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Prsgrhaae PRSGRHAAE (tthaniilcr ^ <Eo Tremont Street—Near West New seasonable models for street, afternoon and dress wear. Fur trimmed metal brocade hats; gourah trimmed fur hats; gold tissue dance hats; satin and lace dinner hats; cere satin suit hats; embroidered duvetyn hats; unusual fabric hats; and smart French felts — an interesting selection of finely made hats in seasonable styles. SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 m Sjimphoiniy OrcibesiLra INCORPORATED PIERRE MONTEUX. Conductor FORTY-FIRST SEASON, 1921-1922 Programme MONDAY EVENING, JANUARY 16. at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT. 1922, 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 — — ' I 1 I l\ XJXI £ "CHE INSTRUMENT OF THE IMMORTALS the old house where Franz Liszt asRubinstein.dePachmann.JoseffylMany iNpassed his last years, still stands a young genius set fingers to a Steinway for his Steinway. Here the master of the first time in this house of Liszt's. Weimar played for the rul^s of the earth And itisworthy of notethatalmostwithout who came to do him homage. And here, exception they, too, chose the Steinway too, played other masters of the piano just as Liszt had done before them, just as friends and disciples of Liszt's—men such the masters of today have done after them. STEINWAY & SONS, STEINWAY HALL 107-109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Boston Symj rcltestra Forty-first Season, 1921-1922 PIERRE MONTEUX. Conductor PERSOMMEL Violins. Burgin, R. Hoffmann, J. Concert-master. Mahn, F._ Theodorowicz, J. ^^^ FORTY-FIRST SEASON. NINETEEN HUNDRED TWENTY-ONE and TWENTY-TWO Second Programme MONDAY EVENING, JANUARY 16 AT 8.15 Beethoven .... Symphony No. 5 in C minor, Op. 67 L Allegro con brio. II. Andante con moto. III. Allegro; Trio. IV. Allegro. Svendsen . "The Carnival in Paris," Episode for Full Orchestra. Op. 9 Saint- Saens .... Aria from "Etienne Marcel" Mozart . Aria, "Non so piu" from "The Marriage of Figaro" Debussy 'Prelude a I'Apres-Midi d'un Faune" ("Prelude to The Afternoon of a Faun"), Eclogue by S. Mallarme Wagner Overture to "Tannhauser' SOLOIST ESTELLE LIEBLING There will be an intermission of ten minutes after the symphony 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 upon the head a covering which obstructi 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 docs not obstruct such view, may be worn. Attest: J. M. GALVIN. City Clerk. The works to be phyed at the<e concerts may bj seen in the ^llen A. Brown Music Collection of the Boston Public Library one week before the concert. Mexico Added to the Route of the RAYMOND-WHITCOMB CRUISE to Hawaii via the Panama Canal ^The itinerary, already conspicuous for its novelty, will now include a visit to Salina Cruz — a port on the Mexican West Coast — and an excursion inland to Tehuantepec. ^Tehuantepec is by long odds the most picturesque town in the province. It is the stronghold of the ancient inhabitants of the region and celebrated for its hot springs and beautiful women. The traveler is impressed into admiration of the superb symmetry and striking beauty of the women, who form the bulk of the population. These olive-skinned queens of the Tropics are strangely like the Burmese women and girls. With their odd customs and brilliant costumes, they seem Hke changelings from the Orient. ^As for the town itself— it is usually flooded with sunlight. The rounded church domes rise against a faultless blue sky. The houses, with their embowered patios and graceful balconies suggest the days of Moorish Spain. And when in all their strange grace the women appear, the effect is truly beguiling. ^The itinerary of this 46-day Cruise, which will sail February 18, on the Matson Navigation Company's 21,000-ton S. S. "Hawkeye State" includes Havana, the capital of the Caribbean Panama City, the capital of the republic San Juan, the capital of Porto Rico Salina Cruz, on the Mexican West Coast St. Thomas, our new West Indian colony Tehuantepec, the capital of the province Port Antonio, Jamaica's luxuriant resort Los Angeles, with its superb suburbs Kingston, the ancient pirate stronghold San Francisco, inside the Golden Gate Colon, the Atlantic entrance of the Canal Honolulu, with its famous W^aikiki Beach A remarkable trip through the Canal Hilo, on the scenic island of