• Connor Lenahan (COM’17)

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There is 1 comment on Arthur Fiedler Night at the Boston Pops

  1. In the beginning his memorabilia was not destined for BU rather the Boston Public Library because at that time the Music Department of the BPL recently had acquired Serge Koussevitzky’s music scores of works he had either premiered or conducted with the Boston Symphony Orchestra. Among them: Bartok “Concerto for Orchestra” with the original ending crossed out with the new one as we know of today. Roy Harris “Symphony No. 3” with cuts that Leonard Bernstein made at the request of Koussevitzky (the BSO 1939 recording have mistakes in the parts that Toscanini caught later when he performed work in 1940 with the NBC Symphony), Copland “Appalachian Spring” (in pencil), etc. I worked with all those scores when I was employed at the BPL. Fiedler came to the BPL with Olga Koussevitzky, Aaron Copland and few others that I can’t recall at the time who was thinking of giving his memorabilia to the library. That was not the first time I Arthur Fiedler. One has to go back to the summer of 1964 when RCA had just released Darius Milhaud “A Frenchman in New York” and Gershwin “An American in Paris.” with Fiedler and the Boston Pops Orchestra. The Milhaud piece was commission by RCA. Fiedler was signing autographs of the recording what was then known as Jordan Marsh Company (today you know it as Macy’s)so that’s when I had the pleasure of meeting him. Fiedler replaced Alfredo Cassella after 1929 when he was named conductor of the “Pops”1930. Cassella a composer in his own right was not popular with the audience or with the orchestra.

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