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Boston Symphony Orchestra Concert Programs, Season 52,1932

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Boston Symphony Orchestra Concert Programs, Season 52,1932 SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, February 9, at 8.00 PRSGR7WVE SYMPHONY HALL Sunday FEB. 12 PADEREWSKI at 3.30 Sunday PAUL WHITEMAN FEB. 12 AND HIS ORCHESTRA at 8.15 IN A NEW CONCERT PROGRAMME HALL JOHNSON Sunday FEB. 19 CHOIR at 3-30 In a programme of spirituals, work songs, ballads of the levee and the cotton field LOTTE Tuesday LEHMANN FEB. 21 THE GREAT LIEDER SINGER at 8.30 The programme includes groups of songs by Schubert, Schumann, Brahms and Strauss SANDERS THEATRE CAMBRIDGE HARVARD UNIVERSITY FIFTY-SECOND SEASON, 1932-1933 INC. Dr. SERGE KOUSSEVITZKY, Conductor SEASON 1932-1933 THURSDAY EVENING, FEBRUARY 9, at 8 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1933, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. BENTLEY W. WARREN . President Vice-President HENRY B. SAWYER . Treasurer ERNEST B. DANE . LYMAN HENRY B. CABOT ARTHUR PHILLIPS ERNEST B. DANE WILLIAM PICKMAN N. PENROSE HALLOWELL EDWARD M. B. SAWYER M. A. DE WOLFE HOWE HENRY W. WARREN FREDERICK E. LOWELL BENTLEY E. JUDD, Assistant Manager W. H. BRENNAN, Manager G. , Cfjantrter & Co. Famous for quality and style for over a Century f Lovely Cjiow blips and Pajamas and n d\l vpZ. — inconceivably fine slips of French finished crepe have adjustable straps, delicate embroidery, im- ported laces! One- and two- piece pajamas and gowns are lovely, appliqued in Never before dark laces! have we been able to offer /At 4O such exquisite — the lace-edged slips have deep appliques quality s ilk of lace in the skirt front! lovely, cob- Bandeau top pantie slips, webby laces and tailored styles and wrap- around models are ex- expensive de- quisitely made! Pajamas tails at these and gowns wear lace in low prices! puffs and shoulder ruffles or are quite tailored! Sixth Floor Last 4 Days of our Annual Sale Poirette Compacts 7.50 10.50 11.50 12.50 Usually 12.50 Usually 14.50 Usually 14.50 Usually 22.50 You'll find each garment beautifully made and finished to the last tiny detail! Free- flex compacts of imported French webbing . foundations of beautiful brocades and satins with evening and day backs . ruffles of lace . lace uplift brassieres. Sixth Floor. SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY iTCiiiesta Fifty-second Season, 1932-1933 Dr. SERGE KOUSSEVITZKY, Conductor FIFTH CONCERT THURSDAY EVENING, FEBRUARY 9 AT 8.00 PROGRAMME Mozart "Eine Kleine Nacht Musik," Serenade for String Orchestra (K. 525) I, Allegro. II. Romanza: Andante. III. Menuetto: Allegretto. IV. Rondo: Allegro. Fair," an English Rhapsody Delius • . "Brigg "Forest Murmurs" from "Siegfried" Wagner • • • • Wagner Overture to "Der Fliegende Hollander" Sibelius Symphony No. 2, in D major, Op. 43 I. Allegretto. II. Tempo andante ma rubato. III. Vivacissimo; Lento e suave. IV. Finale: Allegro moderato. symphony There will be an intermission often minutes before the 3 — ) "Eine Kleine Nachtmusik" : Serenade for String Orchestra (K. 525) ........ Wolfgang Amadeus Mozart (Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791) This music was composed at Vienna, August 10, 1787. There are four movements : I. Allegro, G major, 4-4. The energetic chief theme is exposed at once. It is followed by an episode of a gentler character. Two motives of importance are introduced later. The developments and coda are short. II. The Romanze, Andante, C major, 2-2, is in rondo form with four themes. III. Minuet, Allegretto, G major, 3-4. Trio, D major, "sotto voce." IV. Hondo, Allegro, 2-2. In spite of the title "Rondo," this Finale is not so strictly in rondo form as the foregoing Ronianze. Brigg Fair; an English Khapsody for Orchestra Frederick Delius (Born at Bradford, Yorkshire, England, on January 29, 1863; living at Grez-sur-Loing ( Seine-et-Marne ) , France This Rhapsody was performed for the first time at Liverpool, England. Granville Bantock conductor, on January 18, 1908. It was performed in New York by the Symphony Orchestra of that city, Walter Damrosch conductor, on November 6, 1910. The first per- formance in Boston was on December 23, 1910, Max Fiedler con- ductor. The programme also included Tchaikovsky's Symphony No. " 5, E minor ; Recitative, "E Susanna non vien' and aria "Dove Sono" from "Le Nozze di Figaro" and Ophelia's Mad Scene from Ambroise Thomas' "Hamlet" (Mme. Melba), and the overture to "Der Freischtitz." The following folk-song "Brigg Fair" is printed on a page of the score which was published at Leipsic in 1910. It was on the fift' of August, The weather fine and fair. Unto Brigg Fair I did repair For love I was inclined. I rose up with the lark in the morning, With my heart so full of glee, Of thinking there to meet my dear Long time I