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Boston Symphony Orchestra Concert Programs, Season 53,1933-1934

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SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTY-THIRD SEASON, 1933-1934 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE AND JOHN N. BURK COPYRIGHT, 1934, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. BENTLEY W. WARREN President HENRY B. SAWYER Vice-President ERNEST B. DANE Treasurer ALLSTON BURR ROGER I. LEE HENRY B. CABOT WILLIAM PHILLIPS ERNEST B. DANE EDWARD M. PICKMAN N. PENROSE HALLOWELL HENRY B. SAWYER M. A. DE WOLFE HOWE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 585 n en uotw ami name& mib {OomAwnu a& (bocecatcw cmd zJ wu&£ee, uoa awe fwowtima uie wtieiMk of an m&iitwticm weiidewina d^lwwat/mea &w= vice in a mcbtimiwt^nliieia. Old Colony Trust Company 17 COURT STREET, BOSTON Affiliated with The First National Bank ^Boston EXECUTOR * TRUSTEE • GUARDIAN • CONSERVATOR • AGENT 586 Title Page ... .... Page 585 Programme ....... 589 Analytical Notes: " Sir Henry Wood: Biographical Sketch . 590 Purcell . Suite (Arranged for Orchestra by Sir Henry Wood) . 591 Beethoven Rondino (For eight wind instruments) 608 Mozart Andante from Cassation No. 1 for Strings 609 Elgar . "Enigma" Variations on an Original Theme, Op. 36 . 610 Strauss . "Don Juan," Symphonic Poem 619 Lalo .... Norwegian Rhapsody 625 Advance Programme . 627 Special Concert Announcements .... 628-629 Teachers' Directory 630-632 Personnel Opposite page 632 587 —CijaniJler & Co — Tremont Street at West—Boston In our January Sale of Fur Coats— We present the seasons outstanding value Huduason (Seal dyed Muskrat) Croats $139 made to our special order in new advanced styles Our expert selected the skins for these coats from literally hundreds — choosing them for depth of fur, perfection of dye and flawless quality. The styles represent those most important this season. These coats may be purchased on our ten-payment budget plan. Second Floor 588 FIFTY-THIRD SEASON, NINETEEN HUNDRED THIRTY-THREE AND THIRTY-FOUR FRIDAY AFTERNOON, JANUARY 19, at 2.30 o'clock SATURDAY EVENING, JANUARY 20, at 8.15 o'clock Sir Henry Wood, Conducting Purcell . Suite (Arranged for Orchestra by Sir Henry Wood) I. Prelude ("Dioclesian") II. Minuet ("Distressed Innocence") III. Largo (Fifth Sonata) IV. "Song of the Birds" ("Timon of Athens") v. Finale (First Sonata) (First performances in Boston) Beethoven Rondino (For eight wind instruments) (First performances at these concerts) Mozart Andante from Cassation No. 1 for Strings (First performances at these concerts) Elgar "Enigma" Variations on an Original Theme, Op. 36 Theme: Andante. Variations. I. "C. A. E." L'istesso tempo. II. "H. D. S.—P." Allegro. III. "R. B. T." Allegretto. IV. "W. M. B." Allegro di molto. V. "R. P. A." Moderate VI. "Ysobel" Andantino. VII. "Troyte" Presto. VIII. "W. N." Allegretto. IX. "Nimrod" Moderato. X. "Dorabella—Intermezzo." Allegro. XI. "G. R. S." Allegro di molto. XII. "B. G. N." Andante. XIII. "X. X. X.—Romanza." Moderato. XIV. "E. D. U.—Finale." Strauss "Don Juan," Symphonic Poem Lalo Norwegian Rhapsody There will be an intermission of ten minutes after Elgar's Variations 589 SIR HENRY WOOD The history of musical performance in England during the last forty years is inseparably bound with the career as conductor of Sir Henry Joseph Wood. Born in London, March 3, 1870, he was taught music by his mother, became "deputy organist" when a boy of ten in St. Mary Aldermanbury, and subsequently in other churches of London. He aimed to become a composer, studied for six years at the Royal Academy of Music, and wrote music in small and large forms. From the time that he joined a touring opera com- pany, at the age of nineteen, conducting has been