(MONDAY)
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T^ PLAZA, New York Fred Sterry John D. Owen President Manager
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drtoteh of distinction Unrivalled as to location. Distin- guished throughout the World for their appointments and service.
•w\= SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES
Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492
,M.\ INC.
Dr. SERGE KOUSSEVITZKY, Conductor
FORTY-NINTH SEASON, 1929-1930
ssra
MONDAY EVENING, MARCH 17, at 8.15
WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE
COPYRIGHT, 1S30, 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 tb«e THRIFT is built on value — not on price
A Steinway naturally costs more return years after less distin- than an ordinary piano, because guished instruments have gone it is a more-than-ordinary instru- their way. . . . And the new con- ment. Its price exceeds those of venient terms place it within the other makes, yet in point of long reach of every one. Make your life, prestige, and beauty of line visit to your nearest Steinway
and tone it is the greatest piano dealer — today.
value ever offered. • Steinway pianos never have been built to A new Steinway Upright piano can be bought for 75 meet price. a They are made as GRANDS *1475 well as human skill can make %%£& them, and the price is determined 10% down *£££ later. The result is the world's Any Steinway piano may be purchased with a cash deposit of 10%, and the balance will finest piano. • Such a piano is be extended over a period of two years. Used pianos accepted in partial exchange. rn investment which will con- Steinway & Sons, Steinway Hall tinue to make its rich and sure 109 West 57th Street, New York
THE INSTRUMENT TEINWAY OF THE IMMORTALS
Represented in Boston and other New England cities byM. Steinert & Sons 2 5 it m
Forty-ninth Season, 1929-1930 Dr. 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.
Thillois, F. Zung, M. Knudson, 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. Cauhap6, J. Bernard, A. Werner, H. Avierino, N. Deane, C Gerhardt, S. Jacob, R.
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. Raichman, J. Pogrebniak, S. Schindler, G. Voisin, R. Rochut, J. Van Den Berg, C. Lannoye, M. Lafosse, M. Hansotte, L. Lorbeer, H. Blot, G. Perret, G. Kenfield, L. Mann, J. Adam E.
Tubas. Harps. Timpani. Percussion.
Sidow, P. Zighera, I1. Ritter, A. Ludwig, C Adam, E. Caughey, E. Polster, M. Sternburg, S. White, L. Organ. Celesta. Librarian.
Snow, A. Fiedler, A. Rogers, L. J. 3 Tailored pleats panamalaque, a accent the un- high lustred fine even width of weave, porte bon- brims. Buckles heur, another lus- a dd a smart trous straw, crin touch for tailored lace and the new wear. felts of marvel- ous softness. Pleats running horizontally and Colors were never curving down- morebeautiful, ward are caught among them by a straw strap. Hula and Waikiki brown, Corin- Felt and straw thian and tropic combine in green, linen and brimmed hats coronation blue, with long diag- plage fleuries, pie onal pleats at the crust, toro and side. firebrand red.
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ESTABLISHED OVER A CENTURY TREMONT AT WEST ST. —
FORTY-NINTH SEASON, NINETEEN HUNDRED TWENTY-NINE AND THIRTY
11
MONDAY EVENING, MARCH 17
AT 8.15
Bach Prelude and Fugue in E-nat (for Organ) Arranged for Orchestra by Schonberg
Mozart Concerto for Piano in D minor, K 466
Allegro. Romanza. Rondo.
Strauss An Alpine Symphony, Op. 64 Night—Sunrise—The Ascent—Entering the Woods—Wandering by the Brook—At the Waterfall—Scenery—On Flowering Paths—The Mountain Pasture—Off the Path through Thicket and Underbrush—On the Glacier —Vision—The Fog Rises—The Sun is Gradually Obscured—Elegy— Still- ness before the Storm—The Thunderstorm; Descent—Sunset—Sounds Night,
SOLOIST RENEE LONGY MIQUELLE
STEINWAY PIANO USED
There will be an intermission of ten minutes after the concerto.
