(Bgmtt&Biuttt • Suigera ShthtmtfQ • Jfero Srmumrirk, 5f.3. Sunday Afternoon, April 4 Under the auspices of the Department of Music, Rutgers University H. D. McKinney, Director Boston Symphony Orchestra [Sixty-second Season, 1942-1943] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. KRIPS, A. RESNIKOFF, V. Concert-master tapley, r. KASSMAN, N. CHERKASSKY, P LEIBOVICI, J. rHEODOROWICZ, J. HANSEN, E. DICKSON, H. FEDOROVSKY, P. ZAZOFSKY, G. EISLER, D. PINFIELD, C. BEALE, M. SAUVLET, H. KNUDSON, C. ZUNG, M. LEVEEN, P. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. HILLYER, R. BRYANT, M. STONESTREET, L. messina, s. DUBBS, H. MURRAY, J. ERKELENS, H. seiniger, s. TRAMPLER, W. Violas LEFRANC, J. FOUREL, G. van wynbergen, c. GROVER, H. CAUHAPE, J. ARTIERES, L. bernard, a. WERNER, H. LEHNER, E. kornsand, ! E. GERHARDT, S. humphrey,,G. Violoncellos BEDETTI, J. LANGENDOEN, J. DROEGHMANS, H. ZEISE, K. FABRIZIO, E. ZIGHERA, A. CHARDON, Y. ZIMBLER, J. MARJOLLET, L. Basses MOLEUX, G. JUHT, L. GREENBERG, H. GIRARD, H. BARWICKL J. DUFRESNE, G. FRANKEL, I. PAGE, W. PROSE, P. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. polatschek, v. ALLARD, R. PAPPOUTSAKIS, J DEVERGIE, J. valerio, m. PANENKA, E. KAPLAN, P. LUKATSKY, J. cardillo, p. LAUS, A. Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MAZZEO, R. PILLER, B. Horns Horns Trumpets Trombones VALKENIER, W. SINGER, J. MAGER, G. raichman, j. MACDONALD, W. LANNOYE, M. LAFOSSE, M. hansotte, l. SINGER, J. SHAPIRO, H. VOISIN, R. L. COFFEY, J. KEANEY, P. GEBHARDT, w. VOISIN, R. SMITH, V. Tuba Harps Timpani Percussion ADAM, E. ZIGHERA, B. SZULC, R. sternburg, s. CAUGHEY, e. POLSTER, m. white, l. arcieri, e. Librarian ROGERS, L. J. (Sojmnamum • Rutgers University • 23>tu Slrunaurirk, JO. SIXTY-SECOND SEASON, 1942-1943 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor Concert Bulletin SUNDAY AFTERNOON, April 4 with historical and descriptive notes by JOHN N. Bb'RK The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Jerome D. Greene . President Henry B. Sawyer . Vice-President Henry B. Cabot . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Roger I. Lee Reginald C. Foster Richard C Paine Alvan T. Fuller William Phillips N. Penrose Hallowell Bentley W. Warren G. E. Judd, Manager C. W. SPALDING, AssistantManager [1] War Benefit Concerts by the Boston Symphony Orchestra At Tanglewood August 16, 1940 — Allied Relief Fund Benefit for British aid — net $25,000. August 15, 1941 —Gala Benefit for the U. S. O. and British War Relief — net $20,000. (Sets of Boston Symphony Orchestra records have been sent to U.S.O. recreation centers in all parts of the world from a part of the proceeds of this concert.) August 14, 1942 —A concert for Russian War Relief was given by the Berkshire Music Center, Serge Koussevitzky conducting At Constitution Hall, Washington, D.C. March 31, 1942 — Concert for the benefit of the Russian War Relief. At Symphony Hall October 11, 1942 — United Nations Concert. December 20, 1942 — Concert by the Boston Symphony Orchestra under Serge Koussevitzky, given for uniformed men and women in war service, the first of a series of euch Sunday concerts. January 4, 1943 — Concert by the Boston Symphony Orchestra, Serge Koussevitzky, Conductor, for the Greater Boston Com- munity War Fund. March 28, 1943— Concert by the Boston Symphony Orchestra under Serge Koussevitzky, given for uniformed men and women in war service, the second of a series of such Sunday concerts. Pop Concerts at Symphony Hall There have been special benefit concerts at the Pops at various times for the Holland Relief Fund (twice), the Navy Re- cruiting Service, Czechoslovakia and Czech R.A.F. benefit, Free French Division of the British and American Ambulance Corps. On the Esplanade May 18, 1941 — Concert sponsored by the Bureau of Americaniza- tion of the City of Boston. August 2, 1942 — Coast Guard Day concert. September 13, 1942 — Concert on the opening day of the Army Signal Corps week. At the Boston Museum of Fine Arts November 1,1942 ) December 27, 1942 > Victory Concerts for the Armed Forces. March 7, 1943 \ At the Camps March 22, 1942 — Concert at Fort Devens. April 6, 1942 — Concert at Camp Edwards. December 2, 1942 — Concert at Lovell General Hospital. Fort Devens. January 31, 1943 — Concert at Camp Edwards. Elsewhere Stamp July 17. 