his exclusive musical pursuit (excepting his experience as teacher of singing, which has led to his career as choral conductor). For several years he conducted much opera, from Gilbert and Sullivan to the Italian repertory, and "Eugen Onegin." In 1895 he became connected with the then newly built Queen's Hall, an association which still continues. To the Promenade Con- certs, which, from their first season found a large and immediate public, were added in 1897 a Saturday afternoon and a Sunday series of symphony concerts. According to the English recorders, these three series gave a new impetus to musical life in London. In both the symphony and the Promenade Concerts, Henry Wood gained a reputation through the years for the introduction in Eng- land of much new music, from various countries. H. C. Colles, in his article for Grove's Dictionary, says of Wood's first wife, the singer, Olga Ouroussov: "She had been his pupil and became to a certain extent his teacher, for he owed much to her accomplishment and fine taste. She was no doubt partly responsible for the direction of Wood's attention to the great wealth of Russian orchestral music which was still practically unknown in England in the nineties." Rosa Newmarch, in her monograph "Henry J. Wood," published as long ago as 1904, takes exception to the point of view as perhaps "reasoning backwards." It may well have been the conductor's musical inclinations and his type which found him a Russian wife. In any case, Sir Henry Wood was, and is, no narrow specialist. He has deeply probed each musical nationality, including his own, and brought forward many young virtuosos at his concerts. it was in 1911 (after his first wife's death) that he was knighted. To this day, Sir Henry Wood maintains his reputation as a coura- geous exponent of new music. He has on many occasions invited com- posers of Europe (such as Strauss, Debussy, Reger, Scriabin, Schonberg) to lead their own music at Queen's Hall. He has con- ducted at various festivals in European capitals. He visited this 590 country 1896 and 1904, conducting the New York Philharmonic Orchestra, and again in the summers of 1925 and 1926 to conduct at the Hollywood Bowl. Choral conducting has been an important and an enduring part of Sir Henry Wood's activities. In the first years of this century he became conductor of the choral festivals in Birmingham, Shef- field, Wolverhampton, Norwich, and some of these he still leads. Next autumn the "Proms," so called, will reach their fortieth season, under his direction. Suite (arranged for Orchestra by Sir Henry Joseph Wood) Henry Purcell (Born in London, 1658 (or 1G59) ; died in London, November 21, 1695) "Poetry and painting have arrived at perfection in our own country, yet Musick is yet but in its nonage, a forward child, which gives hope of what it may be hereafter in England, when the masters of it shall find more encourage- ment. 'Tis now learning Italian, which is its best master—we must shake off our barbarity by degrees." So, with a deprecating flourish and an adroit hint, Henry Purcell dedicated to Charles, Duke of Somerset, his printed score of BY ENGLISH COMPOSERS Piano Net Songs Net ROY AGNEW ADAM CARSE Contrasts. Cycle of five pieces ;i.oo A Jewel Cycle. 4 songs, each. .$.50 EDGAR L. SAINTON S. COLERIDGE-TAYLOR Will o' the Wisp .40 Life and Death (3 keys) 50 Puck .40 ALMA GOATLEY ELLEN COLEMAN Now that April's There (2 Poems and Pictures. 