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Boston Symphony Orchestra Concert Programs, Season 51,1931-1932, Subscription Series

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Boston Symphony Orchestra Concert Programs, Season 51,1931-1932, Subscription Series SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTY-FIRST SEASON, 1931-1932 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1a32, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. BENTLEY W. WARREN President ERNEST B. DANE Treasurer ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL WILLIAM PHILLIPS M. A. DE WOLFE HOWE EDWARD M. PICKMAN FREDERICK E. LOWELL HENRY B. SAWYER BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1241 THE PIAN O FO RTE ALTHOUGH the earliest mention of the pianoforte occurs in the rec- ords of the Este family, in the form of a letter from an instrument maker named Paliarino to Alfonso II, Duke of Modena, the ancestry of the in- strument includes the psaltery and dulcimer both of which are known to have been in use in Persia and Arabia centuries before they were brought to England by the Crusad- ers. To name all the ancestors of the pianoforte would be to present a long list of confusing French, Italian, German and English names; but there are several that it would be well to remember — the harpsichord, clavecin, spinet' and virginal. When the piano was equipped with improved action and softly padded hammers touch became a factor for the first time, and coupled with brilliant execution and the effects that performers already knew how to produce, set a new style in playing. Although the piano has not been a regular orchestral instrument since the days of Haydn it is often used to play a Concerto. It was Liszt, who in 1839, gave the first piano recital; and who devoted a large part of his life in putting his great technical knowledge in a form that would make it available to posterity. His love for the instrument is shown by his own words: "My piano is to me what his boat is to the seaman, what his horse is to the Arab; nay, more, it has been till now my eye, my speech, ." my life . * * * * J. HE officers of Old Colony Trust Company are always glad to discuss with you the problems ofyour estate and point out if and where its services as Executor and Trustee are applicable. Old Colony Trust Company 17 COURT STREET, BOSTON *Affi Hated with The First National Bank of Boston 1242 Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor :rsonnel Violins. Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H. Cherkassky, P. Concert-master 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. Bealc, 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, L. Basses. Kunze, M. Lemaire, J. Ludwig, O. Girard, H. Moleux, G. Vondrak, A. Oliver, F. Frankel, I. Dufresnc:, G. Kclley, A. 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-ftat 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. Pogrcbniak, 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. Polstcr, M. White, L. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J 1243 Cijanoler & Co. BOSTON COMMON TREMONT STREET AT WEST Moonbeige Fawnbrown Matinee Smoketone Caribbee Off Black Mesh Silk Stockings Usually 1.65 HONEYCOMB . A medium size mesh with a distinctive dot pattern, perfect for every day wear. RIBBY . Introducing a silk ribbed lace that natters the ankle with slenderizing lines. LIGHTNING . An ultra smart lace, exquisite and filmy, yet unobtrusive and in irreproachable good taste.' Street Floor 1244 FIFTY-FIRST SEASON, NINETEEN HUNDRED THIRTY-ONE AND THIRTY-TWO FRIDAY AFTERNOON, APRIL 1, at 2.30 o'clock SATURDAY EVENING, APRIL 2, at 8.15 o'clock FRANZ JOSEPH HAYDN (MARCH 31, 1732 —MAY 31, 1809) Symphony No. 1 in D major I. Presto. II. Andante. III. Finale: Presto. (Haydn's first symphony: 1759) Symphony No. 94 in G major, ("Surprise") (B. & H. No. 6) I. Adagio cantabile e vivace assai. II. Andante. III. Menuetto. IV. Allegro di molto. Concerto for Violoncello in D major I. Allegro. II. Adagio. III. Allegro. Symphony No. 104 in D major (B. & H. No. 2) I. Adagio; Allegro. II. Andante. III. Menuetto; Trio. IV. Allegro spiritoso. (Haydn's last symphony: 1795) SOLOIST GREGOR PIATIGORSKY There will be an intermission after the Concerto 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 1245 Haydn's symphonies were played in the United States at the end of the eighteenth century: in New York as early as 1782; in Phila- delphia in 1786 ; in Charleston and Baltimore in 1793 ; in Hartford in 1795; in Boston