SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTY-FIRST SEASON, 1931-1932 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1932, BY BOSTON SYMPHONY ORCHESTRA, INC. 757 THE TRUMPET 1 HE clarion of the Eleventh Century was the im- mediate predecessor of the trumpet. The early in- strument, also called claro y and clarino, was a short straight tube of brass with one end carrying a cup- shaped mouthpiece and the other widening out into a bell. In the Eighteenth Century, Meyer of Hamburg made what has been called the first improvement in the trumpet — he invented a practical mouthpiece. Then occured a series of revolutionary changes. In 1780 Wogel added " tubes"; Wiedenger, court- trumpeter in Vienna, added " stops" in 1801; next came the "keys," with Sattler of Leipzig turning out the first trumpets equipped with them; and finally Striegel, a German orchestra player, introduced cer- tain refinements in bore and tubing. The trumpet is truly a stately and heraldic instru- ment. It is the portrayer of tournaments and pro- cessions, of pageants with a martial and romantic tinge. Its great agility makes it admirably suited to rapid figures, arpeggios, and to repetitions. In addi- tion to its strident calls, it can produce effects either fantastic or of extreme sweetness. Berlioz wrote: "The quality of the trumpet tone is noble and brilliant . It lends itself to the expression of all energetic and lofty and grand sentiments and to the majority of tragic accents." * * * * 1 HERE are many ways in which the services of Old Colony Trust Company as Executor and Trustee can help you obtain a definite objective. Its officers are always glad to discuss these services in relation to your future plans. Old Colony Trust Company 17 COURT STREET, BOSTON zAffi Hated with The First National Bank of Boston 758 Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Gundcrsen, R. Sauvlet, H. Chcrkassky, P. Concert-master Kassman, N. Hamilton, V. Eisler, D. Theodorowicz, J. Hansen, E. Lauga, N. Fedorovsky, P. Lcibovici, J. Pinfield, C. Mariotti, V. Lcvecn, P. Tapley, R. Thillois, F. Zung, M. Knudson, C. Gorodetzky, L. Mayer, P. Diamond, S. Zide, L. Fiedler, B. Bryant, M. Beale, M. Stonestrect, L. Messina, S. Murray, J. Del Sordo, R Erkclens, F [. Sciniger, S. Violas. Lefranc, J. Fourei, G. Bernard, A. Grover, H. Fiedler, A, Artieres, L. Cauhapc, J. Van Wynbergen, C. Werner , H. Avierino, N. Deanc, C Gcrhardt, S. Jacob, R. Violoncellos. Bedetti, J. Langendoen, J. Chardon, Y. Stockbridge, C. Fabrizio, E. Zighera, A. Barth, C. Marjollet, L. Droeghmans, H. Warnke , J. Basses. Kunze, M. Lemaire, J. Ludwig, O. Girard, H. Moleux, G. Vondrak, A. Oliver, F. Frankel, I. Dufresne, G. Kclley, A. Flutes. Oboes. Clarinet! Bassoons. Laurent, G. Gillet, F. Polatschek, ' V. Laus, A. Bladet, G. Devcrgie, J. Mimart, P. Allard, R. Amerena, P. Stanislaus, H. Arcicri, E. Panenka, E. Allegra, E. {E'flat Clarinet) Piccolo. English Horn Bass Clarinet. i ^ontra-Bassoon. Battles, A. Spcyer, L. Bettoney, F. Piller, B. Horns. Horns. Trumpets. Trombones. Bocttchcr, G. Valkcnier, W Mager, G. Raichman, J. Pogrebniak, S. Schindlcr, G. Lafosse, M. Hansotte, L. Van Den Berg, C. Lannoye, M. Grundey, T. Kenficld, L. Lorbeer, H. Blot, G. Pcrret, G. Adam, E. Voisin, R. Mann, J. Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Rittcr, A. Sternburg, S. Adam, E. Caughey, E. Polster, M. White, L. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J. 759 djanfclrr & €a. BOSTON COMMON TREMONT AT WEST STREET 1 albot s Mewest Jailor "- $ 15 Paille-Paille . its high lustre contrasting brilliantly with a velvet bow A brim . just enough brim to flatter a face that's not quite so young as one's spirit! A crown . low enough to be dis- tinctly Spring 1932 yet entirely adequate! Simplicity itself, it has the chic of the Reboux original that first perched a mat-surfaced bow against the shiny cellophane braid! Other New Weaves . Other New Silhouettes $10 and up French Salon—Second Floor 760 FIFTY-FIRST SEASON, NINETEEN HUNDRED THIRTY-ONE AND THIRTY-TWO FRIDAY AFTERNOON, JANUARY 22, at 2.30 o'clock SATURDAY EVENING, JANUARY 23, at 8.15 o'clock GUSTAV HOLST will conduct these concerts St. Paul's Suite, for String Orchestra I- Jig- II. Ostinato. III. Intermezzo. IV. Finale (The Dargason). Prelude and Scherzo, "Hammersmith" (First time in Boston) Ballet from the Opera, "The Perfect Fool" (First time in Boston) \ tt i "The Planets" L MARS, the Bringer of War. II. VENUS, the Bringer of Peace. III. MERCURY, the Winged Messenger. IV. JUPITER, the Bringer of Jollity. V. SATURN, the Bringer of Old Age. VI. URANUS, the Magician. VII. NEPTUNE, the Mystic. Chorus of women 's voices, trained