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Boston Symphony Orchestra Concert Programs, Season 63,1943-1944, Trip

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Boston Symphony Orchestra Concert Programs, Season 63,1943-1944, Trip Fifty-eighth Season in New York c^^ BOSTON SYAPnONY ORCHESTRS FOUNDED IN 1881 DY HENRY L. HIGGINSON SIXTY-THIRD SEASON (^^^^ 1943-1944 (41 Thursday Evening. March 9 Saturday Afternoon, March 11 VICTOR RED SEAL RECORDS by the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Also Sprach Zarathustra Strauss Battle of Kershenetz Rimsky-Korsakov Bolero Ravel Capriccio (Jesus Maria Sanroma, Soloist) Stravinsky Classical Symphony Prokofieff Concerto for Orchestra in D major K. P. E. Bach Concerto Grosso in D minor Vivaldi Concerto in D major (Jascha Heifetz, Soloist) Brahms Concerto No. 2 (Jascha Heifetz, Soloist) ProkofiefT Concerto No. 12 — Larghetto Handel Damnation of Faust : Minuet — Waltz — Rakoczy March Berlioz Daphnis et Chlo6 — Suite No. 2 Ravel Dublnushka Rimsky-Korsakofl "Enchanted Lake" Liadov Friihlingsstimmen — Waltzes (Voices of Spring) Strauss Gymnopedie No. 1 Erik Satie-Debussy "Khovaustchina" Prelude Moussorgsky "La Mer" ("The Sea") Debussy Last Spring Grieg "Lieutenant Kije" Suite Prokofieff Love for Three Oranges — Scherzo and March Prokofieff Maiden with the Roses Sibelius Ma M6re L'Oye (Mother Goose) Ravel Mefisto Waltz Liszt Missa Solemnis Beethoven Pell6as et M^llsande Faurd "Peter and the Wolf" Prokofieff Pictures at an Exhibition Moussorgsky-Ravel Pohjola's Daughter Sibelius "Romeo and Juliet," Overture-Fantasia Tchaikovsky Rosamunde — Ballet Music Schubert Sal6ii Mexico, El Aaron Copland Sarabande Debussy-Ravel Song of Volga Boatmen Arr. by Stravinsky "Swanwhite" ( "The Maiden with Roses" ) Sibelius Symphony No. 1 in B-flat major ("Spring") Schumann Symphony No. 2 in D major Beethoven Symphony Vo. 2 in D major Sibelius Symphony No. 3 Harris Symphony No. 4 In A major ("Italian") Mendelssohn Symphony* No. 4 in E minor Brahms Symphony No. 4 in F minor Tchaikovsky Symphony No. 5 in E-flat major Sibelius Symphony No. 6 in B minor ("Path^tique") .* Tchaikovsky Symphony No. 8 in F major Beethoven Symphony No. 8 in B minor ("Unfinished") Schubert Symphony No. 29 in A major Mozart Symphony No. 34 in C major Mozart Symphony No. 94 in G major ("Surprise") (Second movement) Haydn Symphony No. 102 In B-flat major Haydn Tapiola ( Symphonic Poem) Sibelius Voices of Spring Strauss Waltz (from String Serenade) Tchaikovsky Wiener Blut — Waltzes (Vienna Blood) Strauss •amummtatmmmmtmmnmaimm (HvivmQxt Hall • N?m fork •Fifty-eighth Season in New York SIXTY-THIRD SEASON, 1943-1944 Boston Symphony Orchestra SP:RGE KOUSSEVITZKY, Conductor Richard Burgin, Associate Conductor Concert Bulletin of the Fourth Concert THURSDAY EVENING, March 9 AND THE Fourth Matinee SATURDAY AFTERNOON, March 11 with historical and descriptive notes by John N. Burk The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Jerome D. Greene . President Henry B. Sawyer . Vice-President Henry B. Cabot . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Reginald C. Foster Roger I. Lee Alvan T. Fuller Richard C. Paine N. Penrose Hallowell Bentley W. Warren G. E. JuDD, Manager C. W. Spalding, Assistant Manager [1] MMj^aiiBaMii Boston Symphony Orchestra [Sixty-third Season, 1943-1944] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. KRIPS, A. RESNIKOFF. V. Concert-master tapley, r. KASSMAN, N. CHERKASSKY, P. LEIBOVICI, J. THEODOROWICZ, J. HANSEN, E. DICKSON, H. FEDOROVSKY, P. ZAZOFSKY, G. EISLER, D. PINFIELD, C. BEALE, M. DUBBS, H. KNUDSON, C. ZUNG, M. leveen, p. GORODETZKY, L MAYER, P. DIAMOND, S. del sordo, r. HILLYER, R. BRYANT, M. STONESTREET, L. MESSINA, S. TRAMPLER, \V. MURRAY, J. ERKELENS, H. SEINTGER, S. SAUVLET, H. Violas LEFRANC, J. FOUREL, G. van wynbergen, C. GROVER, H. CAUHAPfe, J. ARTIERES, L. bernard, a. WERNER, H. LEHNER, E. KORNSAND, E. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, J, LANGENDOEN, J. DROEGHMANS, H. ZEISE, K. FABRIZIO, E. ZIGHERA, A. ZIMBLER, J. nieland. M. MARJOLLET, L Basses MOLEUX, G. JUHT, L. GREENBERG, H. GIRARD, H, BARWICKI, J. DUFRESNE, G. FRANKEL, I. PORTNOI, H, PROSE, P. Flutes Oboes Clarinets Bassoons LAURENT, G, GILLET, F. polatschek, v. ALLARD, R. PAPPOUTSAKIS, J[. DEVERGIE, J. valerio, m. panenka, e. KAPLAN, P. LUKATSKY, J. cardillo, p. LAUS, A. Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MAZZEO, R. piller, b. Horns • Trumpets Trombones Timpani VALKENIER, W. MAGER, G. RAICHMAN, J. SZULC, R. MACDONALD, W. LAFOSSE, M. HANSOTTE, L. polster, m. MEEK, H. voisin, R. COFFEY, J. KEANEY, P. OROSZ, J. LANNOYE, M. GEBHARDT, W. Harps Percussion zighera, b. sternburg, s. Tuba caughey, e. smith, c. ^DAM, E. arcieri, e. Librarian rogers, l. j. [2] (HuvntQxt Ball Fifty-eighth Season in New York Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor FOURTH EVENING CONCERT THURSDAY, March 9 Mozart "Eine Kleine Nachtmusik," Serenade for String Orchestra (Koechel No. 525) I. Allegro II. Romanza III. Menuetto: Allegretto IV. Rondo: Allegro Barber Second Symphony (Dedicated to the Army Air Forces) I. Allegro ma non troppo II. Andante un poco mosso III. Presto; allegro molto (First performance in New York) INTERMISSION Brahms Symphony No. 3 in F major, Op. 90 I. Allegro con brio II. Andante in. Poco allegretto IV. Allegro Berlioz Excerpts from "The Damnation of Faust," Op. 24 I. Minuet of the Will-o'-the- Wisps II. Dance of the Sylphs III. Hungarian March (Rakoczy) BALDWIN PIANO The music of these programmes is available at the Music Library, 58th Street Branch, The New York Public Library. "" " iTT "EINE KLEINE NACHTMUSIK," Serenade for String Orchestra (K- 525) By Wolfgang Amadeus Mozart Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791 The score was dated by Mozart August 10, 1787. The first performance was probably in Vienna. Mozart's contemporaries expected from him, as from any mud- cian of high standing, an inexhaustible fertility in deft music, which could be ordered at will by the prosperous citizens, for their entertainments. The " Unterhaltungsmusik" would grace the festivities at a wedding, or offer pleasing interludes to the good wine and con- versation at table. It might help celebrate the "name day" of some prominent personage, with perhaps a serenade in a garden where a small group of wind players, with ''Nachtmusik*' composed for the occasion, would make an evening party quite charming. Divertimenti, cassations, serenades, Mozart provided on the shortest notice (Koechel's catalogue lists thirty-three of them as surviving). A standing wonder of Mozart's genius was that he often gave something infinitely better than was asked of him — that he now and then squandered on these frequent and passing gaieties some of his truly precious and undying musical thoughts. Mozart's serenades or divertimenti are usually scored for strings with winds, or completely for wind instruments. They were mostly written for Salzburg; after 1782, no more were forthcoming. Mozart's light music for Viennese consumption seems to have consisted of German and contra-dances, and minuets. "Eine Kleine Nachtmusik" is an exception in that it was written for strings alone and for per- formance in Vienna. The score was dated by Mozart as of August 10; 1787, which puts it in the important year of "Don Giovanni" and the two fine string quintets in C major and G minor. It was un- doubtedly^ composed for some special occasion. The wealthier families of Vienna frequently kept musicians for their more elaborate enter- tainments, and the Emperor Joseph liked to have music played during those meals which he held in the imperial pleasure gardens. Hostelries of the better class also retained groups of musicians for "Harmonie- musik" with which their guests were entertained at table. Mozart's specific purpose for his "Eine Kleine Nachtmusik," as he himself labeled it, is not known. Otto Jahn listed it among the string quartets, with doubtful justification, since the bass part, marked "violoncello e contrahasso," as well as the conception in general, indicates a larger I4J group. "A short serenade," Jahn calls it, "an easy, precisely worked out occasional piece." With Mozart, the term "divertimento" and "cassation" were appar- ently interchangeable. He strung together brief movements of various sorts, often using folk-like themes aimed to capture the popular taste. The "serenade" is certainly little different, except that it tends to fall into the pattern of a march-like opening, a minuet, a slow movement, a second minuet, and a swift finale. "Eine Kleine Nachtmusik" origi- nally had, according to Mozart's own catalogue of his works, an addi- tional minuet between the first movement and the Romanze. Having lost this, it falls into the four-movement scheme of a symphony or quartet in miniature. A serenade of Mozart was not, like the Stdndchen, intended for per- formance under a window in honor of the person who dwelt therein, but it was played at night, and often in the open air.* The way in which serenades came into Mozart's life is illustrated by the following letter which he wrote to his father from Vienna (November 3, 1781): "I must apologize for not writing by the last post. It fell just on my name day (October 31), and the early part of the day was given to my devotions. Afterwards, when I should have written, a shower of con- gratulations came and prevented me. At twelve o'clock I drove to the Leopoldstadt, to the Baroness Waldstadten, where I spent the day. At eleven o'clock at night I was greeted by a serenade for two clarinets, two horns, and two bassoons, of my own composition. I had com- posed it on St. Theresa's day (October 15) for the sister of Frau von Hickl (the portrait-painter's wife), and it was then performed for the first time. The six gentlemen who execute such pieces are poor fellows, but they play very well together, especially the first clarinet and the two horns. The chief reason I wrote it was to let Herr von Strack (who goes there daily) hear something of mine, and on this account I made it rather serious.
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