Boston Symphony Orchestra Concert Programs, Season 54,1934-1935, Trip
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Carnegie i>all • Heto gorfe Thursday Evening, January 3, at 8:45 Saturday Afternoon, January 5, at 2:30 Boston Symphony Orchestra [Fifty-fourth Season, 1934-1935] Dr. 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. PIN FIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. ZIDE, L. MURRAY, J. ERKELENS, H. seiniger, s. Violas LEFRANC, J. FOUREL, G. BERNARD, A. CROVER, H. ARTIERES, L. CAUHAPE, J. VAN WYNBERGEN, C. WERNER, H. AVIERINO, N. DEANE, C. HUMPHREY, G. GERHARDT, S. JACOB, R. Violoncellos FABRIZIO, E. BEDETTI, J. LANGENDOEN, J. CHARDON, Y. STOCKBRIDGE , C ZIGHERA, A. BARTH, C. DROEGHMANS, H. WARNKE, J. MARJOLLET, L. ZIMBLER, J. Basses GIRARD, H. KUNZE, M. LEMAIRE, J. ludwtg, 0. VONDRAK, A. MOLEUX, G. frankel, 1. DUFRESNE, G. JUHT, L. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. polatschek, v. la US, A. r. BLADET, G. DEVERGIE, J. VALERIO, M. ALLARD, AMERENA, P. STANISLAUS, H. MAZZEO, R. El? Clarinet PANENKA, E. Piccolo English Horn Bass Clarinet Contra-Bassoon battles, a. SPEYER, L. MIMART, P. PILLER, B. Horns Horns Trumpets Trombones boettcher, g. VALKENIER, W mager, g. raiciiman, J. MACDONALD, W. LANNOYE, M. LAFOSSE, M. HANSOTTE, L. GRUNDEY, t. LILLEBACK, VALKENIER, w. SINGER, J. W. gebhardt, w. LORBEER, H. VOISIN, R. MANN, J. Tuba Harps Timpani Percussion ADAM, E. ZIGHERA, B. RITTER, A. STERN BURG, S. CAUGHEY, E. POLSTER, M. WHITE, L. ARCIERI, I.. Organ Piano Celesta Librarian ROGERS, L. snow, a. SAN ROM A, J. FIEDLER, A. J. 5 Carnegie ^all • i&eto gorfe Forty-ninth Season in New York FIFTY-FOURTH SEASON, 1934- 193 Boston Symphony Orchestra INCORPORATED Dr. SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor Concert Bulletin of the Second Concert THURSDAY EVENING, January 3, at 8:45 AND THE Second Matinee SATURDAY AFTERNOON, January 5, at 2:30 with historical and descriptive notes By Philip Hale and John N. Burk COPYRIGHT, 1935, 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 Henry B. Sawyer N. Penrose Hallowell Pierpont L. Stackpole M. A. de Wolfe Howe Edward A. Taft Bentley W. Warren W. H. Brennan, Manager G. E. Judd, Assistant Manager [1] ',./» The Copley-Plaza in Copley Square, Boston, as seen from the cloister of the new Old South Church. The imposing towers of Trinity Church are visible on the left OMs&IA c^t-JLJi ... AS FAMOUS AS ANY IN THE WORLD When business or friendship calls you to Boston, make the COPLEY-PLAZA your address. Situated in historic Copley Square, facing its lovely gardens, and flanked by the world- renowned Trinity Church and the equally famous Boston Public Library, the COPLEY-PLAZA provides a hotel setting as distinguished as any in the world. There is quiet and beauty here, a sense of security and well-being—a certain indescribable linking with New England's rarest traditions. , . The yammer and confusion so often associated with the average commercial hotel is thankfully missing, yet you are but a few steps from the business and theatre districts. ... One doesn't"stop"at the COPLEY-PLAZA in Boston—one lives there. • JL COPLEY-PLAZA go*u* • ARTHUR L. RACE, Managing Director [2] SIBELIUS. Symphony No. 5 in E flat major, Op. 82 will be played in place of Strauss' s Tone Poem, "Thus spake Zarathustra". Carnegie ©all • Jleto Horfe Boston Symphony Orchestra FIFTY-FOURTH SEASON, 1 934-1 935 Dr. SERGE KOUSSEVITZKY, Conductor SECOND EVENING CONCERT THURSDAY EVENING, January 3, at 8:45 o'clock Programme Mendelssohn .... Symphony in A major, " Italian," Op. 90 I ALLEGRO VIVACE II. ANDANTE CON MOTO III. CON MOTO MODERATO IV. SALTARELLO: PRESTO Szymanowski .... Second Concerto for Violin and Or- chestra, Op. 61 I. MODERATO MOLTO TRANQUIL I. O II. ANDANTE SOSTENUTO III. ALLEGRAMENTO; ANDANTINOJ TEMPO 1 (Played without pause) [First performance in New York] IN TERMISSION Strauss .... Tone Poem, ' Thus spake Zara- thustra " (freely after Friedrich Nietzsche) Op. 30 SOLOIST ALBERT SPALDING [Stf.inway Piano] The music of these programmes is available at the 58th Street Library Reminder — the next concert of the Evening Series will be given on Friday, February 1, 1935, at 8:45. """"~~ ~ [3] . 7 1 SYMPHONY in \ major, no. |, "ITALIAN/ Op. go By Felix Mendelssohn-Bartholdy Mom ,ii im»»<i; Hamburg, February ;. died ai Leipzig, Novembei |. 1 H,| 1iin symphony was completed in Berlin. Mendelssohn wrote t<> " Pasto] Bauer, My work about which 1 recently had many misgiv- ings Is completed, and, looking h over, 1 now find that, contrary to my expectations, ii satisfies me. I believe ii has become .