BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON IN fcs w X -jlMMMUf S # SIXTY-SEVENTH SEASON 1947-1948 Carnegie Hall, New York Boston Symphony Orchestra 8 [Sixty-seventh Season, 1947-194 ] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhape Ernst Panenka Masters Alfred Krips Georges Fourel Ralph Gaston Eugen Lehner Elcus Contra-Bassoon Rolland Tapley Albert Bernard Boaz Piller Norbert Lauga Emil Kornsand George Zazofsky George Humphrey Horns Paul Cherkassky Louis Artieres Willem ValkeniCT Harry Dubbs Charles Van Wynbergen James Stagliano Vladimir Resnikoff Hans Werner Principals Joseph Leibovici Jerome Lipson Walter Macdonald Einar Hansen Siegfried Gerhardt Harold Meek Daniel Eisler Paul Keaney Norman Carol Violoncellos Osbourne McConathy Carlos Pinfield Jean Bedetti Harrv Shapiro Gebhardt Paul Fedorovsky Alfred Zighera William Langendoen Harry Dickson Jacobus Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmans Frank Zecchino Roger Voisin Zeise Karl Principals Clarence Rnudson Josef Zimbler Pierre Mayer Bernard Parronchi Marcel Lafosse Harry Herforth Manuel Zung Enrico Fabrizio Rene Voisin Samuel Diamond Leon Marjollet Victor Manusevitch Trombones James Nagy Raichman Flutes Jacob Leon Gorodetzky Lucien Hansottc Laurent Raphael Del Sordc Georges John Coffey James Pappoutsakii Melvin Bryant Josef Orosz Phillip Kaplan John Murray Tuba Lloyd Stonestreet Piccolo Vinal Smith Henri Erkelens George Madsen Harps Saverio Messina Bernard Zighera Herman Silberman Oboes Elford Caughey Stanley Benson John Holmes Hubert Sauvlet Jean Devergie Timpani Joseph Lukatsky Roman Szulc Basses Max Polster Georges Moleux English Horn Willis Page Percussion Speyer Louis Sternburg Ludwig Juht Simon Charles Smith Irving Frankel Clarinets Emil Arcieri Henry Greenberg Victor Polatschek Henry Portnoi Manuel Valerio Piano Gaston Dufresne Pasquale Cardillo Lukas Foss Henri Girard Bass Clarinet Librarian i Tenry Freeman Rogers John Barwicki Rosario Mazzeo Leslie Carnegie Hall, New York Sixty-second Season in New York SIXTY-SEVENTH SEASON, 1947-1948 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor Concert Bulletin of the Third Concert \\ EDNESDAY EVENING, February 18 AND THE Third Matinee SATURDAY AFTERNOON, February 21 with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Henry B. Sawyer . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Lewis Perry N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager Out of the Red — In Black and White That is The Plan of The Employers' Group Man ... a complete pro- gram of fire and casualty insurance designed to keep you ' 'out of the red" come fire, burglary, accident and every other insurable hazard. And with the unique method in which this program is presented to you, every- thing is in black and white. You can see, at a glance, every detail of your protection . your coverages, limits, premiums, expiration dates . everything in neat business-like order. If you haven't got one of these plans, get one now. Call your Employers' Group agent for quick action. THE EMPLOYERS' GROUP One Liberty Square, Boston 7, Mass. The Employers' Group Man is The Man with the Plan [*] . Carnegie Hall . Sixty-second Season in New York Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director THIRD EVENING CONCERT WEDNESDAY^ February 18 Program RICHARD BURGIN Conducting Haydn Symphony in C minor, No. 95 I. Allegro II. Andante cantabile III. Menuetto: Trio IV. Finale: vivace Stravinsky Symphony in Three Movements 1. Allegro II. Andante III. Con moto INTERMISSION Sibelius Symphony No. 1 in E minor, Op. 39 I. Andante ma non troppo; allegro energico II. Andante ma non troppo lento III. Allegro IV. Finale (Quasi una Fantasia) : Andante; Allegro molto BALDWIN PIANO VICTOR RECORDS The music of these programs is available at the Music Library, 58th Street Branch, The New York Public Library. The concerts on Tuesday Evenings are broadcast (9:30 — 10:30 EST) on the network of the American Broadcasting Company. (WJZ) — ^ SYMPHONY IN C MINOR, NO. 95 By Franz Joseph Haydn Born at Rohrau, Lower Austria, March 31, 1732; died at Vienna, May 31, 1809 This symphony was listed as No. 5 in the catalogue of the London Philharmonic Society, and by Breitkopf and Hartel as No. 9 in their old numbering It is No. 95 in the new listing by Breitkopf and Hartel. The symphony was composed in 1791 and first performed probably in that year in London. The orchestration calls for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings. as the Fifth in order among the twelve Salomon symphonies, the XJL Symphony in C minor was among the first set of six which Haydn composed for his first visit to London in 1791. Except for the "Clock" Symphony, No. 11, in D minor, this is the only one of the twelve in a minor key. It is also the only "London" Symphony which dispenses with an introduction. The