Boston Symphony Orchestra Concert Programs, Season 55,1935

W^mmii^J ^ xm^^ f.

VJHf BOSTON ^- SYMPHONY ORCHESTRA INC. FIFTY-FIFTH SEASON ^| 1935-1936 P>] 1

VICTOR RECORDS

We would like to direct your attention with strong em- phasis to these extraordinary recordings, which mark a real advance in the development of Victor higher fidelity recording. Both emotionally and intellectually they place in your hands exceedingly desirable entertainment.

Song Recital (Mozart, Schubert, Schumann, Brahms, Wolf)

Mme. Lotte Lehmann . . . . . M 292 $7.50

Porgy and Bess (Gershwin)

Lawrence Tibbett—Helen Jepson and Chorus . C 25 6.50

Symphony No. 1 in E minor (Sibelius, Opus 39) Eugene Ormandy—Minneapolis Symphony Orchestra—M 290 10 00

The Twenty-Four Preludes (Chopin, Opus 28) Alfred Cortot M 282 8.00

Symphony No. 40 (Mozart)

Koussevitzky—London Philharmonic Orchestra . M 293 6.50

Concerto No. 2 (Beethoven, Opus 19) Arthur Schnabel — London Philharmonic Orchestra—M 295 8.00

M. STEINERT & SONS 162 Boylston Street, Boston, Mass. TEL. HANCOCK I9OO BOSTON MUSIC CO. 116 Boylston Street, Boston, Mass.

TEL. HANCOCK 1 56 Charles W. Homeyer & Co., Inc. 498 Boylston Street, Boston, Mass. NEXT TO HOTEL BRUNSWICK SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

Branch Exchange Telephone, Ticket and Administration Offices, Com. 1492

FIFTY-FIFTH SEASON, 1935-1936 Boston Symphony Orchestra INCORPORATED

Dr. SERGE KOUSSEVITZKY, Conductor

Richard Burgin, Assistant Conductor

Concert Bulletin of the Fourth Concert

TUESDAY AFTERNOON, February 25

with historical and descriptive notes

By John N. Burk

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

[1]

(otdcdeb aA (bxeccdtwr-

md memaae ^yanm a&

t_J.wtAiee ow ab I

zyvLanw tieawb a m

commete o?wani%ation

ename t€b to ou&y-

Icient and ArwnAt ber-wice.

Old Colony Trust Company

17 COURT STREET, BOSTON

[2] To the~

Friends of the Boston Symphony Orchestra:

addition to the renewals in membership that Inmay be counted upon I estimate that each year we must expect to enroll at least 100 new Friends of the Orchestra who are willing and able to give $100 apiece or a correspondingly

larger number of new members if their gifts are in smaller amounts. These additions to our membership will be needed to offset losses due to deaths and to changes in residence or in individual circumstances that inevitably occur.

It would stimulate the success of our effort if those members who have not yet enrolled would

do so promptly and if all members would take an active part in interesting their friends to help in providing the financial support that our Orchestra

requires. Over $40,000 is still needed.

Edward A. Taft, Chairman of Friends of the Boston Symphony Orchestra

To enroll as a Friend of the Orchestra, simply make out a cheque or sign a pledge card to Boston Symphony Orchestra, for whatever amount you care to contribute, and mail it to E. B. Dane, Esquire, Treasurer, 6 Beacon Street, Boston. Gifts to the Orchestra are deductible donations under the Federal Income Tax Law.

[3] —Cljanbltr Si Co.— TREMONT AND WEST STREETS Choose Navy -with -Print

for your Early Spring Costume

Two and Three Piece Dresses in Silk Crepe or Sheer Wool 22 .75

Wise fashion, to favor the flattering combina- tion of a smart navy jacket dress with a gaily- printed silk blouse — a perfect undercoat costume now, a versatile suit when Springs rolls around.

Redingotes with long sleeved printed silk dresses under beautifully tailored navy crepe coats — are also featured at this special price.

Sizes 36 to 44 Fourth Floor

[4] SYMPHONY HALL, BOSTON

Boston Symphony Orchestra

Dr. SERGE KOUSSEVITZKY, Conductor

FOURTH CONCERT of the TUESDAY AFTERNOON SERIES

TUESDAY AFTERNOON, February 25, at 3.00 o'clock RICHARD BURGIN, Conducting

Programme

Rameau Ballet Suite (Edited by Felix Mottb

I. Minuet from "Platee" II. Musette from "Les Fetes d'Hebe" III. Tambourin from "Les Fetes d'Hebe"

Berlioz Excerpts from "The Damnation of Faust"

Minuet of the Will-o'-the-wisps Dance of the Sylphs

Roussel Symphony No. 3 in G minor, Op. 42

I. Allegro vivo II. Adagio III. Vivace IV. Allegro con spirito INTERMISSION

Saint-Saens Concerto for Violoncello No. 1 in A minor, Op. 33 Ravel "La Valse," Choreographic Poem

SOLOIST JEAN BEDETTI

(A number of paintings loaned by the Boston Art Club, 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 20)

[5] MINUET, MUSETTE AND TAMBOURIN (Edited by Felix Mottl) By Jean Philippe Rameau

