(This is the program provided by the Boston Symphony Orchestra for this concert. You can also view the UMS program).
Hill Auditorium, Ann Arbor
r BOSTON 1 SYMPHONY ORCHESTRA
FOUNDED IN 1881 BY HENRY LEE HIGGINSON
Hill Auditorium, Ann Arbor Tuesday Evening, October 25
SEVENTY-FIRST ANNUAL CHORAL UNION CONCERT SERIES, OF THE
UNIVERSITY OF MICHIGAN AUSPICES, UNIVERSITY MUSICAL SOCIETY
Boston Symphony Orchestra
[Sixty-ninth Season, 1949-1950] CHARLES MUNCH, Conductor
RICHARD 1URCIN, Associate Couthiclor V i: R S () N E L
Richard Burgin, Concert-master Alfred Krips Gaston Elcus Rolland Tapley Norberi Lauga George Zazofsky Paul Cherkassky Harry Dubbs Vladimir ResnikoS Joseph Leibovici Einar Hansen Daniel Eisler Norman Carol Carlos Pinfield Paul Fedorovsky Harry Dickson Minol Reale
Clarence Knudson Pierre Mayer Manuel Zung Samuel Diamond Victor Manusevitch James Nagy Leon Gorodelzky Raphael Del Sordo Melvin Bryant John Murray
Lloyd Stonestreet Henri Erkelens Saverio Messina Herman Silberman Stanley Benson Sheldon Rotenberg
Georges Moleux Willi Page Ludwig Juht Irving Frankel Henry Green berg Henry Portnoi Gaston Dufresne Henri Girard Henry Freeman John Barwicki
Joseph de Pasquale Jean Cauhape Georges Fourel Eugen Lehner Albert Bernard Emil Koinsand George Humphrey Louis Artieres Charles Van Wynbergen Hans Werner Jerome l.ipson Siegfried Gerhardt
Violoncellos Samuel Mayes Alfred Zighera Jacobus Langendoen Mischa Nieland Hippolyte Droeghmani Karl Zeise Josef Zimbler Bernard Parroncbi Enrico Fabrizio Leon Marjollet
Georges Laurent James Pappoutsakis Phillip Kaplan
Piccolo George Madsen
John Holmes Jean Devergie Joseph Lukatsky
Knci.ish Horn Louis Speyer
Clarinets Manuel Valerio Attilio Poto Pasquale Cardillo
Bass Clarinet Rosario Mazzeo
Raymond Allard Enisl I'aiienka Theodore Rrewster
ContraBassoon Boaz I'iller
Willem Valkenier James Stagliano
Principals Harry Shapiro Harold Meek Paul Keaney Walter MacdonaM Osbourne McConathy
Trumpets Georges Mager Roger Voisin
Principals Marcel Lafosse Harry Herforth Rene Voisin
Trombones Jacob Raichman Lucien Hansotte John ColFey Josef Oros
Bernard Zighera Elford Caughey
Timpani Roman Sulc Charles Smith
Piano LuVas Foss
Librarian Leslie Rogen
Hill Auditorium [University of Michigan] Ann Arbor
SIXTY-NINTH SEASON, 1949-1950
Boston Symphony Orchestra
CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor
Concert Bulletin of the Second Concert
TUESDAY EVENING, October 25
with historical and descriptive notes by John N. Burr
The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.
Henry B. Cabot . President
Jacob J. Kaplan . Vice-President
Richard C. Paine . Treasurer
Philip R. Allen John Nicholas Brown Alvan T. Fuller Jerome D. Greene N. Penrose FIallowell Francis W. Hatch
M. A. De Wolfe Howe Roger I. Lee Lewis Perry Edward A. Taft Raymond S. Wilkins Oliver Wolcott
George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers
BERKSHIRE FESTIVAL SCENE
The Berkshire Festival for 1950 by the Boston Symphony Orchestra, Charles Munch conductor, is announced to be given at Tanglewood, Lenox, Massachusetts, for five weeks in July and August. Serge Koussevitzky, who remains Director of the Berkshire Music Center at Tanglewood, will conduct part of the Festival concerts.
