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Boston Symphony Orchestra Concert Programs, Season 55,1935-1936

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Boston Symphony Orchestra Concert Programs, Season 55,1935-1936 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephone, Ticket and Administration Offices, Com. 1492 FIFTY-FIFTH SEASON, 1935-1936 CONCERT BULLETIN of the Boston Symphony Orchestra INCORPOR ATED Dr. SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes By John N. Burk COPYRIGHT, 1935, BY BOSTON SYMPHONY ORCHESTRA, Inc. 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 Roger I. Lee Henry B. Cabot William Phillips Ernest B. Dane Henry B. Sawyer N. Penrose Hallowell Pierpont L. Stackpole M. A. De Wolfe Howe Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [433] zJAe /i^lnci/iai wabineM e£ mi& mmAanu ib £o be< (oblateb aA (dxectdoi \d ntanaae ^/anm zJwabfee <w a6> , ^vlanu ueay-b 0/ eocAewiemce and a commete o^anvzati&n ename ab £& ousr- wient and AwmAt bewwce. Old Colony Trust Company 17 COURT STREET, BOSTON lAlliedwith The First National Bank of Boston [434] Contents Title Page ......... Page 433 Programme ......... 437 Analytical Notes: Roussel: Symphony No. 4 . 439 Rimsky-Korsakov: "Night on Mount Triglav," Act III of the Opera "Mlada" (in concert form) . 444 Schubert: Symphony in D minor, "Unfinished" . 454 Ravel: "La False/' Choreographic Poem . 466 Entr'acte: Schubert the Symphonist by Albert Roussel . 461 To the "Friends of the Boston Symphony Orchestra" . 457 The Next Programme . 471 Events in Symphony Hall . 472 Concert Announcements ...... 473-474 Teachers' Directory ....... 477-480 Personnel . ... Opposite page 480 [435] -Cijanbler & Co.— TREMONT AND WEST STREETS Persian Lamb Coats of Distinctive Chandler Quality! Lustrous Black or Well-Marked Grey $ 298 The Russian Princess coat is superb with matching silken frogs and braided belt cinching the trim waist. A small collar stands regally or turns down youthfully. The skins are soft, supple, expertly matched and fashioned by masters according to Chandler's exacting specifications. Other Persian Coats *I89 .*I98. $ 238. $ 208 May be purchased on the Chandler Budget Plan SECOND FLOOR [436] FIFTY-FIFTH SEASON. NINETEEN HUNDRED THIRTY-FIVE AND THIRTY-SIX Tenth Programme FRIDAY AFTERNOON, December 27, at 2:30 o'clock SATURDAY EVENING, December 28, at 8:15 o'clock Roussel Symphony No. 4, Op. 53 I. Lento; allegro con brio II. Lento molto III. Allegro scherzando IV. Allegro molto {First performances in the United States) Rimsky-Korsakov "Night on Mount Triglav," Act III of the Opera-Ballet "Mlada," arranged in concert form INTERMISSION Schubert Symphony in B minor ("Unfinished") I. Allegro moderato II. Andante con moto Ravel "La Valse," Choreographic Poem (A number of paintings by Lilla Cabot Perry, together with music, autographs, and pictures of the composers whose works are in the Orchestra's current repertory. may be seen in the Huntington Avenue Foyer. See page 466.) [437] 1 ) a Enjoy Boston Symphony Orchestra Performances in Your Own Home! Recorded exclusively on VICTOR RECORDS By collecting a musical library of Victor record- ings such as these herewith listed, you will be enabled to hear, as often as you like, the marvelous, modern, and faithful recordings of Boston's great orchestra and conductor — private symphony concert in your own home! Record Number Sibelius Symphony No. 2 in D major M 272 (8721-8726) Also Sprach Zarathustra M 257 (8619-8623) Symphony No. 6 (Tschaikowsky) ( "Pathetique" M 85 (7294-7298) Petrouchka Suite (Stravinsky) M 49 (6998-7000) Bolero (Ravel) 7251-7252 Love for Three Oranges— Scherzo and March 7197 Wiener Blut—Walzer (Vienna Blood) (Strauss) 6903 Classical Symphony—Prokofieff 7196-7197 • • CHARLES W. HOMEYER 498 Boylston Street, Boston, Mass. NEXT TO HOTEL BRUNSWICK M. STEINERT & SONS 162 Boylston Street, Boston, Mass. TEL. HANCOCK I9OO BOSTON MUSIC CO. 116 Boylston Street, Boston, Mass. TEL. HANCOCK 1 56 [438] — — — SYMPHONY NO. a, Op. 53 By Albert Roussel Born at Turcoing (Nord), France, on April 5, 1869 This symphony (published 1935), had its first presentation at the Concerts Pasdeloup in Paris, October 19 last, Albert Wolff (to whom it is dedicated), conducting. The applause after the scherzo in- duced M. Wolff to yield to a European custom not (up to this time) practiced in America — as one of the critics wrote: "it had the honors of a bis unanimously solicited." The composer uses substantially the orchestra of his Third Sym- phony, with additional percussion: wood winds in threes, brass in fours, timpani, side drum, bass drum, triangle, cymbals, harp, and strings. The symphony opens with an introduction, lento, from which there is a thematic recurrence in the middle section of the slow move- ment. The Allegro scherzando is in a 6-8 rhythm suggesting the gigue. Spirited, punctuated with staccato chords, the impetus never relaxes, offers no trio of contrasting character, although there is a subtle jug- gling between the duple and triple beat. The final Allegro molto is a lively rondo, again