Born at Dijon, October 23, 1683; died in Paris, September 12, 1764

It was in his fiftieth year (1733) that Rameau, itinerant organist, clavecinist, composer, musical theorist, attained his first performance as a composer of opera, with "Hippolyte et Aricie." The composer had long sought recognition in this field, but an eminent librettist, indispensable to a successful production, would at that time hesitate to honor a composer untried in matters of the theatre. A collabora- tion with the two-edged Voltaire did him no good, for the piece "Samson" was banned on the eve of performance. "Hippolyte et Aricie" was an adaptation by the Abbe Pellegrin of Racine's "Phedre." There followed operas, ballets, divertissements innumerable, and although sharply criticized by the Lullyists for his harmonic and modulatory innovations, Rameau soon became the composer of the day in Paris, thunderously applauded on his every appearance at the opera, ap- pointed the successor of Lully as compositeur de cabinet for Louis XV, and recommended for the badge of nobility. The ballet, "Les Fetes

1 d'Hebe" was produced May 21, 1739. "Platee," in three acts and a

OLIVER DITSON COMPANY, INC. Retail Music Store

359 BOYLSTON STREET BOSTON, MASS.

! -»« 1 -^-l »"^»

For All Published MUSIC

Largest stock of sheet music and music

books in New England. Every outstanding American and Foreign publisher represented.

*-^*-* »^fc4 r^i

D I T S O N ' S 359 BOYLSTON STREET TEL. COMMONWEALTH 1350

[6] —

JORDA^MARSH Kmmmkmv

EVERYONE IS

^Lookina at

OUR Lfnvl±lljLz

GLASS WINDOWS!

And if that sounds contradictory come see them for yourself! The newest, most tantalizing display idea

we've yet brought—first of anyone —to Boston. It's all done with mir- rors (and curved panes) but that won't stop the impulse you'll have to reach for the glass you can't see! And just to make things more interesting, very tempting items repose within them!

One on Washington Street The other on Summer

[7] a

prologue, was mounted with splendor at Versailles, March 31, i*745> in fulfillment by Rameau of his royal post then newly acquired. It has been said against Rameau, no doubt with justice, that he lacked the true dramatic instinct of Lully before or Gluck after him; that he was careless of the librettos he accepted, and was more interested in the treatment of his orchestra from the purely musical point of view than in theatrical effect, or the handling of the voice. He is said to have made the damaging admission that he could set even the Gazette de Hollande to music. And in his old age he remarked one evening to the Abbe Arnaud: "If I were twenty years younger, I would go to Italy, and take Pergolesi for my model, abandon something of my harmony and devote myself to attaining truth of declamation, which should be the sole guide of musicians. But after sixty, one cannot change; experience points plainly enough the best course, but the mind refuses to obey." The defense of Rameau lies in his widespread and clamorous success, based, not upon an easy acquiescence to popular mode, but in harmonic innovation which was courageous as well as engaging, and made him enemies in reactionary quarters. Rameau delved deep in his earlier years into the science of harmony, wrote voluminously and brilliantly upon the subject. He was always ready to put his theory into practice, and in turn to modify that theory to his practical experience.

rJJxscover your true oeauiy

wiin a ^l/eiva ^ifiaslc ^reaiment!

9 The Velva Mask Treatment is Elizabeth Arden's latest discovery — mask light as a cream, delicate as

blanc mange. Try it and you will make a startling discovery, too. Once that

fine fretwork of lines is snatched away, and fresher color comes shining through a clearer, younger skin, and contours are restored to firm, smooth, oval curves, u_ you'll discover that — you're beautiful!

CdI Cyaiio: a name for you to conjure with

in the next few months. It's your first stop in

high adventure after your travel plans have

materialized. Here you will find your fashion

passport for the play centers of the world

. . Miami, southern California, Nassua,

Bermuda or the Riviera. R. H. STEARNS CO.

[9] The minuet from "Platee" is in the brief formal sections, with re- peats, of the period. In the trio, the key of E major is changed to E minor. The musette from "Fetes d'Hebe" adds to the simple orchestra of the first number an English horn and triangle. It is an allegretto, with the theme given to the winds, and twice softly echoed by the strings. There is a second theme and a short reprise. In the tambourin from "Fetes d'Hebe," Mottl brightens his orchestration with a piccolo, triangle and tambourine. There is a more extended development, and a brilliant close.

Sweaters ^^ff——^^^ Twin Sets Knit Suits /^^ *fl, c ^"^^y Shawls Scarfs // *!• \_ Vv Sport Hats Auto Robes If „ IjWKAJt \k clan Tartans Sport Hose II J , « yh . h Men's Socks Berets String Gloves '[jCOTCM JUtf£aA|> And

CRUISE AND TRAVEL COATS CUSTOM TAILORED TO ORDER ROMANES & PATERSON Edinburgh, Scotland

581 BOYLSTON STREET, BOSTON . . .IN COPLEY SQUARE

BOSTON MUSIC COMPANY 116 BOYLSTON STREET BOSTON New England's Headquarters for

SHEET MUSIC - MUSIC BOOKS MUSICAL INSTRUMENTS - RECORDS Near Colonial Theatre HANcock 1561

[10] "MINUET OF THE WILL-O'-THE-WISPS" and "BALLET OF THE SYLPHS"

from "The Damnation of Faust," Dramatic Legend, Op. 24 By Hector Berlioz

Born at La Cote Saint-Andre, December n, 1803; died at Paris, March 9, 1869

The "Minuet des Follets" and the "Ballet des Sylphes," instrumental interludes in Berlioz's cantata, "La Damnation de Faust," were both concerned with the conjurations of Mephistopheles. The minuet oc- curs in the score as the Evil One calls up the will-'o-the-wisps, "spirits of flickering flame," to bewilder Marguerite and beguile her heart, that she may succumb to Faust, whom she is to see for the first time. The fragile dance measures of the sylphs are used by Mephistopheles to fill the brain of the sleeping Faust with fair dreams of Marguerite, whom he is about to meet. There is a preparatory chorus wherein sylphs and gnomes, with Mephistopheles, soothe Faust to sleep, and then the "dance of the sylphs," with this direction: "The spirits of the air hover awhile around the slumbering Faust, then gradually disappear."

