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Boston Symphony Orchestra Concert Programs, Season 57,1937

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Boston Symphony Orchestra Concert Programs, Season 57,1937 Horace pusfmell Jlemortal Hall Hartforb » -. \<L £ BOSTON SYAPHONY ORCHESTRA POUNDED IN 1881 DY HENRY L. HICGINSON FIFTY-SEVENTH SEASON ^W 1937-1938 [2] Tuesday Evening, January 4 at 8:15 o'clock Bushnell Concert Series Season 1937 - 1938 Horace Bushnell Memorial Hall, Hartford, Conn. Boston Symphony Orchestra [Fifty-seventh Season, 1937-1938] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H. RESNIKOFF, 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. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. MURRAY, J. ERKELENS, H. SEINIGER, S. Violas LEFRANC, J. FOUREL, G. BERNARD, A. GROVER, H. ARTIERES, L. CAUHAPE', J. VAN WYNBERGEN, C. WERNER, H. AVIERINO, N. JACOB, R. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, J. LANGENDOEN, j. CHARDON, Y. STOCKBRIDGE, C FABRIZIO, E. OGHERA, A. TORTELIER, P. DROEGHMANS, H. WARNKE, J. MARJOLLET, L. ZIMBLER, J. Basses KUNZE, M. LEMAIRE, J. LUDWIG, O. GIRARD, H. JUHT, L. VONDRAK, A. MOLEUX, G. FRANKEL, I. DUFRESNE, G. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. POLATSCHEK, V. ALLARD, R. BLADET, G. DEVERGIE, J. VALERIO, m. PANENKA, E. PAPPOUTSAKIS, J- MAZZEO, R. LAUS, A. Eb Clarmet Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MIMART, P. PILLER, B. Horns Horns Trumpets Trombones VALKENIER, W. SINGER, J. MAGER, G. RAICH M AN, 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. CAME, L. POLSTER, M. WHITE, L. ARCIERI, E. Organ Piano Celesta LIBRARIAN SNOW, A. SANROMA, J. FIEDLER, A. ROGERS, L. J. Sualjttrll memorial IjaU • ffljartforb FIFTY-SEVENTH SEASON, 1937-1938 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor Concert Bulletin of the Second Concert TUESDAY EVENING, January 4, at 8:15 with historical and descriptive notes by John N. Burk 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 M. A. De Wolfe Howe Henry B. Cabot Roger I. Lee Ernest B. Dane Richard C. Paine Alvan T. Fuller Henry B. Sawyer N. Penrose Hallowell Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [1] WHY YOU WILL ENJOY AN AGENCY ACCOUNT Many people find that an agency account is worth much more to them ... in convenience, in relief from worry and detailed work, and in dependable income . than the moderate fees they pay the Trust Company. They no longer have to give constant attention to stocks and bonds, to real estate, or to other holdings; our staff attends to as, much of the detail work as the clients desire. They have more time for business or leisure. They travel where they please, assured that prudent, systematic man- agement will protect their interests. Women, as well as men, use agency service. So do indi- viduals who have been appointed executor or trustee of an estate, and officers and trustees of educational and charitable institutions, who wish to be relieved of the detail work in connection with the funds under their care. You agree, probably, that an agency account is advanta- geous. Your question then is, Can I afford it? Let one of our officers tell you how little you would pay. He will be glad to explain fully, without obligation. THE TRAVELERS BANK & TRUST COMPANY TRAVELERS BUILDING - HARTFORD, CONNECTICUT [2] FIFTY-SEVENTH SEASON, NINETEEN HUNDRED THIRTY-SEVEN and THIRTY-EIGHT IuhIjufII iEemartal ifaU # ^artforJn Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor SECOND CONCERT TUESDAY EVENING, January 4, at 8:15 o'clock IN RY 01 MAURICE RAVEL (March 7, 1875 - December 28, 1937) defunte" The composer* s wpavane pour une Infante will he played instead of Bach's Brandenburg Concerto j-.^c.^m-i 11 vm c±i.<w 1 J11111011 1 unvi-iUlL,j^±U, IVdlCVdld Sibelius "Finlandia," Symphonic Poem for Orchestra, Op. 26, No. 7 [31 WHY YOU WILL ENJOY AN AGENCY ACCOUNT Many people find that an agency account is worth much more to them ... in convenience, in relief from worry and detailed work, and in dependable income . than the moderate fees they pay the Trust Company. They no longer have to give constant attention to stocks and bonds, to real estate, or to other holdings; our staff 11 I_ I THE TRAVELERS BANK & TRUST COMPANY TRAVELERS BUILDING • HARTFORD, CONNECTICUT [2] FIFTY-SEVENTH SEASON, NINETEEN HUNDRED THIRTY-SEVEN and THIRTY-EIGHT SisatpttU dHettuirtal 2?all • ijariforfc Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor SECOND CONCERT TUESDAY EVENING, January 4, at 8:15 o'clock Programme Bach Brandenburg Concerto No. 3 in G major for string orchestra (with the Sinfonia from the Cantata "Christ lag in Todesbanden") Allegro moderato Sinfonia