\ good piece. Be ii>. H as H may, 1 feel it shows progress, and thai is \\w main point." The score bears the date, Berlin, March 13, 1833. The first performance from manus< ript and under the direction of the compose] was at the sixth concert of the Philharmonii Society that season, May 13, 1833. "The concerts oi the Society were this year, and onward, given In the Hanovei Square Rooms, which had just been re modelled. The symphony made .1 great Impression, and Felix electri- fied the audience by his wonderful performance <»i Mozart's Concerto in i> minor, his cadenzas being marvels In design and execution. His new overture In (i was produced ;n the last concert of the season." Mendelssohn began to revise i lu* symphony in fune, 1834, On Februar) i<>. 1835, he wrote t<> Klingemann that lu- was biting his nails ovei the first movement, and could not yet master it. but that m an) event ii should be something different, — perhaps wholly new, and he had this doubt about every one of the movements. Towards the end of 1837 the revision was completed, Whether the symphony in its new lonn was played at .1 Philharmonic Society Concert In Lon don. fune 18, 1838, conducted by Moscheles, is doubtful, although Moscheles asked him foi it. The first performance of the revised version on the European con- .ii -i l 1 tinent was ( rewandhaus concert, .eipzig, November . 1849, when Julius Rieti conducted. The score and orchestra] parts were noj pub- lished until Man h, 1851 The first performance In Boston was probably on November 15, 1851, m rrcmont remple at .1 concert of the Musical Fund Society, Mi 1 1 |. Webb, 1 ondu< toi The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings. Grove remarked oi this work "The music itself is better than any commentary 1 et that be marked, learned, and inwardly digested." Eteismann found the first movement, Allegro vivace, A major, 6-8, to be .1 paraphrase of the so 1 ailed Hunting Song in the* first group of Songs without Words, rhe tonal it) is the same, and this is often enough to fire the imagination oi .1 commentator, The chief subject violins begins with the in the second measure, and is developed at is length, The second subject, E major, for < Larinets. The development section begins with a new figure treated in imitation i>\ the strings. The chieJ theme is then used, with die second introduced contrapun- in tally, the recapitulation section the second theme is given to the strings, The second movement, Andante con moto, n minor, 4.4, sometimes " c .died the Pilgrims' March, but without .m\ authority, is said to have been .1 processional hymn, which probably gave the name of ' Italian ' " Symphony to the whole (!) . Lampadius remarks in cohne< tion with this: "l cannot discovei that the piece hears any mark oi a decided Catholic character, Tor, if I recollect rightly, 1 once- heard Moscheles say that Mendelssohn had in his mind as the somce of this second movement an old Bohemian folk-song." The two introductory meas " ures suggested to (dove the * ty of a muezzin from his minaret," i>m, pray, what has this to do with ttaly? The < hie! theme is given out by oboe, clarinet, and violas. The violins take it up with counterpoint for the flutes, There is a new music a 1 idea lor the clarinets. The first theme returns, The two Introductory measures are used with tins material in the remainder of the movement. The third movement is marked simply "Con moto moderate)" (A . is major, IJ |) "There a tradition (said to originate with Menclc K sohn's brother in law, llensel, but still of uncertain authority) that it The Analytic Symphony Series Edited and annotated ly IT1UY GOETSCHIUS, Mus. Doe. Published by Oliver Diifon Company, ///<•. The Analytic Symphony Scries comprises thirty-four volumes covering the most important s\ mphonies of ( he world's pv.it est masters. Each volume is presented in playable two hand pi. mo score, ami contains complete analytical notes on (he structure and orchestration in addition to critical notes appraising the significance el* (he composition ami its salient points. Copies may be bad from your Music Dealer or the Publish* OLIVER DITSON COMPANY. Inc. Mass. 359 Boylston Start Boston, " |.r.| was transferred to its present place from some earlier composition. It is not, however, to be found in either of the twelve unpublished juvenile symphonies; and in the first rough draft of this symphony there is no sign of its having been interpolated.