Those sending their names and addresses to Geo. E. Juno, Manager, Boston Symphony Orchestra, Boston-15, Massachusetts, will receive all Festival announcements. Catalog of the Berkshire Music Center sent on request.
Hill Auditorium [University of Michigan] Ann Arbor
Boston Symphony Orchestra
CHARLES MUNCH, Conductor
TUESDAY EVENING, October 25, at 8:30 o'clock
Beethoven.........................Overture to "Egmont," Op. 84
Beethoven....................Symphony No. 7, in A major, Op. 92
I. Poco sostenuto
III. Presto; Assai meno presto; Tempo primo
IV. Allegro con brio
Richard Strauss....................Symphonia Domestica, Op. 53
(June 11, 1864 -September 8, 1949)
BALDWIN PIANO VICTOR RECORDS
Rehearsal Broadcasts of the Boston Symphony Orchestra, Charles Munch conducting, are given each Monday, 12-12:30 C. S. T., on the National Broadcasting Company Network.
had such a cjentle face
After days and nights of horror, the smoke finally cleared away. Two hundred lives were lost. Nearly one hundred thousand persons were homeless. Over two thousand acres of booming Chicago were black, smoldering ruins.
It was a two hundred million dollar loss . . . the worst fire in the history of our country. And what caused it all A cow ... a nice, friendly, gentle cow.
That is usually the case. The causes of fire seldom seem vicious. The flicker on the hearth . . . lights on the Christmas trees . . . the cigarette after coffee . . .
they all have gentle faces. Yet how many homes . . . how many lives . . . have been lost by such friendly things as these.
In spite of all that has been done . . . by our government, public officials, manufacturers, insurance companies, teachers, public spirited persons . . . the annual fire loss to our country is nearly $700,000,000, more than three times worse than the worst fire in our history.
The only hope is care . . . extreme care . . . not only during Fire Prevention Week, but every day of our lives. Do all you can to prevent fires, always.
The Insurance Man Serves America
The Employers' Group
110 MILK STREET, BOSTON 7, MASS.
THE EMPLOYERS' LIABILITY ASSURANCE CORP.. LTD. AMERICAN EMPLOYERS1 INSURANCE CO. THE EMPLOYERS' FIRE INSURANCE CO.
Munch was born at Strasbourg, Alsace, Sept. 26,-1891. His father was the founder of the Saint Guillaume Chorus in Strasbourg, and it was at home, under his father's guidance, that he first studied violin, harmony, and singiag. He went to Paris before the first World War, and studied violin with Lucien Capet. In 1919 he was made professor at the Strasbourg Conservatory, and later conductor of the orchestra. He gained further experience in what was destined to be his career when he worked under Wilhelm Furtwangler at the Gewand-haus Concerts in Leipzig. He returned to Paris, where in 1930 he founded the Orchestre de la Societe Philharmonique de Paris. In 1937 he succeeded Philippe Gaubert as the conductor of the Societi des concerts du Conservatoire.
M. Munch, first visiting America in 1946, appeared as guest conductor of this and other orchestras. In the autumn of 1948, he conducted the Orchestre Nationale de la Radiodiffusion Francaise in a tour of the United States.
OVERTURE TO GOETHE'S "EGMONT," Op. 84
By Ludwig van Beethoven Born at Bonn, December 16 (), 1770; died at Vienna, March 26,187
Composed in 1810, the Overture (together with the incidental music) was first performed at a production of Goethe's play by HartI in the Hofburg Theater in Vienna, May 24, 1810.
It is said that Beethoven hoped to get a commission for music to Schiller's "William Tell," and would have preferred it. Certainly there are no signs of half-heartedness in the "Egmont" music.
The heroic Count of the Netherlands, champion of liberty and independence for his people, meeting death on the scaffold under an
NEW ENGLAND CONSERVATORY OF MUSIC
Harrison Keller, Director Malcolm H. Holmes, Dean
SPECIAL CONCERTS 1949 1950
Conservatory Orchestra, Nov. iS Conservatory Orchestra, Dec. 7
Conservatory Chorus and Orchestra, Dec. 16 Chamber Music Concert Jan. 25
Opera Workshop Concert, March 2
Conservatory Orchestra and Chorus, March 16
For further information, apply
290 HUNTINGTON A'E., BOSTON, MASS.
unscrupulous dictator, was an ideal subject for the republican Beethoven. His deep admiration for Goethe is well known.
