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Boston Symphony Orchestra Concert Programs, Season 50,1930

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PRSGREttAE TO THE MUSIC LOVER The BRAMBACH Grand is truly a great instrument. It is made of the finest mate- rials by an organization that is 107 years old. $ In the making of BRAMBACH Pianos 675 there is no thought of quantity ... no con- sideration of numbers. Each instrument is only an entity in itself ... 4 ft. 10 in. an individual unit, as long carefully wrought, as deftly constructed, and containing the same measure of imagination and idealism as any other masterpiece of art. Convenient Terms CCtlARYEY® 144 Boylston Street Tel. HANcock 5180 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 Boston Symphony Orchestra INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTIETH SEASON, 1930-1931 Programme WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1931, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL WILLIAM PHILLIPS M. A. DE WOLFE HOWE EDWARD M. PICKMAN JOHN ELLERTON LODGE HENRY B. SAWYER BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1625 ^fr THE STEINWAY, GRACEFULLY DECORATIVE, BEAUTIFUL OF TONE, 1% EASILY WITHIN YOUR REACH You can have a Steinway in your living-room now by making a 10% first payment, and the balance will be extended over a period of three years ! Make a visit to your nearest Steinway dealer today and select your instrument. • There are Steinways of various sizes and prices, but there is never any variation in quality. Each is a true Steinway with the limpid and lovely tone, the power and flexibility that have made it, for seventy- five years, the favored instru- ment of the foremost artists and composers. STEINWAY THE INSTRUMENT OF THE IMMORTALS A new Steinway Upright piano can be bought for a total as low as $O^C Babj Crand at *~15T5 * 10% QOWI1 balance in three years I- .1,. Sleinw.j ,. made in New York City, this price, naturally, must be "pins transportation" beyond New York and its suburbs. 1 pianoi accepted in partial exchange. If there is no Steinway dealer near you, write for information to Steinway & Sons, Steinway Hall, 109 West 57th Street, New York City. > «.»vaa » »m k.*^ m » »»m m *jyyy<A<ii<Mgwi<yyy» Myyyyywyyyyyyyyyyyyyw Represented in Boston and other New England cities by M. Steinert & Sons 1626 Boston Symphony Orchestra Fiftieth Season, 1930-1931 Dr. SERGE KOUSSEVITZKY, Conductor PERSONNEL Violins. Burgin, R. EIcus, G. Gundersen, R. Concert-master Sauvlet, H. Cherkassky, Kreinin, B. Kassman, P. Theodorowicz, N. Hamilton, V. J. Eisler, D. Hansen, E. Lauga, N. Fedorovsky, Pinfield, C. P. Leibovici, Mariotti, V. Leveen, J. P. Tapley, R. Thillois, F. Zung, M. Knudson, C. Mayer, P. Diamond, Gorodetzky, L. S. Zide, L. Bryant, Fiedler, B. M. Beale, M. Murray, Stonestreet, L. Messina, J. Del S. Sordo, R. Erkelens, H. Seiniger, S. Violas. Lefranc, J. Fourel, G. Bernard, A. Artieres, L. Cauhape, Grover, H. J. Van Wynbergen, C. Werner, H. Fiedler, A. Avierino, N. Deane, C Gerhardt, S. Jacob, R. Violoncellos. Bedetti, J. Langendoen, J. Chardon, Y. Zighera, Stockbridge, C. A. Barth, C. Fabrizio, E. Droeghmans, H. Warnke, J. Marjollet, L. Basses. Kunze, M. Lemaire, J. Ludwig, Vondrak, O. Girard, H. A. Oliver, F. Moleux, G. Frankel, I. Dufresne, G. Kelley, A. Flutes. Oboes. Clarinets. Laurent, Bassoons. G. Gillet, F. Biadet, G. Poiatschek, V. Laus, A Dcvergie, J. Amerena, Mimart, P. AIlard> P. Stanislaus, R H. Arcien, E. Panenka, E. AHegra, E. Bettoney, F. (E-flat Clarinet) Piccolo. English Horn. Bass Clarinet. Battles, Contra-Bassoon. A. Speyer, L. Pigassou, G. Horns. Piller, B. Horns. Trumpets. Boettcher, Trombones. G. Valkenier, W. Pogrebniak, Mager, G. Raichman, S. Schindler, G. J. Van Den