City of Boston, Revised Regulation of August 5, 1898, — Chapter 3, relating to the covering of the head in places of public amusement
Every licensee shall not, in his place of amusement, allow any person to wear upDn the head a covering whicb obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN. City Clerk
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 n EUROPE
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Organ Prelude and Fugue, E-flat major, by J. S. Bach : arranged for Orchestra by ...... Arnold Schonberg
(Bach, born at Eisenach, March 21, 1685; died at Leipsic, July 28, 1750. Schonberg, born at Vienna on September 13, 1874; now living)
The Prelude and the Fugue are not necessarily joined together, but are regarded as independent composition. The Fugue is com- monly known as "St. Ann's."* The first performance of Schon- berg's arrangement was at a concert of the Cincinnati Orchestra in Cincinnati, in February, 1930.
Concerto in D minor, for the Pianoforte (K. 466) Wolfgang Amadeus Mozart
(Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791.)
This concerto was completed in Vienna on February 10, 1785. It was performed for the first time at Mozart's subscription concert on February 11, 1785, "auf der Mehlgrube." This was the first of a series of subscription concerts given on Fridays. There were more
*"A misleading title, as, except in the identity of its subject with the first strain of it, 'Ann's,' the fugue has no connection with the hj-mn tune."—G. A. Crawford.
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Modernistic Millinery Salon SI Opposite Boston Common. than a hundred and fifty subscribers at three ducats a head. His father was in Vienna at the time and wrote to Mariane after the concert: "Wolfgang played a new and excellent piano-concerto, which the copyist was copying yesterday (February 10) when we called, and your brother did not have time to play through the Rondo once, because he had to look over the copying. The concerto is in D minor (N. 8)." It is the eighteenth of the twenty-five written for one pianoforte, in the list of Kochel. The autograph score is in the library of the Gesellschaft der Musikfreunde in Vienna. The concerto has been performed in Boston at a Theodore
Thomas concert, October 8, 1870, Anna Mehlig, pianist; at concerts of the Harvard Musical Association, January 5, 1871, Anna Mehlig, pianist, January 18, 1872, Richard Hoffman, pianist; and at con- certs of the Boston Symphony Orchestra, February 20, 1886, Mrs. H. H. A. Beach, pianist; April 24, 1915, Ossip Gabrilowitsch, pianist. The orchestral portion of the work is scored for flute, two oboes, two bassoons, two horns, two trumpets, kettledrums, and strings. I. Allegro, D minor, 4-4. The orchestral introduction prepares the thematic material of the movement. The chief theme is given out in full and unaccompanied by the pianoforte. This is developed
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Hartel edition has "Prestissimo" ; the new edition of the score has "Allegro assai" as also the editions of Hummel and Andre. The pianoforte gives out the first theme and the orchestra take it up. The second theme is given also to the pianoforte. Of the other
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11 thematic material a motive in F major first given to the orchestra is the most important. It plays a conspicuous part in the final section in D major after the cadenza. Cadenzas for this concerto were written by Beethoven and Hum- mel, but not published in the lifetime of the composer.
Mozart, famed as the greatest pianist of his day, had small and beautiful hands. According to Memetschek, he moved them so quietly and naturally on the keyboard that the eye as well as the ear was pleased. That he could grasp so many keys was a source of wonder. His facility was due to his close study of Ph. E. Bach's works from which he worked out his system of fingering. Mozart demanded of a pianist a quiet and steady hand with such natural lightness, flexibility and speed that passages would "flow like oil," to use his own words. He insisted on absolute correctness, clear- ness, tasteful expression. He warned against undue haste. "It is much easier to play a piece fast than slowly." He himself excited wonder by playing in tempo rubato yet preserving the tempo with the left hand. As he wrote to his father: "That I always remain strictly in time surprises every one; they cannot understand that the left hand should not in the least be concerned in a tempo
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13 : rubato. When they play, the left hand always follows." Mozart was the first great virtuoso who habitually used the "fortepiano," formed a style of playing to suit it. He became acquainted with Stein's instruments at Augsburg in 1777. Stein's pianoforte had a "genouilliere," or knee pedal for raising the dampers. This pre- ceded the foot-pedal.
