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Boston Symphony Orchestra Concert Programs, Season 47,1927-1928, Trip

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SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, December I, at 8.00 PR5GR5W1E A GOOD CHRISTMAS PRESENT FOR THE MEN! $1,188,768,668 is the value of real estate that is evading taxes every year in Massachusetts. This figure is increasing at the rate of $60,000,000 a year. One reason why our taxes keep going up! Shall we bequeath tax exemptions to our children or solve the problem ourselves? READ '1417 NEXT QUESTION j: By EDITH HAMILTON MacFADDEN Published by the author 18 Francis Avenue, Cambridge, Mass. Sent postpaid on receipt of price $4.00 Or your book dealer SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-SEVENTH SEASON 1927-1928 INC. SERGE KOUSSEVITZKY, Conductor SEASON 1927-1928 THURSDAY EVENING, DECEMBER 1, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1927, 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 1 STEINWAY the Instrument of the immortals Not only the best piano, but the best piano value It is possible to build a piano to beauty of line and tone, it is the sell at any given price* but it is not greatest piano value ever offered! often possible to build a good • • . Convenient terms will be piano under such conditions. arranged, if desired. Steinway pianos are not—and There is a Steinway dealer in your com.' never have built been— to meet a munity, or near you, through whom you price. They are made as well as may purchase a new Steinway piano with human skill can make them, and a small cash deposit, and the balance will the price is determined later. The be extended over a period of two years. result is the world's finest piano. Used pianos accepted in partial exchange* Such an instrument costs more Prices: ana* up than a commonplace product—yet $o75 in point of long life, prestige, and Plus transportation STEINWAY & SONS, Steinway Hall, 109 W. 57th Street, New York Represented by the foremost dealers everywhere B©§f©i Forty-seventh Season, 1927-1928 SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H. Cherkassky, P. Concert-master Kreinin, B. Eisler, D. Hamilton, V. Kassman, N. Theodorowicz, J. Hansen, E. Graeser, H. Fedorovsky, P. Leibovici, J. Pinfield, C. Mariotti, V. Leveen, P. Siegl, F. Mayer, P. Zung, M. Knudsen, C. Gorodetzky, L. Tapley, R. 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. Artifcres, L. Cauhapg, J. Werner, H. Shirley, P. Avierino, N. Gerhardt, S. Bernard, A. Deane, C. Violoncellos. Bedetti, J. Zighera, A. Langendoen, J. Stockbridg e, C. Fabrizio, E. Keller, J. Barth, C. Droeghmans, H. Warnke, J Marjollet L. Basses. Kunze, M. Lemaire, J. Ludwig, 0. Giraid, 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. Wendler, G. Valkenier, W. Mager, G. Rochut, J. Pogrebniak, S. Schindler, G. Perret, G. Hansotte, L. Van Den Berg, C. Lannoye, M. Voisin, R. Kenfield, L. Lorbeer, H. Blot, G. Mann, J. Raichman, J. Jones, 0. Adam, E. Tubas. Harps. Timpani. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Adam, E. Zighera, B. Polster, M. Sternburg, S. Seiniger, S. Organ. Piano. Celesta. Librarian. Snow, A. Zighera, B. Fiedler, A. Rogers, L. J. ! . y^ r ^P^-4 \ ^\ CHICKERING HALL ZHome of the c5%mpico HEN the Ampico plays and the Chickering sings, the faithful re-enactment of the playing of the masters is combined with a loveliness of tone unequalled . one of many reasons why the Ampico in the Chickering has been se- lected by outstanding educational institutions . .The New England Conservatory of Music. Harvard University . Boston University . Wellesley College . Amherst College . Boston Teacher's College . Phillips Andover Academy . Phillips Exeter Academy . and scores of others ««««««««»««««««« «<•*«€>O0*O4XK>~<Htr0^t> Pianos in infinite variety from #395 to #18,000 — so easy to own on small monthly payments. Mom ir W5 BoyIston StJ SANDERS THEATRE .... CAMBRIDGE HARVARD UNIVERSITY Forty-seventh Season, 1927-1928 SERGE KOUSSEVITZKY, Conductor THIRD CONCERT THURSDAY EVENING, DECEMBER 1 AT 8.00 PROGRAMME RICHARD BURGIN will conduct this concert Cherubini Overture to "Ali Baba" Brahms . Concerto in D major for Violin and Orchestra, Op. 77 I. Allegro non troppo. II. Adagio. III. Allegro giocoso, ma non troppo vivace. Schrecker Prelude to a Drama Liszt . "Mazeppa," Symphonic Poem No. 6 (after Victor Hugo) SOLOIST ALBERT SPALDING STEINWAY PIANO USED There will be an intermission of ten minutes after the concerto for CALIFORNIA RAYMOND - WHITCOMB LAND CRUISES The only trains that run from the Atlantic to f[[ jU the Pacific without change. The only trains with real beds and private f][ *U baths. The only trains with recreation cars for bridge, f] [ :ll dancing, lectures, movies, other amusements. J1[ The only trains with a gymnasium for exer- j\ cise en route. £ Eight days from Boston to Los Angeles. You can [ tU leave Boston on a Wednesday and be in California on the next Wednesday— after a journey, unequaled for comfort, that is broken by sightseeing at Pass Christian, New Orleans, San Antonio, El Paso, and the Apache Trail, or (by another route) at Chicago, Santa Fe, the Petrified Forest, the Painted Desert, and the Grand Canyon. CRUISE-TOURS TO CALIFORNIA TRIPS of four and five weeks that add to the Land Cruises across the Continent, two or three weeks of sightseeing in California, visiting its great resorts and famous beauty spots, stopping at its renowned hotels and traveling from place to place by automobile. Send for the Booklet "Land Cruises" TOURS TO THE HAWAIIAN ISLANDS EUROPE AND SOUTH AMERICA CRUISES TO THE WEST INDIES AFRICA AND THE MEDITERRANEAN Raymond & Whitcomb Company 165 TREMONT STREET, BOSTON, MASSACHUSETTS Telephone: HANCOCK 7820 Overture to the Opera "Ali-Baba, ou les Quarante Voleurs" Maria Luigi Zenobio Carlo Salvatore Cherubini (Born in September, 1760—baptized on September 15—at Florence, Italy; died at Paris, on March 15, 1842) "Ali-Baba, or The Forty Thieves/' opera in four acts with a pro- logue, libretto by Eugene Scribe and Anne Honore Joseph Duveyrier Melesville, was produced at the Theatre de F Academie de Musique (Paris Opera), Paris, on July 22, 1833. Nadir, Nourrit; Ours-Kan, Dabadie; Ali-Baba, Levasseur; Aboul-Assan, Prevost; Phaor, F. Prevot; Calaf, Massol; Thamar, 'Derivis; Delie, Mme. Damoreau; Morgiane, Mile. Falcon. The ballets were by Coralli; scenery by Ciceri, Philastre, and Cambon. In the divertissement of the last act, the Bacchanale from "Achille a Scyros"* was introduced; the march in his "Faniska"f was also introduced. There were only eleven performances. The libretto was thought to be cold and boresome; the music to lack movement and vitality; but in Berlin and other German cities, the opera met with brilliant success, so that *This ballet in three acts, scenario by P. Gardel, music by Cherubini, was produced at the Paris Opera on December 18, 1804, with great success. The part of Achilles was taken by Duport. The Bacchanale was considered one of Cherubini's finest orches- tral works. f'Faniska," an opera in three acts, described as a S'ingspiel, with German text, music by Cherubini, was produced at Vienna on February 25, 1806. Edited by PERCY GOETSCHIUS, Mus. Doc. An analytic edition of the master symphonies, symphonic poems, and classic overtures, arranged for the piano, two hands. Designed for analysis and appreciation classes and for all students of music in its higher forms. Each volume contains a portrait and biographical sketch of the composer and a critique of the work. No. 1 Haydn, No. 6, in G major (Surprise) 75 No. 2 Mozart, No. 48, in G minor 75 No. 3 Beethoven, No. 5, in C minor 1 .00 No. 4 Schubert, No. 7, in B minor (Unfinished) 75 No. 5 Schumann, No. I, in B-flat major 75 No. 6 Brahms, No. 2, in D major 1.00 No. 7 Tchaikovsky, No. 6, in B minor (Pathetic) 1.25 Other numbers to follow OLIVER DITSON COMPA 179 TREMONT STREET, BOSTON, MASS. Founded 1783 Established 1835 Incorporated 1889 Adolphe Adam wrote in his "Derniers Souvenirs d'un Musicien" that Germany avenged Cherubini for the coldness of France. * * * Cherubini's librettists took the story from Antoine Galland's translation "Les Mille et une Nuits." Burton included the "Story of Ali Baba and the Forty Thieves" in the third volume of "Supple- mental Nights to the Book of the Thousand Nights and a Night" ("Aladdin" and the voyages of Sindbad are also in the "Supple- mental Nights." W. A. Clouston contributes to Burton's third vol- ume an interesting essay on "Ali Baba" a story of "Asiastic invention," and gives variants as found in North German, Chinese, and Modern Grecian legends (pp. 590-595; 650-651). * • * Cherubini had composed in 1793 music for "Koukourgi," in three acts, by the elder Daveyrier-Melesville. It was not performed. Scribe and Melesville, having heard some of this music, wrote the libretto for "Ali-Baba." Cherubini, then sixty-three years old, added new pages to the score.
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  • Schreker's Die Gezeichneten