Lafosse, M. Berg, C. Lannoye, M. Hansotte, L. Lorbeer, Grundey, T. H. Blot, G. Kenfield, L. Ferret, G. Adam, E. Voisin, R, Mann, J. Tubas. Harps. Timpani. Sidow, Percussion. P. Zighera, Adam, B. Ritter, A. E. Caughey, Steraburg, S. E. Polster, M. Organ. White, L. Celesta. Snow, A. Librarian. Fiedler, A. Rogers, L. J, 1627 Cijanbler & Co. Dresses Coats Hats Accessories Noted for style and quality for over a Century Tremont Street at West Boston 1628 FIFTIETH SEASON, NINETEEN HUNDRED THIRTY AND THIRTY-ONE Twenty-fourth Programme FRIDAY AFTERNOON, MAY 1, at 2.30 o'clock SATURDAY EVENING, MAY 2, at 8.15 o'clock Wagner Prelude to "The Mastersingers of Nuremberg" Debussy "Prelude to the Afternoon of a Faun (Eclogue by S. Mallarme)" Strauss "Till Eulenspiegel's Merry Pranks, after the Old-fashioned, Roguish Manner," in Rondo Form, Op. 28 Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio. II. Andante con moto. III. Allegro; Trio. J 1 IV. Allegro. There will be an intermission before the symphony The new book "THE BOSTON SYMPHONY ORCHESTRA: 1881-1931," is now obtainable (see page 1693). 1629 ITour own individual trip to Hurope as laid out and arranged for you by Raymond- Whitcomb, can be paid for, as you travel along, by coupons issued by Raymond -Whitcomb. When the trip, as planned according to your general instructions, meets your wishes in every respect, Raymond-Whitcomb will make all the necessary arrangements for it. They will also pre- pare for you coupons which will be your intro- duction in Europe and will pay your traveling expenses — railway tickets, hotel rooms, meals, automobiles for sight -seeing, and guides. You will find these coupons as great a conven- ience as the familiar Traveler's Cheques. They will save you the bother of continually counting out strange notes and coins. They will enable you to know the cost of your trip in American money, before you start, and to settle it by sim- ply writing a check for Raymond-Whitcomb. Bring your travel questions and requirements to Raymond-Whitcomb Raymond & Whitcomb Co. BOSTON, MASSACHUSETTS 165 Tremont Street Tel. Hancock 7820 122 Newbury Street Tel. Kenmore 2870 The third step 1630 ; Prelude to "The Mastersixgeks of Nuremberg" Richard Wagner (Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883) The Prelude to "Die Meistersinger von Nurnbeffg" was performed for the first time in the Gewandhaus at Leipsic, November 1, 1862. At a concert organized by Wendelin Weissheimer for the production of certain works, Wagner conducted this Prelude and the overture to "Tannhauser." The hall was nearly empty, but the Prelude was received with so much favor that it was immediately played a second time. The opera was first performed at Munich, June 21, 1868.* One critic wrote of the Prelude, "The overture, a long movement in moderate inarch tempo, with predominating brass, without any distinguishing chief thoughts and without noticeable and recurring points of rest, went along and soon awakened a feeling of monot- *The chief singers at this first performance at the Royal Court Theatre, Munich, were Betz, Hans Sachs ; Bausewein, Pogner ; Holzel, Beckmesser ; Schlosser, David Nachbaur, Walther von Stolzing ; Miss Mallinger, Eva ; Mme. Diez, Magdalene. The first performance in the United States was at the Metropolitan Opera House, New York, January 4, 1886 ; Emil Fischer, Sachs ; Joseph Staudigl, Pogner ; Otto Kemlitz, Beckmesser ; Kramer, David ; Albert S'tritt, Walther von Stolzing ; Auguste Krauss (Mrs. Anton Seidl), Eva; Marianne Brandt, Magdalene. The first performance in Boston was at the Boston Theatre, April 8 1889, with Fischer, Sachs ; Beck, Pogner Alodlinger, Beckmesser ; Sedlmayer, David ; Alvary, Walther von Stolzing ; Kaschoska, Eva ; Reil, Magdalene. Singers from the Orpheus Club of Boston assisted in the choruses of the third act. Anton