Alpensymphonie, Op. 64 . . Richard Strauss
(Born at Munich, June 11, 1864; living at Vienna)
Strauss did not depend on commentators and glossarists to ex- plain the meaning of his Alpine Symphony. He printed his own programme on the score "Night—Sunrise—The Ascent—Entrance in to the Forest—Wan- dering Beside ,the Brook—At the Waterfall—Apparition—In Flow- ery Meadows—On the Aim (Mountain Pasture) —Lost in the Thicket and Brush—On the Glacier—Moments of Danger—On the Summit—Vision—Elegy—Calm Before the Storm—The Thunder- storm—The Descent—Sunset—Night."
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is the accepted thing to do among those appreciative of correct dress. Our things single pieces for the most part—have the further advan- tage of moder- ate pricings.
From Foremost Designers we are constantly receiving the new Dresses, Hats, Coats, Blouses, Sweaters, Skirts, Sport Suits, Riding Togs, Stockings, Knitted Suits, Silk Underthings, The work is in one movement, without a pause between the various episodes. The symphony, dedicated "in profound gratitude" to Count Mcolaus Seebach and the Dresden Koyal Orchestra, calls for these instruments: two flutes, two piccolos (both interchangeable with a third and fourth flute), two oboes, English horn (this interchange- able with a third oboe), Heckelphone*, four clarinets (the fourth interchangeable with a bass clarinet), three bassoons, double bas- soon (this interchangeable with a fourth bassoon), four horns, four tenor tubas (these interchangeable with a 5th, 6th, 7th and 8th horn), four trumpets, four trombones, two bass tubas, two harps (to be doubled if possible), organ, wind machine, thunder machine, glockenspiel, cymbals, bass drum, side drum, triangle, herd-bells,
The heckelphone, so named after the inventor, Wilhelm Heckel of Biberich, is a baritone oboe. Its range corresponds to the oboe in the lower octave. It was first used by Richard Strauss in his opera "Salome" (Dresden, 1905). It is a wood- wind instrument, played with a double reed. But a somewhat similar instrument, the hautbois baryton, was employed by Paul Vida in his opera "La Burgonde" (Paris, 1898). The quartet in the oboe familv is constituted of the oboe in C, the oboe d'amore in A, the English horn in F, and the baritone oboe in C. Heckel in- vented a heckelclarind, which has something of the nature of a saxophone. It is played with a clarinet mouthpiece, and is made in B-flat and E-flat. It has been used to replace the English horn in the third act of "Tristan und Isolde." In Paris and Brussels the tarogato, a wooden instrument of conical bore played with a clarinet reed, has replaced the English horn in Wagner's music-drama. It is thought that the tarogato is an improved form of a Transylvanian reed instrument. Weingartner uses the heckelphone in his third symphony ; Walter Braunfels in his carnival overture to Hoffmann's "Prinzessin Brambilla." There is also the heckelphone piccolo.
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17 : gong (three performers), celesta, kettledrums (two players) at least eighteen first violins, sixteen second violins, twelve violas, ten vio- loncellos, eight double basses and in addition, for use behind the scenes, twelve horns and two trumpets, to be taken from the regular orchestra if necessary. Strauss suggests in the score that Samuels's aerophor* should be employed to execute the long sustained notes of the wind instruments. This symphony is frankly programme music. Muted strings, bas- soons, clarinets, and horns have (Lento) a slowly descending figure. This is entitled "Night." Against a chord (B-flat minor, muted strings). The "Mountain" motive is sounded by the brass. There is development. A new section, "Sunrise," follows for nearly the full orchestra, fortissimo. Some have found its theme not unlike one in the first movement of Tchaikovsky's "Pathetic" Symphony. The theme descends. Mr. Edgar Stillman Kelly has made the sug- gestion that "this is because the mountain tops are first lit by the sun's rays, which reach deeper and deeper until the valleys are suf- fused with light." There is a counter theme (violins and wood- •The aerophor, or Tonbinde Apparat, an invention of one Samuels, a court musician of S'chwerin, is a sort of pump, a bellows worked by the foot of the player, and con- nected with the wind instrument by a length of rubber tube, so that the sound of a tone can be protracted. Strauss recommended its use for his "Festival Prelude" for orchestra and organ. Op. 61, which was performed in Boston at a concert of the Boston Symphony Orchestra on December 13, 1913.
