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Boston Symphony Orchestra Concert Programs, Season Carnegie ftall Fifty-first Season in New York Thursday Evening, January 7 Saturday Afternoon, January 9 Boston Symphony Orchestra [Fifty-sixth Season, 1936-1937] 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. A. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. MURRAY, J. ERKELENS, H. SEINIGER, s. Violas G. CROVER, LEFRANC, J. FOUREL, BERNARD, A. H. H. ARTIERES, l. CAUHAPE, J. VAN WYNBERGEN, C. WERNER, AVIERINO, N. JACOB, R. GERHARDT, S. HUMPHREY, C. Violoncellos BEDETTI, J. langendoen, j. chardon, y. stockbridge, c. FABRIZIO, E. ZIGHERA, A. barth, c. droeghmans, h. warnke, j. MARJOLLET, L. ZIMBLER, J. Basses KUNZE, M. LEMAIRE, J. LUDWIG, O. GIRARD, H. JUHT, L. VONDRAK, A. MOLEUX, G. FRANKEL, I. DUFRESNE, G. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. POLATSCHEK, V. ALLARD, R. BLADET, G. DEVERGIE, J. VALERIO, M. PANENKA, E. AMERENA, P. STANISLAUS, H. 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 FREIBERG, G. VALKENIER, W MAGER, G. RAICHMAN, J. MACDONALD, W. - VALKENIER, B. LAFOSSE, M. HANSOTTE, L. SINGER, J. LANNOYE, M. VOISIN, R. L. LILLEBACK, W. GEBHARDT, W LORBEER, H. VOISIN, R. SMITH, V. MANN, J. Tuba Harps Timpani Percussion ADAM, E. ZIGHERA, B. SZULC, R. STERNBURG, S. CAUGHEY, E. POLSTER, m. WHITE, L. ARCIERI, E. Organ Piano Celesta Librarian •NOW, A. SANROMA, J. FIEDLER, A. ROGERS, L. J. Carnegie 2£all • Neto forfe Fifty-first Season in New York FIFTY-SIXTH SEASON, 1936-1937 Boston Symphony Orchestra INCORPORATED SERGE KOUSSEVITZKY, Conductor RICHARD BURGIN, Assistant Conductor Concert Bulletin of the Second Concert THURSDAY EVENING, January 7 AND THE Second Matinee SATURDAY AFTERNOON, January 9 with historical and descriptive notes By John N. Burk COPYRIGHT, 1937, BY BOSTON SYMPHONY ORCHESTRA, Inc. 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 N. Penrose Hallowell Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager The ^Boston Symphony Orchestra WILL GIVE THE FIRST CONCERT IN NEW YORK CITY FOR THE BENEFIT OF THE ORCHESTRA'S PENSION FUND IN CARNEGIE HALL WEDNESDAY EVENING, FEBRUARY 10th, at 8.45 SERGE KOUSSEVITZKY announces Mendelssohn's "Italian" Symphony and the Fourth Symphony of Tchaikovsky. JASCHA HEIFETZ will be the soloist, appearing with the orchestra in Mendelssohn's Violin Concerto. Tickets are now on sale at the Box-Office, Carnegie Hall [*] Carnegie ^all Fifty-first Season in New York Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor SECOND EVENING CONCERT THURSDAY, January 7 Programme Clementi Symphony in D major (Revised by Alfredo Casella) I. Andante sostenuto; Allegro vivace II. Larghetto cantabile III. Minuetto pastorale IV. Finale: Allegro molto vivace (First performance in New York) Ravel "Daphnis et Chloe," Ballet (Second Suite) Lever du Jour — Pantomime — Danse Generale INTERMISSION Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato Please note that the next concert of the evening series will take place on Friday, February 12. The music of these programmes is available at the 58th Street Library. [3] SYMPHONY IN D (NO. 2) By Muzio Clementi Born in Rome, 1752; died at Evesham, Worcestershire, England, March 10, 1832 (Revised by Alfredo Casella) Born in Turin, July 25, 1883 This symphony was first performed in London in 1819 (January 1 or March 1). It disappeared, together with the other symphonies of Clementi's maturer years, at the composer's death. The manuscript of this symphony (and three others) turned up in London in 1917. They were acquired by the Library of Congress at Washington. Alfredo Casella has restored the symphonies in D major and in C major for publication and performance. In the case of the D major symphony, he has been able by careful piecing together to preserve the original orchestration and notation virtually intact. Mr. Casella performed the lost symphony at the Augusteo, Rome, in January, 1936. It had its first American performance -under Serge Koussevitzky's direction in Boston, December 4, 1936. Clementi has long been known as an Anglicized Italian who wrote sonatas and sonatinas innumerable; who left a monument of pedagogy in the one hundred progressive studies for the aspiring pianist, which he called the "Gradus ad Parnassum." The discovery of the four sym- phonies a hundred years after their time reveals his art in a new aspect. The loss and restoration of the manuscripts makes a tale as interesting as the remarkable career of the composer himself. Muzio