in 1792." The symphonies, sometimes called "overtures" or "full pieces/' were very seldom identified, nor is it certain that in all cases all the movements were performed. "La Keine" and "La Chasse" were played in New York (1793-94). On a Boston programme the composer's name was spelled "Aiden." The spelling "Heyden" was not uncommon in other cities. William Foster Apthorp says in his Boston Symphony Programme Book of April 13-14, 1900, that the "Military" was one of the first sym- phonies by Haydn to be given in Boston ; its first performance here dated back somewhere in the thirties of the last century. The symphony was very popular for some years, but it fell into neglect. Mr. Apthorp also wrote when the "Surprise" Symphony (B. & H. No. 6) was performed by Julien's famous orchestra in Boston, during the season of 1853-54, that Julien chose the second movement as one of his battle horses, on account of the full orchestra's crash on a fortissimo chord after each period of the theme given out by the strings. "To make the surprise still more surprising, he added * See O. G. Sonneck's "Early Concert Life in America" (1731-1800). M ANY experienced and far sighted investors recognize the unusual opportunities now available for obtaining desirable securities at prices below their real worth. From our investment experience of nearly fifty years we believe that many sound bonds of prosperous and essential companies today offer a very attractive rate of income together with safety of principal. May we send a selected list of suggestions? Chase Harris Forbes Corporation 24 Federal Street. Boston 1246 : an enormous bass drum, the largest, I believe, ever seen in this country up to the time." The programme of the concert given for "Mans. Jacobus Pick's benefit at Concert Hall on November 27, 1792, reads curiously today "A Grand Symphony, composed by Haydn. Song by a lady. A Sonata on the Piano Forte, by a young lady. A Flute Concerto, by a Gentleman amateur. A Song by Mons. Pick. A Grand Symphony, composed by Pleyel. The Song of Belisarius, by Mr. Powell. A Grand Overture. A Grand Symphony by Fils. Song by a lady. A Hautboy Concerto by Mr. Stone. A Quintetto, composed by Pleyel and performed by the Gentlemen amateurs of Boston. Several pieces on the Harmonica, by Mons. Pick. A Grand Overture. The sub- scription to be one dollar—each subscriber to be entitled to one lady's ticket." Mons. Pick advertised his wish to teach the principles of vocal music by note; nearly all orchestral instruments; he had "made the science of music his study at the Academy of Bruxelles." CHORAL WORKS by MABEL DANIELS Performances, Season 1931-1932 EXULTATE DEO, for Mixed Chorus and Orchestra Westchester County Festival, New York, Albert Stoessel, Conductor* Providence Festival Chorus, John B. Archer, Conductor* New Bedford Choristers, Thompson Stone, Conductor* Choral Society, Columbus, Ohio, Mrs. Samuel Richard Gaines, Conductor* State Teachers' College, Fresno, Calif., Arthur G. Wahlberg, Conductor Mendelssohn Choir, Indianapolis, Elmer Andrew Steffen, Conductor First Baptist Church, Maiden, Albion Metcalf, Director Second Church in Dorchester, Henry Jackson Warren, Director All Souls Church, Lowell, Henry Jackson Warren, Director THE CHRIST CHILD, Chorus for Mixed Voices, a capella Choral Art Society, Philadelphia, H. A. Matthews, Conductor Normal College Choir, Ypsilanti, Mich., Frederick Alexander, Conductor THE VOICE OF MY BELOVED, Women's Voices, two Violins and Piano EASTERN SONG, Women's Chorus with Orchestra Matinee Musical Club, Philadelphia, Harry A. Sykes, Conductor SONGS OF ELFLAND, Women's Voices, Flute, Harp and Strings Simmons College Glee Club, Boston, David Blair McClosky, Conductor MacDowell Club Chorus, Boston, William Ellis Weston, Conductor* THROUGH THE DARK THE DREAMERS CAME, Chorus for Mixed Voices Boston University Choral Art Society and the Choir of Central Church, Boston, H. Augustine Smith, Conductor Announced for performance this spring The ARTHUR P. SCHMIDT CO., 120 Boylston St. 1247 HAYDN By John F. Kunciman (In his "Old Scores and New Readings": London, 1899) It is a fact never to be forgotten, in hearing good papa Haydn's music, that he lived in the fine old world where stately men and women went through life in the grand manner with a languid pulse, when the earth and the days were alike empty, and hurry to get finished and proceed to the next thing was almost unknown, and elbowing of rivals to get on was almost unnecessary.
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