wished to see. 1 looked over my left shoulder To see whom I could see, And there I spied my own true love Come tripping down to me. I took hold of her lily-white hand, And merrily was her heart, And now we're met together, I hope we ne'er shall part. For its meeting is a pleasure And parting is a grief, But an unconstant lover Is worse than a thief. The green leaves they shall wither And the branches they shall die If ever I prove false to her, To the girl that loves me. The Rhapsody, dedicated to Percy Grainger, who found the folk song, is scored for sixteen first violins, sixteen second violins, twelve violas, twelve violoncellos, twelve double basses, three flutes, two oboes, English horn, three clarinets, bass clarinet, three bassoons, double-bassoon, six horns, three trumpets, three trombones, bass tuba, one harp (or more), a set of three kettledrums, bass drum, triangle, three tubular bells in B, C, and D. There is a short introduction, "Slow-Pastoral," with phrases as though improvised, for flutes and clarinet with harp arpeggios and sustained chords for muted strings. The chief theme, the folk song, "with easy movement," 3-8 time is given to the oboe. This theme is developed. There is a section "slow and very quietly—4-4." After a pastoral phrase for flute an expressive melody is sung by muted first violins. The chief theme "with easy movement" appears, this time in augmentation, in the wood-wind. Another slow section, "with solemnity," melody for trumpet and trombone, has the charac- ter of a funeral chant. There is a return to the gay mood, with the chief theme fortissimo. The ending is at first broad and majestic for full orchestra. The music becomes softer and slower. The Rhap- sody ends "very quietly" in B-flat major, with the chief theme now, in 3-4 time, for the oboe. DITSON PUBLICATIONS Ait°lSaZaIue 'TALKS ABOUT BEETHOVEN'S SYMPHONIES 2.50 By Theodore Thomas and Frederick Stock SYMPHONY SINCE BEETHOVEN . 1.00 By Felix Weingartner ART-SONG IN AMERICA 3.00 By William Treat Upton EARLY ENGLISH CLASSICS .... 1.00 Edited and Revised by George Pratt Maxim PROJECT LESSONS IN ORCHESTRATION . 1.50 By Arthur E. Heacox * 1.75 ESSENTIALS IN CONDUCTING . , By Karl W. Gehrkens OLIVER DITSON COMPANY, Inc. 359 Boylston Street Boston, Mass. — In the summer of 1923, Percy Grainger spent several weeks with Delius. (In January of that year, concerts of Avorks by Delius were given in several European cities and there was a Delius Festival ar Frankfort.) Mr. Grainger wrote: "Poor Delius is terribly crippled, cannot write, and can hardly walk at all. I wrote down a whole score for him while I was there, and also rigged up a chair on poles in which we carried him around." In 1929, there was a Delius Festival of six days in London, begin- ning with the concert on October 12. Sir Thomas Beecham was the conductor of the Festival concerts. As Delius is now blind, and half paralyzed, he has an amenuensis, a young English musician, Eric Fenby, who offered his services to the composer. Among the new works of Delius arising from this collaboration which, as Herbert Hughes well says, is "probably without parallel in the history of creative musical art," are "Fantastic Dance," for full orchestra; a setting for voice and piano of Verlaine's poem, "Avant que tu ne t'en ailles, pale etoile du matin" ; "Songs of Farewell" (text from poems by Walt Whitman : —"The musician's philosophy has never wavered and now as before proclaims in sounds of extraordinary loveliness its faith in beauty which is not that of the 'eternal femi- nine,' but of nature, of swaying forests and golden fields, of surging seas and spacious skies. Nor is there any essential difference in the method of presentation") ; Sonata No. 3, for violin and piano; Air and Dance for string orchestra; a setting of Dowson's "Cynera," for baritone solo and orchestra ; a setting of Henley's "A late lark twitters from the quiet skies," for tenor and orchestra. Delius's greatest choral works "The Mass of Life," "Sea-Drift," and "Appalachia," have not been performed in Boston. While he was in London for the Festival, he talked freely with Mr " C. W. Orr : * "Many young composers nowadays have undeniable cleverness, but lack real feeling and inspiration. They are obsessed with the idea of being original at all costs—they do not see that in spite of their 'wrong note' harmonies and 'jazzed' rhythms their work is as commonplace in essentials as that of the most hide-bound academic. Originality comes only when you have worked right through your influences and have learned to express your emotions in your own way. Superficial virtuosity will never conceal a lack of inventive power and ultimately results in complete sterility." Speaking of the technique of composition, I once asked him if he had experienced any difficulty in composing in his early days.
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