Allegro Brahms Symphony No. 3 in F major, Op. 90 I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro INTERMISSION Sibelius "Pohjola's Daughter," Symphonic Fantasia, Op. 49 Sibelius "The Swan of Tuonela" Legend from the Finnish Folk-Epic, "Kalevala" Sibelius "Finlandia," Symphonic Poem for Orchestra, Op. 26, No. 7 [31 CONCERTO, G MAJOR, NO. 3 (of the Brandenburg Set) for Three Violins, Three Violas, Three Violoncellos, with Bass by the Cembalo (with the Sinfonia from the Cantata "Christ lag in Todesbanden") By Johann Sebastian Bach Born at Eisenach on March 21, 1685; died at Leipzig on July 28, 1750 Bach presented his six "Brandenburg" Concertos to the Margraf of Brandenburg in 1721. The first performance by this Orchestra of the Third Concerto was on March 8, 1907. Its last performance here was March 27, 1936, when the Sinfonia was intro- duced between the two movements. The set of Brandenburg concertos can be looked upon as an experi- ment in various instrumental combinations. Of the six this one, like the last, is written for strings only. It is unique among them in having no intervening slow movement to bring the customary contrast between the two allegros. The original title runs "Concerto 3Z0 a tre Violini, tre Viole, e tre Violoncelli col Basso per il Cembalo" but the score definitely gives a place to the string basses, doubling the 'cellos, whereby the "cembalo" becomes merely a reinforcing instrument, unessential in the general balance. Bach thus divides his forces into three complete and equal string orchestras. At times, as in the first exposition, the three parts for each kind of instrument are in unison, making an ensemble of only three distinct voices (though the players themselves are distrib- uted), giving a special sense of integration and solidity. At times the three parts (for violins, violas, or 'cellos) are at variance, giving an infinite diversity and richness in contrapuntal imitation. Using brief rhythmic figures, Bach establishes and sustains an astonishing vitality in their varied manipulation. "The two movements," writes tland, a composition that is surely without J. A. Fuller-Mai "make up a rival as the expression of a frank and fearless joy, a joy from which everyday mirth is not excluded and which yet is well fitted for a tribute of spiritual exultation." Philip Spitta speaks of the first move- ment as "instinct with life and genius." He draws the attention to a particular passage (from the 78th bar) which he considers "as fine as anything in the whole realm of German instrumental music; the chief subject is given out in the second violin part, the first violin then starts an entirely new subject which next appears on the second violin, drawing in more and more instruments, and is at last taken up by the third violin and the third viola, and given out weightily on their G strings; this is the signal for a flood of sound to be set free from all sides, in the swirl of which all polyphony is drowned for several bars. There is no adagio in regular form. Two long-held f4l chords alone release the imagination for a moment, and then begins the concluding movement, a true concerto finale in 12-8 time." The two transitional chords (adagio), with a minor "Phrygian cadence" bringing momentary relief from the prevailing tonality of G major, have been amplified by Max Seiffert, editor of the edition, with a "free cadenza" for the violins. But Bach's two chords, un- adorned, have been used in previous performances by this orchestra. Other conductors have at this point interpolated a slow movement of Bach. An andante transcribed from one of the sonatas for violin solo is on record as having been used at a performance by the New York Philharmonic Orchestra (February 13, 1903). In Chicago, the adagio from the violin concerto in E major (transposed from C-sharp minor to C minor) was used. For the present performances, the in- troductory sinfonia to Bach's "Christ lag in Todesbanden" is used. The sinfonia, written for the string orchestra in E minor, has needed no transcription.* Bach has given what might be called a "reversed precedent" for this interpolation. The first movement of this concerto (somewhat altered) was used by him as an introduction for his Whit- suntide Cantata — "Ich Hebe den Hochsten von ganzem Gemi'Uhe" — * The cantata, "Christ lay in death's dark prison" is numbered four. It is considered to have been written for Easter Day, 1724. It is based upon Martin Luther's hymn of the same title. The cantata was performed on March 28, 1931 (with the Bach Cantata Club), as part of the Bach Festival given by the Boston Symphony Orchestra in that season.
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