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Boston Symphony Orchestra Concert Programs, Season 48,1928-1929

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SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 Boitoe INC. SERGE KOUSSEVITZKY, Conductor FORTY-EIGHTH SEASON, 192S-1929 Cfif^r^ WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1929, 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 FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1029 THE INSTRUMENT OF THE IMMORTALS "THE MAGIC TIRE SPELL," painted for tie STELNWAY COLLECTION bv N. C. WYETH It is generally conceded that in trie Fire JMusic to the present day, has been intimately from "Die TYalhure" Vvagner attained a new associated with the name of oteinway. level of orchestral tone-painting. The writhing, For 30, 40, or even 50 years and more whistling flames, the glittering sheets offire burn quenchlessly in this immortal score. It is un- the oteinway will continue to give in- the supreme achievements questionably one of comparable service, long alter a common- of program music. place instrument has gone its way. And there lies the true index of economy. THERE are few pleasures in this world You need never buy another piano. to compare with the ownership ol a line • • • piano. Its graceful, gleaming presence in A new Steinway piano can be bought from one's home, its lovely voice, its never-Iail- ing sympathy ana companionship place it $875 up high in the regard of cultivated people. Any Steinway piano may be purchased with a For more than 75 years such people cash deposit of 10%, and the balance will be extended over a period of two years. Used have turned to the Oteinway as the finest pianos accepted in partial exchange. A. few piano available anywhere m the world. completely rebuilt Steinways are available at special prices. And their choice is a reflection of that of the foremost musicians. Virtually STEINWAY & SONS, Steinway Hall every great name in music, from Wagner 109 We s t 5 7th Street, New York Represented h y foremost dealers everywhere 1030 Forty-eighth Season, 1928-1929 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. Jacob, R. Zung, M. Knudsen, 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. Van Wynbergen, C. Grover, H. Fiedler, A. Artieres, L. Cauhape, J. Werner, H. Shirley, P. Avierino, N. Gerhardt, S. Bernard, A. Deanp C. 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, 0. Girard, H. Kelley, A. Vondrak, A. Oliver, F. Frankel, I. Dufresne, G. Demetrides, L. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Hamelin, G. Laus, A. Bladet, G. Devergie, J. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Allegra, E. Bettoney, F. {E-flat Clarinet) 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. Rochut, J. Pogrebniak, S. Schindler, G. Voisin, R. Hansotte, L. Van Den Berg, C. Lannoye, M. Lafosse, M. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Raichman, J. Mann, J. Adam, E. Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Ludwig, C. Adam, E. Caughey, E. Polster, M. Sternburg, S. White, L. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J. 1031 The Vogue of v5> Semi-Precious Jewelry Never has the trend of Fashion been so beautifully and artistically expressed as it is in the newest costume jewelry, made from semi-precious stones. Equally as attractive, and every bit as genuine as the five precious stones—the diamond, emerald, pearl, ruby, and sapphire—their great appeal is, not only the difference in price, but their adapta- bility to completing the costume, or adding just the needed touch of color harmony for true chic. Following out the ensemble idea, Chandler & Co. present an unusual collection of necklaces, ear- rings, brooches, rings and pins, exquisitely set with, or made entirely from amethyst, jade, Swiss lapis lazuli, rose quartz, and agate in carnelian or chalcedony colors and many dainty pieces of crystal, or crystal combined with other stones. 