5 com- keys) 60 1.00 Pipe out, ye Silver Flutes (2 EDWARD ELGAR kevs) 60 .50 JULIUS HARRISON JOHN PENNINGTON The Wayfarer (2 keys) 50 .60 Fulfilment (2 keys) 50 THEOPHIL WENDT GUSTAV HOLST Valse Glissando on Black Keys .60 She who is dear to me (2 keys) .50 Awake, my Heart keys) . .50 ORLANDO MORGAN (2 Violin and Piano Love and Eternity (2 keys) . .50 MARY CARMICHAEL I wove a fabric (2 keys) 50 Melodies for Two Violins and II. WALDO WARNER Piano (arranged) .75 Flowers, Awake ! (3 keys) . .50 EDWARD ELGAR Love and the Rose (With Sursum Corda .50 violin obligato) (2 keys) . .65 I . LIONEL TERTIS Knew not Love (2 keys) . .50 Londonderry Air (arranged) .50 Choruses for mixed and women's voices For Orchestra by Adam Carse, S. Coleridge-Taylor. C. V. STANFORD Gustav Hoist, C. V. Stanford. Symphony No. 7 in B-flat H. Waldo Warner, Felix White, and Score 6.00 others. The ARTHUR P. SCHMHOT CO. 120 Boylston St. 591 Beauty that never ages Tomorrow, as you walk down ever designed. And because they the streets of Boston, try to have that beauty which is date- guess the age of the Packard's you less, they will still be in style a see. You'll find it difficult indeed. half dozen years from now. For the lines of a Packard never We invite you to come in and grow old. Even after five or six see these new Packards. Then years' service, a Packard is smart drive one of them—and discover — a car you can be proud to be that the performance of this car seen in. is as thrilling as its beauty. The newest Packards are the most beautiful cars Packard has PACKARD PACKARD MOTOR CAR CO. OF BOSTON 1089 COMMONWEALTH AVE. ASK THE MAN WHO OWNS ONE 592 "Dioclesian," from which, an excerpt is played in this suite. "Dio- clesian" was a spectacular play, concocted in 1690, with the usual restoration furbishings, from Beaumont and Fletcher's "The Prophetess." It was a rare and costly thing to publish such a score in those days, but the young Purcell had his reasons. An operatic rivalry was on, even in that pre-Handelian day; the opposing com- poser was Grabu, a Frenchman, who had produced and printed his music to "Albion and Albanius," on a text of John Dryden.
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  • Boston Symphony Orchestra Concert Programs, Season 24,1904-1905, Trip

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    THE LYRIC, BALTIMORE. BostonSymptionuOicfiesti; Mr. WILHELM GERICKE, Conductor. Twenty-fourth Season, J904-J905. PROGRAMME OF THE THIRD CONCERT TUESDAY EVENING, JANUARY 10, AT 8.15 PRECISELY. With Historical and Descriptive Notes by Philip Hale* Published by C. A. ELUS, Manager. l THE MAKERS OF THESE INSTRUMENTS have shown that genius for pianoforte making that has been defined as "an infinite capacity for taking pains." The result of eighty years of application of this genius to the production of musical tone is shown in the Chickering of to-day. Catalogue upon Application CHICKERING & SONS 79J Tfemont Sireei. Boston. REPRESENTED IN BALTIMORE BY KRANZ-SMITH PIANO COMPANY Boston The Lyric, Mount Royal and ty ^VlTinhnnV "W" Maryland Avenues, ^^IIipiIUIlJ S. Baltimore. l^tt/v tlAgi' fgl Twenty-fourth Season, J904-J905. V-rl C'llt^LlCl Twentieth Season in Baltimore. Mr. WILHELM GERICKE, Conductor. THIRD CONCERT, TUESDAY EVENING, JANUARY 10, AT 8.15 PRECISELY. PROGRAMME. Beethoven .... Symphony No. 5, in C minor, Op. 67 I. Allegro con brio. II. Andante con moto. III. Allegro: Trio. IV. Allegro. " " Bruch . Penelope's Recitative and Prayer from Odysseus Brahms .......... Waltzes (Orchestrated by W. Gericke.) Edward Elgar . " Sea Pictures," Three Songs from a Cycle of Five for Contralto and Orchestra, Op. 37 " Wagner ..... Overture to " The Flying Dutchman SOLOIST: Miss MURIEL FOSTER. There wjll be aa intermission of ten minutes after the Bruch selection. 3 THE Musicians Library No contemporary venture in music publishing is fraught with more interest to lovers of the art than the Musicians Library, issued by the Oliver Ditson Company. The volumes already in hand show conscientious adherence to high musical ideals.
  • Roger Quilter

    Roger Quilter

    ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music.