The minuet in its first section is confined to the wind sections of

The Public is Cordially invited to use three CHRISTIAN SCIENCE READING ROOMS {Free to the Public) 333 Washington Street, opposite Milk street Entrance also at 24 Province Street Statler Office Building, Park Square the FIRST church °F 60 Norway Street, Corner Massachusetts Ave. J ' ^^f?™™'IN BOSTON, , Authorised and approved literature on Christian MABBALHUBtrTBnnna-cirra Science may be read, borrowed or purchased

An Unusual Collection of LUXURIOUS EASTERN MINKS Just Received from our Trappers WE INVITE YOUlTlNSPECTION W. V. SLOCUM 647 BOYLSTON STREET Tel. Kenmore I340-4I BOSTON

[»] ) the orchestra. The strings enter, and there is a long and free development. In a trio-like middle section, a new melodious theme is sung by the strings, the D major changed to D minor. This portion ends with tremolo chords increasing from piano to fortissimo, a fragmentary da capo, and a closing episode, swift and light, the piccolo uppermost.

This presto is a witty reminder of the serenade of Mephistopheles. Just before the end, brief phrases from the minuet itself are swept away by the rushing and brilliant close.

The "Ballet des Sylphes" is in an ethereal pianissimo throughout, with an elfin waltz melody sung by the violins over an unvarying pedal in the 'cellos and basses, and a delicate accompaniment in the harps, wood winds and other strings. As the spirits of the air, having accomplished their purpose, gradually disappear, the already slight substance of the music evaporates into nothingness. These two excerpts, together with the "Rakoczy March," belong to the "Dramatic Legend," which Berlioz composed in 1845 and 1846, based upon Gerard de Nerval's translation of Goethe's "Faust," freely shaped by Berlioz to his own purposes. The cantata was performed by the Boston Symphony Orchestra, the Cecilia Society Chorus assisting, November 30, 1934.

— j?5t":>ftt— jSc— >?k— itft— »£*-»«— X

11 Marlborough Street wI' of v ^Remodeling yh HO

Orrefors Glass RICHARD BRIGGS CHINA CO. Distinctive China and Glass

115 Newbury Street Com. 3720

[12] J

SYMPHONY IN G MINOR, Op. 42 By Albert Roussel

Born at Turcoing (Nord), France, on April 5, 1

was on October that this Ir 23, 1930, symphony, written for the Boston Symphony Orchestra's fiftieth anniversary season, was first performed. The composer, then visiting America, was present. The score bears the date of completion: "Paris, March 29, 1930."*

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 composed in 1930, as stated above. It has no programme, although this composer has always kept, even in his latest symphony, a colorful and suggestive instrumentation. The Fourth Symphony, Op. 53, like the Sinfonietta for Strings of 1934, which was performed by the Boston Symphony

*There was a repetition of the symphony at the concerts of April 12, 13, 1935. NEW ENGLAND CONSERVATORY of MUSIC ^ WALLACE GOODRICH, Director FREDERICK S. CONVERSE, Dean Cordially invites you to its weekly broadcasts. Each Tuesday Afternoon, from 3 to 3.30, Station WNAC Boston, Massachusetts

MISS JORDAN'S SHOP Smart gifts for all occasions

121 Newbury Street Kenmore 2713 CORNER COFFEE HOUSE An informal place for discriminating people to dine 86 MASSACHUSETTS AVENUE near Commonwealth Avenue

BREAKFAST -:- LUNCHEON -:- DINNER

[13] Orchestra, November 29 of the present season, is what the French call "de la musique pure"— with a high percentage of "purity." The Fourth Symphony had its first American presentation by this orchestra, December 27, 1935. When the Third Symphony was first performed here, Alfred H.

Meyer (with the composer beside him) wrote of its traits and contours in the Boston Evening Transcript. Mr. Meyer found the orchestration as colorful as might be expected from "a thoroughly modern composer whose approach to his art is primarily that of the melodist and con- trapuntist. The form of the anniversary symphony owes much to the principles laid down by Franck and further developed by d'Indy. A single motiv of five notes, of arresting melodic contour, plays an important part in three of the four movements of the symphony. Such unifying device is of course essence of the practice of Franck and d'Indy.