without relaxation of tempo, although a section of lyrical character brings relief. A characterization of the movements was given by Denyse Bertrand, writing of the Paris performance in AN IMPORTANT NEW PUBLICATION THE NEW WAY TO PIANO TECHNIQUE An original system of concentrated technical practice graded from elementary to virtuoso standard By GEORGE WOODHOUSE ENDORSEMENTS "It is difficult to overestimate the value of this new work. For teachers and even for advanced recitalists, the work is invaluable. ... It represents the mature thoughts of one who has devoted his life to the art of the keyboard." Monthly Musical Record, London. "May come to occupy a place among the classics of technical instruction." London Daily Telegraph. "Mr. Woodhouse's suggestions for scale practice, based upon alert co-operation between ear and finger, appear revolutionary in a textbook, but they have the sanc- tion of all great pianists. THE NEW WAT eliminates the gulf between teaching studio and concert platform." The Argus, Melbourne, Australia. "The intensely concentrated instruction given in each book of exercises makes these a real new testament for all pianists." Alexandre Boeovskt, Paris. NOW READY FOUNDATION TECHNIQUE APPLIED TECHNIQUE Intermediate Grade Preparatory Scale Practice Final Grade Preparatory Octave Practice Each Book 75 Cents Net Modern Scale Practice THE ARTHUR P. SCHMIDT CO. 120 Boylston St. [439] "Menestrel" (October 25, 1935): "An allegro with an incisive theme set off by vari-colored orchestration is concise, quite in the composer's best style; the adagio, mysterious and tender, rises gradually with an expanding songfulness; the scherzo, short, light, very rhythmic, con- trasts agreeably with a finale of pleasing grace, written without vigor and sounding delightfully." Roussel lays claim to four symphonies, though the first might more properly be called a symphonic poem. It was composed in 1908, and bears the title "Le Poeme de la Foret." The Second, in B-flat, dates from 1922 (it was performed by the Boston Symphony Orchestra October 31, 1924). This symphony shows classical outlines, but has an admitted programme, dealing with youth, his advance, and his experience with life. The Third Symphony, in G minor, was com- posed for the fiftieth anniversary of this orchestra and first performed at these concerts October 24, 1930. It has no programme, although this composer has always kept, even in his latest symphony, a colorful and suggestive instrumentation. The Fourth Symphony, like the Sin- fonietta for Strings of 1934, which was performed at these concerts November 29 of the present season, is what the French call "de la musique pure" — with a high percentage of "purity." Robert Bernard, writing his impressions of the Fourth Symphony in "La Revue Musicale" of last November, remarked on Roussel's OLIVER DITSON COMPANY, INC. Retail Music Store 359 BOYLSTON STREET BOSTON, MASS. For All Published MUSIC Largest stock of sheet music and music books in New England. Every outstanding American and Foreign publisher represented. D I T S O N ' S 359 BOYLSTON STREET TEL. COMMONWEALTH 1350 [44o] increasing concentration upon symphonic form. "It has often been set forward," he wrote, "that French musical genius has been resistant to symphonic form. The statement is not without foundation. Gen- erally speaking, absolute music (music not conditioned by some idea, psychological, literary, or dramatic) is hardly amenable to French musicians when the score reaches considerable proportions. The Frenchman's very concept of music is antagonistic to the arbitrary elaboration implicated by the symphony, and generally speaking, the sonata form. We have neither the instinct, the taste nor the inclina- tion for music as an autonomous art. In the middle ages and the renaissance, French music was entirely a corollary to poetry, from the seventeenth to the nineteenth centuries it has divided itself, by choice of subject, into psychological observation or dramatic expression. Cesar Franck was one of the principal workers toward the introduc- tion of Germanic discipline into French music — an infiltration which had its balancing racial factors. "Albert Roussel has seemed to me the logical point where musical thoughts specifically French have taken full possession of a form not authentically national. By him rather than by Saint-Saens, in whom there were irreconcilable elements, and who could borrow a form for a concept which remained French — by Albert Roussel, then, the fusion has been established; let us rather say the French patrimony has been —r ''EVENING GOWNS'' tyor a Worldly ^ise Season — WE HAVE ASSEMBLED A COLLECTION OF EVENING GOWNS IN FASCINATING VARIETY - STYLES THAT PERMIT YOU TO LOOK AS INTER- ' ESTING AND CHANGEABLE AS YOUR MANY MOODS — CHIFFONS— LACES— NETS — TAFFETAS —PRINTS — IDEALLY ADAPTABLE TO EVERY LATE WINTER AND RESORT OCCASION — HurMtch Bros sl . \mmm . .<.) mm nwm ?i i&wi . > [441 ] definitely enriched by a powerful field of expression which we have had difficulty in assimilating.
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