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Boston Symphony Orchestra Concert Programs, Season 58,1938-1939, Trip

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Boston Symphony Orchestra Concert Programs, Season 58,1938-1939, Trip [Harvard University'] Thursday Evening, October 13 at 8 o'clock Boston Symphony Orchestra [Fifty-eighth Season, 1938-1939] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H. RESNIKOFF, V. Concert-master GUNDERSEN, R KASSMAN, N. CHERKASSKY, P. EISLER, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREETj L. MESSINA, S. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger, s. Violas LEFRANC, J. FOUREL, G. BERNARD, A. GROVER, H. ARTIERES, L. cauhape', J. VAN WYNBERGEN, C. WERNER, H. AVIERINO, n. JACOB, R. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, J. LANGENDOEN, J. CHARDON, Y. STOCKBRIDGE, C. FABRIZIO, E. ZIGHERA, A. TORTELIER, P. DROEGHMANS, H. WARNKE,J. MARJOLLET, L. ZIMBLER, J. Basses KUNZE, M. LEMAIRE, J. FRANKEL, I. GIRARD, H. DELESCLUSE, P. VONDRAK, A. MOLEUX, G. JUHT, L. DUFRESNE, G. BARWICKI, J. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. POLATSCHEK, V. ALLARD, R. RATEAU, R. DEVERGIE, J. VALERIO, M. PANENKA, E. PAPPOUTSAKIS, J- LUKATSKY, J. MAZZEO, R. LAUS, A. Eb Clarinet Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MIMART, P. PILLER, B. Horns Horns Trumpets Trombones VALKENIER, W. SINGER, J. MAGER, G. RAICHMAN, J. MACDONALD, W LANNOYE, M. LAFOSSE, M. HANSOTTE, L. SINGER, J. SHAPIRO, H. VOISIN, R. L. LILLEBACK, W. GEBHARDT, w. KEANEY, P. VOISIN, r. SMITH, V. Tuba Harps Timpani Percussion ADAM, E. ZIGHERA, B. SZULC, R. STERNBURG, S. CAUGHEY, E. POLSTER, M. WHITE, L. ARCIERI, E. Organ Piano Librarian SNOW, A. SANROMA, J. ROGERS, L. J. ^atttora ®fj?atr? • Harvard University • (Eambrifcjg? FIFTY-EIGHTH SEASON, 1938-1939 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgust, Assistant Conductor Concert Bulletin of the First Concert THURSDAY EVENING, October 13 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 M. A. De Wolfe Howe Henry B. Cabot Roger I. Lee Ernest B. Dane Richard C. Paine Alvan T. Fuller Henry B. Sawyer Jerome D. Greene Edward A. Taft N. Penrose Hallowell Bentley W. Warren G. E. Judd, Manager C. W. SPALDING, Assistant Manager [1] SIX NOTABLE PROGRAMMES he progressive career of Serge Koussevitzky as conductor of V.the Boston Symphony Orchestra through fourteen years is ex- emplified by the development in this period of the shorter series of concerts. The Monday Evening series proving insufficient for the demand for such concerts, Dr. Koussevitzky added in his second season the Tuesday Afternoon series, later increased the number of each series, and last season combined them into monthly pairs. The six programmes, with regard both to the music performed and the artists assisting, present the finest the repertory can offer. They become a shorter counterpart of the Friday Afternoon and Saturday Evening series, with approxi- mately one concert a month instead of three. oloists for the Monday and Tuesday series will include Myra g/1Hess, the famous English pianist. Pierre and Genia Luboshutz will perform Mozart's Concerto for Two Pianos and Orchestra. n one pair of concerts, Igor Stravinsky, who is to visit America next March, will appear as guest conductor in music of his own. Georges Enesco, another eminent figure in music, whose appearance at the Friday and Saturday concerts was an outstanding event of the season past, will return, and conduct in the Monday and Tuesday series as well. Serge Koussevitzky will conduct four pairs of concerts. 6 Monday Evening Concerts (at 8.15) October 24, December 26, January 16, February 20, March 20, April 17. Seats available at $9, $12, and $15. 6 Tuesday Afternoon Concerts (at 3) October 25, December 27, January 17, February 21, March 21, April 18. Seats available at $6, $9, $12, and $15. [2] l^atttoB ®tj?atr? • Harvard University • (ttambri&g? Boston Symphony Orchestra FIFTY-EIGHTH SEASON, 1938-1939 SERGE KOUSSEVITZKY, Conductor FIRST CONCERT THURSDAY EVENING, October 13 Programme Berlioz Overture, "The Roman Carnival," Op. 9 Mozart Divertimento in B-flat major, for Strings and Two Horns (Koechel No. 287) I. Allegro II. Theme with Variations; Andante grazioso III. Minuet IV. Adagio V. Minuet VI. Andante; Allegro molto INTERMISSION Dvorak Symphony No. 5, in E minor, "From the New World," Op. 95 I. Adagio; Allegro molto II. Larghetto III. Scherzo: Molto vivace IV. Allegro con fuoco [3] OVERTURE, "LE CARNAVAL ROMA1N," Op. 9 By Hector Berlioz Born at La Cote Saint-Andre, December 11, 1803; died at Paris, March 9, li The opera "Benvenuto Cellini" from which the overture is derived was first performed at the Opera in Paris, September 10, 1838. The concert overture, written in 1843, was first performed at the Salle