"The symphony employs a conservative modern orchestra: wood winds in threes, brasses in fours, the usual strings, percussion, celesta, and two harps. There are four movements: an allegro vivo which follows the usual outlines of sonata-form; an adagio of novel formal scheme; a vivace which the composer designated in conversation as a sort of valse-scherzo; an allegro con spirito, in rondo pattern. "After three measures of introduction upon chords hard and gloomy, first violins and wood winds at once embark upon a melody actively rhythmed, in which syncopations occasionally make themselves felt. Chords and melody are in the ecclesiastical mode called Phrygian. One proceeds to the chief contrasting theme by a series of melodies. One after another they become more lyrical; at the same time the orchestration and general harmonic texture become lighter and lighter until the principal contrasting theme is played by a flute with the lightest of string accompaniments. A brief restatement of the theme of the beginning brings the exposition to a close. Development and re- capitulation are regular. But at the climax of the development section, the five-note motto which is the heart of the symphony bursts forth in glory. A noble entrance for a motiv of such importance. None but a genius would have so placed and timed its first appearance. "Just as the first movement in the exposition proceeded from actively rhythmed music to music of gentler character, so the second movement by reverse process begins with an adagio, proceeds through an andante of appreciably faster tempo to a piii mosso in really rapid time values. The theme of the adagio is none other than the motiv gloriously proclaimed at the height of the first movement. The piu mosso is a fugue upon the same motiv played in rapid sixteenth notes. Flutes begin this fugue; oboes and clarinets answer; English horn and violas make a third entry; bass clarinet, bassoon and 'cellos a fourth. Once again we reach the quiet and slow-moving adagio, once again we mount to renewed heights in another piu mosso, finally to come to rest with the mood and music of the beginning.

E*4] "The Scherzo-Valse brings cheerful relief before the symphony proceeds to the serious and vigorous business of the finale. Typical scherzo rhythms alternate with fleecy, feathery figures in flutes and high wood winds. A 'trio-section' is lyrical in nature, with strings and a solo oboe prominent. "In the finale a flute introduces a highly active theme; gives way to more lyrical strings; resumes for second appearance. At slower tempo strings are once more songful, now with melody which is further ex- pansion of the central theme of the symphony. Once more the music of the beginning. Then the final ascent to the broadest of all state- ments, twice given, of the motto of the entire work. "In conclusion: one finds not a scrap of evidence in the score that Roussel has written his symphony in support of any of the popular theories of the day. He is partisan of no musical sect. He has not 'gone back' to Bach or Buxtehude, to Rossini or to Monteverdi. He has found themes that interested him, seemed to him worthy of the best treatment that it is in him to give. He has clothed those themes with garments of purely Rousselian fashioning. He has cast the whole into a mold which, while it is conventional, shows also (especially in the Adagio and the climax of the first movement) an original reaction of a master mind upon that mold. So doing he has created a work which is Roussel and nothing else under the sun."

Contemporaries of Roussel have tried to describe his musical in- dividuality:

Presenting for Your Pleasure <*- VIKING At 442 Stuart St. - Boston Dartmouth Street - Off Copley Square • SWEDISH PEASANT ROOM

Smorgesbord - Luncheon • Dinner • ROOM OF THE MIDNIGHT SUN Swedish "Snops" - Aquavit- Cocktails (Music at Cocktail Time) • SUPPER ROOM and BAR LOUNGE Supper Dancing from Q.OO P.M. (Thursday and Saturday Tea Dansanta) Rollie Rogers & Orch. Reservations KENmore S&w<&*** HANSEN 6520 LANGUAGES FRENCH — GERMAN — ITALIAN — SPANISH — RUSSIAN A Fuller Appreciation of Music—A Practical Travel Vocabulary Private or Small Group Instruction FREE TRIAL LESSON

An International School _~ -^"l Z^ rM Tel. COM. 1814 JO"f. MJIIA 140 NEWBURY ST. [15] G. Jean Aubry: "His work is made in his own image, which it reflects in all its aspects with the fidelity of a mirror, his love of an even life, his ardor continent but keen, his exquisite sense of the voluptuous, a thousand fine details without mannerism; and under this amiable delicacy a power gentle and firm, at times wistful. "He has reached self-realization slowly but with certainty, without restlessness or hesitation — also without ostentation, or the wish to draw upon the curiosity of any one, applying himself solely to his art." Roussel is essentially original (Roland-Manuel), and "belongs to no definite lineage or school. His originality is not deliberate, but is characterized by the fact that he uses no commonplaces. He does not even profit by his own experience, and has as little use for his own previously discovered processes as for those discovered by others. Hence the variety of his output, and the apparent gaucherie which, as Mon- sieur Jean Marnold points out, is in fact nothing but the avoidance of convenient tricks. . . . Among the distinctive features of his music, the writer notes the tendency to omit or to indicate sparsely the bass of his harmonies, the effect being at times subtle, at others forceful and dramatic. . . . His orchestration is not a science, but instinctive." And finally — Andre Cceuroy: "If I were a sculptor, and the Academy of Fine Arts in quest of odd subjects had given for competi- tion 'The Music of Quadragenarians Now Living,' I should construct a four-cornered monument on which one would see Ravel represent- ing 'Amused Gracefulness'; Dukas, 'Amorous Intelligence'; Florent " Schmitt, 'Force in Childbed,' and Albert Roussel, 'Secret Tenderness.'