7 50 to 59 50 STREET FLOOR ChanMer $c Co. Boston Common Tremont St. at West 1032 Forty-eighth Season, Nineteen Hundred Twenty-eight and Twenty-nine FRIDAY AFTERNOON, JANUARY 18, at 2.30 o'clock SATURDAY EVENING, JANUARY 19, at 8.15 o'clock ENRIQUE F. ARBOS will conduct these concerts Wagner . Prelude to "The Mastersingers of Nuremberg" Halflter ....... Sinfonietta in D major I. Pastorella. II. Adagio. III. Allegretto vivace (Minuetto). IV. Allegro giocoso. (First time in Boston) Ravel . Alborada del Grazioso Albeniz Suite, "Iberia" (Arranged for Orchestra by Arbos) a. La Fete-Dieu a Seville. b. Triana. (First time in Boston) Turina "La Procession del Rocio," Tableau Symphonique DeFalla .... Three Dances from "The Three Cornered Hat," Ballet a. The Neighbors. b. Dance of the Miller. c. Final Dance. MASON & HAMLIN PIANOFORTE There will be an intermission after Ravel's "Alborada del Grazioso" 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 1033 Spend Spring on the sunny shores of the <JMediterranean, for Spring is the best ^Mediterranean season. Then the weather is pleasantly warm, the air is soft, the foliage is fresh, and the flowers are brightly in bloom. RAYMOIVD -WHITCOUIB Mediterranean Spring Cruise Sailing April 8 on the Cunard liner "Carinthia" Rates, including return passage at any time, $725 and upward CL,In route as well as season this is a most unusual voyage. It is the first cruise ever to include a visit to romantic Carcassonne. It goes to out-of-the-way and picturesque places that other cruises rarely, if ever, reach — to white Casablanca and oriental %abat in Morocco, to <JMalaga and ^Barcelona in Spain, to Talma in the purple Balearic Islands, to Valletta, the fortress capital of Malta, to beautiful Taormina in Sicily, and to ancient %agusa and quaint Cattaro on the Balkan shores of the Adriatic. And it goes also to the usual cruise ports, Madeira, Gibraltar, Algiers, Naples, Nice, etc. Take it for a complete six weeks holiday, or as a new and interesting voyage to Europe by the favorite southern route Send for the ^Booklet —"Mediterranean Spring Cruise" Raymond & Whitcomb Co* 126 Newbury St. 165 Tremont St BOSTON 1034 Enrique Fernandez-Arbos, conductor, violinist, composer, was born at Madrid, Spain, on December 25, 1863. His childhood was passed in Galicia; but when war broke out, his father, a military bandmaster, took his family to Madrid. The boy entered the Con- servatory of that city to study violin, playing under Jesus Mona- sterio y Agtieros.* At the age of twelve, Arbos took first prizes for violin playing, harmony, and theory. The Princess Isabel became interested in him and gave him an allowance. Going to the Brussels Conservatory, he studied violin playing with Vieuxtemps; composition with Gevaert, and took a prize in 1879. From Brussels he went to Berlin, where he studied with Joachim for four years. He spent five years in Germany. For a time he was concertmaster of the Berlin Philharmonic Orchestra. He traveled as a virtuoso Monasterio (1836-1903), born at Potes, Spain, played in public at Madrid when he was twelve years old. He entered tbe Brussels Conservatory to take lessons of Charles de B§riot. In 1852 the boy was awarded the Prix d'Honneur, against the rules of the Conservatory on account of his tender age. Having returned to Madrid, he toured as a virtuoso in England and Scotland. In 1856 he was appointed pro- fessor of violin teaching at the Madrid Conservatory. In 1861 he toured in Ger- many and the Netherlands. He refused the position of first violin and conductor, in collaboration with Liszt and Lassen, of the Court concerts offered him by the Grand Duke of Weimar ; he also refused to succeed de Beriot at the Brussels Conservatory, for he thought his duty was to give Spain his knowledge and experience. He taught at the Royal Conservatory, Madrid, and was for a time its director. In 1869-76 he conducted the Sociedad de Conciertos (now the Orquesta Sinfonica, and in 1863 founded the Sociedad de Cuartetos to educate the public for the appreciation of music by Mozart, Haydn, and Beethoven. Among his compositions are orchestral works, a violin concerto, chamber music, smaller pieces, and "20 Artistic Concert Etudes" for violin, adopted in 1878 and still in use at the Brussels Conservatory. From the Programs of CONCERT PIANIST MARION BAUER EDWARD MACDOWELL Op. 15. No. I. Prelude in D (for the left hand) Fourth Sonata (Keltic, Op. 59) Op. 1 5, No. 6. Prelude in F minor The joy of Autumn (From New England Idyls, ELLEN COLEMAN Op. 62) Sung outside the Prince's Door (From For- The Three Kings) r ..r» j rv .. >» From "Poems and Pictures Nocturne | gotten Fairy Tales —Thorn) Of Br'er Rabbit (From Fireside Tales, Op.
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  • Memorial Library of Music Collection

