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Boston Symphony Orchestra Concert Programs, Season 43,1923

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Boston Symphony Orchestra Concert Programs, Season 43,1923 SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, May 1, at 8. 00 ^WUiUliJ)/;//^ '% ' BOSTON SYAPHONY OROIESTRK INC. FORTY-THIRD SEASON J923-J924 PR5GR7W\E U 8 h M. STEINERT & SONS New England Distributors for STEINWAY STEINERT JEWETT WOODBURY PIANOS DUO -ART Reproducing Pianos Pianola Pianos U2JJ2222J VICTROLAS VICTOR RECORDS DeForest Radio Merchandise STEINERT HALL 162 Boylston Street BOSTON MASS. SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-THIRD SEASON, 1923-1924 INC. PIERRE MONTEUX, Conductor SEASON 1923-1924 THURSDAY EVENING, MAY 1, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1924, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE . Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1 2EETffO\'e,\ and c^Jturx bjc\c^y«h STEIN WAY THE INSTRUMENT OF THE IMMORTALS the 26th of March, 1827, died Liszt and Rubinstein, for Wagner, BerfiOE ONLudwig van Beethoven, of whom and Gounod. And today, a still greets it has ben said that he was tin- Stcinway than these great men knew greatest of all musicians. A generation responds to the touch of Padcrewksl later was horn the Steinway PianOi which Rachmaninoff and Hofmann. Such, fl is acknowledged to he the greatest of all fact, are the fortunes of time, that tO^H pianofortes. What a pity it is that the this Instrument of the lmmortth r could not himself have this piano, more perfect than an' played Upon the greatest instrument — Beethoven ever dreamed of, can be pos that these two cou! I not haw Iv.n born tested and played and cherished not onl .1! Though the Steinway was de- by the few who are the masters of musw Beethoven, it was here in t:me for but by the many who are its lovers. Slrlnirau fr Sons and thrir dralrrs Aoi* made it contoniently posslhl* for music lovers to own a SteinWav 1 1 'in ts. SH7 ) and up, plut freight at points distant from New York. STEIN WAY 8 SONS, Stcinway Hall, 109 E 14th Street, NewYor 6 FORTY-FOURTH SEASON 1924-1925 SANDERS THEATRE HARVARD UNIVERSITY SERGE KOUSSEVITZKY, Conductor THURSDAY EVENINGS AT EIGHT October 1 November 6 December 4 January 8 February 5 February 26 March 19 April 2 April 30 JULIUS CHALOFF In this musician a composer-pianist of rare quality and power has been added to the list of Ampico artists. ^jHe was born in Boston of Russian parents and has attained a high place among eminent musicians and real distinction in his musical achievements. THE AMPICO His playing of Islamey, that won- position — its blazing color, its derful Oriental Fantasie by Bala- Oriental enchantment, with ut- Irfrew, adds yet another triumph most fidelity. 'From crashing to die long line of Ampico suc- crescendo to delicate diminuen- cesses. For the Ampico re-enacts do, all the exquisite shading in- Julius Ch. doffs interpretation of spired by the art ists own genius this tremendously difficult com- is brought to you by the Ampico. 1 69 Tremont Street. Boston PIANOS <>i am PRICES BACH PR] EMINENT IN ITS mass i SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Forty-third Season, 1923-1924 PIERRE MONTEUX, Conductor NINTH CONCERT THURSDAY EVENING, MAY 1 AT 8.00 PROGRAMME Beethoven Overture to "FidehV Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio. II. Andante con moto. j III. Allegro; Trio. 1 IV. Allegro. Wagner . "The Ride of the Valkyries" from "The Valkyrie" Wagner A Siegfried Idyl Wagner Excerpts from "The Ring of the Nibelungs" Siegfried's Ascent to Bruennhilde's Rock ("Siegfried," Act III, Scene 2); Morning Dawn and Siegfried's Rhine Journey (Prologue to "The Dusk of the Gods"); Close of "The Dusk of the Gods" There will be an intermission of ten minutes after the symphony To Paris by way of Iceland and the North Cape on the Raymond-Whitcomb Midnight Sun Cruise Take this wonderful cruise as your way to Europe, instead of the trans-Atlantic ferry. Sail June 26 (at the height of the season) on the Cunard steamship "Franconia"— the newest great liner. In the five weeks of leisurely cruising you will see the marvelous Midnight Sun, quaint Reykjavik in far-away Iceland, the stupendous North Cape and all the greatNorwegian Fjords with their fascinating little villages and spectacular sea and mountain scenery. Arrive at Boulogne July 21 in ample time for summer travel abroad. Return passage on any Cunard sail- ing is included in the Cruise rate. Europe this Summer Tours through all the countries of Western Europe. Special tour of Switzerland and the Passes