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Concert Calendar WOOLSEY HALL CONCERT SERIES

Auspices School of Music - Yale University

SEASON 1961-1962

Tuesday, October 10, 1961 GEORGE LONDON, Baritone

Tuesday, November 14, 1961 BOSTON SYMPHONY ORCHESTRA

Charles Munch, Conductor

Wednesday, December 6, 1961 RUDOLF SERKIN

Pianist

Tuesday, January 9, 1962 ZINO FRANCESCATTI

Violinist

Tuesday, February 6, 1962 CLEVELAND ORCHESTRA

George Sze11, Conductor Grant Johannesen, Piano Soloist

Tuesday, February 20, 1962 BOSTON SYMPHONY ORCHESTRA

Charles Munch, Conductor

Tuesday, March 13, 1962 LUBOSHUTZ AND NEMENOFF

Duo-pianists

Page Three

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PROGRAM NOTES

Historical and descriptive notes by

JOHN N. BURK Copyright by Boston Symphony Orchestra, Inc.

SYMPHONY NO. 5 In B-FLAT MAJOR By Franz Schubert

Born in Lichtenthal, Vienna, January 31, 1797; died in Vienna, November 19, 1828

Schubert composed his Fifth Symphony in the year 1816, between September and October. It was played at the house of Otto Hatwig in Schottenhof in the same autumn. The first public performance was at the Crystal Palace, London, February 1, 1873, August Manns con-ducting. The first performance by the Boston Symphony Orchestra, which may well have been the first in the United States, was on February 10, 1883, when Georg Henschel conducted.

The Symphony calls for a modest orchestra of flute, 2 oboes, 2 bassoons, 2 horns, and strings. It is some-times referred to as the "Symphony without trumpets and drums."

The sluggishness of the world in awakening to its priceless heritage from Franz Schubert is one of the most incredible occurrences in musical history. Schubert remained during his life prac-tically unnoticed and unknown even in his own Vienna, beyond his circle of personal friends. It is true that he had certain discerning and ardent champions after his death. Robert Schumann eleven years later made much of the chamber works and, discovering the great C major Sym-phony, put it into the hands of Mendelssohn at Leipzig and wrote winged words about it. Liszt labored for Schubert at Weimar, made piano transcriptions of many songs, including the great cycles, and called him "le musicien le plus poete que jamais." The ardor of Sir George Grove was equal to Schumann's, and his pioneering efforts have endeared him to every Schubert lover.

But the zeal of these champions missed the "Unfinished" Symphony, which was not dug up until it was forty-three years old, and the six earlier symphonies slept as untouched and unre-garded manuscripts in their archives for many years. It was in 1867 that Grove visited Vienna with Sir Arthur Sullivan and discovered the parts of the Fifth Symphony (as copied by Ferdinand Schubert) in the possession of Johann Herbeck. The slow emergence of the symphonies is brought home by the examination of a thematic catalogue of Schubert's music compiled by Notte-bohm in 1874, which reveals that at that late date none but the two last symphonies (the "Un-finished" and the final C major) had been pub-lished. C. F. Peters at that time had printed the Andante of the "Tragic" (No. 4) and had brought out in 1870 the "Tragic" and Fifth Sym-phonies in arrangements for piano, four hands. The custom, now less popular than it used to be, of learning one's symphonies by playing them as duets, apparently did not hasten the publication

(Continued on page 6)

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PROGRAM NOTES (Continued from page 4)

and general availability of the Fifth Symphony, which was issued at last by the press of Peters in 1882. Although a flood of songs had come upon the market shortly after Schubert's death, other major works appeared but slowly. For example, the Quartet in G minor was published in 1852; the great C major String Quintet and the Octet in 1854; the Mass in E-flat, 1865, and the Mass in A-flat, 1875. The collected edition of Schu-bert's works published by Breitkopf and Hartel between 1885 and 1897 ended 69 years after the composer's death.

Donald Francis Tovey had a high opinion of the first five symphonies and among them singled out the Fifth as "a pearl of great price."

"The whole [first] movement is full of Schu-bert's peculiar delicacy; and its form escapes stiffness like a delightful child overawed into perfect behaviour, not by fear or priggishness but by sheer delight in giving pleasure.