    Schreker's Die Gezeichneten

    "A Superabundance of Music": Reflections on Vienna, Italy and German Opera, 1912-1918 Robert Blackburn I Romain Rolland's remark that in Germany there was too much music 1 has a particular resonance for the period just before and just after the First World War. It was an age of several different and parallel cultural impulses, with the new forces of Expressionism running alongside continuing fascination with the icons and imagery ofJugendstil and neo-rornanticism, the haunting conservative inwardness of Pfitzner's Palestrina cheek by jowl with rococo stylisation (Der Rosenkavalier and Ariadne auf Naxos) and the search for a re- animation of the commedia dell'arte (Ariadne again and Busoni's parodistic and often sinister Arlecchino, as well es Pierrot Lunaire and Debussy's Cello Sonata). The lure of new opera was paramount and there seemed to be no limit to the demand and market in Germany. Strauss's success with Salome after 1905 not only enable him to build a villa at Garmisch, but created a particular sound-world and atmosphere of sultriness, obsession and irrationalism which had a profound influence on the time. It was, as Strauss observed, "a symphony in the medium of drama, and is psychological like all music". 2 So, too, was Elektra, though this was received more coolly at the time by many. The perceptive Paul Bekker (aged 27 in 1909) was among the few to recognise it at once for the masterpiece it is.3 In 1911 it was far from clear that Del' Rosenkavalier would become Strauss' and Hofinannsthal's biggest commercial success, nor in 1916 that Ariadne all! Naxos would eventually be described as their most original collaboration.' 6 Revista Musica, Sao Paulo, v.5, n.