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Boston Symphony Orchestra Concert Programs, Season 60,1940-1941

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Boston Symphony Orchestra Concert Programs, Season 60,1940-1941 crew! BOSTON SYMPHONY ORCHESTRA FOUNDED IN 188) DY HENRY L. HIGGINSON SIXTIETH SEASON 1940-1941 [Monday and Tuesday] Boston Symphony Orchestra [Sixtieth Season, 1940-1941] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. KRIPS, A. RESNIKOFF, V, Concert-master gundersen, R. KASSMAN, N. CHERKASSKY, P, LEIBOVId, J. THEODOROWICZ, J- HANSEN, E. MARIOTTI, V, FEDOROVSKY, P. TAPLEY, R. EISLER, D. PINFIELD, C. BEALE, M. SAUVLET, H. KNUDSON, C. ZUNG, M. LEVEEN, P. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger, s. DUBBS, H. Violas LEFRANC, J. FOUREL, G. VAN WYNBERGEN, C. GROVER, H. A. CAUHAPE, J. ARTIERES, L. BERNARD, WERNER, H. LEHNER, E. KORNSAND, E. GERHARDT, S. humphrey,G. Violoncellos BEDETTI, J. LANGENDOEN, J. DROEGHMANS, H. STOCKBRIDGE, C. FABRIZIO, E. ZIGHERA, A. CHARDON, Y. ZEISE, K. MARJOLLET, L. zimbler, j. Basses MOLEUX, G. JUHT, L. GREENBERG, H. GIRARD, H. BARWICKI, J. DUFRESNE, G. FRANKEL, I. PAGE, W. PROSE, P. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. POLATSCHEK, V. ALLARD, R. PAPPOUTSAKIS, J. DEVERGIE, J. VALERIO, M. PANENKA, e. KAPLAN, P. LUKATSKY, J CARDILLO, P. LAUS, A. Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MAZZEO, R. PILLER, B. Horns Horns Trumpets Trombones VALKENIER, W. SINGER, J. MAGER, G. RAICHMAN, J. MACDONALD, W. LANNOYE, M LAFOSSE, m. HANSOTTE, L. H. VOISIN, R. L. LILLEBACK, W. SINGER, J. SHAPIRO, GEBHARDT, W. KEANEY, P. VOISIN, R. SMITH, V. Tuba Harps Timpani Percussion ADAM, E. ZIGHERA, B. SZULC, R. STERNBURG, S. CAUGHEY, e. polster, m. WHITE, L. ARCIERI, E. Librarian rogers, l. j. SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 SIXTIETH SEASON, 1940-1941 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes by John N. Burk The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Ernest B. Dane ...... President Henry B. Sawyer Vice-President Ernest B. Dane ...... Treasurer Henry B. Cabot M. A. De Wolfe Howe Ernest B. Dane Roger I. Lee Reginald C. Foster Richard C. Paine Alvan T. Fuller Henry B. Sawyer Jerome D. Greene Edward A. Taft N. Penrose Hallowell Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [ 1 1 Old Colony Trust Company 17 COURT STREET, BOSTON Member of the Federal Deposit Insurance Corporation Investment and Management of Property Income Collection Tax Accounting Do you realize the small cost of having us shoulder these burdens for you? Conferences with our officers entail no obligation. AGENT * TRUSTEE * GUARDIAN * EXECUTOR Allied with The First National Bank ^Boston fa] SIXTIETH SEASON NINETEEN HUNDRED FORTY AND FORTY-ONE Second Programme MONDAY EVENING, December 2, at 8:15 o'clock TUESDAY AFTERNOON, December 3, at 3 o'clock Prokofieff "Classical" Symphony, Op. 25 I. Allegro II. Larghetto III. Gavotte IV. Finale Brahms Concerto for Violin and Orchestra in D, Op. 77 I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace INTERM ISSION Shostakovich Symphony No. 5, Op. 47 I. Moderato II. Allegretto III. Largo IV. Allegro non troppo SOLOIST PAUL MAKOVSKY BALDWIN PIANO An exhibit of paintings by eight contemporary artists can be seen in the First Balcony Gallery [3] JORDA NOTABLE SAVINGS! loin and lQln \^-enii ry Cjme KDvi6lish QsO FROM $ 1.00 Fine bindings, irreplaceable out-of-print items, rare old sporting books, law, military . standard sets and literary curiosities . the selection is tempting as a treasure hunt! Because of their exceptionally fine condition and their purchase from important London collections, you will want to bring all future gift lists to your own browsing. Prices indicate compelling reductions! A choice group of English Prints Coaching, hunting, fishing, racing scenes . bird and flower pieces . single subjects or sets. .Highly interesting! $1.50 to $7.50. BOOKS — STREET FLOOR — ANNEX [4] "CLASSICAL" SYMPHONY, Op. 25 By Serge Prokofieff Born at Sontsovka, Russia, April 23, 1891 The first performance of the "Symphonie Classique" was in Petrograd, April 21, 1918, the composer conducting. Prokofieff arrived in New York in September, and in December the Russian Symphony Orchestra in New York played this symphony for the first time in America. It was introduced at the Boston Symphony concerts January 26, 1927. The work is dedicated to Boris Assafieff, a writer on musical sub- jects whose pen name is "Igor Gleboff." The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Written in 1916-17, considerably before "neo-classicism" set in, this symphony in miniature surely cannot be looked upon as a pledge to past ways. It might rather be considered a momentary dalliance with the eighteenth-century formula. It would probably be as mistaken to look for reverence in the "Symphonie Classique" as to look for irreverence in