SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, CO mmonwealth 6-1492 SEVENTY-THIRD SEASON, 1953-1954 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Vice-President Jacob J. Kaplan Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Lewis Perry N. Penrose Hallowell Edward A. Taft Francis W. Hatch Raymond S. Wilkins Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [»] THE LIVING TRUST How It Benefits You, Your Family, Your Estate Unsettled conditions . new inventions . political changes . interest rates and taxes, today make the complicated field of in- vestments more and more a province for specialists. Because of this, more and more men and women, with capital to invest and estates to manage, are turning to the Living Trust. WHAT IT IS The Living Trust is a Trust which you establish to go into effect during your lifetime, as part of your overall estate plan, and for the purpose of receiving professional management for a specified portion of your property. It can be arranged for the benefit of yourself, members of your family, or other individuals or charities —and can be large or small. We will be glad to meet with you and your attorney, in strict con- fidence, to discuss a Living Trust as it fits in with your situation. For an appointment, at your convenience, please write or call the Personal Trust Department of the National Shawmut Bank, Boston, Massachusetts. No obligation, of course. Send for the Shawmut Bank's informative new booklet, "The Living Trust". It tells the whole story. Yours without charge. The National Shawmut Bank of Boston Member Federal Deposit Insurance Corporation [»] SYMPHONIANA Subscribers' Exhibition MaKANNA,: Krenek and Mahler's Tenth THE For Holiday Visitors TROUSSEAU HOUSE OF BOSTON Unused Tickets SUBSCRIBERS' EXHIBITION The Fifth Annual Exhibition of paint- ings by subscribers, Friends and mem- bers of the Boston Symphony Orchestra is now on view in the gallery. A list of the artists and their paintings will be published in this column next week. KRENEK AND MAHLER'S TENTH Ernst Krenek, who now lives in Los Angeles, has kindly written about his part in the realization of Mahler's Tenth Symphony in 1924. On examining the sketches, he decided that only two movements would permit this without "free paraphrasing upon the ideas of a departed master." The Adagio, in his opinion, "was as good as completely finished by his own hand. As I remem- ber it there were just expression marks missing now and then, slurs, ties, and other such accessories. Franz Schalk who was startled by the thinness of the orchestration disagreed with me on this point. He tried to point out that the fact that all measures in which some in- struments did not have any notes were empty (not containing any rests) proved that Mahler wanted those instruments to play something, or else he would have put rests there, according to his proverbial careful penmanship. (This, the all-wool by way, implied a typical Schalkian dig at "us moderns," who were not used housecoat . any longer to be so careful . .) My with not the smallest detail answer to this was that since Mahler had listed on each page of his score to detract from its warm all instruments (not only those which luxury and flawless line, were actually engaged at any given for even the buttons time — such as we poor "moderns" are nowadays do to save precious paper) all-wool covered! Heaven would mean that Mahler Schalk's theory blue or blossom pink. wanted all instruments to play all the time from beginning to end of the piece, Sizes 10 to 20 which was obviously silly. Furthermore I argued that the thinness of the or- 39.95 chestration was an entirely logical con- tendencies of sequence of the stylistic 416 Boylston St., Boston the Ninth Symphony. To me it seemed Central St., to prove the vitality of Mahler's genius 54 Wellesley that, after having manipulated the gigantic masses of the Eighth Sym- rsl phony, he should embark upon experi- mentation with the new trend toward Greatest achievement chamber-music-like features. subtle, He in home music in 28 years... certainly was not unaware of Schoen- berg's turn in that direction. Needless to say that I failed to convince Mr. Schalk who was just skeptical of the whole thing, much as he seemed to be of everything since his world had come to an end in 1918. In the few contacts I had with him he always exhibited a sort of Mephistophelian frame of mind and seemed to be really pleased only when everything went wrong. His was a typically Austrian cynicism, lovable and exasperating at the same time. This, at least, is my picture of the man. The "Purgatorio." Of this