"The slow movement reaches a depth of beauty that goes a long way towards the style of the later Schubert; especially in the modulating epi-sodes that follow the main theme. The main theme itself, however, is a Schubertized Mozart. . . . But the rondo of Mozart's Violin Sonata in F (Kochel's Catalogue, No. 377) is a young lady whose delicious simplicity may get more fun out of prigs than they are aware of: while Schubert's theme never thought of making fun of anybody

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"Any minuet for small orchestra in G minor, loud and vigorous, with a quiet trio in G major, must remind us of the minuet of Mozart's G minor Symphony. But Schubert's is much sim-pler. Its rhythms, though free enough, are square, just where Mozart's are conspicuously irregular; and where the only rustic feeling in Mozart's trio is that given by the tone of the oboes, Schubert's trio is a regular rustic dance with more than a suspicion of a drone-bass.

"The finale is in first-movement form, with a binary-form theme on Mozart's models."

"BACCHUS ET ARIANE," BALLET, SECOND SUITE, OP. 43

By Albert Charles Roussel Born in Turcoing (Nord), France, April 5, 1869;

died in Royan (near Bordeaux), France, August 23, 1937 Roussel composed the Ballet Bacchus et Ariane be-

tween June and December, 1930, at Vasterival and Paris. It was first performed May 22, 1931, at the Theatre de l'Opera. Serge Lifar (Bacchus), Peretti (The-see) and Spessiwtzewa (Ariane) were the principal danc-ers. Philippe Gaubert conducted. The choreography was planned by Abel Hermant, and executed by Lifar. The Second Suite, drawn from Act H, was published in 1932. It was performed by the Societe PhiMarmon-ique de Paris November 26, 1936, Charles Munch con-ducting.

The required orchestra consists of 2 flutes and picco-lo, 2 oboes and English horn, 2 clarinets and bass clari-net, 2 bassoons and contra-bassoon, 4 horns, 4 trumpets, 3 trombones and tuba, timpani, celesta, 2 harps, cym-bals, tambourine, bass drum, triangle, military drum and strings. The score is dedicated to Helene Tony-Jourdan.

The legend of Ariadne on the Island of Naxos, once used by Richard Strauss, has furnished Roussel with a ballet in the Greek classical tra-dition. According to the plot of Abel Hermant, Theseus does not abandon Ariadne on Naxos, where he has taken her after she has rescued him from the Minotaur, but is chased from the Island by Bacchus. The God has first laid a spell of sleep upon Ariadne, whereby she partakes of his revels as in a dream, but does not know until she wakes that Theseus has gone.

(Continued on page 11)

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Tuesday Evening, February 20, at 8:30

Sixth Concert of the Woolsey Hall Concert Series

Season 1961-62

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

09 I. a /12

SCHUBERT Symphony No. 5, in B-flat

I. Allegro

II. Andante con moto

III. Minuetto; Allegro molto

IV. Allegro vivace

ROUSSEL *"Bacchus et Ariane," Suite No. 2, Op. 43

INTERMISSION

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PROGRAM NOTES (Continued from page 6)

The following directions are printed in the score: Introduction (Andante). Awakening of Ariadne — She looks around her surprised — She rises, runs about looking for Theseus and his companions — She realizes that she has been abandoned — She climbs with difficulty to the top of the rock — She is about to throw herself into the stream — She falls in the arms of Bac-chus, who has appeared from behind a boulder — Bacchus resumes with the awakened Ariadne the dance of her dreaming — Bacchus dances alone (Allegro — Andante — Andantino) — The Dionysiac spell — A group marches past (Allegro deciso) — A faun and a Bacchante present to Ariadne the golden cup, into which a cluster of grapes has been pressed — Dance of Ariadne (Andante) — Dance of Ariadne and Bacchus (Moderato e pesante) — Bacchanale (Allegro brillante).

According to the legend, Bacchus immortalizes her with a kiss, ravishes stars from the heavens and sets them as a crown upon her brow.

CONCERTO IN G MINOR, NO. 2, FOR PIANOFORTE, OP. 22

By Charles Camille Saint-Saens

Born in Paris, October 9, 1835; died in Algiers, December 16, 1921

This concerto was first performed in 1868, the year of its composition, on May 6, at the Salle Pleyel in Paris, Anton Rubinstein conducting, and the composer appearing as soloist.

The orchestration includes 2 flutes, 2 oboes, 2 clari-nets, 2 bassoons, 2 horns, 2 trumpets, timpani, cymbals, and strings. The score is dedicated to Madame A. de Viliers.