Herz, Paris, February 3, 1844, under the composer's direction. It was published June, 1844. The last performance in the Friday and Saturday series of this orchestra was on March 15, 1929. There was a performance at a Tuesday afternoon concert, Novem- ber 3, 1936. The orchestration of the Overture includes two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, two cornets, three trombones, timpani, two tambourines, cymbals, triangle and strings. Travelling about Europe and conducting orchestras in city after city, Berlioz found certain orchestral numbers, such as the ex- cerpts from "The Damnation of Faust" or "Romeo and Juliet" ex- tremely serviceable. Of this sort was his overture "The Roman Carni- val." He could usually count upon making something of a sensation, as when it was performed at Vienna and, to use his own words, "it exploded like a mass of fireworks, and was encored with a noise of feet and hands never heard except in Vienna." Elsewhere the piece had different fortunes, such as at St. Petersburg, where, amidst loud accla- mations for other of his works, it passed scarcely noticed. "A Viennese would hardly credit this," wrote Berlioz in his memoirs, "but scores have their destiny, like books and dramas, roses and thistles." If destiny smiled almost invariably upon "The Roman Carnival," such was not the case with the opera, "Benvenuto Cellini," from which it was derived (The "Roman Carnival" Overture was origi- nally the introduction to the second act of the opera). When the con- cert overture was first performed at the Salle Herz, the composer con- ducting, it was enthusiastically encored. Berlioz did not always meet with such unanimous favor in his own city. The results were very dif- ferent when "Benvenuto Cellini" was first produced at the Opera six years earlier (September 10, 1838). To Berlioz a pronounced success at the Opera was a very vital matter. Much in need of the assurance of an official position with a fixed income, he never received more than scant or grudging favor from the Conservatoire, while at the Opera, where a reasonable recognition would have solved his financial harass- ment once and for all, he invariably met with veiled hostility or eva- sion. Whereupon Berlioz remained a feuilletonist, a routine which he fulfilled with violent dislike. Forced to promote his music by concerts of his own arranging, he would engage battalions of players and, as [4] often as not, find himself bankrupt when the affair was over. These were reasons why such a venture as "Benvenuto Cellini" was of ex- treme importance to him. Berlioz, so he tells us in his memoirs, became enamoured of certain episodes in the life of Benvenuto Cellini as likely material for an opera, and prevailed upon Leon de Wailly and Auguste Barbier to make a libretto for him. The composer talked Duponchel, the Di- rector of the Opera, into accepting it for production. The conductor was Habeneck — unfortunately for Berlioz, for there had long been a coolness between the two men. Habeneck conducted the rehearsals, according to Berlioz, with open indifference. "He never could catch the lively turn of the saltarello danced and sung on the Piazza Colonna in the middle of the second act. The dancers, not being able to adapt themselves to his dragging time, complained to me, and I kept on repeating, 'Faster, faster! Put more life into it!' Habeneck struck the desk in irritation, and broke one violin bow after another. Having witnessed four or five of such outbursts, I ended at last by saying, with a coolness that exasperated him: 'Good heavens! if you were to break fifty bows, that would not prevent your time from being too slow by half. It is a saltarello that you are conducting!' At that Habeneck stopped, and, turning to the orchestra, said: 'Since I am not fortunate enough to please M. Berlioz, we will leave off for to-day. You can go.' And there the rehearsal ended." Members of the orchestra, "in hopes of flattering Habeneck," played snatches from popular songs while rehearsals were in progress, and "the male dancers amused themselves by pinching the women, making them shriek and shrieking themselves, to the great disturbance of the chorus." When the performance at last took place, "the over- ture received exaggerated applause, and the rest was hissed with ad- mirable energy and unanimity." The opera was shelved after three performances. Berlioz wrote: "It is fourteen years since I was thus dragged to execution at the Opera; and rereading my poor score with strict im- partiality, I cannot help recognizing in it a variety of ideas, an im- petuous verve, and a brilliancy of musical colouring which I shall probably never again achieve, and which deserved a better fate." The opera had occasional performances in other cities.
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