I found a complete sketch, in a sort of piano particell, and an orchestral score, about two thirds finished. I felt that the or- chestration of the last third could rela- tively easily be completed, since the section mainly consisted of previous material. • • FOR HOLIDAY VISITORS FIDELITY Although it is difficult for visitors to Boston to obtain seats for the Boston Victrolaphonograph Symphony concerts (except when they and are turned in for re-sale), there are New RCA Victor still a few seats to be had for the Sun- High Fidelity Records day afternoon concerts. The third "Open Rehearsal," Now, enjoy thrilling high fidelity... for u which the seats are not reserved, will inperson"realism...wifh RCA Victor's new high take place Wednesday, January 6th, at fidelity phonograph. 7:30. This remarkably sensitive instrument brings • • you the overtones in music, the extremely high and low UNUSED TICKETS frequen- cies you've probably never heard In the present completely subscribed before. You'll hear the difference season, many people are waiting for an immediately when you play New opportunity to hear a Boston Symphony RCA Victor High Fidelity records, spe- concert. Subscribers who at any time cially produced to give you maximum are unable to use their tickets will do sound definition. a double service in turning them in for Hear this new dimension in sound resale. The resale of tickets last sea- ...at your RCA Victor dealer's. son made a substantial reduction of Suggested Eastern list price, subject to change. the Orchestra's deficit. Leave the ticket at the Box Office, or, ©RCA\/iCTOR if more convenient, telephone the loca- Tmks. ® DIVISION OF RADIO CORP. OF AMERICA tion — Commonwealth 6-1492. [4] /ra Filene's beautiful French Shops you can find the most brilliant designs from the world's great couturiers . as you relax in luxurious comfort, you can choose from the collections of America's most influential designers, delight in the beauty of highlights from the great Couture collections of Paris, London, Rome, Dublin and Barcelona. Our French Shops brings the best of international fashion to you in one intimate, personalized spot. Filene's French Shops, Seventh Floor [5] Mr. Steppington Calls the Play Ostensibly, Mr. Steppington to Mr. Steppington's affairs. made the trip to the Old School The interesting booklet, "The to see about the scholarship Living Trust," will be sent free fund he had established there on request. under a Living Trust arrange- ment with Old Colony . , . but you can't blame an old sport WORTHY OF YOUR TRUST for reliving his gridiron days. It's been quite a pleasure to Old Colony Mr. Steppington to watch his Trust Company trust plans — like the scholar- ONE FEDERAL STREET, BOSTON ship fund — bear fruit during T. Jefferson Coolidge his lifetime. And helping to Chairman, Trust Committee Augustin H. Parker, make his carefully planned Jr. President dreams come true is Old Colony, Arthur L. Coburn, Jr. who devotes meticulous care Chairman^TrustlnvestmentCommittee Allied withTuE First National Bank of Boston rai [6 . SEVENTY-THIRD SEASON, NINETEEN HUNDRED FIFTY-THREE AND FIFTY-FOUR Third Program SUNDAY AFTERNOON, December 13, at 3:00 o'clock RICHARD BURGIN, Conductor Stravinsky Danses Concertantes I. Marche — Introduction II. Pas d'action III. Theme vari£ IV. Pas de deux V. Marche — Conclusion Beethoven Piano Concerto No. 2, in B-flat major, Op. 19 I. Allegro con brio II. Adagio III. Rondo: Molto allegro INTERMISSION Mahler Adagio from the Tenth Symphony Tchaikovsky Italian Capriccio, Op. 45 soloist GRANT JOHANNESEN (Mr. Johannesen uses the Steinway Piano) The Friday and Saturday concerts are broadcast each week from Station WGBH (FM) BALDWIN PIANO RCA VICTOR RECORDS [7] ESTNUT HILL offers the lasting satisfaction of quality and good taste Stearns, famous for 106 years of dependable quality, interested and courteous service, and foresight in your needs, is proud of its repu- tation for fashion, too. You will see names of many leading designers on dresses, coats, suits, and millinery in both our Boston and Chestnut Hill stores. [8] DANSES CONCERTANTES for Chamber Orchestra By Igor Stravinsky Born at Oranienbaum, near St. Petersburg, June 17, 1882 The Danses Concertantes were composed in 1941 and completed, according to the final page of the score, on January 13, 1942, in Hollywood. The first concert performance was given by the Janssen Symphony Orchestra in Los Angeles, Feb- ruary 8, 1942. The first danced performance was given in New York by the Monte Carlo Ballet, the choreography by Balanchine and the costumes and scenery by Berman, September 10, 1944.