DONT WORRY ABOUT THE SPACE AT THE CURB PARK YOUR CAR AT THE UPTOWN GARAGE WHILE YOU ENJOY THE SYMPHONY 10 GAINSBORO STREET Telephone Kenmore 6730 REPAIR SERVICE LOOK FOR OUR UNIFORMED DRIVERS WHO WILL DRIVE YOUR CAR TO GARAGE NO EXTRA CHARGE

Miss Westgate CHILDRENS CLOTHES FORMERLY WITH MISS MOORE FOR GIRLS TO 16, LITTLE BOYS TO 6 And Gifts for the Baby 123 Newbury Street, BOSTON Telephone Kenmore 65I3

k A A W\ I ^^ ^ A nook of old Rome VI f\ > I ^^ w Famous for Food and Fine Liquors Announces the opening of "The Catacomb's Canteen" A Distinctive Roman Bar 69 Church Street, corner of Stuart Rear of Statler Hotel LIBerty 3776

[16] :

CONCERTO FOR VIOLONCELLO IN A MINOR, Op. 33 By Charles Camille Saint-Saens

Born at Paris, October 9, 1835; died at Algiers, December 16, 1921

Saint-Saens composed this, the first and better known of his two concertos for violoncello, in 1873 (the second was published in 1903). The A minor concerto was dedicated to and first performed by August

Tolbecque at a Paris Conservatory concert, January 19, 1873.* The concerto is played without pause, its three movements co-ordi- nated by the recurrence of the initial theme. This subject, which pre- dominates the piece, is in a dark and rhapsodic minor strain, vigorous and full-voiced. The second theme in F major, more melodic in character, is but briefly developed. The intermediate movement, allegretto, proposes its light, staccato theme in the muted strings, a suggestion of a minuet, to which the 'cello adds a legato waltz-like theme of its own. The introductory theme here returns, but in a triumphant A major. The finale progresses to its end in full bravura style.

* The following violoncellists have performed the Concerto at Boston Symphony Concerts Carl Bayrhoffer, December 10, 1881; -Ahvin Schroeder, November 19, 1898, January 10, 1903, and April 8, 1921; Rudolph Krasselt, November 21, 1903; Miss Elsa Ruegger, February 10, 1906; Heinrich Warnke, January 28, 1911; Joseph Malkin, December 24, 1915; Jean Bedetti, March 6, 1920.

BOSTON UNIVERSITY COLLEGE OF MUSIC

Courses leading to the degree Bachelor of Music, to the Music Supervisor's Certificate, and to the The Union Trust Diploma in Applied Music. Company Private instruction in all branches of instrumental and vocal music. of Boston • For further information address 24 Federal Street St., the Registrar, 178 Newbury Boston, Massachusetts Boston.

PRE-INVENTORY CLEARANCE DURING FEBRUARY

IJsiS LTD.

363 BOYLSTON STREET

[17] A good majority of the hundred years which have elapsed since the birth of Saint-Saens were occupied by his long and extraordinary career. The public activities of the musician whom some of us re- member as soloist with this orchestra* extend almost unbelievably into the remote past. It was in Paris, in the spring of 1846, that the ten-year-old Camille first sat before his public as pianist, and astonished them by playing from memory and with elegant finish two concertos, a sonata, some Bach, and other pieces. In Paris at that time, Chopin was the pianist of the hour. Berlioz was a hopeful young musician. Wagner, aspiring young Kapellmeister at Dresden, had turned his back on the French capital shortly before, having starved and struggled there, and made not so much as a ripple on its consciousness. The names of Brahms or Tchaikovsky were then unknown — for the very good reason that the one was a schoolboy of fourteen, the other a child of six. Saint-Saens lived to know Wagner, Berlioz, Liszt, Tchaikovsky — all the important composers of his century, and a goodly portion of the unimportant ones. He lived to champion a maligned Wagner, and

* Saint-Saens appeared with the Boston Symphony Orchestra, November 26, 1906, when in a special concert he played his G minor Concerto and piano pieces. In May, 1915, he visited the Panama Pacific International Exposition, and was present when this orchestra. Dr. Muck still conducting, performed his C minor Symphony. FAM ILY PO RTRAITS restored, reproduced from precious old daguerreotype, tin-type photograph or snapshot Miniatures in color made from your own keepsakes Send for free portrait circulars Portraits painted on canvas Paintings cleaned and restored 5U?? (UnpbB Prints Are Fine Reproductions of Distinguished Works of American Art In sepia monotone and in color. $2.00 and upward (for 40 years a hall-mark of good taste in pictures) For Gifts, Your Home and Schools Pictures that give beauty and distinction to your walls. Wide range of subjects and sizes Get Copley Prints direct from makers CURTIS- CAMERON CO. Dept. B S B, 22 1 Columbus Ave., Boston

Let us help you

build up your name! advertise!

representation in this book will assist you! at a nominal cost

L S. B. Jefferds, adv. mgr. symphony hall, boston, tel. commonwealth 1492

[18] '

later to taunt with his acid pen those who fell over themselves in the assumption that the adored Meister could do no wrong. He lived to ground his style upon the classical forms, take up the cudgel for Liszt's programme music, prove his point with a brace of symphonic poems — and return to his orthodox symphonies and sonatas. The mere listing of his works (in every conceivable form) requires fourteen pages in small type. His operas and operas bouffes alone make a formidable array of names. His activities as critic and as essayist were vast. As Romain Rolland wrote, "M. Saint-Saens has had the honor of becoming a classic during his lifetime." His name has long stood for the "French classical spirit." To the frenzied outpourings of the German school of his time, M. Rolland compares with fine discernment "the Latin art of Saint- Saens which rises up calm and ironical. His delicacy of touch, his careful moderation, his happy grace, 'entering the soul by a thousand little paths,' bring with them the pleasures of beautiful speech and honest thought; and we cannot but feel their charm. Compared with the restless and troubled art of today, his music strikes us by its calm, its tranquil harmonies, its velvety modulations, its crystal clear- ness, its smooth and flowing style, and an elegance that cannot be put into words. Even his classic coldness does us good by its reaction