Without going into musical particularization, it is easy to sense in the overture the main currents of the play: the harsh tyranny of the Duke of Alva, who lays a trap to seize Egmont in his palace, and terrorizes the burghers of Brussels, as his soldiery patrol the streets, under the decree that "two or three, found conversing together in the streets, are, without trial, declared guilty of high treason"; the dumb anger of the citizens, who will not be permanently cowed; the noble defiance and idealism of Egmont which, even after his death, is finally to prevail and throw off the invader.
Goethe in the autumn of 1775 happened upon a history of the Netherlands, written in Latin by Strada, a Jesuit. He was at once struck with the alleged conversation between Egmont and Orange, in which Orange urges his friend in vain to flee with him, and save his life. "For Goethe," writes Georg Brandes, "this becomes the contrast between the serious, sober, thoughtful man of reason, and the genial, carefree soul replete with life and power, believing in the stars and rejecting judicial circumspection. Egmont's spirit is akin to his; he is indeed blood of his blood." The poet wrote his play scene by scene in the ensuing years, completing it in Rome in 1787.
It has been objected that the Egmont of history was not the romantic martyr of Goethe; that he was a family man who was compelled to remain in Brussels as the danger increased, because he could not have fled with all of his children. Yet Goethe stated, not un-plausibly, in 1827, that no poet had known the historical characters
Boston University College of Music 25 Blagden Street, Boston, Massachusetts
AEOLIAN-SKINNER ORGAN COMPANY, INC.
Builders of the Organs in Symphony Hall, Boston and Tanglewood, Massachusetts
President -G. Donald Harrison Vice Pres. -William E. Zeuch
he depicted; if he had known them, he would have had hard work in utilizing them. "Had I been willing to make Egmont, as history informs us, the father of a dozen children, his flippant actions would have seemed too absurd; and so it was necessary for me to have another Egmont, one that would harmonize better with the scenes in which he took part and my poetical purposes; and he, as Clarchen says, is my Egmont. And for what then are poets, if they wish only to repeat the account of a historian"
Here at Daytona Beach, with 23 miles of silvery sand, regal luxury awaits you at The Sheraton Plaza, directly on the ocean . . . every resort pleasure, cabana colony, Olympic swimming pool, sand sailing, inland waterway and deep sea fishing, golf; and tennis. .
By reservation, please, through any Sheraton hotel, your travel agent, or direct.
W. SCOTT PEIRSOL, Gen. Mgr. j
Sh era tort Hotels in Boston, New York, Philadelphia, Washington, Detroit, Providence, Newark, Buffalo, Rochester, and other cities.
ys Beach .. every pleasure
under the sun! i
RCA Victor welcomes the Boston Symphony Orchestra's brilliant new conductor,
Charles Munch. Under his inspired leadership, the Boston Symphony Orchestra will continue to present its
most glorious performances exclusively on Red Seal recordings Among the Orchestra's recent recorded masterpieces, conducted by Serge Koussevitzky:
Waltz Serenade--Tchaikovsky and The Last Spring -Grieg. Single record. Romeo and Juliet Overture--Tchaikovsky. Album of three records.
Bolero -Ravel. Album of two records.
Symphony No. 5, in E Minor, Op. 64--Tchaikovsky. Album of six records.
Peter and the Wolf --Prokofieff. Richard Hale, Narrator. Album of three records.
For the'first time recordings completely distortion-free! Here is all you need to enjoy the amazing new 45 rpm records through your own set. This plug-in player, as tiny and trim as a jewel case, has the world's fastest automatic changer , . . plays up to 10 records with one touch of a buttonl The RCA Victor 9JY, AC.
These selections olso available on the superb new RCA Victor 45 rpm records.