Seidl conducted. From Recent Programs of Prominent Artists SONGS KATHERINE FOLLETT MANX MME. SCHUMANN-HEINK Mabel W. Daniels, Cherry Flowers G. W. Chadwick, The Danza WALTER KIDDER JOHN McCORMACK Mrs. M. H. Gulesian, Spring Arthur Foote, Memnon Interlude MARIA JERITZA ROSE ZULALIAN Mrs. H. H. A. Beach, Ah, Love, but Mrs. M. H. Gulesian, Spring Inter- a Day lude, Hollyhocks, Pan and the GIOVANNI MARTINELLI Little Green Reed Mrs. H. H. A. Beach, Ah, Love, but MAUDE ERICSON Mrs. M. H. Gulesian, Spring DOROTHY GEORGE Interlude Marion Bauer, The Linnet is Tuning her Flute OLGA AVERINO Mrs. H. Gulesian, Spring Inter- Mrs. H. H. A. Beach, Ah, Love, but M. lude, HolWhocks a Day EMMA ROBERTS JAMES R. HOUGHTON Mrs. H. H. A. Beach, Ah, Love, but Mrs. M. H. Gulesian, Spring a Day Interlude G. W. Chadwick, The Danza ESTA CANTOR ANNA HAMLIN Arthur Foote, A Song of Four Seasons Mrs. H. H. A. Beach, On a Hill G. W. Chadwick, The Lament (Negro Melody) INSTRUMENTAL FELIX FOX (Pianist) MAIER and PATTISON (Two Pianos) Felix Fox, Fantaisie lyrique F. Chopin, Op. 73. Rondo Edward MacDowell, Finale from (Abbreviated and revised by Lee Keltic Sonata. Played at Boston, Pattison) Providence, Andover, Greenfield, Edward MacDowell, Forest Elves Farmington, etc. (Transcribed by Felix Fox) ADOLPHE HALLIS (Pianist) WALTER EDELSTEIN (Violinist) Theophil Wendt, Valse Glissando on A. Walter Kramer, Eklog Black Keys PHILADELPHIA SINFONIETTA, Fabien Sevitzky, Conductor Arthur Foote, Suite in E for Strings P. SCHMI1 1631 out." The critic of the Mitteldeutsche Volkzeitung wrote in terms of enthusiasm. The Signalers critic was bitter in opposition. He wrote at length, and finally characterized the Prelude as "a chaos,'' a " 'tohu-wabohu' and nothing more." For an entertaining account of the early adventures of the Prelude, see "Erlebnisse mit Richard Wagner, Franz Liszt, und vielen anderen Zeitgenossen, nebst deren Briefen," by W. Weissheimer (Stuttgart and Leipsic, 1898), pages 163-209. This Prelude is in reality a broadly developed overture in the classic form. It may be divided into four distinct parts, which are closely knit together.
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  • ARSC Journal

    ARSC Journal

    THE GILBERT AND SULLIVAN OPERETTAS ON 78s: COMPLETE SETS AND ABRIDGEMENTS, 1906. 1950 John W. N. Francis In 1877 Richard D'Oyly Carte commissioned Gilbert and Sullivan to write The Sorcerer, and organized an ensemble of singer-actors to perform the new piece under the author's artistic direction. Also in 1877, of course, Charles Cros and Thomas Edison invented sound recording. More than a century later both the music and the medium continue to flourish, and indeed they have come together often and success­ fully--notably in the many complete versions by the D'Oyly Carte Opera Company, which have set standards of style and ensemble for generations of devotees and amateur performers. This discography documents the complete recordings of the Gilbert and Sullivan operettas made at 78 rpm, not only by the D'Oyly Carte company or under its aegis, but also by others with lesser claims to authenticity. Also included are substantial abridgements and sets of excerpts--groups of five or more sides made at essentially the same time and place and with the same performers, whether or not they were ever issued collectively or with consecutive numbering. The following comments set the recordings in the context of the D'Oyly Carte Opera Company's history. THE ACOUSTIC RECORDINGS When Richard D'Oyly Carte died in 1901, his widow Helen assumed manage­ ment of the businesses he had built, including the Savoy Theatre in London and the opera company, which was then on tour. In 1906 she brought the troupe back to the Savoy for a repertory season of Gilbert and Sullivan, its very first.