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18 VARIATIONS on a theme * * * *
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19 wind) used to a considerable degree. The "Mountain" motive is heard. What may be considered the main movement of the symphony fol- lows, the "main" because, beginning with the "Ascent," it has to do with the adventures on the mountain. The movement begins ("very lively and energetically," 4-4 time) with a theme played first by vio- loncellos and double-basses. This is practically the chief theme of the work and is made much of. Hunting horns introduce the "En- trance into the Forest." The brass give fortissimo a theme against arpeggios for the strings. Use is made of the "Ascent" motive. There is a subject in A-flat major (violins) which, according to one of the wise men of Berlin, represents "Wandering in the Woods," but the score is silent regarding this. There is a flowing figure (strings) for the next section "Wander- ing by the Brook," with the "Ascent" motive set against it. A theme with a "Scotch Snap" is given to the brass as approach is made to the "Waterfall." Here is a noteworthy figure for brass, with roll on Cymbals with wooden drumstick. "Arpeggios, glissandos, rapidly descending scales, bells and triangle picture the cascade." Begun fortissimo, it ends pianissimo. "In Flowery Meadows" : the theme (very lively) of the violoncellos is based on the changed "Ascent"
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20 The ^Boston Symphony Orchestra
in YOUR Home
Admittedly the Boston Symphony Orchestra is one of the world's outstanding musical organizations. Admittedly a performance by the Boston Symphony Orchestra is an ex- ceptional and thrilling opportunity. Why circumscribe this privilege by the four walls of Symphony Hall.
Some of the most notable musical achievements of all time have been Victor-recorded by the Boston Symphony Orches- tra. You can hear them in the privacy of your home, as often as you like, in the order that you wish. Here is a typical program that may easily be arranged to-morrow:
Haydn . . "Surprise" Symphony in G major Wagner .... Lohengrin Prelude (Act 3)
Strawinsky . Orchestral Suite from the Ballet, "Petrouchka"
(All recorded by Dr. Serge Koussevitzky and the Boston Symphony Orchestra)
Your nearest Victor dealer will gladly play any of these records for you. See him at your earliest convenience.
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21 theme. "On the Aim" (moderately fast) : cowbells are heard; also the Alpenhorn*, represented by the English horn. This motive oc- curs in Slrauss's "Salome." The chief theme is a suave tune in 6-8, played by the horn. "Lost in the Thicket," with its subject in the
*Alpenhorn, or Alphorn, is an instrument of wood and bark, with a cupped mouth- piece. It is nearly straight, and is from three to eight feet in length. It is used by mountaineers in Switzerland and in other countries for signals and simple melodies. The tones produced are the open harmonies of the tube. The 'Ranz des Vaches" is associated with it. The horn, as heard at Grindelwald, inspired Alexis Chauvet (1837—71) to write a short but effective pianoforte piece, one of his "Cinq Feuillets d'Album." Orchestrated by Henri Marechal, it was played here at a concert of the Orchestral Club. Mr. Longy conductor, January 7, 1902. The solo for English horn in Rossini's overture to "William Tell" is too often played by an oboe. The state- ment is made in Grove's Dictionary of Music and Musicians (Revised Edition) that this solo was originally intended for a tenoroon and played by it. Mr. Cecil Forsyth, in his "Orchestration," says that this assertion is a mistake, "based probably on the fact that the part was written in the old Italian notation ; that is to say, in the bass clef an octave below its proper pitch." (The tenoroon, now obsolete, was a small bassoon pitched a fifth higher than the standard instrument.)
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23 lower strings and woodwind, is a fugato movement. The theme of "Ascent" indicates emergence from the thicket.
"On the Glacier" : the subject is given forte to the trumpet. "The cold air of the glacier is indicated by a transformation of the 'water fair theme, with new material." "Dangerous Moments" is in the nature of an Intermezzo. "The Summit" is reached. Here the "Mountain" motive is played fortissimo by four trombones. A peaceful theme is heard from the oboe. "This is said to depict the emotions of the traveler as he looks around; nothing, however, is said in regard to that in the score." On the summit the traveler has a "Vision" (a variant of the "Moun- tain" theme. The organ is heard in the "Elegy" (moderato espres- sivo), while the strings play the theme. The "Thunderstorm" comes on. First a threatening quiet (roll on kettle and bass drums). The wind machine and the thunder machine play their part. "Descent," an inversion of the "Ascent" scene. In "Sunset" and "Mght" use is made of the material with which the symphony begins.