of the Alps. Motor tours through Bngland and Scotland. Indi\ idual Travel Service for those who prefer to travel without rf or on their own itinerary. Your own datesand route-. arrangements and reservations for you. Our chain of 1 uropean offices at your command. The new "Guide to European Travel" explains thi- system. Send for a copy. Culiforniti Alaska I'ncific North* est Raymond & Whitconib Co. emple I on Telephone, Bead) 6964 Overture to "Fidelio," in E major, Op. 72 Ludwig vax Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827) Beethoven's opera, "Fidelio, oder die eheliche Liebe," with text, adapted freely by Joseph Sonnleithner from the French of Bouilly's "Leonore; ou, 1' Amour Conjugal," a "historical fact" in two acts and in prose, music by Gaveaux, Opera-Comique, Paris, February 19, 1798, was first performed at Vienna, November 20, 1805, with Anna Pauline Milder, afterwards Mrs. Hauptmann, as the heroine. "Leonore" No. 2 was the overture played at the first performance in Vienna. The opera was withdrawn, revised, and produced again on March 29, 1806, when "Leonore" No. 3, a remodelled form of No. 2, was played as the overture. The opera was performed twice, and then withdrawn. There was talk of a performance at Prague in 1807, and Beethoven wrote for it a new overture, in which- he re- tained the theme drawn from Florestan's air, "In des Lebens Frlih- lingstagen," but none of the other material used in Nos. 2 and 3. The opera was not performed, and the autograph of the overture disappeared. "Fidelio" was revived at Vienna in 1814, and for this performance Beethoven wrote the "Fidelio" overture. We know from his diary that he "rewrote and bettered" the opera by work from March to May 15 of that year. The "Fidelio" overture is the one generally played before per- formances of the opera in Germany, although Weingartner has tried earnestly to restore "Leonore" No. 2 to that position. "Leonore" No. 3 is sometimes played between the acts. "Leonore" No. 1 is often heard either in theatre or in concert-room. Marx wrote much in favor of it, and asserted that it was a "musical delineation of the heroine of the story, as she appears before the clouds of mis- fortune have settled down upon her." The "Fidelio" overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, kettledrums, two trombones, and strings. Symphony No. 5, C minor, Op. 67 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827) Beethoven sketched motives of the allegro, andante, and scherzo of this symphony as early as 1800 and 1801. We know from sketches that while he was at work on "Fidelio" and the pianoforte concerto in Gr major,—1804-1806,—he was also busied with this symphony, which he put aside to compose the fourth symphony, in B-flat. The symphony in C minor was finished in the neighborhood of Heiligenstadt in 1807. Dedicated to the Prince von Lobkowitz and the Count Rasumoffsky, it was published in April, 1809. It was first performed at the Theater an der Wien, Vienna, Decem- ber 22, 1808. All the pieces were by Beethoven. The symphony is scored for two flutes, two oboes, two clarinets, — two bassoons, two horns, two trumpets, kettledrums, strings; and in the last movement piccolo, double-bassoon, and three trombones are added. Instead of inquiring curiously into the legend invented by Behind* ler, —"and for this reason a statement to be doubted," as Bfttow said, — that Beethoven remarked of the first theme. "So knocks Fate <»n the door!"* instead of Investigating the statement that the rhythm of this theme was suggested by the note of a bird.—oriole or goldfinch,—heard during a walk: instead of a Ions analysis. which is vexation and confusion without the themes and their va- riants in notation,—let US read and ponder what Hector Berlioz wrote : "The most celebrated of them all, beyond doubt and peradventnre. is also the first, I think, in which Beethoven gave the reins to his vast imagination, without taking for guide or aid a foreign thought. In the first, second, and fourth, he more or less enlarged forms already known, and poetized them with all the brilliant and pas- sionate inspirations of his vigorous youth. In the third, the 'Eroica,' there is a tendency, it is true, to enlarge the form, and the thought is raised to a mighty height; but it is impossible to ignore the influence of one of the divine poets to whom for a long time the great artist had raised a temple in his heart. Beethoven, faithful to the Iloiatian precept, 'Nocturna versate maim, versate diwnaf read Homer constantly, and in his magnificent musical epopee, which, they say.
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