THE WORLD'S GREATEST ARTISTS ARE
SYMPHONY NO. 7 IN A MAJOR, Op. 92
By Ludwig van Beethoven Born at Bonn, December 16 (), 1770; died at Vienna, March 26, 1827
The Seventn Symphony, finished in the summer of 1812, was first performed on December 8, 1813, in the hall of the University of Vienna, Beethoven conducting.
It is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. The dedication is to Moritz Count Imperial von Fries.
It would require more than a technical yardstick to measure the true proportions of the Seventh symphony --the sense of immensity which it conveys. Beethoven seems to have built up this impression by wilfully driving a single rhythmic figure through each movement, until the music attains (particularly in the body of the first movement, and in the Finale) a swift propulsion, an effect of cumulative growth which is akin to extraordinary size.
The long introduction (Beethoven had not used one since his Fourth Symphony) unfolds two vistas, the first extending into a succession of rising scales, which someone has called "gigantic stairs," the second dwelling upon a melodious phrase in F major which, together with its accompaniment, dissolves into fragments and evaporates upon a point of suspense until the rhythm of the Vivace, which is indeed the substance of the entire movement, springs gently to life (the allegro rhythm of the Fourth Symphony was born similarly but less mysteriously from its dissolving introduction). The rhythm of the main body of the movement, once released, holds its swift course almost without cessation until the end. There is no contrasting theme. When the dominant tonality comes in the rhythm persists as in the opening movement of the Fifth Symphony, which this one resembles and outdoes in its pervading rhythmic ostinato, the "cellule" as d'Indy would have called it. The movement generates many subjects within its pattern, which again was something quite new in music. Even the Fifth Symphony, with its violent, dynamic contrasts, gave the antithesis of sustained, expansive motion. Schubert's great Symphony in C major, very -different of course from Beethoven's Seventh, makes a similar effect of size by similar means in its Finale. Beethoven's rhythmic imagination is more virile. Starting from three notes it multiplies upon itself until it looms, leaping through every part of the orchestra, touching a new secret of beauty at every turn. Wagner called the symphony "the Dance in its highest condition; the happiest realization of the movements of the body in an ideal form." If any other composer could impel an inexorable rhythm, many times repeated, into a vast music -it was Wagner.
In the Allegretto Beethoven withholds his headlong, capricious mood. But the sense of motion continues in this, the most agile of his symphonic slow movements (excepting the entirely different Allegretto of the Eighth). It is in A minor, and subdued by comparison, but
pivots no less upon its rhythmic motto, and when the music changes to A major, the clarinets and bassoons setting their melody against triplets in the violins, the basses maintain the incessant rhythm. The form is more unvarying, more challenging to monotony than that of the first movement, the scheme consisting of a melody in three phrases, the third a repetition of the second, the whole repeated many times without development other than slight ornamentation and varied instrumentation. Even through two interludes and the fugato, the rhythm is never broken. The variety of the movement and its replenishing interest are astounding. No other composer could have held the attention of an audience for more than a minute with so rigid a plan. Beethoven had his first audience spellbound with his harmonic accompaniment, even before he had repeated it with his melody, woven through by the violas and 'cellos. The movement was encored at once, and quickly became the public favorite, so much so that sometimes at concerts it was substituted for the slow movements of the Second and Eighth Symphonies. Beethoven was inclined, in his last years, to disapprove of the lively tempo often used, and spoke of changing the indication to Andante quasi allegretto.
The third movement is marked simply "presto," although it is a scherzo in effect. The whimsical Beethoven of the first movement is still in evidence, with sudden outbursts, and alternations of fortissimo and piano. The trio, which occurs twice in the course of the movement, is entirely different in character from the light and graceful presto, although it grows directly from a simple alternation of two notes half a tone apart in the main body of the movement. Thayer reports the refrain, on the authority of the Abbe Stadler, to have derived from a pilgrims' hymn familiar in Lower Austria.
