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Boston Symphony Orchestra Concert Programs, Season 52,1932-1933, Trip

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ACADEMY OF MUSIC . BROOKLYN Friday Evening, March 3, at 8.15 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn PR5GR2WIE %m4 Sound BolumeH OF THE Boston Symphony Orchestra Programme Containing Mr. Philip Hale's analytical and descriptive notes on all works performed during the season. "A Musical Education in One Volume" "Boston's Remarkable Book of Knowledge" Lawrence Gilman in the N, Y. Herald and Tribune Price $6*00 per volume Address SYMPHONY HALL BOSTON, MASS. ACADEMY OF MUSIC BROOKLYN FIFTY-SECOND SEASON, 1932--1933 INC. Dr. SERGE KOUSSEVITZKY, Conductor FRIDAY EVENING, MARCH 3, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1933, 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 HENRY B. CABOT ARTHUR LYMAN ERNEST B. DANE WILLIAM PHILLIPS N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER FREDERICK E. LOWELL BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager Fifty-second Season, 1932-1933 Dr. SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Lauga, N. Sauvlet, H. ResnikorT, V. Concert-master Gundersen, R. Kassman, N. Hamilton, V. Eisler, D. Theodorowicz, J. Hansen, E. Mariotti, V. Fedorovsky, P. Tapley, R. Leibovici, J. Pinfield, C. Leveen, P. Cherkassky, P. Zung, M. Knudson, C. Gorodetzky, L. Mayer, P. Diamond, S. Zide, L. Fiedler, B. Bryant, M. Beale, M. Stonestreet, L. Messina, S. Munay, J. Del Sordo, R. Erkelens, H. Seiniger, S. Violas. Lefranc, J. Fourel, G. Bernard, A. Grover, H. Artieres, L. Cauhape, J. Van Wynbergen, C. Werner, H. Avierino, N. Deane, C. Fiedler, A. Geihardt, S. Jacob, R. Violoncellos. Bedetti, J. Langendocn, J. Chardon, Y. Stockbridge, C. Fabrizio, E. Zighera, A. Barth, C. Droeghmans, H Warnke, J. Marjollci, L Basses. Kunze, M. Lemaire, Ludwig, O. Girard, H. J Kelley, A. Vondrak, A. Moleux, G. Frankel, I. Dufresne, G. Flutes. Oboes. Clarinets. Bassoons. Laurent, G- Gillet, F. Polatschek, V. Laus, A. Biadet, G. Devergie, J. Mimart, P. Allard, R. Amerena, P. Stanislaus, H. Arcieri, E. Panenka, E. Allegra, E. (E-flat Clarinet) Piccolo. English Horn. Bass Clarinet. Contra-Bassoon, Battles, A. Speyer, L. Bettoney, F. Piller, B. Horns. Horns. Trumpets. Trombones. Boettcher, G. Valkenier, W. Mager, G. Raichman, J. Macdonald, W. Schindler, G. Lafosse, M. Hansotte, L. Valkenier, W. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Adam, E. Hain. F. Voisin, R. Mann, J. Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Sternburg, S. Adam, E. Caughey, E. Polster, M. White, L. Organ. Piano. Celesta. Librarian. Snow, A. Sanroma, J. Fiedler, A. Rogers, L. J. ACADEMY OF MUSIC BROOKLYN Forty-fifth season in Brooklyn DOI Fifty-second Season, 1932-1933 Dr. SERGE KOUSSEVITZKY, Conductor FOURTH CONCERT FRIDAY EVENING, MARCH 3 AT 8.15 PROGRAMME Haydn Symphony in G major, "The Surprise" (B. & H. No. 6) I. Adagio; Allegro assai. II. Andante. III. Menuetto. IV. Allegro di molto. Strauss . "Tod und Verkiarung" ("Death and Transfiguration") Tone Poem, Op. 24 Glazounoff Concerto for Violin with Orchestra, Op. 82 I. Moderate II. Andante. III. Allegro. Truhlingstimmen," Waltzes Johann Strauss . SOLOIST RICHARD BURGIN There will be an intermission of ten minutes after "Tod und Verkiarung" 3 Symphony, G- major, "The Surprise" (B. & H. No. 6) Josef Haydn (Born at Rohrau, Lower Austria, March 31, 1732; died at Vienna. May 31, 1809) This symphony, known as "The Surprise/' and in Germany as the symphony "with the drumstroke/' is the third of the twelve Salomon symphonies as arranged in the order of their appearance in the