symphony opens with a theme concise and dramatic. After several pages of expository development, a second theme effectually dispels any ominous suggestion in a bright and lilting E-flat major. The tune might well have dropped from an opera of Mozart, Haydn's revered colleague, the news of whose death was destined to sadden him in London before the year had ended. The working out begins with a return of the initial subject, passing through several minor keys, but the brighter subject soon dominates the scene, and the rather brief movement closes in C major. The slow movement is a melody in E-flat major, 6-8 time, with variations. The strings give out the simple theme and dominate until the exceedingly beautiful variation in E-flat minor has ended. In the final variation the woodwinds and horns at last assert themselves, while BOUND VOLUMES of the ^Boston Symphony Orchestra CONCERT BULLETINS CONTAINING: Analytical and descriptive notes by Mr. JOHN N. BURK, on all works performed during the season. ti ^A sSftCusical Education in One "Volume" "TSoston's Remarkable 'Book of Knowledge" Lawrence Gilman in the N. Y. Herald and Tribune Price $6.00 per volume Address: SYMPHONY HALL . BOSTON, MASS. Ul the violins weave an ornamental figure in thirty-second notes. A grace- ful coda, almost Beethovenesque, ends the movement, which once brought the remark from H. T. Parker that here "sentiment joins fingertips with elegance." The minuet, in C minor, is brilliant and fully scored. Its trio, in the tonic major, presents a graceful and undulating discourse in running eighth notes from the solo 'cello over a light accompaniment of plucked strings. The finale, vivace, is an engaging movement with contrapuntal interplay. Its C major takes possession for once and all — indeed, when all is said, the minor mode has played no more than an episodic part. The symphony is more concise than most of the composer's later ones. "The total effect," wrote Tovey, "is so spacious that you would never guess that it is one of Haydn's tersest works." [copyrighted] SYMPHONY IN THREE MOVEMENTS By Igor Stravinsky Born at Oranienbaum, near St. Petersburg, on June 17, 1882 This symphony had its first performance by the Philharmonic-Symphony Society of New York, to which it is dedicated, on January 24, 1946. The composer con- ducted, and introduced it to Boston in a program of his own music by the Boston Symphony Orchestra, February 22, 1946. The orchestration is as follows: two flutes and piccolo, two oboes, two clarinets and bass clarinet, two bassoons and contra-bassoon, four horns, three trumpets, three trombones and tuba, timpani, bass drum, piano, harp and strings. While he was studying with Rimsky-Korsakov in 1905-07 Stravin- sky wrote a Symphony in E-flat major and dedicated it to his teacher. Stravinsky's "Symphonies pour Instruments a vent" and his "Symphonie de Psaumes/' despite their title, were not symphonies in any formal sense of the word. But his Symphony in C major, com- pleted in 1940, and performed at these concerts January 17, 1941, and January 14, 1944, (the composer conducting in each case) could be called his closest approach to the traditional symphony. The new Symphony in Three Movements is less symphonic in construction. Ingolf Dahl described it in the programmes of the New York Phil- harmonic-Symphony : "The musical world, which has hardly taken cognizance of the fact that in Stravinsky's Symphony in C (1940) it was given a mas- terful example of classical symphonic procedure, already will have to take notice that with his new Symphony (1945) Stravinsky has moved on to the exact opposite of traditional symphonic form. In this [5] new work there is no sonata form to be expounded, there is no 'de- velopment' of closely denned themes, which would be stated, restated, interlocked, combined and metamorphosized, as symphonic themes are wont to be. Here, on the contrary, we have another example of that additive construction, for the invention of which Stravinsky is justly famous and which has proved so influential on the younger composer. It is a formal principle which conceives of music as the succession of clearly outlined blocks, or planes, which are unified and related through the continuity of a steadily and logically evolv- ing organic force. This, of course, is the exact opposite of classic and romantic symphonic thought, just as the comparable additive principle of romanesque architecture is differentiated from the in- terlacing connectivity of the gothic or baroque. "Harmonically, too, the new Symphony speaks a language which its composer has not spoken for a long time. His immediately pre- ceding diatonicism is widened immensely, and an integral part is played by many of the intervals which gave the period from 'Sacre' to the 'Symphonies pour instruments a vent' its character.