The Finale has been called typical of the "unbuttoned" (aufge-knopfl) Beethoven. Grove finds in it, for the first time in his music, "a vein of rough, hard, personal boisterousness, the same feeling which inspired the strange jests, puns and nicknames which abound in his letters. Schumann calls it "hitting all around" ("schlagen um sich"). "The force that reigns throughout this movement is literallv prodigious, and reminds one of Carlyle's hero Ram Dass, who had 'fire enough in his belly to burn up the entire world.' " Years ago the resemblance was noted between the first subject of the Finale and Beethoven's accompaniment to the Irish air "Nora Creina." which he was working upon at this time for George Thomson of Edinburgh. It is doubtful whether a single hearer at the first performance of the Seventh Symphony on December 8, 1813, was fully aware of the importance of that date as marking the emergence of a masterpiece
In an interesting article, "Celtic Elements in Beethoven Qtl Jl 1935) J Ti g so f t cl
r Â¦ 1
into the world. Indeed, the new symphony seems to have been looked upon as incidental to the general plans. The affair was a charity concert for war victims.f Johann Nepomuk Malzel's new invention, the "mechanical trumpeter," was announced to play marches "with full orchestral accompaniment," but the greatest attraction of all was Beethoven's new battle piece, Wellington's Victory, or the Battle of Vittoria, which Beethoven had designed for Malzel's "Pan-harmoni-can" but at the inventor's suggestion rewritten for performance by a live orchestra. This symphony was borne on the crest of the wave of popular fervor over the defeat of the army of Napoleon. When Wellington's Victory was performed, with its drums and fanfares and God Save the King in fugue, it resulted in the most sensational popular success Beethoven had until then enjoyed. The Seventh Symphony, opening the programme, was well received, and the Allegretto was encored. The new symphony was soon forgotten when the English legions routed once more in tone the cohorts of Napoleon's brother in Spain.
Although the Seventh Symphony received a generous amount of applause, it is very plain from all the printed comments of the time that on many in the audience the battle symphony made more of an impression than would have all of the seven symphonies put together. The doubting ones were now ready to accede that Beethoven was a great composer after all. Even the discriminating Beethoven enthusiasts were impressed. When the Battle of Vittoria was repeated, the applause, so wrote the singer Franz Wild, "reached the highest ecstasy," and Schindler says: "The enthusiasm, heightened by the patriotic feeling of those memorable days, was overwhelming." This music brought the composer directly and indirectly more money than anything that he had written or was to write.
The initial performance of the Symphony, according to Spohr, was "quite masterly," a remark, however, which must be taken strictly according to the indifferent standards of his time, rather than our own. The open letter which the gratified Beethoven wrote to the Wiener Zeitung thanked his honored colleagues "for their zeal in contributing to so exalted a result." The letter was never published, and Thayer conjectures that the reason for its withdrawal was Beethoven's sudden quarrel with Malzel, whom he had singled out in this letter with particular thanks for giving him the opportunity "to lay a work of magnitude upon the altar of the Fatherland."
The concert was repeated on Sunday, December 12, again with full attendance, the net receipts of the two performances amounting to 4,000 florins, which were duly turned over to the beneficiaries.
t The proceeds were devoted to the "Austrians and Bavnrians wounded at Hanau" in defense of their country againut Napoleon (once revered by Beethoven).
Schindler proudly calls this "one ol the most important movements in the life of the master, in which all the hitherto divergent voices save those of the professional musicians united in proclaiming him worthy ol the laurel. A work like the Battle Symphony had to come in order that divergent opinions might be united and the mouths of all opponents, of whatever kind, be silenced." Tomaschek was distressed thai a composer with so lofty a mission should have stooped to the "rude materialism" of such a piece. "I was told, it is true, that he himself declared the work to be folly, and that he liked it only because with it he had thoroughly thrashed the Viennese." Thayer assumes that Beethoven's musical colleagues who aided in the performance of the work "viewed it as a stupendous musical joke, and engaged in it con amore as in a gigantic professional frolic."
The Seventh Symphony had a third performance on the second of January, and on February 27, 1814, it was performed again, together with the Eighth Symphony. Performances elsewhere show a somewhat less hearty reception for the Seventh Symphony, although the Allegretto was usually immediately liked and was often encored. Friedrich Wieck, the father of Clara Schumann, was present at the first performance in Leipzig, and recollected that musicians, critics, connoisseurs and people quite ignorant of music, each and all were unanimously of the opinion that the Symphony -especially the first and last movements -could have been composed only in an unfortunate drunken condition ("trunkenei Zustande").