by Arthur Fiedler There will be an intermission before "The Planets' The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert 7G1 GUSTAV THEODORE HOLST The name of this composer, who was born at Cheltenham, Eng- land, on September 21, 1874, and whose home is at London, was, be- fore 1918, Gustavus Theodore von Hoist. He is of Swedish extrac- tion on his father's side; of English on his mother's. Sweden was master of the Baltic when the Hoist family lived there. Branches of the family settled in Riga and Dantzig when the latter city was Polish. The Hoist family went from Sweden to Russia early in the eighteenth century; the great-grandfather of the composer arrived in England about 1808. Although Gustav has no Teutonic blood, his offer to serve in the educational scheme of the Young Men's Christian Association in the World War brought with the accept- ance the hint that in consequence of the feeling in England against the Germans, his aid would be of more value if his patronymic were Anglicized. He therefore took legal steps to omit the "von."* Adolf Hoist, the father of Gustav, made Cheltenham his abiding place. He there became known as an organist and a pianist. He played the organ and was a choir-director at Wyck Rissington, Gloucestershire. In 1893 he entered the Royal College of Music, Lon- don, where he studied composition with Villiers Stanwood, the *Tet his compositions in the Boston Public Library are indexed under "Von Hoist." This is not the only instance of queer cataloguing. If "Von Hoist," why not "Van Beethoven" ? BRPPSS! <\lfr y l 9 to* & \V o x ^ \^' \&J 4- ^ s< \> ^o v ^ ' ' i i mi iii i mr ntnifi' 762 piano with Herbert Francis Sliarpe, the trombone with Case, the organ with Hoyte, and theory with Kockstro. In 1895 he obtained a scholarship in composition. Neuritis obliged him to abandon the organ and the piano. Having left the College in 1898, he played the trombone in the orchestra of the Carl Rosa English Opera Company; later in the Scottish Orchestra. In 1903 he became music-master at Edward Alleyn School, Dulwich (1903-19) ; Passmore Edwards Institute (1904-7) ; St. Paul's Girls' School from 1905, Morley College from 1907, Reading College (1919-23), and he has taught composition at the Royal College of Music from 1919. In 1924 he was elected Fel- low of the Royal College of Music. He made several journeys to the Orient and served with the Salonika Expeditionary Force. In 1923 he visited the United States. His first appearance in public was as the conductor of his Suite de Ballet, performed at a Patrons' Fund* concert at the Royal Col- lege of Music on May 20, 1904. * * * *The Patron's Fund was established in 1903, by S. Ernest Palmer, who gave the Royal College of Music £27,000 for the encouragement of composition by the younger British musicians. The fund was chiefly used in giving orchestral and other concerts, at which the works of British composers were presented, and at which the younger performers and singers were given an opportunity. APPROPRIATE MUSICAL SELECTIONS FOR THE GEORGE WASHINGTON BKENTENNIAL— 1932 A WASHINGTON GARLAND by FRANCIS HOPKINSON "The First American Composer" Contains the songs which Francis Hopkinson published and dedicated to George Washington in 1788, together with facsimiles of the dedication and Washington's gracious and witty letter of acceptance. Edited and Augmented by Harold V. Milligan Price, $1.50 net—high or low voice MISS NANCY'S GOWN by G. W. CHADWICK Three-part chorus for women's voices Price, 15 cents net Refers to "Washington, the hero of the day," and contains Mozart's "Don Juan" Menuet as part of the melody of the piece. May be sung in costume followed by dancing the minuet. A very effective finale for Washington programs. Write for free list of music suitable for Washington programs. Contains traditional airs, works by classical composers, etc., appropriate to the Bicentennial. The ARTHUR P. SCHMIDT CO., 120 Boylston St. 703 : — Hoist is a voluminous composer. The following list of his works is probably incomplete Stage Works: '"The Revoke," opera in one act, Op. 1 (1895, MS.—not performed) ; "The Youth's Choice" (1902, MS.—not performed) ; "Sita," opera in three acts, Op. 23 (1906, MS.—not performed). "Savitri,"* opera di camera, Op. 25 (1908). Lyric Theatre, Hammersmith, June 23, 24, 1921 : Dorothy Silk, Steuart Wilson, Clive Carey. Covent Garden, Arthur Bliss conducted. June, 1923 : Dorothy Silk, William Heseltine, Joseph Farrington. An episode from "The Mahabharata." Female chorus, unseen, sings on a vowel sound. Two string quartets, a doublebass, two flutes, and an English horn, Komisarjevsky designed scenery and costumes.