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Boston Symphony Orchestra Concert Programs, Season 51,1931

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Boston Symphony Orchestra Concert Programs, Season 51,1931 BAILEY HALL ITHACA CORNELL UNIVERSITY Saturday Evening, October 31, 1931, at 8.15 PRSGRTWUl P5f^ <s ^Ji'fiiS u "Ike BOSTON SYMPHONY ORCHESTRA: I88i-i93i» By M. A, De WOLFE HOWE Semi'Centennial Edition It is seventeen years since M. A. De Wolfe Howe's history of the Boston Symphony Orchestra was published. The Fiftieth season of the Orches- tra seemed a fitting time to re-publish this prized narrative of its earlier days, and likewise to record, in additional chapters, the last years of Dr. Muck's conductorship, and those of Henri Rabaud, Pierre Monteux, and Dr. Serge Koussevitzky. New appendices include a complete list of the music played at the regular concerts, giving the dates of performances. The soloists and the personnel through fifty years are also recorded, and the address on Henry Lee Higginson made by Bliss Perry at the Bach Festival, March 25, 1931. Now on sale at the Box Office, or by money order to Symphony Hall, Boston Price $1.50 (postage included) BAILEY HALL ITHACA CORNELL UNIVERSITY FIFTY-FIRST SEASON, 1931-1932 INC. Dr. SERGE KOUSSEVITZKY, Conductor SATURDAY EVENING, OCTOBER 31, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1931, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. 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 1 Dr. SERGE KOUSSEVITZKY Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H. Cherkassky, P. Concert-master Kreinin, B. Kassman, N. Hamilton, V. Eisler, D. Theodorowicz, J. Hansen, E. Lauga, N. Fedorovsky, P. Leibovici, J. Pinfield, C. Mariotti, V. Leveen, P. Tapley, R. Thillois, F. Zung, M. Knudson, C. Gorodetzky, L. Mayer, P. Diamond, S. Zide, L. Fiedler, B. Bryant, M. Beale, M. Stonestreet, L. Messina, S. Murray, J. Del Sordo, R. Erkelens, H. Seiniger, S. Violas. Lefranc, J. Fourel, G. Bernard, A. Grover, H. Fiedler, A. Artieres, L. Cauhape, J. Van Wynbergen, C. Werner, H. Avierino, N. Deane, C. Gerhardt, S. Jacob, R. Violoncellos. Bedetti, J. Langendoen, J. Chardon, Y. Stockbridge, C. Fabrizio, E. Zighera, A. Barth, C. Droeghmans, H Warnke, J. Marjollet, L. Basses. Kunze, M. Lemaire, J. Ludwig, O. Girard, H. Moleux, G. Vondrak, A. Oliver, F. Frankel, I. Dufresne, G. Kelley, A. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Polatschek, V. Laus, A. Bladet, 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. Pogrebniak, S. Schindler, G. Lafosse, M. Hansotte, L. Van Den Berg, C. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Adam, E. 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. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J The The SAVOY- PLAZA PLAZA Ideally located on Fifth Savoy-Plaza, The Avenue at the entrance to associate of newer Central Park, The Plaza Plaza, faces Cen- The offers the highest standards tral Park and offers of hospitality and cuisine. the same excellence Near business . transpor- of hospitality and tation . theatres . shops cuisine that distin- . yet away from the noise guishes The Plaza. and confusion of the city. Henry A. Rost FredSterry John D.Owen President President Manager Recognized as one of the finest hotels in the world . richly furnished . r :z modern in every respect { ">"'' . located in historic .£!!:: mmi 1 Copley Square, probably the most accessible and attractive spot in Boston. Arthur L. Race Managing Director ' f f % ; :i ; ;. « s i ftnir n im HQT€LS OF SflVOY-PLflZfl. &ii, p l a z a DisTincTibn JVcur UorA- BAILEY HALL ITHACA CORNELL UNIVERSITY Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor SATURDAY EVENING, OCTOBER 31 AT 8.15 PROGRAMME Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo. II. Andante moderate III. Allegro giocoso. IV. Allegro energico e passionato. Ravel "La Valse," Choregraphic Poem Debussy Two Nocturnes a. Nuages. b. Fetes. Wagner Prelude to "Die Meistersinger von Niirnberg" There will be an intermission of ten minutes after the symphony. 