations Assembly Hall, under the direction of Mr. Munch. The program consisted of Mozart's Symphony in G minor, K. 550; Debussy's La Mer; and Brahms' Symphony No. 2. The program was broadcast over Station WQXR, New York, and a portion of it was telecast by WOR-TV, New York. [1364] The concert in Kresge Auditorium, Massachusetts Institute of Technology, on October 3, 1955, was telecast over Station WGBH-TV, Channel 2. The program consisted of Berlioz's Fantastic Symphony; Debussy's La Mer; and the Suite No. 2 from Ravel's Daphnis and Chloe. THE FOLLOWING RCA VICTOR RECORDINGS BY THE BOSTON SYM- PHONY ORCHESTRA UNDER THE DIRECTION OF CHARLES MUNCH HAVE BEEN RELEASED SINCE APRIL, 1955: Beethoven: Symphony No. 5; Berlioz: Summer Nights (Victoria de los Angeles, soprano) ; Berlioz: Symphonie Fantastique; Chausson: Poeme for Violin and Or- chestra (David Oistrakh, soloist); Chopin: Piano Concerto No. 2 (Alexander Brailowsky, soloist) ; Debussy: The Blessed Damozel (with the Radcliffe Choral Society, G. Wallace Woodworth, Director; Victoria de los Angeles, soprano; Carol Smith, mezzo-soprano) ; Honegger: Symphony No. 2; Menotti: Violin Concerto — (Tossy Spivakovsky, soloist) ; Ravel: Daphnis and Chloe Complete (with the New England Conservatory and Alumni Chorus, Lorna Cooke de Varon, Conductor, in association with Robert Shaw) ; Saint-Saens: Piano Concerto No. 4 (Alexander Brailowsky, soloist) ; Saint-Saens: Introduction and Rondo Capriccioso for Violin and Orchestra (David Oistrakh, soloist) ; Schubert: Symphony No. 8, "Unfinished"; Tchaikovsky: Symphony No. 4. THE FOLLOWING RCA VICTOR RECORDINGS BY THE BOSTON SYM- PHONY ORCHESTRA UNDER THE DIRECTION OF PIERRE MONTEUX HAVE BEEN RELEASED SINCE APRIL, 1955: Debussy: La Mer; Debussy: Three Nocturnes; Delibes: Coppelia, Suite; Delibes: Sylvia, Suite (with members of the Boston Symphony Orchestra) ; Tchaikovsky: Symphony No. 6, Pathetique. THE FOLLOWING RCA VICTOR RECORDINGS BY THE BOSTON POPS ORCHESTRA UNDER THE DIRECTION OF ARTHUR FIEDLER WERE RE- LEASED SINCE APRIL, 1955: Chopin-Bodge-Anderson: Les Sylphides; Copland: El Sal6n Mexico; Grofe: Grand Canyon Suite; Strauss-DoraTi: Graduation Ball; Music for a Summer Night (Beethoven-Piston: "Moonlight" Sonata — First Movement; Gounod: Faust Waltzes; Kreisler: Caprice Viennois; Liebesfreud; Liebesleid; Liszt: Liebestraum; Mason: Candlelight Waltz; Rubinstein: Kamennoi-Ostrow; Waldteufel: Espana Waltz; Tres Jolie Waltz). THE FOLLOWING RCA VICTOR RECORDINGS BY ARTHUR FIEDLER SINFONIETTA UNDER THE DIRECTION OF ARTHUR FIEDLER WERE RE- LEASED IN THE COURSE OF THE SEASON: Mozart: Divertimento in B-flat, K. 287; Mozart: Serenade in C minor, K. 388. TANGLEWOOD BERKSHIRE FESTIVAL Six concerts by members of the Boston Symphony Orchestra, under the direction of Charles Munch, were given in the Theatre-Concert Hall on Friday evenings, Saturday evenings, and Sunday afternoons of the first two weeks. [ 1365 ] . . . . July 8. Bach: Sinfonia from the "Easter" Oratorio; Bach: Suite No. 2 in B minor, for Flute and Strings (Doriot Anthony Dwyer) ; Stravinsky: "Orpheus," Ballet in Three Scenes; Mozart: Symphony in D major, "Prague," No. 38 (K. 504) July 9 (Thor Johnson, Guest Conductor) . Handel: Concerto Grosso for String Orchestra, in B minor, Op. 6, No. 12; Haydn: Sinfonie Concertante for Violin, Cello, Oboe, and Bassoon, Op. 84 (Richard Burgin, Samuel Mayes, Ralph Gomberg, Sherman Walt); Hindf.mith: "Der