After Strauss had brought out his Sinfonia Domestica (1904), it
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seemed as if he had resolved to write only for the stage. "Salome," "Elektra," "Der Kosenkavalier," "Ariadne," "The Legend of Joseph" appeared. But in 1915, to the surprise of many, the announcement was made that the "Alpine Symphony" was ready for performance. Strauss was quoted as saying of it, "I have for once wished to com- pose as a cow gives milk," as he had said of his "Sinfonia Domes- tica" : "I don't see why I should not write a symphony about myself. I find myself as interesting as Napoleon or Alexander," a speech that reminds one of Walt Whitman
"Having pried through the strata, analyzed to a hair, counsel'd with doctors and calculated close, I find no sweeter fat than sticks to my own bones."
It is said that Strauss made the first sketches of the "Alpine' Symphony in 1911. The World War compelled him to abandon his touring Europe to conduct his music dramas, so he retired to his country place at Garmisch in the Bavarian Alps, girded up his loins
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and worked on the new symphony. As the story goes, the score was written in exactly 100 days. It bears the date February 5, 1915. The first performance was on October 28, 1915, in Berlin. The Dresden Orchestra of 125 musicians had been brought to Berlin. Strauss conducted. (The final rehearsal was not thrown open to the general public, but to invited guests, among them Humperdinck, von Haussegger, Gerhardt Hauptmann, Leo Blech, Edmund von Strauss, Oscar Straus, Flesch, Schnabel, Lamond, Huberman, Ochs, Kaun, Dohnanyi, Lhevinne, Max Fiedler, Leichtentritt, Lilli Lehmann,
Lula MyzsGmeiner. ) At the concert the enthusiasm was so marked that the late August Spanuth, not friendly to the symphony, said that it seemed as if the applause had been "orchestrated by Strauss himself." When the "Alpine" Symphony was first performed in Berlin, the overture to Strauss's "Guntram" was on the bill. The first performance in the United States was at Philadelphia, by the Philadelphia Symphony Orchestra, on April 28, 1916. The Philharmonic Orchestra of New York played it on October 26, 1916 the Chicago Symphony Orchestra on December 11, 1916; the Min- neapolis Symphony Orchestra on December 29, 1916. Boston first heard the symphony on December 18, 1925. Dr. Kous- sevitzky conducted, also the performance on January 1, 1926. Upholsterin
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29 The first performance in Italy—the first Continental one, it is said, out of Germany—was at Rome, on December 19, 1921. Ber- nadino Molinari conducted. One of the St. Cecilia professors char- acterized the symphony as "Gross, Yes; grand, No." At this con- cert, Monteverde's "Sonata sopraSancta Maria," for choir, orches- tra, and organ, and Carissimi's oratorio "Jonah," for eight voices, organ, and strings were performed in the first part. The concert was at the Augusteo. (The second concert in the building that sea- son was conducted by Molinari with Dr. Koussevitzky as a virtuoso of the double-bass. Dr. Koussevitzky conducted the third concert: music by Scriabin, Moussorgsky, Rimsky-Korsakov, and Tchaikov- sky. Sympathizers of d'Annunzio, who wished to make a pro- Fiume demonstration, interrupted the performnace of Scriabin's Third symphony.) The first performance in Paris was on February 28, 1925, at the Salle Gaveau at a concert conducted by Bernard Tittel of Vienna. The orchestra was that of the Association des Concerts Colonne. The program also included Goldmark's overture to "Sakuntala" and Ravel's "La Valse."
«> «
As Henry T. Finck pointed out,* the "Alpine" Symphony is the
*"Richard Strauss: The Man and His Works" (Boston, 1917).
