Boston Symphony Orchestra Concert Programs, Season 55,1935-1936, Subscription Series

SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephone, Ticket and Administration Offices, Com. 1492 FIFTY-FIFTH SEASON, 1935-1936 CONCERT BULLETIN of the Boston Symphony Orchestra INCORPORATED Dr. SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes By John N. Burk COPYRIGHT, 1935, BY BOSTON SYMPHONY ORCHESTRA, hlC. 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 Roger I. Lee Henry B. Cabot William Phillips Ernest B. Dane Henry B. Sawyer N. Penrose Hallowell Pierpont L. Stackpole M. A. De Wolfe Howe Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. SPALDING, Assistant Manager [289] €& imb com/ianu id> to betwe 6btate6> ab (oexecutor- and mcmaaevat ^funm ah zJru&ttee or ab <mt zyvutnw7/wearb< o& cxAe^rience and a ccniAtete oraanvxation cnatte ub to ousr icient and AromAt berwice. Old Colony Trust Company 17 COURT STREET, BOSTON <iAlliedwith The First National Bank of Boston ayoj Contents Title Page ......... Page 289 Programme ......... 293 Analytical Notes: Roussel: Sinfonietta for String Orchestra . 295 Hill: "Lilacs" . 302 Haydn: Violoncello Concerto in D major . 306 Raya Garbousova: Biographical Sketch . 308 Newman, Ernest: "Haydn — The Dark Horse" (Entr'acte) 310 Sabaneiev, Leonid: "Serge Taneiev" (Entr'acte) . 320 The Next Programme . 329 Events in Symphony Hall . 330 Concert Announcements ...... 331-332 Teachers' Directory . 333-336 Personnel . Opposite page 336 [291] Cljanblcr & Co. TREMONT AND WEST STREETS Give a Thought to Christmas! Hand Embroidered Monogrammed Handkerchiefs Women's — 6 for 4.00 Imported linen handkerchiefs with dainty shire hems! Your choice of several different I— monograms, beautifully hand embroidered. ™)J Men's — 6 for 5.00 Imported fine count linens, perfectly plain or with cord borders. Hand embroidered monograms in white or colors. STREET FLOOR [292] 2 FIFTY-FIFTH SEASON. NINETEEN HUNDRED THIRTY-FIVE AND THIRTY-SIX Seventh Programme FRIDAY AFTERNOON, November 29, at 2:30 o'clock SATURDAY EVENING, November 30, at 8:15 o'clock Roussel Sinfonietta for String Orchestra, Op. 52 Allegro molto Andante — Allegro (First performances in Boston) Hill "Lilacs," Poem for Orchestra, Op. 33 (after Amy Lowell) Haydn Concerto for Violoncello in D major I. Allegro II. Adagio III. Allegro INTERMISSION Taneiev Symphony No. 1 in C minor, Op. 1 I. Allegro molto II. Adagio III. Scherzo; Vivace IV. Finale: Allegro energico SOLOIST RAYA GARBOUSOVA STEINWAY PIANO (A number of paintings loaned through the courtesy of the Museum of Fine Arts of Boston, together with music, autographs, and pictures of the composers whose works are in the Orchestra's current repertory, may be seen in the Huntington Avenue Foyer.) [293] 4' CO We'll furnish the bar if you'll furnish the drinks . (bars, cellarettes and hospitality wagons, $13.75 to $125) SIXTH FLOOR IN THE ANNEX [294] — — SINFON1ETTA FOR STRING ORCHESTRA, Op. 52 By Albert Roussel Born at Turcoing (Nord), France, on April 5, 1869 The score was published in 1934 and bears the dedication "a Madame Jane Evrard." Madame Evrard is the conductor of an orchestra of women in Paris, and if the unverified information is cor- rect, the Sinfonietta had its first performance by this group in the season past. The Sinfonietta is brief and simply constructed, consisting virtually of two movements in rondo form. It is usually in four voices, the basses doubling the 'celli, although the first violins are sometimes divided. The first movement, in triple time, is elementary, straight- forward, and rhythmic; it has modal tendencies, but pivots upon an unmistakable D minor. A ineno allegro, for the violas (espressivo) in combination with the first violins is followed by a violin solo, also espressivo, leading back to the initial allegro molto. The andante requires but two pages of the score. It is hardly an independent movement, but rather an introduction to the Finale, into which it directly leads. The main theme of the Finale takes TECHNICAL PRACTICE at the pianoforte by I. PHILIPP Planned for half-hour practice periods (Schmidt's Educational Series No. 398) Price, $I.OO net "One of the most impoitant technical works that has appeared in two decades." —Felix Fox "The newest possibilities of the keyboard are included in the models which Mr. Philipp has devised in his ingenious and highly useful volume. It handles Extensions, Arpeggios, Double Notes, Octaves, Chords and Scales, the last named being perhaps the most brilliantly conceived of all the valuable material." Musical Courier "A most excellent book, and I shall be glad to use it in my teaching." Rudolph Gatiz THE ARTHUR P. SCHMIDT CO. 120 Boylston St. [295] gradual shape in this introduction. The Finale, in duple time, is like- wise brief — works up to a vigorous fortissimo. Roussel has been represented as follows in the concerts in Boston of the Boston Symphony Orchestra: 1923, November 16. "La Ville Rose," No. 2 of "Evocations." (Pierre Monteux, conductor.) 