SYMPHONIA DOMESTICA, Op. 53
By Richard Strauss Born at Munich, June n, 1864; died at Garmisch, Bavaria, September 8, 1949
The score is inscribed on its last page: "Charlottenburg, December 31, 1903." The "Symphonia Domestica" had its first performance at a Strauss Festival in New York, the composer conducting Hans Hermann Wetzler's Orchestra, March ai, 1904. The "Symphonia Domestica" was first performed at the concerts of the Boston Symphony Orchestra February 15, 1907.
This was the fourth and last concert of the Festival. The program opened with "Don Juan" and closed with ''Also Sprach Zarathustra." Henry T. Finck, the New York critic, wrote that the Festival was by no means a brilliant success, notwithstanding the co-operation of the composer and his "wife [Pauline Strauss-de Anna, a soprano singerJ. The press was for the most part hostile; so much so that when, a little later, Strauss came across a fault-finder in Chicago, lie asked, "Are you, perhaps, from New York" Mr. Finck was probably the lending spirit ol New York's hostility. He was a cordial Strauss hater -so much so that he wrote an entire book to voice his disapproval in all its completeness.
The symphony is scored for piccolo, three flutes, two oboes, oboe cl'amore, English horn, clarinet in D, clarinet in A, two clarinets in B-flat, bass clarinet, four bassoons, double-bassoon, eight horns, four trumpets, three trombones, tuba, four saxophones ad lib., four kettle-drums, bass drum, cymbals, triangle, tambourine, glockenspiel, two harps, and strings.
Optional parts for four saxophones will be here used for the first time in Boston.
This is the last but one of Strauss's mighty series of tone poems. Written in 1903, it was followed belatedly in 1915 by the "Alpine Symphony." When the "Symphonia Domestica" had its original New York performance, the composer gave out no verbal clue of his intentions beyond the title itself and the dedication: "Meiner lieben Frau und unserm Jungen." He said to an interviewer, "I wish my music to be listened to purely as music." This caused much argument and speculation, for Strauss had given out a plain hint of a program before he had composed the work. He had told a reporter of the Musical Times in London in 1902: "My next tone poem will illustrate "a day in my family.' It will be partly lyrical, partly humorous -a triple fugue, the three subjects representing papa, mamma, and baby." When the new "symphony" was played at Frankfort-on-the-Main in June of that year, in Dresden in November and in Berlin in December, divisions and subtitles appeared in the programs. When it was played in London, in February, 1905, there were disclosures branded as "official" which had not previously appeared. "In accordance with his custom," said the Daily News, "he has not put forward a definite program of his own, but, with some inconsistency, he has allowed a description to be made public -with some inconsistency because he has declared that he wishes his music to be listened to as if it meant nothing in particular if the hearer feels more comfortable in ignoring the program." The description which followed interpreted the scherzo "as representing the child in its bath," the subject of the fugue as a "merry argument," the "dispute between father and mother being the future of the son." A nine-page analysis of the score by William Klatte, whose analyses have been taken as sanctioned by the composer, had appeared in Die Musik for January, 1905. Strauss, who after writing each of his tone poems had been harassed by the curious when he withheld a program, upbraided by the conventional when he gave one out, in this case suffered both ills, and was additionally
The order of the symhonic poems was as follows: Aus Italien, Bymphonic fantasy, 1887 Macbeth, symphonic poem, 1887 Don Juan, symphonic poem, 1888 Tod und Yerklarunff, symphonic poem, 1889 Till Eulenspiegels lustige Streiche, symphonic poem, 1895 Also sprach Zarathustra, symphonic poem, 1896 Don Quixote, fantastic variations, 1897 Ein Beldenleben, symphonic poem, 1898 Symphonia Domestica, 1903 Eine Alpensinfonie, 1915
accused by some of not knowing his own mind, by others of publicity-seeking. "With each new work of Strauss," wrote Ernest Newman, "there is the same tomfoolery -one can use no milder word to describe proceedings that no doubt have a rude kind of German humor, but that strike other people as more than a trifle silly. So it is now with the 'Symphonia Domestica.' " Strauss, not unlike most artists, may be reasonably supposed to have hoped, above all, for a general understanding of his musical intentions -a clear and straight apprehension of his music, as he himself felt it. There intervened the inevitable obstacle of the program. In trying to explain himself he usually started up a babble of altercation which obscured his true musical purposes to the world. Striving to avoid the dilemma, he sometimes brought it more than ever upon his head.
