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JOHN M. GREENE HALL . NORTHAMPTON SMITH COLLEGE, DEPARTMENT OF MUSIC Tuesday Evening, March 8 1927, at 8.00 PROGRHttftE t '*...// cries when IfeeI like cry- ing, it singsjoyfully <vohen Ifeel like singing. It resp o nds—like a human being—to e<very mood. " I lo<ve the Baldwin Piano. X^^ yr^ *LSt^kr»y Vladimir de Pachmann loves the Baldwin piano. Through the medium of Baldwin tone, this most lyric of contemporary pianists discovers complete revealment of his musical dreams. For a generation de Pachmann has played the Baldwin; on the concert stage and in his home. That love- liness and purity of tone which appeals to de Pach- mann and to every exacting musician is found in all Baldwins, alike in the Concert Grand, in the smaller Grands, in the Uprights. The history of the Baldwin is the history of an ideal. iatftorin CINCINNATI CHICAGO NEW YORK INDIANAPOLIS ST. LOUIS LOUISVILLE DENVER DALLAS SAN FRANCISCO I I JOHN M. GREENE HALL . NORTHAMPTON FORTY-SIXTH SEASON, 1926-1927 M INC. SERGE KOUSSEVITZKY, Conductor rroi me TUESDAY EVENING, MARCH 8, at 8.00 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1927, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT 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 After more than half a century on Fourteenth Street, Steinway Hall is now located at 109 West 57 th Street. The new Steinway Hall is one of the handsomest buildings in New York on a street noted for finely designed business structures. As a center of music, it will extend the Steinway tradition to the new generations of music lovers. EINWI THE INST%UZMENT OF THE IMMORTALS esira Forty-sixth Season 1926-1927 SERGE KOUSSEVITZKY, Conductor RSONNE1 Violins, Burgin, R. Elcus. G. Gerardi, A. Hamilton, V. Gundersen, R. Concert-master Kreinin, B. Eisler, D. Sauvlet, H. Kassman, N. Theodorowicz, J. Cherkassky, P. Graeser, H. Fedorovsky, P. Siegl, F. Pinfield, C. Hansen, E. Leveen, P. Mariotti, V. Thillois, F. Seiniger, S. Zung, M. Gorodetzky, L. Mayer, P. Leibovici. J. Diamond, S. Fiedler, B. Bryant, M. Knudsen, C. Stonestreet, L. Erkelens, H Murray, J. Del Sordo, R. Tapley, R. Messina. S. Violas. Lefranc, J. Fourel, G. Van Wynbergen, C. Grover, H. Fiedler, A. Artieres, L. Cauhap6, J. Werner, H. Shirley, P. Avierino, N, Gerhardt, S. Bernard, A. Deane, C. Violoncellos. Bedetti, J. Zighera, A. Langendoen, J. Stockbridge, C. Fabrizio, E. Keller, J. Barth, C. Belinski, M. Warnke, J. Marjollet, L. Basses. Kunze, M. Lemaire, J. Ludwig, O. Kelley, A. Girard, H. Vondrak, A. Seydel, T. Frankel, I. Demetrides, L. Oliver, F Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Hamelin, G. Laus, A. Bladet, G. Devergie, J. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Allegra, E. Bettoney, F (E-flat Clarinet) Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Mimart, P. Piller, B. Horns. Horns. Trumpets. Trombones. Wendler, G. Valkenier, W. Mager, G. Rochut, J. Schindler, G. Lannoye, M. Perret, G. Adam, E. Van Den Berg, C. Pogrebniak, S. Lafosse, G. Hansotte, L. Lorbeer, H. Gebhardt, W. Mann, J. Kenfield, L. Kloepfel, L. Tuba. Harps. Tlmpant. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C Zighera, B. Polster, M Sternburg, S. Seiniger, S. Organ. Piano. Celesta. Librarian. Snow, A Sanroma, J. Fiedler, A. Rogers. L. J, tok^P to to - #sp #qp #$p <&^> #^p^^ lutafoe #qp Q* ^> This name #$p^^ #qp <&&> on your #sp Pianoforte ^>s^p Pro #qp^> spells S^P ^^) #SP «av Perfection <&&) Q2S> WM. KNABE & CO. #QP 437 Fifth Avenue, New York Local Representative #SP FORBES & WALLACE Q29> INC. #QP 02$ Distributors JOHN M. GREENE HALL . NORTHAMPTON SMITH COLLEGE, DEPARTMENT OF MUSIC Forty-sixth Season, 1926-1927 SERGE KOUSSEVITZKY, Conductor TUESDAY EVENING, MARCH 8 AT 8.00 PROGRAMME Handel . Concerto Grosso for String Orchestra in B minor, No. 12 Largo — Allegro — Larghetto e piano — Largo—Allegro Prokofieff Classical Symphony, Op. 25 I. Allegro. II. Larghetto. III. Gavotte. • IV. Finale. Ravel "La Valse," Choregraphic Poem Tchaikovsky Symphony No. 4 in F minor, Op. 36 I. Andante sostenuto; moderato con anima (in movimento di valse). II. Andantino in modo di canzona. III. Scherzo; pizzicato ostinato: Allegro. IV. Finale: Allegro con fuoco. There will be an intermission of ten minutes before the symphony 5 Spring in the ^Mediterranean /« fA* Golden Horn The most delightful season—the time of settled warm weather, brilliantest of blue skies, and bright flowers* Raymond-Whitcomb Mediterranean Spring Cruise Sailing March 29 on the S.S. "Carinthia" Visiting Madeira, Gibraltar, Cadiz, Seville, Algiers, Constantine (in the interior of Algeria), Tunis, Malta, Ragusa and Cattaro (in Jugo-Slavia), Constantinople, Athens, Palermo (in Sicily), Naples, Corsica, Nice and Monte Carlo, and Southampton. A most attractive Cruise of five weeks—or an inviting voyage to Naples, only two weeks longer than direct passage, and including calls at a dozen famous ports, with sight-seeing and excursions ashore. Rates $725 and upward. Send for the booklet—"Mediterranean Spring Cruise." Other Raymond -Whitcomb Cruises The North Cape, June 28 :: Africa Cruise, January 14, 1928 :: Round the World, January 18, 1928 :: Mediterranean Winter Cruise, January 21, 1928 :: Land Cruises to California and the West—through the year. RAYMOND & WHITCOMB CO. 165 Tremont St. BOSTON Tel. HANcock 7820 6 : Concerto Grosso, No. 12, B minor . George Frideric Handel (Born at Halle on February 23, 1685; died at London, April 14, 1759) The first performance of this concerto in Boston was at a concert of the Boston Symphony Orchestra on February 28, 1885, when Messrs. Listemann, Loeffler and Giese played the solo instruments. The movements are as follows: Largo, B minor, 4-4; Allegro, B minor, 4-4; Larghetto e piano, E major, 3-4 (violino I, II, III, viola, tutti bassi), an air with a variation; a transitional Largo, 4-4; Allegro, B minor, 4-4. The instruments are thus indicated at the beginning of the work Violino I, concertino, violino II; violino I, ripieno, violino II; viola, violoncello, bassi. Custom decreed during the earlier years that the concertino, or group of solo instruments in a concerto grosso, should be of two violins and a violoncello.* In the concerto grosso an orchestra dialogued with a principal instru- ment. The name violino di grosso or di ripieno was given to the instru- ments of the orchestra to distinguish one of them from the principal violin, or the violino di concertino. The Germans in the concertino sometimes coupled an oboe or a bassoon with a violin. The Italians were faithful as a rule to the stringed instruments. "Classical" Symphony, Op. 25 . Serge Sergie vich Frokofiefp (Born at Sontsovka, Russia, April 24, 1891; now living) This symphony, begun in 1916, was completed in 1&17. The first performance was at Leningrad by the orchestra now known as the State Orchestra. The first performance in the United States was at a concert of the Russian Symphony Orchestra in New York, in December, 1918. The symphony, scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings, is dedicated to Boris Assafieff, who, as "Igor Gleboff," has written much about music. "The composer's idea in writing this work was to catch the spirit of Mozart and to put down that which, if he were living now, Mozart might put into his scores" (Felix Borowski). I. Allegro, D major, 4-4 time. The chief theme is given to first violins. A transitional passage has material for the flutes. Develop- ment follows. The second theme is for first violins. The develop- ment begins with use of the first subject. The transitional measures are taken up, later the second theme. The recapitulation opens in C major (strings). Then follows the transitional passage (D major) for the flute. The second theme is again for the strings. There is a short coda. II.' Larghetto, A major, 2-2 time. First violins announce the chief theme. There are episodes. III. Gavotta, Non troppo allegro, D major, 4-4 time. The sub- C. L. Hop .. FURRIER .. 24 VERNON STREET SPRINGFIELD MASSACHUSETTS An experience of 30 years in buying furs and selling furs only of that quality that we can unqualifiedly recommend has earned for us a reputation of which we are justly proud and the person who buys HOYT FURS has the comfortable assurance that they represent the utmost of Quality, Style and Value. "Five Floors of Fine Wares from the Four Corners of the Earth" Every Day in the Year Making it our business to provide beautiful and unusual remembrances, not merely for the holiday season, but every week in the year you will always find in this beautiful store- choice and unusual gifts from all over the world, for every occa- sion and every individual need, as well as the home requirements. THE WORLD'S FINEST CHINA BEAUTIFUL GLASS FROM ALL OVER THE GLOBE STERLING SILVER FROM THE WORLD'S BEST SILVERSMITHS THE FINEST OF SILVER PLATE FURNITURE OF INDIVIDUALITY BEAUTIFUL BORGHESE INTERESTING HALL STUDIO PRODUCTS SMART JEWELRY FROM PARIS The Hall Tea Room Is a Springfield Institution — a delightful place for Luncheon or Afternoon Tea Charles Hall, Inc. THE HALL BUILDING SPRINGFIELD MASSACHUSETTS ject is given at once to strings and wood-wind. The trio is in G major (flutes and clarinets above an organ point for violoncellos and double basses. This subject is repeated by the strings.