cata- logue of the Philharmonic Society (London). It is numbered 42 in Sieber's edition; 36 in the Conservatory of Paris Library; 6 in Breitkopf & Hartel's edition; 3 in Bote and Bock's; 140 in Wot- quenne's Catalogue; 4 in Peters'. Composed in 1791, this symphony was performed for the first time on March 23, 1792, at the sixth Salomon concert in London. It pleased immediately and greatly. The Oracle characterized the second movement as one of Haydn's happiest inventions, and likened the Surprise—which is occasioned by the sudden orchestral crashes in the Andante—to a shepherdess, lulled by the sound of a distant waterfall, awakened suddenly from sleep and frightened by the un- expected discharge of a musket. G-riesinger in his life of Haydn (1810) contradicts the story that Haydn introduced these crashes to arouse the English women from sleep. Haydn also contradicted it ; he said it was his intention only to surprise the audience by something new. "The first allegro of my symphony was received with countless 'Bravo's,' but enthusiasm rose to its highest pitch after the Andante with the drumstroke. "Ancora! ancoral' was cried out on all sides, and Pleyel himself com- DITSON PUBLICATIONS ^IJJ^I" 1116 TALKS ABOUT BEETHOVEN'S SYMPHONIES . 2.50 By Theodore Thomas and Frederick Stock SYMPHONY SINCE BEETHOVEN 1.00 By Felix Weingartner ART-SONG IN AMERICA 3.00 By William Treat Upton EARLY ENGLISH CLASSICS ... .1.00 Edited and Revised by George Pratt Maxim PROJECT LESSONS IN ORCHESTRATION . 1.50 By Arthur E. Heacox ESSENTIALS IN CONDUCTING . 1.75 By Karl W. Gehrkens OLIVER DITSON COMPANY, Inc. 359 Boylston Street Boston, Mass. pliinented ine on my idea." On the other hand, Gyrowetz, in his Auto- biography, page 59 (1848), said that he visited Haydn* just after he had composed the Andante, and Haydn was so pleased with it that he played it to him on the piano, and, sure of his success, said with a roguish laugh: "The women will cry out here!" C. F. Pohl added a footnote, when he quoted this account of Clyrowetz, and called at- tention to Haydn's humorous borrowing of a musical thought of Martini to embellish his setting of music to the commandment, "Thou shalt not steal," when he had occasion to put music to the Ten Commandments The "Surprise" Symphony was long known in London as "the favorite grand overture." * The symphony is scored for two flutes, two oboes, two bassoons, two horns, two trumpets, kettledrums, and strings. The first movement opens with a slow and short introduction, Adagio cantabile, G major, 3-4. A melodious phrase for wood-wind and horns alternates with chromatic developments in the strings. The main body of the movement is Vivace assai, G major, 6-8. The first section of the first theme is given out piano by the strings, and the second section follows immediately, forte, for full orchestra. This theme is developed at unusual length. The second and playful theme is in D major. A side theme is more developed than the second, and ends the first part of the movement with passage-work. Reliability in Furs The quality of Balch, Price Furs has been standard for over a cen- tury ... it is assured by a system of selection and inspection by experts recognized by the entire Fur Industry as outstanding in their knowledge and integrity. OOa/cA, Cyince & Co. FULTON 6- SMITH STREETS BROOKLYN QUALITY FOR QUALITY—NOBODY UNDERSELLS BALCH, PRICE & CO. : ; ) The free fantasia is short. The third part is much like the first. The second and side themes are now in the tonic. There is no coda. II. Andante, C major, 2-4. The theme was used by Haydn in his ''Seasons" (1801) in Simon's air, where the plowman whistles a tune With eagerness