The "Domestica" divides into the four distinct sections of a symphony. The verbal description as permitted by the composer was finally boiled down, in the Berlin Philharmonic concert of December 12, 1904, to this skeleton guide:
"I. Introduction and development of the three chief groups of themes.
The husband's themes:
(a) Easy-going, (b) Dreamy, (c) Fiery. The wife's themes:
(a) Lively and gay, (b) Grazioso.
The child's theme: Tranquil.
Parent's happiness. Childish play.
Cradle song (the clock strikes seven in the evening).
Doing and thinking. Love scene.
Dreams and cares (the clock strikes seven in the morning).
Awakening and merry dispute (double fugue). Joyous conclusion."
There is no break in the flow of the score, and the whole is far more closely integrated by the constantly recurring themes of its three characters than the most "cyclic" of symphonies.
The work starts with the depiction of the husband in his several moods, which blend one into the other. There are three principal themes set forth in close succession. The 'cellos open the score with a theme marked " gemdchlich" ("comfortable," "good-humored,"
"easy-going"); in the fifth bar the oboe gives a gentle, "dreamy" theme; there is a subsidiary theme (for the clarinets) marked "miirrisch," but it is not sufficiently "grumpy" to ruffle the prevailing serenity. The violins set forth one more theme of the husband, "fiery," and rising to forte. The first theme, repeated by the bassoons and 'cellos, leads directly to the theme of the wife (lively and capricious, with prominent violin solo). It is developed with the husband's first and "fiery" themes, and there enters the third character in the domestic drama. The child's theme is tenderly sung by the oboe d'amore, over a string accompaniment.
There are boisterous trills, adoring exclamations, and there follows a joyous, romping scherzo, with themes of husband and wife worked in in a grazioso spirit. If the child is being put to bed, as the German analyst tells us, the father takes a conspicuous part in the process. The music subsides to a cradle song which ends as the clock softly strikes seven, and there follows a last gentle lullaby for successive wood-wind instruments and 'cello, to an accompaniment of clarinet arpeggios.
The adagio follows. The themes of the husband appear still again, and are treated with full orchestration and new variety. This section has been labelled "Doing and Thinking," but the score itself gives no verbal aid. The wife's chief theme is treated also with increased lyricism, and the two are blended in what is called the "Love Scene," rising to a moving climax. There follows a section which has acquired the label "Dreams and Cares," a soft music of blissful reminiscence, in which the child, too, is fondly remembered. The dreams fade; day has come again. The morning hour of seven strikes, and at once the child is awake, as joyous trills on the flutes and muted trumpets attest.
There is a family romp before which the former one pales, in the form of a double fugue. The first subject is derived from the child's theme. The bassoons start it, and the other winds take it up. The fugal discourse is rich in complexity and various in color, four saxophones presently taking their part in the argument. The violins in their high register start the second subject. Themes of the husband and wife are both involved. The climax of the fugue is reached and diminishes over a long pedal point. The last section of the finale, labeled "Joyous Decision," opens with a new theme for the 'cellos, which introduces a folk-like theme in the winds. The domestic felicity is still further developed with themes of husband and wife. The evocative "dreamy" theme of the husband attains new imaginative eloquence, and gives way once more to the child's theme. The "easygoing" theme of the husband attains a powerful assertion. The adagio is recalled. The symphony ends in jubilation.