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    SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT May 15, 16 and 17, 2015 EMMANUEL CHABRIER España ÉDOUARD LALO Symphonie espagnole, Op. 21 Allegro non troppo Scherzando: Allegro molto Intermezzo: Allegretto non troppo Andante Rondo Ray Chen, violin INTERMISSION MAURICE RAVEL Alborada del gracioso MANUEL DE FALLA Selections from The Three-Cornered Hat Suites 1 and 2 Introduction Dance of the Miller’s Wife (Fandango) The Neighbors Miller’s Dance (Farruca) Final Dance PROGRAM NOTES España EMMANUEL CHABRIER Born January 18, 1841, Ambert, Puy-de-Dôme Died September 13, 1894, Paris Approx. 8 minutes Emmanuel Chabrier was a piano prodigy as a child, and he grew up longing to be a composer. But his parents insisted on a “sensible” career, and Chabrier spent several decades as a minor clerk in the Ministry of the Interior who dabbled in composition in his spare time. Then in the spring of 1882 Chabrier and his wife took a vacation trip to Spain, where – like so many other French composers – he was intoxicated by Spanish music. Back in France, he noted down several characteristic melodies and dance rhythms that he had heard in Andalusia, and from these he fashioned what he called a fantasia for solo piano. When the conductor Charles Lamoureux heard Chabrier play this piece, he urged him to orchestrate it. Lamoureux led the premiere of the orchestral version, now titled España, in Paris on November 4, 1883. It was an instant success, and Chabrier woke the next morning to find himself famous. Even now, 130 years later, España remains his best-known work.
  • Debussy Ravel Pascal & Ami Rogé

    Debussy Ravel Pascal & Ami Rogé

    DEBUSSY LA MER · PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE FÊTES RAVEL MA MÈRE L’OYE RAPSODIE ESPAGNOLE SAINT-SAËNS: SCHERZO *** PASCAL & AMI ROGÉ CLAUDE DEBUSSY (1862–1918) 1 Prélude à I’après-midi d’un faune 9.02 2 Fêtes transcr. Ravel 5.49 MAURICE RAVEL (1875–1937) Ma Mère l’Oye 3 I Pavane de la Belle au bois dormant 1.20 4 II Petit Poucet 2.39 5 III Laideronnette, lmpératrice des Pagodes 3.03 6 IV Les entretiens de la Belle et de la Bête 3.51 7 V Le jardin féerique 2.25 Rapsodie espagnole 8 I Prélude à la nuit 5.11 9 II Malagueña 2.00 10 III Habanera 3.01 11 IV Feria 6.16 CLAUDE DEBUSSY La Mer arr. Pascal & Ami Rogé 12 I De I’aube à midi sur la mer 8.19 13 II Jeux de vagues 7.33 14 III Dialogue du vent et de la mer 7.43 CAMILLE SAINT-SAËNS (1835–1921) 15 Scherzo op.87 10.12 Total timing: 79.08 Pascal Rogé and Ami Rogé pianos French music for two pianos: Saint-Saëns, Debussy, Ravel Saint-Saëns’s Scherzo op.87, at once among the least known and most original of his keyboard works, was written at a low point in the composer’s life. His mother, the driving force and great love of his life, had died in December 1888. Now 54 years old, he was devastated, unable to compose, suffered from insomnia and talked of suicide. Ten months later, he moved out of his apartment in the rue Monsieur le Prince, had all his furniture, objets d’art, pictures and manuscripts sent to Dieppe to be housed in a museum there, and set off for Andalusia and thence to Cádiz.