1942— Jordan Marsh Company — War Bond and Drive. August 16, 1942 —Russian War Relief, Lowell, Massachusetts. f 2] (Sgmnaatum • Huig^rs Uttttttratg • 55>ui Urmtaurirk, N.3I. Boston Symphony Orchestra SIXTY-SECOND SEASON, 1942-1943 SERGE KOUSSEVITZKY. Conductor SUNDAY AFTERNOON, April 4, at 3 o'clock Programme Mozart Symphony in C major, No. 34 (Koechel No. 338) I. Allegro vivace II. Andante di molto III. Finale: Allegro vivace Debussy Prelude a "L'Apres-midi d'un Faune" (Eclogue of Stephane Mallarme) Ravel "Daphnis et Chloe," Ballet, Orchestral Excerpts (Second Suite) Lever du jour — Pantomime — Danse generale INTERMISSION Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. ( Allegro: Trio IV. ; Allegro BALDWIN PIANO [Si SYMPHONY IN C MAJOR No. 34, Koechel No. 338 /*\ Wolfgang Amadeus Mozart Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791 The first performance of this symphony by the Boston Symphony Orchestra was on April 1, 1899. Wilhelm Gericke conducting. Subsequent performances have been given in 1904, 1923, 1928 (Sir Thomas Beecham conducting), 1930, 1931, 1936, and 1939 (December 8). It is scored for two oboes, two bassoons, two horns, two trumpets, timpani and strings. The symphony is inscribed by its composer as having been written at Salzburg, August 29, 1780. A reference in a letter by Mozart to a performance under Joseph Bono, conductor at Vienna, is considered to apply to this score: "I have lately forgotten to write that the sym- phony conducted by old Bono went magnifique, and had great suc- cess. Forty violins played — the wind instruments were all doubled — ten violas, ten doublebasses, eight violoncellos, and six bassoons" (From Vienna, April 11, 1781). The work is characterized by Erich Blom in his life of Mozart as "the first of the symphonies to have achieved any degree of permanence, as far as concert practice goes — and very justly, for it is a lovely work and, though formally on a small scale, fully matured and typically Mozartian with its capricious changes between a variety of humours. The musical ideas are mostly the current coin of the time, but their treatment is in the nature of an ironical commentary. Mozart loves the musical cliches of his century and at the same time laughs at them up his sleeve, and never more wittily than in this little but captivating and very finished symphonic work." Otto Jahn speaks of the symphony as "grander in conception and more serious in tone than the earlier one in B-flat major, composed the summer before (K. 319). This is particularly noticeable in the first movement, where a constant propensity to fall into the minor key blends strength and decision with an expression not so much of melancholy as of consola- tion. In perfect harmony of conception, the simple and fervent An- dante di molto combines exceeding tenderness with a quiet depth of feeling. The contrasting instrumentation is very effective in this work. The first movement is powerful and brilliant, but in the second, only stringed instruments (with doubled violas) are employed.* The last movement is animated throughout, and sometimes the orchestral treat- ment is rapid and impetuous." * A bassoon is added to the string orchestra in this movement. [4 1 The Symphony is without a minuet, although the first measures of one, crossed out by the composer, were found in the manuscript score.* Symphonies in three movements are rare among the more ma- ture works of Mozart (this one and the two symphonies K. 444 and K. 504 are exceptions). His childhood and boyhood symphonies were more often than not without minuets, the form having then freshly evolved from the Italian overture, with its three sections — a first allegro, a slow movement and a lively finale. It has often been stated that Haydn was the first to introduce minuets into the symphony, and indeed he gave his symphonic minuets an importance the form had never had. But there were earlier composers who began this practice. Philip Hale has pointed out: "There is one in a symphony in D major by Georg Matthias Monn composed before 1740. Haydn's first symphony was composed in 1759. Gossec's first symphonies were published in 1754. Sammartini (1734) and others had written symphonies before Gossec; but the date of Gossec's introduction of the minuet has not been determined. There were some who thought that a symphony worthy the name should be without a minuet. The learned Hofrath Johann Gottlieb Carl Spazier of Berlin wrote a strong protest which appeared in the num- ber of the Musikalisches Wochenblatt after the issue that announced Mozart's death. He characterized the minuet as a destroyer of unity and coherence, and wrote in substance: "In a dignified work there should be no discordant mirth. If a minuet be allowed, why not a polonaise or a gavotte? The first move- ment should be in some prevailing mood, joyful, uplifted, proud, solemn, etc. A slow and gentle movement brings relief, and prepares the hearer for the finale or still stronger presentation of the first mood. The minuet is disturbing: it reminds one of the dance-hall and the misuse of music: 'When it is caricatured, as is often the case in minuets by Haydn or Pleyel, it excites laughter.