Schwanendreher," Concerto for Viola and Small Orchestra (Joseph de Pasquale) ; Haydn: Symphony in B-flat major, No. 98. July 10. Bach: Mass in B minor (Harvard Glee Club, Radcliffe Choral Society, G. Wallace Woodworth, Conductor; Adele Addison, Florence Kopleff, John McCollum, Donald Gramm; Richard Burgin, James Stagliano, Doriot Anthony Dwyer, Louis Speyer and Jean Devergie, E. Power Biggs, Daniel Pinkham, Roger Voisin). July 15 (Leonard Bernstein, Guest Conductor). Mozart: Overture to Don Giovanni, K. 527; Symphony in C major, "Linz", No. 36, K. 425; Aria, "Zeffiretti Lusinghieri," from Idomeneo, K. 366; Rondo for Soprano and Orchestra, "Al desio, di chi t'adora" K. 577; Scene and Rondo, "Non temer, amato bene" K. 505 (Jennie Tourel) ; Piano Concerto in G major, K. 453 (Played and conducted by Leonard Bernstein) July 16. Vivaldi: Concerto Grosso in D minor, Op. 3, No. 11; Vivaldi: Concerto Grosso in B minor, for Four Violins and String Orchestra, Op. 3, No. 10 (Richard Burgin, Alfred Krips, George Zazofsky, Clarence Knudson) ; Boccherini: Concerto for Violoncello in B-flat major, Op. 34 (Samuel Mayes) ; Vivaldi: Gloria, for Solo Voices, Chorus and Orchestra (Sara Mae Endich, Sadie McCollum, Festival Chorus, Hugh Ross, Conductor) July 1 j. Rameau: Suite from the Opera, Dardanus; Ravel: Le Tombeau de Couperin; Faure: Pavane, Op. 50; Milhaud: Serenade; Honegger: Symphony No. 4, Deliciae Basilienses. Twelve concerts by the Boston Symphony Orchestra were given in the Shed: July 22. Beethoven: Overture to Coriolan, Op. 62; Violin Concerto in D major, Op. 61 (Isaac Stern) ; Symphony No. 7, in A major, Op. 92. July 23 (Pierre Monteux, Guest Conductor) . Bach: Passacaglia and Fugue in •C minor (Orchestrated by Ottorino Respighi) ; Beethoven: Symphony No. 2, in D major, Op. 36; Sessions: Orchestral Suite from The Black Maskers (Leonid Andreyeff) ; Strauss: Tod und Verkldrung, Tone Poem, Op. 24. July 24. Beethoven: Symphony No. 1, in C major, Op. 21; Symphony No. 4, in B-flat major, Op. 60; Symphony No. 6, in F major, Op. 68, Pastoral. July 29. Handel: Suite for Orchestra (From the Water Music) , Arranged by Sir Hamilton Harty; Schumann: Symphony No. 4, in D minor, Op. 120; Barber: Prayers of Kierkegaard for Mixed Chorus, Soprano Solo, and Orchestra, Op. 30 (Festival Chorus, Leontyne Price, Regina Sarfaty, Arthur Schoep); Brahms: Sym- phony No. 4 in E minor, Op. 98. July 30. Beethoven: Overture to Goethe's Egmont, Op. 84; Concerto for Piano- forte in E-flat No. 5 major, Op. 73 (^'Emperor") (Rudolf Serkin) ; Symphony No. 3 in E-flat major, Eroica, Op. 55. July 57 (Pierre Monteux, Guest Conductor). Brahms: Academic Festival Over ture, Op. 80; Concerto for Violin with Orchestra, in D major, Op. 77 (Isaac Stern) ; Symphony No. 1 in C minor, Op. 68. August 5 (Leonard Bernstein, Guest Conductor) . Beethoven: Missa Solemnis, [ 1366 ] . . and John Krueger; Margaret Harshaw, David Lloyd, Malcolm Bernstein, Mac Morgan, Christina Cardillo, Arthur Schoep) ; Wagner: Excerpts from Gotterdam- merung (Margaret Harshaw) . August 7. Beethoven: Symphony No. 8, in F major, Op. 93; Piano Concerto No. 4, in G major, Op. 58 (Eugene Istomin) ; Symphony No. 5, in C minor, Op. 67. August 12. Berlioz: Fantastic Symphony, Op. 14A; Debussy: La Mer; Ravel: Daphnis et Chloe, Ballet (Second Suite) . August 13 (Pierre Monteux, Guest Conductor). Wagner: Overture to The Flying Dutchman; Brahms: Symphony No. 3, in F major, Op. 