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Boston Symphony Orchestra Concert Programs, Season

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Boston Symphony Orchestra Concert Programs, Season [Harvard University] Thursday Evening, November 3 at 8 o'clock Boston Symphony Orchestra [Fifty-eighth Season, 1938-1939] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H. RESNIKOFF, V. Concert-master GUNDERSEN, R KASSMAN, N. CHERKASSKY, P. EISLER, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. CORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger, s. Violas LEFRANC, J. FOUREL, G. BERNARD, A. GROVER, H. II. ARTIERES, L. CAUHAPE, J. VAN WYNBERGEN, C. WERNER, AVIERINO, N. JACOB, R. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, FABRIZIO, E. J. LANGENDOEN, J. CHARDON, Y. STOCKBRIDGE, C. l. ZIGHERA, A. TORTELIER, P. DROEGHMANS, H. WARNKE, J. MARJOLLET, ZIMBLER, J. Basses KUNZE, M. LEMAIRE, J. FRANKEL, I. GIRARD, H. DELESCLUSE, P. VONDRAK, A. MOLEUX, G. JUHT, L. DUFRESNE, G. BARWICKI, J. Flutes Oboes Clarinets Bassoons LAURENT, G. CILLET, F. POLATSCHEK, V. ALLARD, R. RATEAU, R. DEVERGIE, J. VALERIO, M. PANENKA, E. PAPPOUTSAKIS, J- LUKATSKY, J. MAZZEO, R. LAUS, A. Eb Clarinet Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SI'EYER, L. MIMART, P. FILLER, B. Horns Horns Trumpets Trombones VALKENIER, W. SINGER, J. mager, g. RAICHMAN,J. MACDONALD, W LANNOYE, M. lafosse, m. HANSOTTE, L. SINGER, J. SHAPIRO, H. VOISIN, R. L. LILLEBACK, W. 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. Organ Piano Librarian SNOW, A. sanromX, J. ROGERS, L. J. j^attherH ®ljeatre • Harvard University • (Eambrtfog? FIFTY-EIGHTH SEASON, 1938-1939 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor Concert Bulletin of the Second Concert THURSDAY EVENING, November 3 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 Allston Burr M. A. De Wolfe Howe Henry B. Cabot Roger I. Lee Ernest B. Dane 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] COMING CONCERTS OF THE SERGE KOUSSEVITZKY, Conductor Friday Afternoon Nov. 4 at 2.30 Symphony Hall Boston Saturday Evening Nov. S at 8.15 Symphony Hall Boston Tuesday Evening Nov. 8 at 8.30 Metropolitan Theatre Providence Friday Afternoon Nov. n at 2.30 Symphony Hall Boston Saturday Evening Nov. 12 at 8.15 Symphony Hall Boston Tuesday Evening Nov. 15 at 8.15 Bushnell Memorial Hall Hartford Wednesday Evening Nov. 16 at 8.30 Woolsey Hall New Haven Thursday Evening Nov. 17 at 8.45 Carnegie Hall New York Friday Evening Nov. 18 at 8.30 Academy of Music Brooklyn Saturday Afternoon Nov. 19 at 2.30 Carnegie Hall New York Thursday Evening Nov. 24 at 8.00 Sanders Theatre Cambridge Friday Afternoon Nov. 25 at 2.30 Symphony Hall Boston Saturday Evening Nov. 26 at 8.15 Symphony Hall Boston Friday Afternoon Dec. 2 at 2.30 Symphony Hall Boston Saturday Evening Dec. 3 at 8.15 Symphony Hall Boston Monday Evening Dec. 5 at 8.15 Eastman Theatre Rochester Tuesday Evening Dec. 6 at 8.30 Consistory Auditorium Buffalo Wednesday Evening Dec. 7 at 8.15 Hill Auditorium Ann Arbor Thursday Evening Dec. 8 at 8.30 Museum of Art Toledo Friday Evening Dec. 9 at 8.30 Civic Auditorium Cleveland Saturday Evening Dec. 10 at 8.30 Syria Mosque Pittsburgh Sunday Afternoon Dec. 11 at 3.00 Syria Mosque Pittsburgh The Friday Afternoon and Saturday Evening concerts of Decem- ber 2 and 3 will each be devoted to a performance of Beethoven's Missa Solemnis. The Harvard Glee Club, Radcliffe Choral Society, G. Wallace Woodworth, Conductor, and four soloists will assist. [2] ANNOUNCEMENT The programme has been changed as follows? Richard Burgin conducting in place of Dr. Kousseiritzky, who is indisposed: Haydn Symphony in D major, No. 86 Piston Symphony No, 1 (Conducted by the Composer) IH7&RMX3SX0I Beethoven Symphony No. 5 in C minor i^atttora ©fj?atr£ . Harvard University . (Eambrtilg? Boston Symphony Orchestra FIFTY-EIGHTH SEASON, 1938-1939 SERGE KOUSSEVITZKY, Conductor SECOND CONCERT THURSDAY EVENING, November 3 Programme Haydn Symphony in D major, No. 86 I. Adagio; Allegro spiritoso II. Capriccio: Largo III. Minuetto IV. Finale Loeffler "A Pagan Poem" (after Virgil), Op. 14 Piano: Jesus Maria Sanroma English Horn: Louis Speyer intermission Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro: Trio IV. Allegro [3] SYMPHONY IN D MAJOR, No. 86 By Joseph Haydn Born at Rohrau, lower Austria, March 31, 1732; died at Vienna, May 31, 1809 Composed for Paris as the fifth in a series of six between the years 1784 and 1789, this symphony was presumably performed for the first time at the Concert de la Loge Olympique, in 1789. The orchestration includes