BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON SEVENTY-THIRD SEASON i953- x 954 Constitution Hall, Washington Boston Symphony Orchestra (Seventy-third Season, 1953-1954) 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 George Zazofsky Albert Bernard Rolland Tapley Georges Fourel Contra- Bassoon Norbert Lauga George Humphrey Richard Plaster Vladimir ResnikoS Jerome Lipson Harry Dickson Louis Artieres Horns Gottfried Wilfinger Robert Karol James Stagliano Einar Hansen Reuben Green Harry Shapiro Joseph Leibovici Bernard Kadinoff Harold Meek Emil Kornsand Vincent Mauricci Paul Keaney Roger Shermont Walter Macdonald Carlos Pinfield Violoncellos Osbourne McConathy Paul Fedorovsky Samuel Mayes Minot Beale Alfred Zighera Trumpets Herman Silherman Jacobus Langendoen Roger Voisin Stanley Benson Mischa Nieland Marcel Lafosse Leo Panasevich Karl Zeise Armando Ghitalla Gerard Goguen Sheldon Rotenberg Josef Zimbler Fredy Ostrovsky Bernard Parronchl Leon Marjollet Trombones Clarence Knudson Martin Hoherman Jacob Raichman Pierre Mayer Louis Berger William Moyer Manuel Zung Kauko Kahila Samuel Diamond Flutes Josef Orosz Victor Manusevitch Doriot Anthony James Nagy James Pappoutsakii Tuba Leon Gorodetzky Phillip Kaplan K. Vinal Smith Raphael Del Sordo Melvin Bryant Piccolo Harps George Madsen Lloyd Stonestreet Bernard Zighera Saverio Messina Oboes Olivia Luetcke William Waterhouse Ralph Gomberg William Marshall Jean Devergie Timpani Leonard Moss John Holmes Roman Szulc Charles Smith Basses English Horn Georges Moleux Louis Speyer Willis Page Percussion Ludwig Juht Clarinets Harold Farbennan Irving Frankel Gino Cioffi Everett Firth Henry Freeman Manuel Valerio Harold Thompson Henry Portnoi Pasquale Cardillo E\) Clarinet Gaston Dufresne Librarians Henri Girard Bass Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Victor Alpert, Ass't Constitution Hall, Washington SEVENTY-THIRD SEASON, 1953-1954 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Third Concert THURSDAY EVENING, February 11 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Lewis Perry N. Penrose Hallowell Edward A. Taft Francis W. Hatch Raymond S. Wilktns Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers [1] BOXHOLDERS Season 1953-1954 Mrs. Dwight D. Eisenhower Mr. and Mrs. Robert Woods Bliss The Ambassador of France and Madame Henri Bonnet Mr. A. Marvin Braverman Mr. and Mrs. Darwin C. Brown Mr. and Mrs. Earl Campbell Miss Gertrude S. Carraway Mr. and Mrs. William R. Castle Mr. and Mrs. Henry P. Caulfield Mr. and Mrs. Arthur Chaite Mrs. William Crozier The Minister of Luxembourg and Madame Hugues Le Gallais Mr. and Mrs. Joseph C. Grew Mr. and Mrs. Sidney L. Hechinger Mrs. Seymour Jeselsohn Mr. George Judd Mrs. Frederic A. Keep The Ambassador of Cambodia and Madame Nong Kimny Mr. Roy Leifflen Mr. and Mrs. Eugene Meyer Dr. and Mrs. Howard Mitchell Mr. and Mrs. Charles Munch Mrs. George Hewitt Myers Judge and Mrs. George D. Neilson Mr. Gerson Nordlinger The Minister Plenipotentiary of France and Madame Roger Seydoux Mr. Andrew J. Snow Mr. Harvey M. Spear Mrs. Edwin M. Watson [2] — Constitution Hall, Washington Boston Symphony Orchestra SEVENTY-THIRD SEASON, 1953-1954 CHARLES MUNCH, Music Director THIRD CONCERT THURSDAY EVENING, February 11, at 8:30 o'clock Program PIERRE MONTEUX, Guest Conductor Cowell Hymn and Fuguing Tune, No. 3 Beethoven Symphony No. 5, in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. 5 Allegro; Trio IV. I Allegro INTERMISSION Franck Suite ixom "Psyche," Symphonic Poem I. Sommeil de Psyche II. Psyche enlevee par les Zephirs III. Les jardins d'Eros IV. Psyche et Eros Strauss "Tod und Verklarung," Tone Poem, Op. 24 BALDWIN PIANO RCA VICTOR RECORDS .muni mt «n» annm —— [3] Greatest achievement SYMPHONIANA in home music in 28 years... BERLIOZ REDIVIVUS Public notice is being taken of an increased awareness of the special quali- ties of the music of Hector Berlioz — an interest prompted by the 150th an- niversary of his birth, but surely greater than that prompting would account for. A Berlioz Society has recently been formed for the purpose of furthering performance, publication, and recording of his music. Charles Munch has been made Honorary President. Nothing, of course, could be more admirable and fruitful than such facili- tation of Berlioz performances — ex- 3HES5 I39 93 cept actual performances. It could be added that these actual performances the new bave every prospect of gaining their ends even without organized promotion. When the aesthetic taste of a period rca Victor turns away from the orchestral opulence of an earlier day and cherishes fine high fidelity economy and inspired discrimination in the use of color, then the music long a