it. Let us say that the composer had a single and passing impulse to weave his own bright threads into an old pattern. •* (L Snow Train Lodge is open Come see our collection of outdoor sports clothes for all types of skiers, and skaters, novices and otherwise. Complete outfits and practical acces- sories are assembled for easy selection. Sixth floor. Steams [5] Prokofieff gives himself precisely the orchestra of Mozart or Haydn; he is punctilious in his formal procedure. He is also concise — so much so that the four movements occupy no more than thirteen minutes — about half the usual duration of the symphonies which he took as model. D major is the prevailing key. The first movement, with clipped phrases, staccato and to the point, sets forth its themes, its develop- ment, its recapitulation and coda, all complete. The Larghelto is in simple rondo form, beginning and ending with a charming pizzicato in the strings, pianissimo, a mere accompanying figure which never- theless lingers in the memory. The theme and its development has a suggestion of eighteenth-century ornamentation, but is in less serious vein. Prokofieff departs from the letter rather than the spirit of his models in choosing a gavotte instead of the rigidly customary minuet. The Finale gives, naturally, a far greater freedom to his fancy, al- though he sets himself a first theme upon the common chord which his forbears might have found quite in order and to their own pur- poses. The working out, recapitulation, and coda are virtuously ob- served. The episodic byplay turns up a sauce of "modern" wit which the periwigged masters could scarcely have approved. [copyrighted] CONCERTO IN D MAJOR FOR VIOLIN, Op. 77 By Johannes Brahms Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897 Composed in the year 1878, Brahms' Violin Concerto had its first performance by the Gewandhaus Orchestra in Leipzig on January 1, 1879, Joachim playing the solo and Brahms conducting. The orchestral part of the concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings. The concerto has been performed at Boston Symphony concerts by Franz Kneisel (December 7, 1889); Adolph Brodsky (November 28, 1891); Franz Kneisel (April 15, 1893, February 13, 1897, December 29, 1900); Maud MacCarthy (November 15, 1902, December 19, 1903); Fritz Kreisler (March 11, 1905); Hugo Heermann (No- vember 25, 1905); Carl Wendling (October 26, 1907); Felix Berber (November 26, 1910); Anton Witek (January 20, 1912); Carl Flesch (April 3, 1914); Anton Witek (November 24, 1916); Richard Burgin (December 17, 1920); Georges Enesco (Jan- uary 19, 1923); Ja'cques Thibaud (January 15, 1926); Albert Spalding (December 2, 1927); Jascha Heifetz (March 15, 1929); Nathan Milstein (March 13, 1931). Bronislaw Huberman performed it at a Tuesday afternoon concert, December 18, 1934; Jascha Heifetz (December 17, 1937). [6] Ln this the Sixtieth Season of the Boston Symphony Orchestra, we wish to pay our tribute to Major Henry Lee Higginson, whose vision laid the foundation of the greatest Orchestra in the world today. From a group of 60 players in 1881 the Orchestra has increased to 107 members; the season of 20 weeks with 20 concerts, to a season of 46 weeks with over 200 concerts; the total annual attendance from 83,000 to 750,000. These figures, impressive in themselves, testify to the fact that from the beginning the Boston Symphony Orchestra, through its variety of programs and con- certs, and in the range of its prices, has served every group — rich and poor, young and old. Its public has always been wider than Boston. In a sense it may be regarded as a New England institution. But it is also in a real sense a national institution. This is a distinguished record of success which many of us have been privileged to share for virtually the full sixty years. In the beginning and for thirty- seven years, the heavy financial responsibility of the Orchestra was assumed by Major Higginson alone. With the incorporation of the Orchestra in 1918 ended the long chapter of the Orchestra as the creation of an individual and began the new emphasis on the Orchestra as an institution belonging to the public. It is through the Society of Friends that the public has assumed the responsibility of meeting the annual deficit formerly borne by Major Higginson. It is their contributions, large and small, that make possible the continuance of the Orchestra. Let us seize upon this Sixtieth Season as an oppor- tunity to increase the membership in the Society of Friends to a number truly representative of our city and of our appreciation of what the Orchestra has brought to us these many years. Cheques drawn to Boston Symphony Orchestra and mailed to the Treasurer at 6 Beacon Street, Boston, constitute en- rollment without further formality and give to each of us a sense of ownership in this great Orchestra.
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