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32 SYMPHONY HALL
MONDAY EVENING, APRIL 28, 1930, at 8.15 o'clock
OF THIS SERIES
Dr. SERGE KOUSSEVITZKY, Conductor
33 —: first of Strauss's works that is concerned with nature since his "From Italy," composed in 1886. In the intervening thirty years, he was concerned with "problems connected with man." It was said by Liszt as far back as the thirties that "the merest tyro in landscape painting can with one stroke of his pencil produce a scene more faithfully than a consummate musician with all the resources of the cleverest orchestra." It has also been said that in Beethoven's "Pastoral" Symphony the hearer does not hear the brook, he is conscious of feelings in the breast of one by the side of the brook and listening to its gentle flow. The fact that Strauss wrote his own programme in the score did not prevent Max Steinitzer from preparing a thematic guide. It contains fifty-nine quotations in musical type, so that the hearer by purchasing the pamphlet could provide himself with a Baedecker for the concert room. Unfortunately, this or that page is not starred or double-starred, nor is there this Baedekerian comment "well spoken of." Finck—by the way was he correct in saying that Strauss in Ber- lin employed twenty horns for the "Entrance into the Forest"? hearing the "Water fall" music was reminded of the cascade of Jewels in the opera "Ariane et Barbe Bleue" by Paul Dukas, which was produced in 1907; he suggested that Strauss may have heard this opera in Paris. "It is officially admitted that it (the sym- phony) was sketched five years before its completion. Other parts, however, indicate that it is much older, for there are distinct echoes of not only Wagner (especially 'Rheingold' and 'Walkiire') but even of Mendelssohn and Max Bruch, and Strauss has not been in the habit in recent years of borrowing from conservative sources. While I was listening to these sounds, the question occurred to me
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34 SYMPHONY HALL, Boston March 21, 22, 23, 24, 25, 26 Brahms Festival
B? the BOSTON SYMPHONY ORCHESTRA Dr. SERGE KOUSSEVITZKY Conductor
Assisted by the HARVARD and RADCLIFFE CHORUSES
Dr. ARCHIBALD T. DAVISON and G. WALLACE WOODWORTH, Conductors ARTUR SCHNABEL JEANNETTE VREELAND Piano Soprano MARGARET MATZENAUER FRAZER GANGE Mezzo-Soprano Baritone BURGIN STRING QUARTET
Friday aft. March 21 Monday eve. March 24 Saturday eve. March 22 Song of Destiny Academic Festival Overture A Symphony No. 3 in F major A German Requiem Symphony No. 2 in D major
Sunday aft. March 23 Tuesday eve. March 25
Variations on a Theme by Liebeslieder (Mixed Chorus) Haydn Pianoforte Works Pianofort Concerto in B-flat (Artur Schnabel) No. 2 Songs (Margaret Matzenauer) Symphony No. 4 in E minor Quintet in F minor
Wednesday eve. March 26 Rhapsody (Male Chorus, Alto and Orchestra)
Pianoforte Concerto in D minor, No. 1
Symphony No. 1 in C minor
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35 SYMPHONY HALL SUNDAY AFTERNOON CONCERTS THE WORLD'S GREATEST ARTISTS
Sunday MAR. 23
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Sunday MAR. 30
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Sunday APR. 6 THOMPSON STONE, Conductor at 3.30
Sunday APR. 20
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36 — — — — —
Is it not possible that the germs, at any rate, of this work date back to the time when under the influence of his predecessors of the classical and romantic schools, Strauss composed more than a hun- dred works which have never been printed?"*
For an interesting study of Strauss's instrumentation from the time of his Symphony in F minor (1883), when he used the normal full orchestra of Brahms and Tchaikovsky, to the "Alpine" Sym- phony with its huge apparatus, see "The History of Orchestration" by Adam Carse (London and New York, 1925).
*Some of Strauss's early songs and instrumental pieces were for use in the houses of the Pschorr family. (Strauss's mother Josephine was a daughter of Georg Pschorr, the Elder, the famous brewer.) Other pieces were written for an amateur orchestra the "Wilde Gungl," of which, as a violinist, he was a member. For a list of these works see "Richard Strauss," by Max Steinitzer (Berlin and Leipsic, 1911, pp. 176-202).
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