Victrola phonograph overlooked which bears these qualities needs only to be heard to be enjoyed. and New RCA Victor Charles Munch continues to make known the music of this composer. High Fidelity Records L'Enfance du Christ, like Romeo and Juliet last year, was introduced to Bos- Now, enjoy thrilling high fidelity... ton. Romeo and Juliet will be repeated "i n person" rea I ism . .wi th RCA Victor's 5 and and carried to New new high fidelity phonograph. on March 6, This remarkably sensitive instrument York and Washington. The Damnation February brings you the overtones in music, of Faust will be performed on the extremely high and low frequen- 19 and 20, and it is hoped, will be cies you've probably never heard recorded as Romeo and Juliet was last before. You'll hear the difference spring. immediately when you play New The principal works of Berlioz will RCA Victor High Fidelity records, spe- be the feature of the Berkshire Festival cially produced to give you maximum at Tanglewood next summer. The sound definition. Damnation of Faust, with the Harvard Hear this new dimension in sound and Radcliffe Choruses, will open the ...at your RCA Victor dealer's. Festival and the Requiem will close it. The Festival Chorus will participate Suggested Eastern list price, subject to change. in this and in Romeo and Juliet. The RClvYlClOR Jh Song Cycle Nuits d'Ete with Eleanor Steber as soloist will be performed, as Tmks. ® DIVISION OF RADIO CORP. OF AMERICA well as Harold in Italy with William Primrose and the Fantastic Symphony. [4] PIERRE MONTEUX Pierre Monteux was born in Paris, April 4, 1875. He began his career as violist at the Opera Comique and the Concerts Colonne. From 1912 he conducted Diaghileff's Ballet Russe, introducing such music as Stravinsky's Petrouchka, Le Sacre du Printemps, and Le Rossignol; Ravel's Daphnis et Chloe and Debussy's Jeux. He toured the United States with the Ballet Russe in 1916-17. He conducted at the Paris Opera and his own Concerts Monteux in Paris. He became conductor at the Metropolitan Opera House in 1917-18 and was the conductor of the Boston Symphony Orchestra 1919-24. In the ten years following he was a regular conductor of the Amsterdam Con- certgebouw and the Orchestre Symphonique de Paris. He became conductor of the San Francisco Orchestra in 1935, a position from which he has now retired. Mr. Monteux returned to conduct the Boston Symphony Orchestra January, 1951, each season since, in Bos- ton, and at Tanglewood in the last two summers. He shared with Mr. Munch the concerts of the European tour in May, 1952, the trans- continental tour last spring. HYMN AND FUGUING TUNE, NO. 3 By Henry Cowell Born in Menlo Park, California, March 11, 1897 Mr. Cowell composed his Third Hymn and Fuguing Tune several years ago. It bears no date and has not until last week had a public performance. The Hymn calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones and tuba, timpani, cymbals and bass drum. The Fuguing Tune adds a piccolo, xylophone and chimes. The Hymn and Fuguing Tune is a favorite form with Mr. Cowell. He divulges that he has composed nine so far.* The Hymn and Fuguing Tune No. 2 was performed by this Orchestra on March 29, 1946 and repeated December 31, 1948. This composer's Short Sym- phony (No. 4) was performed October 24, 1947 when Richard Burgin conducted. The Symphony, according to the composer's statement, resembles his Hymn and Fuguing Tunes in that it is "not an imitation of the old hymns but a development from them, the larger form imposing greater freedom with increased variety of rhythm and tempo, * These nine are for various combinations, all of which except Nos. 4 and 6 have been per- formed, some from manuscript. No. 1 is written for band, No. 2 for string orchestra, No. 4 for "three instruments or voices," No. 5 for chorus (or strings), No. 6 for piano, No. 7 for viola and piano, No. 8 for string quartet, No. 9 for 'cello and piano. Mr. Cowell's first violin sonata as well as his Fourth Symphony uses the same scheme. [5] modal modulation, contrast of tonal color and more extended polyphony." In his Hymn and Fuguing Tune No. 2, Mr. Cowell acknowledged allegiance to the "fuguing tunes" of early New England. An agitation began about 1720 in favor of singing "by note" instead of "by rote," which gave birth to singing schools and singing teachers and sub- stituted freedom and play between the voices instead of the tradi- tional elementary four part harmony. An outstanding figure in this movement was William Billings (1746-1800), who published in Boston four collections of songs, mostly original, between 1770 and 1794, which did a great deal to develop "fuguing pieces" and add a new interest to singing.