    Memorial Library of Music Collection

    http://oac.cdlib.org/findaid/ark:/13030/kt6r29p0pm No online items Partial Guide to the Memorial Library of Music Collection Special Collections staff Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc/ © 2006 The Board of Trustees of Stanford University. All rights reserved. Partial Guide to the Memorial MLM 1 Library of Music Collection Partial Guide to the Memorial Library of Music Collection Collection number: MLM Department of Special Collections and University Archives Stanford University Libraries Stanford, California Processed by: Special Collections staff Date Completed: 2003 Encoded by: Bill O'Hanlon © 2006 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Memorial Library of Music collection Collection number: MLM Collector: Keating, George T. Collection Size: ca. 27 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: This library is a collection of musical manuscripts and of printed and engraved scores inscribed by great composers, and constitutes a unique addition to Stanford's educational and cultural resources. Languages: Languages represented in the collection: English Access Collection is open for research; materials must be requested at least 24 hours in advance of intended use. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Preferred Citation Memorial Library of Music Collection, MLM. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.
  • Symphony Hall, Boston Huntington and Massachusetts Avenues

    Symphony Hall, Boston Huntington and Massachusetts Avenues

    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 INCORPORATED PIERRE MONTEUX, Conductor FORTY-FIRST SEASON. 1921-1922 Programme WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1921, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED THE OFFICERS AND TRUSTEES OF THE • BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTDN LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager — — "CHE INSTRUMENT OF THE IMMORTALS the old house where Franz Liszt as Rubinstein, dePachmann,Joseffy I Many INpassed his last years, still stands a young genius set fingers to a Steinway for his Steinway. Here the master of the first time in this house of Liszt's. Weimar played for the rulers of the earth And it is worthy of note that almost without who came to do him homage. And here, exception they, too, chose the Steinway too, played other masters of the piano just as Liszt had done before them, just as friends and disciples of Liszt's—men such the masters of today have done after them. STEINWAY & SOMS, STEINWAY HALL 107-109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE )t©im lymphs rchestra Forty-first Season. 1921-1922 PIERRE MONTEUX, Conductor The highest excellence in every detail of its con- struction, and the lasting beauty of its musical voice, have caused the CHICKERING PIANO to sought after THE be by OLDEST true music lovers for IN AMERICA nearly a Hundred Years.
  • JULES MASSENET – His Life and Works by Nick Fuller I

    JULES MASSENET – His Life and Works by Nick Fuller I

    JULES MASSENET – His Life and Works By Nick Fuller I. Introduction Jules Massenet’s operas made him one of the most popular composers of the late nineteenth century, his works performed throughout Europe, the Americas and North Africa. After World War I, he was seen as old- fashioned, and nearly all of his operas, apart from Werther and Manon , vanished from the mainstream repertoire. The opera-going public still know Massenet best for Manon , Werther , and the Méditation from Thaïs , but to believe, as The Grove Dictionary of Opera wrote in 1954, that ‘to have heard Manon is to have heard all of him’ is to do the composer a gross disservice. Massenet wrote twenty-seven operas, many of which are at least as good as Manon and Werther . Nearly all are theatrically effective, boast beautiful music and display insightful characterisation and an instinct for dramatic and psychological truth. In recent decades, Massenet’s work has regained popularity. Although he Figure 1 Jules Massenet, drawing by Ernesto Fontana (Source: is not the household name he once http://artlyriquefr.fr/personnages/Massenet%20Jules.html) was, and many of his operas remain little known, he has been winning new audiences. Conductors like Richard Bonynge, Julius Rudel and Patrick Fournillier have championed Massenet, while since 1990 a biennial Massenet festival has been held in his birthplace, Saint-Étienne, in the Auvergne-Rhône-Alpes, its mission to rediscover Massenet’s operas. His work has been performed in the world’s major opera houses under the baton of conductors Thomas Beecham, Colin Davis, Charles Mackerras, Michel Plasson, Riccardo Chailly and Antonio Pappano, and sung by Joan Sutherland, José van Dam, Frederica von Stade, Nicolai Gedda, Roberto Alagna, Renée Fleming, Thomas Hampson and Plácido Domingo.