Boston Symphony Orchestra Concert Programs, Season 54,1934
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g>anber£ Wfytatvt, Cambrtbge [Harvard University] .^wuilili/i/^ % im. *VV^ BOSTON SYAPHONY ORCHESTRA INC. FIFTY-FOURTH SEASON 1934^1935 [5] Thursday Evening, February 14 at 8 o'clock Boston Symphony Orchestra [Fifty-fourth Season, 1934-1935] Dr. 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. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. ZIDE, L. MURRAY, J. ERKELENS, H. seiniger, s. Violas LEFRANC, J. FOUREL, G. BERNARD, A. GROVER, H. ARTIERES, L. CAUHAPE, J. VAN WYN BERGEN, C. WERNER, H. AVIERINO, n. DEANE, C. HUMPHREY, G. GERHARDT, S. JACOB, R. Violoncellos BEDETTI, J. LANGENDOEN, J. CHARDON, Y. STOCKBRIDGE , C. FABRIZIO, E. ZIGHERA, A. C. BARTH, DROEGHMANS, H. WARNKE, J. MARJOLLET, L. ZIMBLER, J. Basses KUNZE, M. LEMAIRE, J. LUDWIG, O. GIRARD, H. VONDRAK, A. MOLEUX, G. FRANKEL, I. DUFRESNE, G. JUHT, L. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. POLATSCHEK, V. LAUS, A. BLADET, G. DEVERGIE, J. VALERIO, m. ALLARD, R. AMERENA, P. STANISLAUS, H. MAZZEO, R. Eb Clarinet PANENKA, E. Piccolo English Horn Bass Clarinet Contra-Bassoon BATTLES, A. SPEYER, L. MIMART, P. FILLER, B. Horns Horns Trumpets Trombones BOETTCHER, G. VALKENIER, W MAGER, G. raichman, j. MACDONALD, , w. LANNOYE, M. LAFOSSE, M. HANSOTTE, L. VALKENIER, w. SINGER, J. GRUNDEY, T. LILLEBACK, W. GEBHARDT, w. LORBEER, H. VOISIN, R. MANN, J. Tuba Harps Timpani Percussion ADAM, E. ZIGHERA, B. RITTER, A. STERN BURG, S. CAUGHEY, E. POLSTER, M. WHITE, L. ARCIERI, E. ORGAN Piano Celesta Librarian SNOW, A. SAN ROMA, FIEDLER, J. A. ROGERS, L. J. ibanbertf tMjeatre • Harvard University • Cambrtbge FIFTY-FOURTH SEASON, 1934-1935 Boston Symphony Orchestra INCORPORATED Dr. SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor Concert Bulletin of the Fifth Concert THURSDAY EVENING, February 14 with historical and descriptive notes By Philip Hale and John N. Burk COPYRIGHT, 1935, 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 Roger I. Lee Henry B. Cabot William Phillips Ernest B. Dane Henry B. Sawyer N. Penrose Hallowell Pierpont L. Stagkpole M. A. de Wolfe Howe Edward A. Taft Bentley W. Warren W. H. Brennan, Manager G. E. Judd, Assistant Manager [1] Cljantiler & Co. TREMONT STREET AT WEST STREET FLOOR NEW VERSIONS OF OUR FAMOUS IVestree Hats These classic, simply tailored Felt hats are exclusive with Chandler's! The lines are new and smart, crowns are deftly tucked and stitched, brims drooped to shade the eyes, grosgrain bands or clever buckles add just the right trimming touches! Black, brown, navy. Other colors by special order. Sizes 2\\ to 23. [2] >anber£ tCfjeatre • Harvard University • Cambribge Boston Symphony Orchestra FIFTY-FOURTH SEASON, 1934-1935 Dr. SERGE KOUSSEVITZKY, Conductor FIFTH CONCERT THURSDAY EVENING, February 14, at 8 o'clock Programme Mozart . Symphony in G major, "Jupiter" (K. No. 551) I. ALLEGRO VIVACE II. ANDANTE CANTABILE III. MENUETTO: ALLEGRETTO; TRIO iv. finale: allegro molto George Foote Variations on a Pious Theme INTERMISSION Sibelius Symphony No. 5 in E-flat major, Op. 82 1. tempo molto moderato; allegro moderato ii. andante mosso, quasi allegretto iii. allegro molto: un pochettino largamente [3] SYMPHONY IN C MAJOR, WITH FUGUE FINALE, "JUPITER" (K. 551) By Wolfgang Amadeus Mozart Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791 Mozart wrote his three greatest symphonies in 1788. The one in E-flat major is dated June 26; the one in G minor, July 25; the one in C major, with the fugue finale, August 10. His other works of that year are of little importance, with the ex- ception of a pianoforte concerto in D major, which he played at the coronation festivities of Leopold II at Frankfort in 1790. There are canons and pianoforte pieces, there is the orchestration of Handel's " Acis and Galatea," and there are six German dances and twelve minuets for orchestra. Nor are the works composed in 1789 of interest, with the exception of the clarinet quintet and a string quintet dedicated to the King of Prussia. Again, one finds dances for orchestra — twelve minuets and twelve German dances. " Why is this? Seventeen eighty-seven was the year of Don Gio- vanni "; 1790, the year of " Cosi fan tutte." Was Mozart, as some say, exhausted by the feat of producing three symphonies in so short a time? Or was there some reason for discouragement and consequent idleness? The Ritter Gluck, composer to the Emperor Joseph II, died on November 15, 1787, and thus resigned his position with a salary of two thousand