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PR5GR7WVE MONDAY) L [ V-yi he rousseau ouse of d/Dosion <c7r en ch imports and our own exclusiv e copi e s a n d=wia = na a a e oC i n g e r i e that really expresses a very feminine note o distinction ... in dainty embroidery and laces or in tailored simplicity. NEVER before §T(akanna!\nc. have we been able to offer cfhe cWusseauJCouse ofBoston such quality at such decidedly +1 6 33oulston Street moderate prices. SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 b /^!p\/S\rQ INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTY-FIRST SEASON, 1931-1932 MONDAY EVENING, NOVEMBER 9, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1931, 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 THE 'CELLO 1 HE violoncello belongs to the ancient family of viols, springing from the popular sixteenth century viola da gamba. In Shakespeare's Twelfth Night it is said of Sir Aguecheek . "he plays o' the viol de gamboys." The violoncello was made to accompany the thin tones of early violins. It marked the be- ginning of an appreciation of tone. With its coming almost every viola da gamba was con- verted into a violoncello . Andreas Amati (1520— 1577) was to the violoncello what Stradivari was to the violin. Thirty -eight of his bowed instruments were sent by Pope Pius V to the King of France, in 1572. Though the Italians were the first to develop the violoncello, the French did much to establish it. When Louis Duport (1749- 1 8 19) worked out his system of bowing and fingering, and of shifting from position to position, he brought agility and grace into the playing of the violoncello . After Voltaire had heard Duport play at Geneva, he said, "Monsieur, you know how to turn an ox into a nightingale!" Berlioz said of the violoncello's place in the orchestra, "... nothing is more voluptuously melancholy or more suited to the utterance of tender, languishing themes than a mass of violoncellos playing in unison upon their first string." * * * 1 HE cost of expert settlement and management ofyour property by Old Colony Trust Company as Executor and Trustee, is no more than you would pay for less competent administration. Old Colony Trust Company 17 COURT STREET, BOSTON ^Affiliated with The First National Bank of Boston Fifty-first Season, 1931-1932 : Dr. SERGE KOUSSEVITZKY, Conductor ER" EL 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. Bernard, A. Grover, H. Fiedler, A. Artieres, L. Cauhape, J. Van Wynbergen, C. 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, Lj Basses. Kunze, M. Lemaire, J. Ludwig, O. Girard, H. Moleux, GS Vondrak, A. Oliver, F. Frankel, I. Dufresne, G. Kelley, A. j Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Polatschek, V. Laus, A. Bladet, G. Devergie, J. Mimart, P. Allard, R. Amerena, P. Stanislaus, H. Arcieri, E. Panenka, E. Allegra, E. (E-flat Clarinet) Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Bettoney, F. Piller, B. Horns. Horns. Trumpets. Trombones. Boettcher, G. Valkenier, W. Mager, G. Raichman, J. Pogrebniak, S. Schindler, G. Lafosse, M. Hansotte, L. Van Den Berg, C. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Adam, E. Voisin, R. Mann, J. Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Sternburg, S. Adam, E. Caughey, E. Polster, M. White, L. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J CbanMrr $c Co. BOSTON COMMON TREMONT AT WEST STREET introduce Flieht" The perfect all around Felt Hat $5 It is here . the hat for which you have been waiting to wear with your tweed suit, your polo coat or lapin jacket. The crown is just right, not too deep, not too shallow, not too wide. And the flat ribbon bow adds that swagger, tailored look. Black, Caroub Brown, Beige, Spanish Tile Caoalier Blue, Malaga Red, Kiltie Green. Street Floor FIFTY-FIRST SEASON, NINETEEN HUNDRED THIRTY-ONE AND THIRTY-TWO MONDAY, NOVEMBER 9, at 8.15 Mahler ......... Symphony No. 9 I. Andante comodo. II. Im Tempo eines Gemachlichen Landlers. III. Rondo; Burleske. IV. Adagio. Wagner "A Siegfried Idyl" Wagner Overture to "Tannhanser" 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 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. : Symphony No. 9 Gustav Mahler (Born at Kalischt in Bohemia, on July 7, *1860; died at Vienna on May 18, 1911) This symphony, begun in 1906, was not produced while Mahler was alive. The first performance was at Vienna, in June, 1912. Bruno Walter conducted it. The symphony was published in 1912. The score calls for an unusually large orchestra, with an uncom- mon number of flutes, oboes, clarinets, and bassoons. Mahler looked on analytical or explanatory programme notes as the abomination of desolation. He voiced his objections whenever one of his works was announced for performance. If he gave sub- titles to the movements of two symphonies—thus the programme of Symphony No. 1, when it was first performed, bore these subtitles I, "Spring and No End"; II, "Mosaic"; III, "Under Full Sail"; IV, "The Hunter's Funeral Procession : A Dead March in the Man- ner of Callot" ; V, "DalP Inferno al Paradiso"—these subtitles are not to be found in the published scores. Mahler's parents were of the tradesman class, in very moderate circumstances. They were ambitious in their longing for education. *Mahler's parents, as he himself said, believed July 1st to be the correct date. The papers relating to his birth were lost. Analytic Symphony Series DITSON PUBLICATION A Twentieth Century Musical Home Necessity THE ANALYTIC SYMPHONY SERIES Great Symphonies, arranged in the simplest possible playable form for two hands on the piano, with remarkably clear analy- ses by the eminent teacher and theorist, Dr. Percy Goetschius. Understanding depends upon knowledge, and this can be secured only by a study of the music itself, therefore real enjoyment of symphonic works is hugely enhanced by the use of this simplified edition. The cost is nominal—for sale by all representative dealers, or may be obtained direct from the publishers. Illustrated booklet describing the Analytic Symphony Series mailed on request. OLIVER DITSON COMPANY, Inc. 359 Boylston Street Boston, Mass. A reading knowledge adds to Your Enjoyment usic! The Jordan Marsh Book Section knows music, too! And it can help you to gain that background of operas, composers or symphonies that raises a tune to the level of a composition and makes a concert-goer a connoisseur. MUSIC AT MIDNIGHT Muriel Draper FAMOUS COMPOSERS ... Dole 3.75 AN HOUR WITH AMERICAN MUSIC .... Paul Rosen/eld 1. THE ANATOMY OF MUSIC Winthrop Parkhurst 2.50 MY LIFE, THE AUTOBIOGRAPHY OF RICHARD WAGNER ... 5. MORE MELLOWS, A BOOK OF NEGRO SPIRITUALS . Kennedy 4. BOOKS STREET FLOOR ANNEX Jordan Marsh Company ! They moved to Iglau soon after the birth of Gustav. He was a shy, quiet child, sensitive to the hymns and songs of the Moravians and to military music. When he was four years old, he played on an ac- cordion whatever he heard, especially marches of the brass band. Two years later he spent hours with an old pianoforte. When he was eight, he gave lessons at five kreutzers a lesson to a seven-year- old. Music and reading were his passions. He studied at the Iglau Gymnasium, and for a short time at Prague, but his taste for music was so pronounced that in 1875 his father took him to Julius Epstein* at Vienna and begged him to say whether the boy's talent warranted the necessary cost of development. Epstein heard Gustav play, talked with him, and declared him to be "a born genius." Mahler was fifteen years old when, in the fall of 1875, he entered the Vienna Conservatory. Like Hugo Wolf, he was once described by the authorities as "rebellious," but, unlike Wolf, he was not ex- pelled. He studied pianoforte playing with Epstein ; harmony with Robert Fuchs; composition with Franz Krenn.

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