Hawaii Balboa, the Pacific terminus of the Canal Kilauea, the ever-flaming volcano ^The Cruise will return to San Francisco and end there; the rates are $750 and upward. For booklets, ship-plans and all details address Raymond & Whitcomb Go. 17 Temple Place Boston Telerhone: Beach 6964 Symphony No. 5. in C minor, Op. 67 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) Beethoven sketched motives of the allegro, andante, and scherzo of this symphony as early as 1800 and 1801. We know from his sketches that while he was at work on "Fidelio" and the pianoforte concerto in G major,—1804-1806,—he was also busied with this symphony, which he put aside to compose the fourth symphony, in B-flat. The symphony in C minor was finished in the neighborhood of Heiligenstadt in 1807. Dedicated to the Prince von Lobkowitz and the Count Kasumoflfsky, it was published in April, 1809. It was first performed at the Theater an der Wien, Vienna, December 22, 1808. The concert began at half-past six. We know nothing about the ])ecuniary result. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings; and in the last movement piccolo, double-bassoon, and three trombones are added. Instead of inquiring curiously into the legend invented by Schind- ler,—"and for this reason a statement to be doubted," as Btilow said,—that Beethoven remarked of the first theme, "So knocks Fate on the door!"* instead of investigating the statement that the rhythm of this theme was suggested by the note of a bird,—oriole • It is said that Ferdinand Ries was the author of this explanation, and that Beethoven was grimly sarcastic when Ries, his pupil, made it Itnown to him. Every Music Lover should own this book MUSIC APPRECIATION By CLARENCE G. HAMILTON, A.M. Professor of Music, Wellesley College "Price, $2.50, "Postpaid To read this book will enhance your enjoyment of the opera, of every form of concert, and of music at home; to study it attentively will give you a comprehensive knowledge of musical form and stru:ture in all its aspects. John P. Marshall, Professor of Music, Boston University: "I shall use the book in connection with my Boston University and extension courses." OLIVER DITSON COMPANY 178-179 TREMONT STREET BOSTON 10 Order of your Local Dealer — or goldfinch,—heard during a walk ; instead of a long analysis, which is vexation and confusion without the themes and their variants in notation,—let us read and ponder what Hector Berlioz wrote : "The symphony in C minor, on the other hand, seems to us to come directly and solely from the genius of Beethoven ; he develops in it his own intimate thought ; his secret sorrows, his concentrated rage, his reveries charged witli a dejection, oh, so sad, his visions at night, his bursts of enthusiasm—these furnish him the subject; and the forms of melody, harmony, rhythm, and orchestration are displayed as essentially individual and new as they are powerful and noble. "The first movement is devoted to the painting of disordered sentiments which overthrow a great soul, a prey to despair: not the concentrated, calm despair that borrows the shape of resigna- tion : not the dark and voiceless sorrow of Romeo who learns the death of Juliet; but the terrible rage of Othello when he receives from lago's mouth the poisonous slanders which persuade him of Desdemona's guilt. Now it is a frenetic delirum which explodes in frightful cries ; and now it is the prostration that has only accents of regret and profound self-pity. Hear these hiccups of the orchestra, these dialogues in chords between wind instruments and strings, which come and go, always weaker and fainter, like unto the painful breathing of a dying man, and then give way to a phrase full of violence, in which the orchestra seems to rise to its feet, revived by a flash of fury: see this shuddering mass hesitate a moment and then rush headlong, divided in two burning unisons as two streams of lava; and then say if this passionate style is not beyond and above everything that had been produced hitherto in instrumental music. "The adagio"*—andante con moto—"has characteristics in com- mon with the allegretto in A minor of the seventh symphony and the slow movement of the fourth. It partakes alike of the melan- * Indifference of Berlioz to exact terminology is not infrequently shown in his essays.
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