the husbandman His tilling work begins In furrows long he whistling walks And tunes a wonted lay. (This wretched version of the German was published in the original edition of the full score (1802-03), for it was found impossible to use Thomson's original poem with the German text. The later trans- lations—as the one beginning "With joy th' impatient Husband- man"—make no allusion to the farmer's "whistling ... a wonted lay." In this air from "The Seasons" the piccolo represents the hus- bandman's whistling; the "wonted lay"—the theme of this Andante in the "Surprise" Symphony—is not in the voice part, but it is heard now and then in the accompaniment, as a counter-theme. The strings give out this theme piano and pianissimo ; after each period the full orchestra comes in with a crash on a fortissimo chord. Variations of the theme follow: (1) melody, forte, in second violins and violas; (2) C minor ff, with modulation to E-flat major; (3) E-fiat major, melody at first for oboe, then for violins, with pretty passages for flute and oboe; (4) full orchestra ff, then piano THIS IS A VERY STRONG BANK I TS deposits increase steadily from month to month — and so does its surplus, a sum set aside for protection and as a guarantee of accounts. The investments the bank may make are specified by laws framed for safety. Money is safe here, earning, instantly available when asked for. Interest is compounded quarterly from day of deposit. Christmas Club Safe Deposit Boxes THE Dime Savings Bank of brooklyn DE KALB AVENUE and FULTON STREET 86th St, and 19th Ave., Bensonhurst B l .. i / Avenue J and Coney Island Avenue Established 1859 Resources $200,000,000 Surplus $27,000,000 with the melody changed. There is again a fortissimo with a fer- mata, and it seems as though a fifth variation would begin piano, but the melody apparently escapes and the movement ends pp. III. Menuetto: Allegro molto, G major, 3-4. The trio is in the tonic. IV. Allegro di molto, G major, 2-4.
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  • Artur Rubinstein

    Artur Rubinstein

    Artur Rubinstein America’s most glamorous piano virtuoso is a Pole, an epicurean and a wit who lives in Hollywood and commutes between hemispheres by Winthrop Sargeant r I VIE death of lgiu.c but Paderewski seven years ago left in the mind is not, of couixr, wlutl primarily cndotirs him to thousands <»f American I of die uwragt- American .1 terrifying donbt somewhat similar io dial Eo iiute. Th«’ afc interested m the magnificent sounds he draws from -*- created by tin1 ritir« »u m ufGenrJutincy from the prize ring. It was nstriuncut. Hw-y admire him not so much for any single technical »upc- no lunger possible to tell with certainty who was the world's champion rinrity ,ir lor a rAirnbinaiion nf qualities rarely found together in contrm- pianist. It had hern muuy year«, id course, since th. long-haired, courtly pnniry piuiihm. Lkv Homwitz. he can overwhelm an audiunce with the Pole had shown even a trace of the old virtuosity that had made hi? name mere physical cxciteim-nt induced by c.vtraor«htuu v speed, power and imirk»- ar familiar throughout the I ;.S. ;te those of Houdini and Buffalo Bill. Thera manship. LJitliku llur«>witz, he in a muster of stylistic differentiation and van were even, in morn critical muiieal circles, people who had doubted his ab­ swing from llm land !irilluin<>* of Li*tft and the insinuating seuliiuent of solute pre-eminence among pianist* •>( the day. Josef Hofmann and the lata Chopin tn the soIhv profundities -f Bccthovcu. giving each type of inuric S'rgei Kachmonuioii were both pnidigiou* virtuoso» who could equal many its own particulnr flavor.