Over brass notes in the score is inscribed: "Die Tanten: 'Ganz der Papal' -Die Onkeln: 'Oam die Mama I' "
RCA VICTOR RECORDS
By the Boston Symphony Orchestra
Bach, C. P. B..........Concerto for Orchestra in D major
Bach, J. S.............Brandenburg Concertos No. 2, 3, 4, 5, 6
Suites Nos. 1, 2, 3, and 4; Prelude in E major
Beethoven ............Symphonies Nos. 2, 3, 5, 8, and 9; Missa Solemnls;
Overture to "Bgmont"
Berlioz ...............Symphony, "Harold in Italy" (Primrose)
Three Pieces. "Damnation of Faust," Overture, "The Roman Carnival"
Brahms ..............Symphonies Nos. 3. 4
Violin Concerto (Heifetz), Academic Festival Overture
Copland .............."El Sal6n Mexico." "Appalachian Spring," "A Idncolu Portrait" (Speaker: Melvyn Douglas)
Debussy .............."La Mer," Sarabande
Faure ................"Pelleas et Melisande," Suite
Foote ................Suite for Strings
Grieg................."The Last Spring"
Handel ...............Larghetto; Air from "Seniele" (Dorothy Maynor)
Hanson ..............Symphony No. 3
Harris ...............Symphony No. 3
Haydn ...............Symphonies No. 04 "Surprise" (new recording); 103
Khatchatourian ...... Piano Concerto (Soloist: William Kapell)
Liadov ..............."The Enchanted Lake"
Liszt .................Mepliisto Waltz
Mendelssohn ..........Symphony No. 4, "Italian" (new recording)
Moussorgsky.........."Pictures at an Exhibition"
Prelude to "Khovanstchina"
Mozart ..............Symphonies in A major (201) : E-fhK. (1S4) ; C major
(33S): Air of Pamina. from "The Magic Flute" (Dorothy Maynor) ; Serenade No. 10, for Winds
Piston ................Prelude and Allegro for Organ and Strings (B. Power
Prokofleff.............Classical Symphony (new recording) ; Violin Concerto
No. 2 (Heifetz) ; "Lieutenant Kije," Suite; "Love for Three Oranges," Scherzo and March; "Peter and the Wolf"; "Romeo and Juliet," Suite; Symphony No. 5; Dance from "Chout"
Rachmaninoff ........."Isle of the Dead"; "Vocalise"
Ravel ................"Daphnis and Chlo6." Suite No. 2 (new recording! :
Pavane, Rapsodie Espagnole, Bolero, Ma M6re l'Oye (new recording)
Rimsky-KorsakoT ....."The Battle of Kerjenetz": Dubinushka
Satie .................OymnnriMie No. 1
Schubert ............."Unfinished" Symphony (new recording); Symphony
No. 5: "Rosamunde," Ballet Music
Schumann ..........Symphony No. 1 ("Spring")
Shostakoviteh ........Symphony No. 9
Sibelius ..............Symphonies Nos. 2 and 5; "Pohjola's Daughter";
"Tapiola"; "Maiden with Roses"
Sousa ................"The Stars and Stripes Forever," "Semper Fidellg"
Strauss. J.............Waltzes: "Voices of Spring." "Vienna Blood"
Strauss, R............."Also Sprach Zarathustra," "Don Juan,"
"Till Eulenspiegel's Merry Pranks"
Stravinsky ...........Capriecio (Sanromfi) : Sons of the. Volga Kargemen
Tchaikovsky ..........Symphonies Nos. 4. 5. 6; Waltz (from String Serenade): Overture, "Romeo and Juliet"; Fantasia, "Fraucesca da Rimini"
Thompson ............"The Testament of Freedom"
Vivaldi .............. Concerto Grosso in D minor
Wagner ..............Prelude and flood Friday Spell from "Parsifal"; Overture to 'The Flying Dutchman"
Weber .............. Overture to "Oberon'
The Boston Symphony Orchestra
BALDWIN Because of its brilliant resonant tone
the Baldwin is unequaled in Concerto works with orchestra
or in recital.
THE BALDWIN PIANO COMPANY
160 Boylston Street Boston, Massachusetts
Baldwin, Acrosonic, Hamilton & Howard Pianos
Baldwin Electronic Organs
And dealers in all major cities