The second in order of the five concertos which Saint-Saens wrote for the pianoforte and played far and wide, the Concerto in G minor attained extraordinary popularity, rivaling the Fourth in C minor in this respect. This popularity was not immediate so far as the critics were concerned, a race which Saint-Saens contemptuously referred to as the "press assassins." When the work had its initial Paris performance, a leading periodical dismissed the artist both as composer and per-former. When Saint-Saens toured Germany with the new work in the autumn, conservative Leip-zig likewise disapproved. The critic of the Sig-nale deprecated the visitation of a "hyper-roman-tic" spirit upon the style of Bach, and denounced the third movement without qualification. But the public was far more interested in the charm and skill of Saint-Saens than in such liberties as he may have taken with the classical forms. Nor was Franz Liszt, who had no use whatsoever for the critics and their "dignified ignorance," as he expressed it, in the least disturbed by the apostasy of his French friend. He received the score from Saint-Saens while at Rome, and wrote: "Your kind letter promised me several compositions; I have been expecting them, and while waiting I

want to thank you again for your Second Con-certo which I greatly applaud. The form of it is new and very happy; the interest of the three portions goes on increasing and you take into just account the effect of the pianist without sacrificing anything of the ideas of the composer, which is an essential rule of this class of work."

The light spirit of the Concerto is unburdened by any slow movement, its only grave pages con-sisting of the introductory andante sostenuto be-ginning with a cadenza for the piano unaccom-panied, and recurring at the close of the movement. The second movement, allegro scher-zando, more closely resembles the sonata form than the traditional scherzo. The concluding presto is suggestive of a tarantella, although not so indicated. It moves to a large and brilliant close.

"LA VALSE," CHOREOGRAPHIC POEM By Maurice Ravel

Born in Ciboure, Basses-Pyrenees, March 7, 1875; died in Paris, December 28, 1937

It was in 1920 that Ravel completed "La Valse." The piece was played from the manuscript at a Lamoureux concert in Paris, December 12, 1920. The first perform. ance by the Boston Symphony Orchestra was on Janu-ary 13, 1922. The most recent performance: November 28-29, 1958.

The orchestration calls for 3 flutes and piccolo, 2 oboes and English horn, 2 clarinets and bass clarinet, 2 bassoons and contra-bassoon, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, side drum, bass drum, cymbals, tambourine, castanets, crotales, tam-tam, glock-enspiel, 2 harps, and strings. The score was published in 1921, and dedicated to Misia Sen.

Ravel was approached in 1920 to compose a ballet, and chose a subject he had long since considered, and sketched as long before as 1906. He first mentioned it in a letter to Jean Marnold, the critic of the Mercure de France:

"It is not subtle — what I am undertaking at the moment. It is a Grand Valse a sort of homage to the memory of the Great Strauss, not Richard, the other — Johann. You know my intense sym-pathy for this admirable rhythm and that I hold la joie de vivre as expressed by the dance in far higher esteem than the Franckist puritanism. I am so little a Catholic."

In 1920, having composed nothing except Le Tombeau de Couperin since the outbreak of the World War, he shut himself up in the house of his poet friend, Andre-Fernand Herold, in the Ardeche Vallee until La Valse was completed. The piece did nothing to mend his relations with Diaghileff, strained by Daphnis et Chloe, which as a ballet had not succeeded. Diaghileff did not consider La Valse suitable for his purposes, and did not produce it.

Ravel based his "poeme choregraphique," upon measures which one of the Strausses might have written, but used them with implications quite apart from the light abandon and sweet senti-ment which old Vienna offered him. Ravel gives the tempo indication: "Movement of a Viennese waltz," and affixes the following paragraph to his score: "At first the scene is dimmed by a kind

(Continued on page 13)

Page Eleven

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PROGRAM NOTES (Continued from page 11)

of swirling mist, through which one discerns, vaguely and intermittently, the waltzing couples. Little by little the vapors disperse, the illumina-tion grows brighter, revealing an immense ball-room filled with dancers; the blaze of the chan-deliers comes to full splendor. An Imperial Court about 1855."

Raymond Schwab, listening to the first per-formance in Paris, discerned in the music an ominous undercurrent. "To the graces and lan-guors of Carpeaux is opposed an implied anguish, with some Prod'homme exclaiming 'We dance on a volcano.' " H. T. Parker described the gradual definition of the waltz rhythm from "shadowy, formless spectres of dead waltzes, drifting through gray mists....