5 . Johannes Symphony in E minor, Op. 98 ; Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897) This symphony was first performed at Meiningen, October 25, 1885, under the direction of the composer. Simroek, the publisher, is said to have paid Brahms forty thousand marks for the work. It was played at a public rehearsal of the Symphony Orchestra in Boston, November 26, 1886. Al- though Mr. Gericke "did not stop the orchestra,"—to quote from a review of the concert the next day,—he was not satisfied with the performance. Schumann's Symphony in B-flat was substituted for the concert of November 27; there were further rehearsals. The work was played for the first time in Boston at a concert of the Boston Symphony Orchestra on December 23, 1886. The first performance in the United States was by the Symphony Society, New York, December 11, 1886. This symphony was composed in the summers of 1884 and 1885 at Murzzuschlag in Styria. The Allegro and Andante were composed during the first summer, the Scherzo and Finale during the last. Miss Florence May, in her Life of Brahms, tells us that the manu- script was nearly destroyed in 1885 : "Returning one afternoon from a walk, he [Brahms] found that the house in which he lodged had caught fire, and that his friends were busily engaged in bringing his papers, and amongst them the nearly finished manuscript of the new symphony, into the garden. He immediately set to work to help in getting the fire under, whilst Frau Fellinger sat out of doors with either arm outspread on the precious papers piled on each side of her." A scene for the "historical painter" ! We quote the report of this incident, not on account of its intrinsic value, but to show in what manner Miss May was able to write two volumes, contain- ing six hundred and twenty-five octavo pages, about the quiet life of the composer. But what is Miss May in comparison with Max Kalbeck, whose Life of Brahms contains 2,138 pages? In a letter, Brahms described this symphony as "a couple of entr'actes," also as "a choral work without text." Franz Wiillner, then conductor of the Gtirzenich concerts at Cologne, asked that he might produce this new symphony. Brahms answered that first performances and the wholly modern chase after novelties did not interest him. He was vexed because Wiillner had performed a symphony by Bruckner; he acted in a childish manner. Wiillner answered that he thought it his duty to produce new works ; that a symphony by Bruckner was certainly more interesting than one by Gernsheim, Cowen, or Scharwenka. Brahms was doubtful about the value of his fourth symphony. He wished to know the opinion of Elisabet von Herzogenberg and Clara Schumann. He and Ignaz Briill played a pianoforte arrangement in the presence of Hanslick, Dr. Billroth, Hans Richter, C. F. Pohl, Gustav Dompke, and Max Kalbeck. He judged from their attitude that they did not like it, and he was much depressed. "If persons like Billroth, Hanslick, and you, do not like my music, whom will it please?" he said to Kalbeck. There was a preliminary rehearsal at Meiningen in October, 1885, for correction of the parts.* Btilow conducted it. There were pres- ent the Landgraf of Hesse, Richard Strauss, then second conductor of the Meiningen orchestra, and Frederick Lamond, the pianist. Brahms arrived in time to conduct the first performance. f The symphony was most warmly applauded, and the audience en- deavored, but in vain, to obtain a repetition of the third movement. The work was repeated November 1 under Billow's direction, and was conducted by the composer in the course of a three weeks' tour with the orchestra and Btilow in Germany and in Netherlands. The first performance in Vienna was at a Philharmonic concert, led by Richter, January 17, 1886. "Though the symphony was applauded by the public and praised by all but the inveterately hostile section of the press, it did not reach the hearts of the Vienna audience in the same unmistakable manner as its two immediate predecessors, *Brahms wished that Elisabet could be present at this rehearsal: "You would be able to listen to the first movement with the utmost serenity, I am sure. But I hate to think of doing it, anywhere else, where I could not have these informal, special rehearsals, but hurried ones instead, with the performance forced on me before the orchestra had a notion of the piece." fit seems almost like a jest of fate that it should have been through Brahms that Btilow left Meinigen and was thus mortified by the very man whom he had served more unselfishly than anyone else. Brahms, of course, had not expected the evil consequences of his action, which was one of mere negligence that took no heed of another's susceptibilities. Yet, was it quite so inadvertent; . Btilow had obtained the composer's definite sanction in order to demonstrate—as his letters to his wife show—how much clearer, livelier, and more impressive the work would sound under his baton than under the clumsier direction of its creator.
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