90; Debussy: Three Nocturnes (Festival Chorus prepared by Iva Dee Hiatt) ; Strauss: Suite from Der Rosenkavalier. August 14. Beethoven: Overture. Leon ore No. 3, Op. 72; Symphony No. 9 in D minor, with Final Chorus on Schiller's Ode to Joy, Op. 125 (Festival Chorus prepared by Hugh Ross and Iva Dee Hiatt; Adele Addison, Catherine Akos, David Lloyd, Donald Gramm) Six concerts of chamber music were given in the Theatre-Concert Hall on Wed- nesday evenings. The series was devoted entirely to the music of Beethoven. July 6. The Kroll String Quartet (William Kroll, Violin, Louis Graeler, Violin, David Mankovitz, Viola, Avion Twerdowsky, Cello). July 13. Beaux Arts Trio (Menahem Pressler, Piano, Daniel Guilet, Violin, Bernard Greenhouse, Cello) July 20. Isaac Stern, Violin, Alexander Zakin, Piano. July 27. New Music String Quartet (Broadus Erie, Violin, Matthew Raimondi, Violin, Walter Trampler, Viola. David Soyer, Cello) . August 5. Rudolf Serkin. August 10. GiNO Cioffi, Clarinet; Samuel Mayes, Cello; Ralph Berkowitz, Piano; Doriot Anthony Dwyer, Flute; Sherman Walt. Bassoon; David Lloyd, Tenor; Ralph Gomberg, Oboe; James Stagliano, Horn. (The woodwind players are principals of the Boston Symphony Orchestra and form the Boston Woodwind Quintet). "Tanglewood on Parade," a benefit for the Berkshire Music Center, was given on Thursday, August 11. The Boston Symphonv Orchestra gave a concert in the Shed in which Leonard Bernstein conducted his Suite from On the Waterfront (First Performance) and Copland's A Lincoln Portrait with Claude Rains as Narrator. For the second half of the program Arthur Fiedler conducted the Boston Pops Orchestra in Rimsky-Korsakov's Capriccio Espagnol, Gershwin's Rhap- sody in Blue with Leonard Bernstein as Piano Soloist, and the Strauss-Dorati Suite from the Ballet Graduation Ball. On Saturday mornings, July 23, 30, August 6, and 13, the Rehearsals were opened to the public for the benefit of the Pension Fund. BERKSHIRE MUSIC CENTER The Thirteenth Session of the Berkshire Music Center, Charles Munch, Director, was held at Tanglewood from July 4 to August 14, 1955. S^> [1367] RCA VICTOR— RECORDS BOSTON SYMPHONY ORCHESTRA Recorded under the leadership of CHARLES MUNCH Beethoven Symphonies Nos. 5, 7 Berlioz "Fantastic Symphony" Overture to "Beatrice and Benedick" "Romeo and Juliet" (complete) "Summer Nights" (De Los Angeles) "The Damnation of Faust" (complete) Brahms Piano Concerto No. 2 (Rubinstein) Symphony No. 4 Bruch Violin Concerto No. 1 (Menuhin) Chausson "Poeme" for Violin and Orchestra (Oistbakh) Chopin Piano Concerto No. 2 (Bbailowsky) Debussy "The Blessed Damozel" (De Los Angeles) Handel "Water Music" Suite (arr. Harty) Haydn Symphony No. 104 Honegger Symphonies Nos. 2, 5 Lalo Overture to "Le Roi d'Ys" Menotti Violin Concerto ( Spivakovsky ) Mozart Overture to "The Marriage of Figaro" Ravel "Daphnis and Chloe" (complete) ; "La Valse" "Pavane for a Dead Princess" ; "Rapsodie Espagnole" Roussel "Bacchus and Ariane," Suite No. 2 Saint-Saens "Introduction and Rondo Capriccioso" (Oistbakh) Overture to "La Princesse Jaune" Piano Concerto No. 4 (Bbailowsky) Schubert Symphonies Nos. 2, 8 ("Unfinished" Symphony) Schumann Overture to "Genoveva" Symphony No. 1 Strauss "Don Quixote" (Soloist, Piatigobsky) Tchaikovsky Violin Concerto ( Milstein ) «— —^—^—.