flute, two oboes, two bassoons, two horns, two trum- pets, timpani and strings. The Symphony has been performed at the concerts of this Orchestra December 19, 1902, and March 13, 1931. The name of Haydn first became eminent in Paris when his Stabat Mater was performed there at a Concert Spirituel, in 1781. Purely instrumental music until then took a subservient place in the general es- timation as compared with opera or choral music. Yet symphonies of Haydn, performed at the Concert Spirituel, and published in the French capital, were enthusiastically received. Haydn was approached at Esterhazy in 1784 by the Concert de la Loge Olympique, a rival organization, for a series of symphonies. These were duly forthcom- ing, and the Symphony in D major, numbered by Eusebius Mandy- czewski in his chronological listing for Breitkopf and Hartel as 86, was the fifth of them which he sent to Paris. The Concert de la Loge Olympique was a highly fashionable and decidedly exclusive institution. It was affiliated with freemasonry, and its subscribers, admitted only after solemn examination and ritual, gained admission to the concerts by paying two louts d'or a year, and wearing as badge of admission the device of a silver lyre on a sky- blue ground. The concerts succeeded those of the Concert des Ama- teurs, which, founded in 1769, ceased in 1781. The performances of the Concert de la Loge Olympique were given from 1786 in the Salle des Gardes of the Palace of the Tuileries. Queen Marie An- toinette, and the Lords and Ladies of her court, attended in numbers. Toilettes of the utmost elaboration were formally required, and the musicians wore brocaded coats, full lace ruffles, swords at their sides, and plumed hats which they were allowed to place beside them on the benches while they played. When the drums of the French Revo- lution sounded in Paris in 1789, the Concert de la Loge Olympique came to a sudden end. The introduction to this symphony rises, in the course of its twenty- one bars, to a fortissimo climax of unusual melodic intensity. The lingering dominant at last releases the spritely principal theme, al- legro spiritoso, carried by the violins, with a punctuation of loud resili- ent chords from the orchestra. The second theme is no more than a recurring melodic foil and undergoes no development. The slow move- ment, a largo from which the trumpets and timpani are omitted, has been labeled by the composer "capriccio." The word does not here involve formal looseness or thematic wandering. The scheme is strictly unified: a constant return to the single main theme with its pointed opening of the common arpeggio. The theme is reiterated with little change save in the transformation near the close to the minor tonality. Yet each recurrence engenders new thoughts — a rare exhibition of the inexhaustible fertility of the master. The freedom of fantasy implied in the title may be found in these momentary excursions and in some sudden and daring modulations. The minuet, allegretto, sets a flowing trio in pleasing contrast to a lively and skipping first part. The spark- ling staccato theme of the finale is carried through the formal pre- scription. [copyrighted] <4£)G^> A PAGAN POEM (AFTER VIRGIL), Op. 14, Composed for Orchestra, Pianoforte, English Horn, and Three Trumpets Obbligati By Charles Martin Loeffler Born at Muhlhausen (Alsace), January 30, 1861; died at Medfield, Mass., May 19, 1935 "A Pagan Poem," first written for chamber orchestra in 1903, was rescored for full orchestra by the composer and first publicly performed at the concerts of the Boston Symphony Orchestra, November 23, 1907. Heinrich Gebhard then plaved the piano obbligato. Later performances were given in 1908, 1913, 1924, 1927, 1931. The most recent performance at these concerts was given on November 1, 1935, in memory of the composer. The orchestration includes three flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, four trumpets, three trombones, tuba, timpani, antique cymbals, tam-tam, harp, pianoforte and strings. The mysteries of pagan ritual were Loeffler's choice for his last or- chestral score — "Evocation." It was as long ago as 1901 that he composed "A Pagan Poem," upon the incantations of a sorceress as described in an Eclogue of Virgil. The Eclogue was the Eighth, was [5] written probably in 39 B.C. and some times called "Pharmaceutria" ("Sorceress"). The verses chosen by Loeffler consist of the love song of Alphesibceus. The verses are the words of enchantment spoken by the Sorceress, in behalf of a Thessalian girl.
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