BOUND VOLUMES of the The Ludlow Boston Symphony Orchestra Corner Clarendon St. and St. James Ave. Concert Bulletins A RESIDENTIAL HOTEL Containing COPLEY SQUARE analytical and descriptive notes by Mr. John N. Burk, on all works performed OFFERS a selected clientele, during the season. "A Musical Education in One Volume" comfortable and homelike apart- "Boston's Remarkable Book of Knowl- edge" ments, and its renowned cuisine Lawrence Gilman in the and efficient service. N. Y. Herald and Tribune Price $6.00 per volume Mrs. M. N. Loomis, Mgr. Address, SYMPHONY HALL, BOSTON, MASS. Tel. Kenmore 6560

YOUR FIGURE CAN BE TAILORED TO THE MODE and still have every comfort, by having a corset individually designed for you. Also a wide selection of ready-to-wear garments for all types. Hand-made underwear-exquisite negligees-hostess gowns. MYRA CHAPIN 308 Boylslon Street

[»9] against the exaggerations, sincere as they are, of the new school. At times one feels oneself carried back to Mendelssohn, even to Spontini and the school of Gluck. One seems to be travelling in a country that one knows and loves; and yet in M. Saint-Saens' works one does not find any direct resemblance to the works of other composers; for with no one are reminiscences rarer than with this master who carries

all the old masters in his mind — it is his spirit that is akin to theirs.

And that is the secret of his personality and his value to us; he brings to our artistic unrest a little of the light and sweetness of other times. His compositions are like fragments of another world.

: ' 'From time to time,' he said, in speaking of 'Don Giovanni/ 'in the sacred earth of Hellene we find a fragment, an arm, the debris

of a torso, scratched and damaged by the ravages of time; it is only the shadow of the god that the sculptor's chisel once created; but the

charm is somehow still there, the sublime style is radiant in spite of everything' ('Portraits et Souvenirs').

"And so with this music. It is sometimes a little pale, a little too restrained; but in a phrase, in a few harmonies, there will shine out a clear vision of the past."*

"Musicians of Today."

TO BE SEEN—

In the Huntington Avenue Lobby

You are invited to inspect the collection of music, manuscripts, and pictures referring to the works in the orchestra's current repertory. There are now being shown the following pictures, loaned by courtesy of the Boston Art Club:

Carroll Bill Segovia in Afternoon Light Margaret Fitzhugh Browne The Village Postman

Polly Nordell . Summer Time Hoyland Bettinger Late Afternoon, Rockport F. John Hilliard Mr. Philip Trueman Hicks Anthony Thieme Morning Light

Ipswich Hills William J. Kaula New Philip Trueman Hicks Mr. Francis M. Findlay

Frank Vining Smith . When Sail was Supreme

Arthur F. Musgrave . The Harvest Polly Thayer Study in Black and Red Robert Strong Woodward New England Origins

[20] :

-iir Little Acorns

JILt isn't the size of the printing order that

counts with us . . . When a customer orders a short run of tickets, cards, folders, or envelope inserts, he has a definite reason for ordering them. To

him, this small order is important . . . therefore,

it is important to us. Little orders, like little acorns, have the germs of greater growth. Large oaks from little acorns grow and large printing orders grow from little printing orders. You can depend on this

absolutely . . . your little order will get the same care and attention in our plant, as the big order.

GEO. H. ELLIS GO. incorporated 272 Congress Street Boston, Mass. Printers ofReputation Since the Year 1873

Distinctive Catering WEDDINGS, receptions, dinners, teas and debuts gain distinction and convey greater pleasure when the catering is perfect in taste and delicious in quality. Our clients include Boston's well-known families. Address for further particulars MILTON HILL HOUSE MILTON, MASS. Telephone BluehilU 9765

BOSTON MUSICAL AND EDUCATIONAL BUREAU Established 1899 SUPPLIES EDUCATIONAL INSTITUTIONS WITH TEACHERS OF MUSIC Address HENRY C. LAHEE, 266 West Newton Street, Boston, Mass. Com. 1662

[21] "LA VALSE," A Choreographic Poem By Maurice Ravel

Born at Ciboure, Basses-Pyrenees, March 7, 1875; living at Montfort-l'Amaury, near Paris

It was in 1920 that Ravel completed his "poeme choreographique," based upon measures which one of the Strausses might have written, but overladen with implications quite apart from the light abandon and sweet sentiment which old Vienna offered him. The composer, according to information from Alfredo Casella, had some thought of a dance production, but no direct commission or intent. The piece was played from the manuscript at a Lamoureux concert in Paris, December 12, 1920.* It was published in 1921. Ravel gives the tempo indication: "Movement of a Viennese waltz," and affixes the following paragraph to his score: "At first the scene is dimmed by a kind of swirling mist, through which one discerns, vaguely and intermittently, the waltzing couples. Little by little the vapors disperse, the illumination grows brighter, revealing an im- mense ballroom filled with dancers; the blaze of the chandeliers comes to full splendor. An Imperial Court about 1855."