"Then ensues a succession, as it were, of waltzes. The waltz sensuous and languorous, the waltz playful and piquant, the waltz sentimental, the waltz showy, the waltz strenuous — the waltz in as many variants and as many garbs as Ravel's imagination and resource may compass. Like sleep-chasings, waltz succeeds waltz; yet Ravel is wide-awake in the terseness with which he sums and characterizes each, in the vivid and art-ful instrumental dress every one receives. . . . Of a sudden, the chain of waltzes seems to break. Fragments of them crackle and jar, each against each, in the tonal air. The harmonies roughen; there are few euphonies; through a surface-bril-liance, harsh progressions jut: that which has been sensuous may, for the instant, sound ugly. As some say, here is the music that imaginative minds write in this world of the aftermath of war. . . . On the surface, the sensuous glow and glint of neurotic rapture — 'Dance that ye may not know and feel.' Below the surface, and grat-ing rude and grim upon it, are stress and turbu-lence, despairs and angers equally ugly, and, maybe, nigh to bursting. A troubled 'apotheosis,' then, in these culminating measures of the waltz in this world of ours."

TONIGHT'S CONDUCTOR Charles Munch, who is making his last appear-

ance here as Music Director of the Boston Sym-

phony tonight, was born in Strasbourg on Sep-tember 26, 1891. His father, Ernest, was a distinguished member of a musical family. An organist, string player, leader of the St. Guil-laume choir in the Strasbourg Cathedral and professor in the Conservatory there, he was

Charles' first teacher (in violin). Charles' Uncle Eugene rivalled his brother, Ernest, in producing the cantatas and passions of Bach in the Cathe-dral at Mulhouse. Charles was not alone among the four brothers and two sisters in perpetuating the family tradition, all were musical. In the summer, the Munch family would move to the country home of Charles' maternal grandfather, Frederic Simon, who was a minister of the Prot-estant Eglise de l'Oratoire in Paris. The house at Niederbronn-les-Bains in the Vosges Moun-tains was called the "music box" when the Munches arrived with their instruments and sheaves of chamber music.

At twenty-one Charles Munch contemplated a medical career and went to Paris to study. But soon he was devoting all his time to his violin under Lucien Capet.

The "most French" of the family, with a Paris residence, Charles Munch was drafted into the German army (by a circumstance of boundaries) while on vacation at Strasbourg in the summer of 1914. He was wounded at Verdun and dis-

(Continued on page 14)

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charged after the armistice at the age of twenty-six.

In 1920 he resumed musical activities as a student with Carl Flesch in Berlin and as con-certmaster of the Strasbourg Orchestra. Munch next went to Leipzig where for eight years he sat at the first desk of the violins in the Gewandhaus Orchestra under Furtwangler and Walter.

To retain his French identity he left Leipzig in 1932 and settled in Paris where he had the op-portunity to conduct concerts of the Straram Orchestra. He founded the Orchestra Symphon-ique de Paris in the same season and conducted the Lamoureux Concerts. Munch soon began the round of guest engagements which have since made him a world traveler. In 1937 he succeeded Philippe Gaubert as conductor of the Paris Con-servatory Orchestra, the position he held through the war period.

In 1939 Munch accepted his first invitation to conduct in the United States but travel difficulties made it advisable for him to turn back when he was no farther than the Azores. In 1946, when transatlantic travel was again possible, Munch visited the United States for the first time. He conducted the Boston Symphony Orchestra as guest on December 27 and a month later he made the first of numerous appearances with the New York Philharmonic.

Doctor Munch was engaged in the spring of 1948 to succeed Serge Koussevitzky as Music Director of the Boston Symphony Orchestra to

begin with the season of 1949-50. Meanwhile, in the autumn of 1948, he made a transcontinental tour of the United States with the Orchestre National de la Radiodiffusion Francaise, the French national broadcasting orchestra of which he was conductor. By commission of his Govern-ment, which has made him a Commander in the Legion of Honor, he led every concert of this extensive tour.

TONIGHT'S SOLOIST Pianist Jeanne-Marie Darre made her North

American debut with the Boston Symphony Or-chestra at the Symphony Hall concerts in Boston February 2-3-4, performing the Saint-Saens Piano Concerto No. 2. The work will also be presented by the Boston Symphony Orchestra in Carnegie Hall, New York, later this week.

Much of Mme. Darre's musical career has cen-tered around the National Conservatory in Paris. A pupil of Marguerite Long and Isidore Philipp, Mme. Darre won first prize at the Conservatory; she is now Professor of Piano and a member of the Conservatory Jury.

In addition to her Conservatory duties, Mme. Darre has performed throughout Europe in re-cital and as soloist with orchestras conducted by Charles Munch, Sir Henry Wood, Paul Paray, Andre Cluytens and others. In 1950 Mme. Darre was awarded France's Legion of Honor and in 1960 she received the "Chevalier des Arts et Let-tres."

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