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Boston Symphony Orchestra Concert Programs, Season 41,1921-1922, Trip

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Boston Symphony Orchestra Concert Programs, Season 41,1921-1922, Trip SANDERS THEATRE .. CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, November 10, at 8.00 j»WHiU%/A ^ s f M v BOSTON SYMPHONY ORCHESTRA INCORPORATED FORTY-FIRST SEASON S92UT922 PRSGRKttrtE Steinway Jewett PIANOS Steinert Woodbury M. Steinert &- Sons immm Victrolas and Duo Art and Victor Records Pianola Pianos STEINEKT HALL 162 BOYLSTON ST SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-FIRST SEASON, 1921-1922 D INCORPORATED PIERRE MONTEUX, Conductor SEASON 1921-1922 THURSDAY EVENING, NOVEMBER 10, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1921, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager <UHE INSTRUMENT OF THE IMMORTALS moving fingers touch the Steinway into life —the HISmaster and his instrument are one —there comes a shower of gorgeous sound —a sense of beauty fills the air —there is a hush of breathing while the listener drinks the beauty from each fleeting note. Perhaps the master is Hofmann, perhaps Paderewski or Rachmaninoff. Half a century ago it might have been Franz Liszt or Anton Rubinstein. But whenever the time and whichever the master, the piano remains the same—Steinway, Instrument of the Immortals. 107-109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Forty-first Season, 1921-1922 PIERRE MONTEUX, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Berger, H. Kassman, N. Barozzi, S. Leveen, P. Siegl, F. Thillois, F. Gorodetzky, L. Kurth, R. Murray, J. Riedlinger, H. Goldstein, S. Bryant, M. Knudsen, C. Stonestreet, L. Deane, C. Erkelens, H. Seiniger, S. Diamond, S. Tapley, R. Del Sordo, R. Messina, S. Violas. Fourel, G. Werner, H. Grover, H. Fiedler, A. Artieres, L. Van Wynbergen, C. Shirley, P. Mullaly, J. Gerhardt, S. Kluge, M. Welti, 0. Zahn, F. V :<.i.< cellos. Bedetti, J. Keller, J. Belin . M. Warnke, J. Langendoen, J Schroeder, A. Barth, C. Fabi o, K, Stockbridge, C. Marjollet, L. Basses Kunze, M. Seydel, T. Ludwig, Kelley, A, Girard, H. Keller, K. Gerhardt, G. Frankel, I Demetrides, L. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Arcieri, E. Mueller, E. Amerena, P. Stanislaus, H. Vannini, A. Bettoney, F. Piccolo. English Horns. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Mimart, P. Piller, B. Speyer, L. Horns. Horns. Trumpets. Trombones. Wendler, G. Van Den Berg, C. Mager, G. Hampe, C. Lorbeer, H. Hess, M. Mann, J. Adam, E. Hain, F. Perret, G. Mausebaeh, A. Gebhardt, W. Kloepfel, L. Kenfield, L. Tuba. Harps. Timpani. Percussion. Adam, E. Holy, A. Neumann, S. Rettberg, A Zahn, F. Delcourt, L. Kandler, F. Ludwig, C. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J. NYIREGYHAZI who amazed and delighted those who heard him play the Liszt Concerto at a recent Symphony concert, records his playing exclusively for mte AMP1CO This wonderful invention encased inthe Chicker- ing, provides a piano of exquisite tone for the interpretations of the great pianists who have entrusted to it the preservation of their art for posterity* Music lovers are cordially invited to hear Nyiregyhazi at our Ampico Studios CHICKERING WAREROOMS Div. American Piano Co. 169 TREMONT STREET SANDERS THEATRE .... CAMBRIDGE HARVARD UNIVERSITY Forty-first Season, 1921-1922 PIERRE MONTEUX, Conductor SECOND CONCERT THURSDAY EVENING, NOVEMBER 10 AT 8.00 PROGRAMME Brahms Symphony No. 3, in F major, Op. 90 I. Allegro con brio. II. Andante, III. Poco Allegretto. IV. Allegro. Schubert Incidental Music to "Rosamunde" I. Ballet No. 1. II. Entr'acte No. II. III. Ballet No. 2. Franck "La Procession" Handel . Aria, "Let the Bright Seraphim," from "Samson" Strauss "Don Juan," Tone Poem (after Nicolaus Lenau), Op. 20 SOLOIST LAURA LITTLEFIELD There will be an intermission of ten minutes after the symphony 5 West Indies & Hawaii A wonderful voyage on two oceans. In 46 days it visits the picturesque West Indies—favorite region for winter cruises— sails through the stupendous Panama Canal— calls at Los Angeles and San Francisco— and crosses the Pacific to the delightful Hawaiian Islands. Shore excursions at fascinating ports of call are a special feature. Sailing February 1 1 , 1922. Rates $750 and upward. The Mediterranean A 64-^day cruise sailing February 14, 1922. The itinerary includes the famous cities of the Mediterranean—-Naples and Athens, Constantinople, Jerusalem and Cairo among the rest. The ship — the "George Washington"— is the largest and finest ever chartered for such a cruise. Rates $625 and upward. Send for our illustrated booklet. Raymond & Whitcomb Co. 17 Temple Place, Boston, Tel. Beach 6964 Winter tours to California, Florida, Europe, South America, Japan-China, Arabian Nights Africa, Egypt and the Holy Land, Australia and the South Seas, Round the World. BEST IN TRAVEI Jf IB5B C ; Symphony No. 3, in F major, Op. 90 ... Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) Brahms worked on his Third Symphony in 1882, and in the sum- mer of 1883 completed it. That summer was spent at Wiesbaden, where Brahms lived in a house that had belonged to Ludwig Knaus, the painter. The first performance of the Third Symphony was at a Philhar- monic Concert in Vienna, December 2, 1883. Hans Richter con- ducted. Brahms feared for the performance although Richter had conducted four rehearsals. He wrote to Billow that at these re- hearsals he missed the Forum Romanum (the theatre scene which in Meiningen served as a concert hall for rehearsals), and would not be wholly comfortable until the public gave unqualified ap- proval. After the last rehearsal he replied angrily to the viola player Rudolf Zollner, who asked him if he were satisfied, "The Philharmonic Orchestra plays my pieces unwillingly, and the per- formances are bad." Max Kalbeck states that at the first perform- ance in Vienna a crowd of the Wagner-Bruckner ecclesia militans stood in the pit to make a hostile demonstration, and there was hissing after the applause following each movement had died away but the general public was so appreciative that the hissing was drowned and enthusiasm was at its height. The first performance in Boston was by the Boston Symphony Or- chestra under Mr. Gericke, November 8, 1884. The first performance in the United States was at a public rehearsal of one of Mr. Van der Stucken's Novelty Concerts in New York, on October 24, 1884. Hans Richter in a toast christened this symphony, when it was still in manuscript, the "Eroica." Hanslick remarked concerning this : "Truly, if Brahms' first symphony in C minor is characterized as the 'Pathetic' or the 'Appassionata' and the second in D major as the 'Pastoral,' the new symphony in F major may be appropriately called his 'Eroica' yet Hanslick took care to that the key- " ; add word was not wholly to the point, for only the first movement and the finale are of heroic character. This Third Symphony, he says, is indeed a new one. "It repeats neither the poignant song of Fate of the first, nor the joyful Idyl of the second ; its fundamental note is proud strength that rejoices in deeds. The heroic element is without any warlike flavor ; it leads to no tragic action, such as the Funeral March in Beethoven's 'Eroica.' It recalls in its musical character the healthy and full vigor of Beethoven's second period, and nowhere the singularities of his last period ; and every now and then in passages quivers the romantic twilight of Schumann and Mendelssohn." First Ballet, Second Entr'acte and Second Ballet from the Incidental Music to the Drama "Rosamunde," Op. 26. Franz Schubert (Born at Lichtenthal, near Vienna, on January 31, 1797; died at Vienna on November 19, 1828.) " Rosamunde, Fiirstin von Cypern," a romantic drama in four acts, by Wilhelmine von Chezy (1783-1856), music by Schubert, was per- 7 ! ! !: formed for the first time at the Theater an der Wien, in Vienna, on December 20, 1823. The wretched text was designed originally for an opera. The play was withdrawn from the stage after two performances. After the second performance of the opera, the parts were tied up and forgotten until 1867, when they were found in Vienna at Dr. Schneider's in a dusty cupboard, by George Grove and Arthur Sullivan with other manuscripts of Schubert.* The music consisted of an overture; three entr'actes; two numbers of ballet music; " Shepherd's Melody," a little piece for clarinets, horns, and bassoons; a romance for soprano solo, "Der Vollmond strahlt auf Bergeshoh'n," a Chorus of Spirits, a Shepherds' Chorus, a Huntsmen's Chorus, and Air de Ballet in G. The "Rosamunde" music was first played at the Crystal Palace, November 10, 1866; the Air de Ballet on March 16, 1867. The Gesell- schaft der Musikfreunde in Vienna performed all the music on Dec- ember 1, 1867. Ballet No. 1. Allegro moderato, Andante un poco assai, B minor. The Entr'acte No. 2, B-flat major, Andantino, 2-4, comes after the third act -in the play. The chief theme is known to pianists as the theme of No. 3 of "Four Impromptus," Op. 142, for the pianoforte. Schubert used it also in the Andante of his quartet in A minor, Op. 29.
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