Clementi was one of those rare musicians who, beginning his career as a childhood virtuoso, survived to enjoy a vigorous old age, and lived to span extensively the art of two centuries. He was born to the harpsichord style of Scarlatti, developed the pianoforte from its early to its perfected state, finally gave a prophetic impulse of romance to his art, while preserving its old beauty of symmetry. Two incidents in the life of Clementi will picture the extent of the road which he travelled. The first is in the year 1781, when the young man of twenty-nine matched his powers with those of Mozart, four years his junior, as the two exhibited their skill before the Emperor of Austria. The second picture falls forty-three years later in London. Franz Liszt, aged thirteen, played for a circle of artists, executing a concerto of Hummel upon an Erard pianoforte to the delight of the aged Clementi who, as a manufacturer of pianos, rejoiced in the fine instrument and its talented player.* * To breach the years once more, it may be noted that Miss Myra Taylor, once the serving woman of Clementi on his English estate, was still living in 1908 and remembered witnessing his death (thus did one in our century know one who knew Mozart). [4] The name of Clementi was for many years rather exclusively asso- ciated with the technical development of the pianoforte. The instru- ment itself was a crude innovation in the days of his apprenticeship (Mozart gaily noted that in the famous contest before Emperor Joseph, three keys of the piano assigned to Clementi persistently stuck). Clementi travelled over Europe, rivalling the best players of the day with his exhibitions of skill. His sonatas, then in high vogue, were models of the form. When age stiffened his fingers, he still improved his art and his fortune by teaching, by manufacturing pianos, by pub- lishing music. In pursuit of the music of Beethoven, he journeyed to Vienna and carried back the English rights after direct barter with the master himself. He consorted with Haydn, rivalled Haydn and Beethoven in popularity as a symphonist. He outlived Beethoven by five years, was keen and active almost to the last, composing sym- phonies even into his seventies for performance by the Philharmonic Society in London. Long after he had ceased to appear in public as a pianist, he planted the seeds Of a new era in such pupils of a coming century as Meyerbeer, Cramer, and Field (as a teacher he received a guinea an hour — a handsome fee in those days). It was in the talented young Irishman, John Field, that he fairly launched the romantic school and brought forth a precedent for the nocturnes of Chopin. Typical of the kind of esteem in which Clementi was held in his own time is the statement of an anonymous writer for the Quarterly Musical Magazine of 1820 who said: "We have heard Dussek, Stei- belt, Woelfl, Beethoven, and other eminent performers on the conti- nent, who had had no opportunity of receiving personal instructions from Clementi, declare that they had formed themselves entirely on * his works." He left about 1 00 sonatas, sixty of them written for piano solo. Dannreuther calls him "the first completely equipped writer of sonatas." His was the veritable crystallization of the form, deriving from Domenico Scarlatti, in line with Emmanuel Bach, fully aware of Mozart and Haydn, and Beethoven. Some of the last sonatas are be- lieved to be symphonies rewritten, the symphonies themselves lost or destroyed by the composer. The fame of Clementi in his later years centered upon the sym- phonies to which he gave almost exclusive attention from about 1785 * Beethoven is said to have held dementi's sonatas in high regard — a number of them stood on the shelves of his meagre library. But Czerny tells us that he once suggested to Beethoven the music of Clementi as good training for his nephew Karl. " 'Yes, yes,' said he, 'Clementi is very good.' He added laughingly, 'For the present, give Karl the regular things, so that after a while he may reach the irregular.' After such conceits, which he was in the habit of weaving into nearly every speech, he used to burst into a peal of laughter. Since irregularities used to be charged against him by the critics in his earlier days, he was wont often to allude to the fact with merry humor." When Clementi visited Vienna the two stood on ceremony; each waited interminably for the other to make the first call, until Beethoven at last capitulated.
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