florins. Mozart was appointed his successor, but the thrifty Joseph cut down the salary to eight hundred florins. And Mozart at this time was sadly in need of money, as his letters show. In a letter of June, 1788, he tells of his new lodgings, where he could have better " air, a garden, quiet. In another dated June 27, he says: I have done more work in the ten days that I have lived here than in two months in my other lodgings, and I should be much better here, were it not for dismal thoughts that often come to me. I must drive them resolutely away; for I am living comfortably, pleasantly, and cheaply." We know that he borrowed from Puchberg, a merchant, with whom he became acquainted at a Masonic lodge, for the letter with Puchberg's memo- randum of the amount is in the collection of Mozart's letters, edited by Nohl, and later by Hans Mersmann. Mozart could not reasonably expect help from the Emperor. The composer of " Don Giovanni " and the three famous symphonies was unfortunate in his Emperors. The Emperor Joseph was in the habit of getting up at five o'clock; he dined on boiled bacon at 3.15 p.m.; he preferred water as a beverage, [4] but he would drink a glass of Tokay; he was continually putting choco- late drops from his waistcoat pocket into his mouth; he gave gold coins to the poor; he was unwilling to sit for his portrait; he had remarkably fine teeth; he disliked sycophantic fuss; he patronized the English who introduced horse-racing; and Michael Kelly, who tells us many things, says he was " passionately fond of music and a most excellent and accurate judge of it." But we know that he did not like the music of Mozart.* Joseph commanded from his composer Mozart no opera, cantata, symphony, or piece of chamber music, although he was paying him eight hundred florins a year. He did order dances, the dances named above. For the dwellers in Vienna were dancing mad. Let us listen to Kelly, who knew Mozart and sang in the first performance of " Le Nozze di Figaro " in 1786: " The ridotto rooms where the masquerades took place were in the palace; and, spacious and commodious as they were, they were actually crammed with masqueraders. I never saw or indeed heard of any suite of rooms where elegance and convenience were more considered, for the propensity of the Vienna ladies for dancing and going to carnival masquerades was so determined that * For a description of Joseph going to Versailles, sleeping there on a straw mattress and covered with a wolfskin, in order to give his sister Marie Antoinette lessons in the simple life " and of philosophical detachment," leaving with her on his departure a long homily to serve her as a moral guide, see " Marie Antoinette," by the Marquis de Segur (Chapter IV, "The Era of Folly "). OLIVER DITSON COMPANY, INC. Retail Music Store 359 BOYLSTON STREET BOSTON, MASS. ^5^ ^o^ *&*> For AIL PublishedMUSIC Largest stock of sheet music and music books in New England. Every outstanding American and Foreign publisher represented. «^5 «^i C<^5 D I T S O N ' S 359 BOYLSTON STREET TEL. COMMONWEALTH 1350 [5] nothing was permitted to interfere with their enjoyment of their favor- are particularly celebrated ite amusement. The ladies of Vienna for their grace and movements in waltzing, of which they never tire. For my own part, I thought waltzing from ten at night until seven in the morning a continual whirligig, most tiresome to the eye and ear, to say nothing of any worse consequences." Mozart wrote for these dances, as did Haydn, Hummel, Beethoven. Thus was Mozart without true royal protection. He wrote Puchberg that he hoped to find more patrons abroad than in Vienna. In the spring of 1789 he left his beloved Constance, and made a concert tour in hope of bettering his fortunes. Mozart was never fully appreciated in Vienna during his last wretched yet glorious years. It is not necessary to repeat the story of the loneliness of his last days, the indifference of court and city, the insignificant burial. This lack of appreciation was wondered at in other towns. See, for instance, Studien fiir Tonkiinstler und Musik- freunde, a musical journal published at Berlin in 1792. The Prague correspondent wrote on December 12, 1791: "Because his (Mozart's) body swelled after death, the story arose that he had been poisoned. Now that he is dead the Viennese will indeed find out what they have lost. While he was alive he always had much to do with the cabal, which he occasionally irritated through his sans souci ways. Neither has ' ' Figaro ' nor his Don Giovanni ' met with any luck at Vienna, yet " the more in Prague.