^—^———«^ Among the recordings under the leadership of SERGE KOUSSEVITZKY Bach Brandenburg Concertos Nos. 1, Mozart "Eine kleine Nachtmusik"; 6; Suites Nos. 1, 4 Serenade No. 10, for Woodwinds; Beethoven Symphonies Nos. 3, 5, 9 Symphonies Nos. 36, "Linz" ; 39 Berlioz "Harold in Italy"(Peimbose) Prokofieff "Classical" Symphony ; "Lt. Brahms Symphony No. 3 ; Violin Con- Kije" Suite ; "Romeo and Juliet," certo (Heifetz) Suite No. 2; Symphony No. 5; Copland "A Lincoln Portrait"; "Ap- Violin Concerto No. 2 (Heifetz) palachian Spring"; "El Salon Mex- Rachmaninoff "Isle of the Dead" ico" Ravel "Bolero"; "Ma MSre L'Oye" Hanson Symphony No. 3 Suite Harris Symphony No. 3 Schubert Symphony in B Minor, "Un- Haydn Symphonies Nos. 92, "Oxford" ; finished" 94, "Surprise" Sibelius Symphonies Nos. 2, 5 Khatchaturian Piano Concerto Strauss, R. "Don Juan" (Kapell) Tchaikovsky Serenade in C; Sym- Mendelssohn Symphony No. 4, "Ital- phonies Nos. 4, 5 ian" Wagner Siegfried Idyll ! I I ^— ». l II — — —— ^———^^— — »»» —^—^^——^ Recorded under the leadership of PIERRE MONTEUX Debussy "La Mer" ; "Nocturnes" Tchaikovsky Symphony No. 6, "PatM- TAszt "Les Preludes" tique" Mozart Piano Concertos Nos. 12, 18 (Lili Kbaus) Delibes Ballets "Sylvia," "Coppelia" BcHaUn "The Poem of Ecstasy" by Members of the Boston Sym- Stravinsky "Le Sacre du Printemps" phony Orchestra Recorded under the leadership of Leonabd Bebn stein Stravinsky "L'Histoire du Soldat"; Octet for Wind Instruments The above recordings are available on Long Play (33% r.p.m.) and (In some cases) 45 r.p.m. [1368] Boston Symphony Orchestra (Seventy-fifth Season, 1955-1956) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster Albert Bernard George Zazofsky Contra-Bassoon Rolland Tapley George Humphrey Richard Plaster Norbert Lauga Jerome Lipson Robert Karol Vladimir Resnikoff Horns Harry Dickson Reuben Green James Stagliano Gottfried Wilfinger Bernard Kadinoff Charles Yancich Einar Hansen Vincent Mauricci Harry Shapiro Joseph Leibovici John Fiasca Harold Meek Emil Kornsand Violoncellos Paul Keaney Roger Shermont Osbourne McConatrry Samuel Mayes Minot Beale Alfred Zighera Herman Silberman Trumpets Jacobus Langendoen Roger Voisin Stanley Benson Mischa Nieland Leo Panasevich Marcel Lafosse Karl Zeise Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Clarence Knudson Leon Marjollet Trombones Pierre Mayer Martin Hoherman William Gibson Manuel Zung Louis Berger William Moyer Samuel Diamond Richard Kapuscinski Kauko Kahila Josef Orosz Victor Manusevitch Robert Ripley James Nagy Flutes Tuba Melvin Bryant Doriot Anthony Dwyer K. Vinal Smith Lloyd Stonestreet James Pappoutsakis Saverio Messina Phillip Kaplan Harps William Waterhouse Bernard Zighera Piccolo William Marshall Olivia Luetcke Leonard Moss George Madsen Jesse Ceci Oboes Timpani Noah Bielski Ralph Gomberg Roman Szulc Alfred Schneider Jean Devergie Everett Firth Joseph Silverstein John Holmes Percussion Bassks English Horn Charles Smith Georges Moleux Louis Speyer Harold Farberman Gaston Dufresne Clarinets Harold Thompson Ludwig Juht Gino Cioffi Piano Irving Frankel Manuel Valerio Henry Freeman Pasquale Cardillo Bernard Zighera Henry Portnoi E\) Clarinet Librarians Henri Girard Bass Clarinet John Barwicki Leslie Rogers Rosario Mazzeo Victor Alpert, Ass't CHARLES MUNCH Music Director ". . . . the Baldwin is unequalled in Concerto works with orchestra or in recital." l60 BOYLSTON STREET, BOSTON iUaftrom BALDWIN GRAND PIANOS • ACROSONIC SPINET AND CONSOLE PIANOS HAMILTON STUDIO PIANOS • BALDWIN AND ORGA -SONIC ELECTRONIC ORGANS