The Art of Serge Koussevitzky; 2; Tchaikovsky: Symphony No. 5

This is what impairs welcome you to the second in a series of 39 programs devoted to the art of sands because of its cage for 25 years music director of the Boston Symphony Orchestra from 1924 to 1949. The year 1961 marks the 10th anniversary of the death of Dr. Seuss Wicki. Programs are drawn from concerts given by Dr. Spitz K. and the Boston Symphony Orchestra during the years 1943 to 1948. The concert will be devoted to a single work Symphony Number five in the minor by Peter in its Tchaikovsky. Tell us something of his memories about his dear friend and teacher Sasha's Wicki. We have as our guest Leonard Bernstein. Last summer during the 1961 Berkshire festival at Tanglewood one of the weekends we set aside as a memorial tribute to sash because of its gay whose death occurred 10 years earlier in 1951 one of the three conductors that weekend was Leonard Bernstein conductor of the New York Philharmonic famous and distinguished

pupil of docs because of its case. As a matter of fact one of the works Mr Bernstein conducted with the Boston Symphony was the very symphony we shall hear docked because of its key conduct the checkoff the fifth in E minor while Charles munch in the orchestra rehearsing Beethoven's a Rockefeller one of the cause of its memorial concerts Leonard Bernstein recorded the following reminiscences concerning sash because of its cage. Mr. Bernstein. Speaking from a shed at Tanglewood on August 12 1961. Filled with emotions memories and regrets. Ten years ago this very day. The first memorial concert. He had just.

Received. In his honor. And tonight 10 years to the day and the date we are playing another program in his memory. Actually the memories go back much further than 10 years. Ago back in fact. Twenty one years. To 1940 when Tanglewood first opened. And I came as a student of. 21 or something like that. To study with Koussevitzky at Tanglewood. I'd only just met him. At the audition. And. I was on my knees of course with reverence. But I was not prepared. With all the. Impressions I had had of him of his glamour of his devotion and

dedication. But his high insistence on the finest quality and his relentless n'est music. I was not prepared for the incredible. Zeal. That I was to find here at. His teaching methods were what one might call inspirational rather than didactic. He taught. By. Allegory almost. He taught by symbol. Sunshine and warmth. Storms tragedy. But he always made you know a meaning in the music. In addition of course to be practical as well. There was an aura around Tanglewood in those days. The students walked around in a kind of big static glow. As I recall. Somewhat

off the ground about six inches off the ground nobody ever slept. We talked music and played music day and night listened to music absorbed did like blotters. And over it all was this tremendous. Atmosphere of Koussevitzky making it all making it all a terribly important event he had that quality of making everything an important event a cup of tea. A joke. Anything. And that is what I miss mostly since his death in the last 10 years. I find that things have changed. That glow is a little bit gone and I'm not speaking only of Tanglewood I'm speaking of the world of music. There is something irreplaceable. About. In music.

That Koussevitzky brought to it. When he walked on the stage to do a concert it didn't matter what the piece was. Or the Eroica of Beethoven. Or a controversial new work or even a work that might turn out to be of rather slight or importance. When he walked on the stage this was the major moment of history. It was like the culmination of thousands of years of history. One moment after another concert after concert piece after piece. It was an incredible talent he had with this. And. Lord knows we have many great performers and conductors in the world but I have never seen one match this quality of importance and he gave to music the feeling of a constant festival. He made his audiences. Sit up. And shine.

The way he did. I don't think that can ever be replaced. Our guest has been Leonard Bernstein devoted friend and distinguished pupil of sash because of its key. Now from the concert of November 6th 1943 sash because of its gay conducts the Boston Symphony Orchestra in Symphony Number five in D minor by Tchaikovsky. A work which is part of that large 19th and 20th century Russian repertory so closely associated with the name of sash because of its. The first movement his mark on Dante. The second andante can time be they going to Les Chanda the third volume so they get all of that out and the fourth movement and Dante Maestro So they're going to be dodgy. Thank you. Or.

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64 by Peter and it's time for this key conductor of the Boston Symphony Orchestra. This brings us to the close of the second program in the series of concerts of the Boston Symphony Orchestra conducted by sash because of its gay and the years nine hundred forty three thousand nine hundred forty eight. Next week the Boston Symphony Orchestra and its gay will present to work on the 18th century the symphony number 88 in G by Haydn and Symphony Number 39 and a flat by Mozart. This program was produced for the Boston Symphony transcription Trost by Jordan am Whitelaw in cooperation with the American Broadcasting Company on the Library of Congress. The engineer William B is sick. This is what impairs inviting to be with us again next week.