* The first performance by the Boston Symphony Orchestra was January 13, 1922, Pierre Monteux, conductor. The most recent performance in the regular series was February 16, 1934. EVYLYN L. WEIGEL Specializes in CORRECTIVE CORSETRY Prices from $5.00 to $45.00 26 Years' Experience Medical references 739 BOYLSTON STREET Rooms 133-135 Kenmore 2718

[22] The dedication is to Misia Sert, the painter who designed the scenes for Richard Strauss' Ballet, "The Legend of Joseph," as produced by Diaghilev's Ballet Russe. The score of "La Valse" calls for three flutes (one interchangeable with piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, double-bassoon, four horns, three trumpets, three trombones, bass tuba, timpani, side drum, bass drum, tambourine, cymbals, castanets, tam-tam, triangle, crotales,* two harps, and strings.

Raymond Schwab, listening to the first performance in Paris, dis- cerned in the music an ominous undercurrent. "To the graces and languors of Carpeaux is opposed an implied anguish, with some Prod'homme exclaiming 'We dance on a volcano.' " H. T. Parker described the gradual definition of the waltz rhythm from "shadowy,

formless spectres of dead waltzes, drifting through gray mists. . . .

"Then ensues a succession, as it were, of waltzes. The waltz sen-

* Philip Hale supplies this note: "The crotalum (from Greek, Krotalon) was a rattle, whether of split reed, pottery, or metal, a sort of Castanet. It has also been denned as con- sisting of two little brass plates or rods, which were shaken in the hand. The word 'crotal' in Irish antiquities was applied to a small globular or pear-shaped bell or rattle. Wotton in his Dictionary of Foreign Musical Terms defines 'crotales' as a species of clapper, usually made of wood. They have been used by Massenet and other composers. For a long and learned description of the 'Krotalon' see F. A. Lampe 'De Cymbalis Veterum' (Utrecht, 1703) As employed by Ravel in 'The Waltz,' the crotales are to be taken as small cymbals a little thicker than those known as antique."

MRS. JACKSON FLEMING WILL RESUME HER COURSE OF LECTURES ON CURRENT EVENTS AT THE HOTEL VENDOME note changed location

on Monday mornings at 11 o'clock

March 2, 9, 16, 23, and 30

under the auspices of

The Chestnut Hill Committee and The Elizabeth Peabody House Association

A complimentary guest ticket for the first lecture will be sent with each course ticket

Please apply for tickets and make cheques payable to Mrs. Guy Waring, 65 Bradlee Road, Milton, Mass.

Course Tickets $6.00 Single Tickets $1.25

[23] suous and languorous, the waltz playful and piquant, the waltz sentimental, the waltz showy, the waltz strenuous — the waltz in as many variants and as many garbs as Ravel's imagination and re- source may compass. Like sleep-chasings, waltz succeeds waltz; yet

Ravel is wide-awake in the terseness with which he sums and charac- terizes each, in the vivid and artful instrumental dress every one

receives. . . . Of a sudden, the chain of waltzes seems to break. Fragments of them crackle and jar, each against each, in the tonal air. The harmonies roughen; there are few euphonies; through a surface-brilliance, harsh progressions jut; that which has been sen-

suous may, for the instant, sound ugly. As some say, here is the music that imaginative minds write in this world of the aftermath of war.

. . . On the surface, the sensuous glow and glint and neurotic rap- ture — 'Dance that ye may not know and feel.' Below the surface,

and grating rude and grim upon it, are stress and turbulence, de- spairs and angers equally ugly, and, maybe, nigh to bursting. A troubled 'apotheosis,' then, in these culminating measures of the waltz in this world of ours."

Philharmonic - Symphony Society of New York

ARTURO TOSCANINI, Conductor

Two Concerts

Monday Evening, March lfi, at 8:15

Tuesday Afternoon, March 17, at 2:30

Mr. Toscanini, who is completing his final season in America, will at these concerts make his only appearances in Boston as conductor of the New York Philharmonic-Symphony Society. The programmes of the two concerts will be different.

Tickets are now on general sale at the box-office. [24] Symphony Hall

Boston Symphony Orchestra

Dr. SERGE KOUSSEVITZKY, Conductor

FIFTH PROGRAMME OF THE TUESDAY AFTERNOON SERIES

Tuesday Afternoon, April 7, 1936

at 3:00 o'clock

FIFTH PROGRAMME OF THE MONDAY EVENING SERIES

Monday Evening, March 2, 1936

at 8:15 o'clock

SOLOIST MARJORIE CHURCH Piano

[25] The St. Matthew Passion

Following the performances last year of Bach's St. John's Passion, there is announced a revival of the same composer's more famous Passion According to St. Matthew, which has not been performed by the Boston Symphony Orchestra since the spring of 1918. The performance will be given for the benefit of the Orchestra's Pension Fund, Sunday afternoon, April 26, in Symphony Hall — Dr. Koussevitzky conducting the combined forces of the Or- chestra, the choruses of Harvard and Radcliffe, and five soloists.

Bach, working with Picander in the preparation of the text of this score, was enabled to treat in all its fullness the dramatic narrative of St. Matthew. The mighty choruses, the affecting arias and chorales, music of reflection and emotional commentary, and the profoundly moving narrative as expressed in the recitatives of Jesus and the evangel — in each of these aspects the Matthew-Passion is considered the greatest expression of Bach's religious de- votion and his power of dramatic depiction in tones.