1924, October 31. Symphony in B-flat (No. 2), Op. 23 — first time in the United States. (Serge Koussevitzky, conductor.) 1925, February 13. "Pour tine Fete de Printemps." 1926, March 19. First Suite from the Opera-Ballet, "Padmdvati." 1927, January 21. Suite in F major. 1929, February 15. The Three "Evocations," with the Cecilia Society and David Blair McClosky for the third, "Aux Bords du Fleuve Sacre." 1930, October 24. Symphony in G minor (No. 3), Op. 42. (First performance; composed for the 50th anniversary of the Boston Sym- phony Orchestra.) 1933, March 17. Suite in F major. 1935, April 12. Symphony in G minor, Op. 42. Roussel has recently added a Fourth Symphony to his list, which had its first performance in Paris in October last, under the direction of Albert Wolff, who conducted the Pasdeloup orchestra. OLIVER DITSON COMPANY, INC. Retail Music Store 359 BOYLSTON STREET BOSTON, MASS. For All Published MUSIC Largest stock of sheet music and music books in New England. Every outstanding American and Foreign publisher represented. DITSON'S 359 BOYLSTON STREET TEL. COMMONWEALTH 1350 [ 296 ] "I seem to see before me a portrait by Velasquez," writes Arthur Hoer^e in an apt description of Albert Roussel which will revive the memory of him as a visitor to Boston in 1930. "A long face, straight forehead, small keen eyes, thin nose, drooping moustache and short pointed beard; courteous manners moreover, and above all a pro- found aristocracy." The fact that Roussel began his career in the government naval service has set all his commentators vainly seeking images of the sea in his music. Because his early years offer a striking parallel to those of Rimsky-Korsakov, who also joined the navy, and who also whiled away the long inactive hours of his cruises with amateurish musical- sketches, writers have been disappointed not to find legends of the sea, a "Sadko" or a "Scheherazade" in his scores. "Marin favorise," Rene Chalupt called him, "intertwining the anchor and lyre," and the reverse of a bronze medal struck in his honor on his sixtieth anniversary shows a sort of Pan-dolphin skimming the waves, and a ship in the distance. Unfortunately for the force of these fair conceits, the subject of them has nm so much as mentioned the sea in his long list of fanciful titles. It is probably true that he embraced the life of a marine officer in part from the lure of distant and strange lands. Cochin China and India, to which his voyages carried him, gave him ''BRILLIANT PAGEANTRY" — AS THE MOST GLAMOROUS SOCIAL SEASON IN YEARS GATHERS MOMENTUM — OUR EVENING COLLECTION .GROWS MORE FASCINATING IN ITS INFINITE VARIETY— FLASHING LAMES — SUPPLE VELVETS— GLEAMING SATIN S — FLOWING CHIFFONS— BRILLIANT EXPRESSIONS OF THE SPIRIT OF THE TIMES — *Huru>itch Bros ^UWW iwm<8>)7M7JM: ItWJiMKl [297] matter which he readily turned to good account, and his roving imagination made even more extensive dream voyages in quest of the exotic. Roussel, while undergoing his naval training in Paris, dabbled in music, and, assigned to one armored frigate and another, counted himself above all things lucky when one chanced to have a piano aboard. Pursuing a little schooled but obvious talent, he forfeited the career of his earlier choice, entered the Schola Cantorum, became (1902-1913) a teacher and shining exponent of d'Indy's post- Franckism. But Roussel was never long the docile lamb of any fold. He embraced and outgrew impressionism, developed gradually an en- tirely personal style. A symphonic poem, "Le Poeme de la Foret" showed like other works of this time a deep sensibility to natural beauty, not without frank sentiment. His love of nature he has never forfeited. The com- poser himself has written: "I love the sea, forests, life in the country, animals, the aimless existence of the country in preference to the enervating life of cities. I also love to discover in old cities treasures which their artists of many centuries ago have left behind as a heritage." It was in accordance with these inclinations that he made more journeys to the Orient, composed in 1912 his "Evocations," a symphony with chorus inspired by sights and sounds of India, and about the same time the ballet, "Le Festin de I'Araignee" in which the spider, the butterfly, the ant, the moth, have their parts. Since the war he wrote his opera-ballet "Padmavati," turning once more to the allure of the east. Also outstanding among his works are the orchestral "Pour une Fete de Printemps," the four symphonies ("Le Poeme de la Foret" is accounted the first), the Suite in F major (1926), the Piano Concerto (1929). The Psalm LXXX for Chorus and Orchestra is dated 1923.

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