Sir Hubert Parry, writing of the Matthew-Passion, called it "probably the most beautiful expression of a beautiful

phase of religion. . . . Truly the keynote of the whole is the divine manifested in man. The Godhead of Christ is scarcely anywhere apparent. The tragedy is unfolded in its purely human aspects, as the sacrifice of a man who was ideally adorable as man rather than on account of

his divine descent. . . . Bach's music is almost invariably intensely human in its expression, and notwithstanding the enormous amount of church music which he wrote, unecclesiastical. It is intensely spiritual, deeply devout, nobly and consistently serious, but with the largeness of temperamental nature that reaches out beyond the limita- tions of any four walls whatever into communion with the infinite. The story of the Passion as told by him would appeal not only to the Christian but also to a pagan who had but the slenderest knowledge of the traditions of Christianity. It was the outcome of Teutonic Christianity of the time, and yet it transcended it in the far-reaching power of the music and makes an appeal which can be answered by humanity at large."

[26] MUSICAL INSTRUCTION LONGY SCHOOL OF MUSIC 44 Church Street Incorporated Cambridge, Mass.

- - - Instructors in the Wind Instrument Department - - - Gaston Bladet, Flute Fernand Gillet, Oboe Paul Mimart, Clarinet Abdon Laus, Bassoon, Willem Valkenier, French Born Georges Mager, Trumpet Saxophone Eugene Adam, Trombone, Tuba All are members of the Boston Symphony Orchestra SAMUEL ENDICOTT DICTION AND PRONUNCIATION FOR SINGERS, IN FRENCH, ITALIAN, GERMAN AND RUSSIAN SONG COACHING Studio: 725 BOYLSTON STREET Res. Tel. Dedham 0012 ARY DULFER STUDIO OF VIOLIN PLAYING 207 NEWBURY STREET BOSTON MARIE MURRAY CONTRALTO Guest Soloist with the Boston Symphony Orchestra for the past three seasons Vddress WEST ROXBURY, MASSACHUSETTS Phone Par. 4651 Teacher of Voice Call Registrar, N. E. Conservatory of Music. Ken. 8660

JULES WOLFFERS, Pianist HAKRIETTE ELKIND WOLFFERS, Violinist STUDIO AND RECITAL SALON 470 COMMONWEALTH AVENUE Commonwealth 3368 Mme. MARIA PARDO CALVARESI SOPRANO SOLOIST AND TEACHER RADIO CONCERT OPERA 54 WESTLAND AVENUE Telephone Com. 0151 Mrs. Charles Adams White TEACHER OF SINGING 105 REVERE ST., BOSTON Tel. Capitol 6745 JANE RUSSELL COLPITT PIANIST AND TEACHER TOBIAS MATTHAY PRINCIPLES OF PIANOFORTE YORKE-TROTTER PRINCIPLES OF "MUSICIANSHIP" 280 DARTMOUTH STREET Telephone Kenmore 1283 ISABEL FRENCH SOPRANO TEACHER OF SINGING Studio: 22 Embankment Road (Near Charles Street Subzvay) Telephone Lafayette 3930

[27] :

MUSICAL INSTRUCTION LAMBERT MURPHY TENOR TEACHER OF SINGING In Boston on Mondays STUDIO, 725 BOYLSTON STREET For appointments write to above address or phone Kenmore 3122 on Mondays CLARA SHEAR Soprano Teacher of Singing 12 STEINERT BUILDING, 162 BOYLSTON STREET Mondays, Tuesdays, Wednesdays

GLADYS AVERY LEBERT Soprano TEACHER OF VOICE AT WELLESLEY COLLEGE In Boston, Wednesday Afternoons Address 346 CRAFTS STREET, NEWTONVILLE, MASS. Telephone: Newton North 0102 MARY SHAW SWAIN PIANOFORTE TEACHER Former Member of Faculty of the Felix Fox School of Pianoforte Playing ACCOMPANIST AND COACH 74 THE FENWAY COMmonwealth 0054 J TEACHER^ ^rLDadmun SINGING

Mme. Zoe Lassagne Mercier , Muc. B. ARTIST ACCOMPANIST—COACH French Diction and Interpretation In Songs and Opera 134 Brattle St., Cambridge, Mass., Tro.6220 Weds.—30 Huntington Ave., Room 520

[28] I i <*An event notable importance [ of

1 in the world of music!

Steinway Grand Viano

I $ i only I far jHh* 885 I ! and on very liberal terms

~ 5 ' *" to ''* the modern room SIZE j

— to f it the modern budget p R | Q £

— Sfe ' n w*y throughout Q U A L I TY

In our sincere opinion, this is the finest piano obtainable at

the price ... its only superior a larger Steimvay. Here, again,

is the incomparable Steinway tone . . . the glorious singing voice which has made the Steinway the one perfect instrument

of concert hall, radio, and home. The action is sensitive beyond all previous ideas of sensitivity. You are cordially invited to our showrooms to see, hear, play this amazing new instrument. And while you are here, we shall be glad to explain the Steinway plan of payment. THE INSTRUMENT OF THE IMMORTALS M. STEINERT & SONS A New England Institution Since 1860 162 BOYLSTON STREET, BOSTON ^WcStex LZ±ZR,L)1ki 'S

"The Baldwin has the most beautiful tone I

have ever found in a piano."

Gieseking's preference is shared by a host of

artists and discriminating music-lovers, who

accord this superb instrument first place among the truly great pianos.

We offer a convenient budget plan with liberal trade-in allowance. Call or phone.

R\ Baldwin Piano I Warerooms Inc. 1 50 Boylston Street M. N. LEVY, Pres. and Treas. P I N