CARNEGIE HALL . NEW YORK Thursday Evening, November 4, at 8.15 Saturday Afternoon, November 6, at 2.30 ' 7 ^ /mw W^ BOSTON %mi SYAPHONY ORCHESTRA INCORPORATED FORTIETH SEASON 1920-1921 prsgrhaae § '! 1 1 — —— — — —— —— AND THE Saltan The wonderful, rich tone of the Baldwin Piano is the very conception of beauty. Levitzfc. It has that refined quality, that warm and luscious tone which resembles the human voice in its individual appeal. A Ida. The Baldwin Piano has no peer in faithfully voicing an artist's spirit. Brown. I have an inspiring companion in my Baldwin Piano. La Forge. The beautiful tone of the Baldwin Piano merits its popularity. A mato. Using a Baldwin, we rest assured that we have an instrument which will meet every requirement. Fanning. The Baldwin Piano is a most wonderful help and support. Nielsen. I consider the Baldwin the Stradivarius of the few really great pianos of the world. De Pachmann. A tone that blends so well with my voice. Sembrich. CINCINNATI CHICAGO ST. LOUIS 142 W. Fourth Street 323 S. Wabash Ave. 1111 Olive Street NEW YORK DENVER SAN FRANCISCO 665 Fifth Avenue 1636 California Street 310 Sutter Street INDIANAPOLIS LOUISVILLE DALLAS 18 N Penn'a Street 521 S. Fourth Avenue 1911 Elm Street Sold exclusively by JOHN WANAMAKER PIANO SALONS, Broadway and 9th Street, New York CARNEGIE HALL - - - NEW YORK Thirty-fifth Season in New York FORTIETH SEASON, 1920-1921 INCORPORATED PIERRE MONTEUX, Conductor THURSDAY EVENING, NOVEMBER 4, at 8.15 AND THE SATURDAY AFTERNOON, NOVEMBER 6, at 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1920, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager <GHE INSTRUMENT OF THE IMMORTALS LISZT, greatest of all pianists, preferred -i the Steinway. Wagner, Berlioz, Rubinstein and a host of master-musicians esteemed it more highly than any other instrument. It is these traditions that have inspired Steinway achievement and raised this piano to its artistic pre-eminence which is today recognized throughout the world. If Al I iOMS, STEINWAY HALL 107-109 East 14th Street New York City Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Fortieth Season, 1920-1921 PIERRE MONTEUX, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Sauvlet, H. Concert-master. Mahn, F. Hamilton, V. Barozzi, S. Theodorowicz, J. Gundersen, R Berger, H. Fiedler, B. Riedlinger, H. Pinfield, C. Hoffmann, E. Leveen, P. Gorodetzky, L. Thillois, F. Kurth, R. Murray, J. Stonestreet, L. Goldstein, S. Bryant, M. Knudsen, C. Siegel, F. Deane, C. Tapley, R. Seiniger, S. Messina, S. Reed, L. Del Sordo, R. Violas. Denayer, F. Van Wynbergen, C. Grover, H. Mullaly, J. Kluge, M. Artieres, L. Shirley, P. Fiedler, A. Gerhardt, S. Zahn, F. Violoncellos Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendoen, J. Schroeder, A. Barth, C. Fabrizio, E. Stockbridge, C. Marjollet, L. Basses. Kunze, M. Seydel, T. Ludwig, 0. Kelley, A Gerhardt, G. Frankel, I. Demetrides, L. Girard, B. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Vannini, A. Mueller, E. Amerena, P. Stanislaus, H. Forlani, N. Bettoney, F. Piccolo English Horns. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Mimart, P. Piller, B. Speyer, L. Horns. Horns. Trumpets. Trombones. Wendler, G. Van Den Berg, C. Mager, G. Hampe, C. Lorbeer, H. Hess, M. Mann, J. Adam, E. Hain, F. Kloepfel, L. Mausebach, A. Gebhardt, W. Perret, T. Kenfield, L. Tuba. Harps. Tympani. Percussion. Lemcke, C. Holy, A. Neumann, S Rettberg, A. Burkhardt, H. Van Den Berg, W. Kandler, F. Ludwig, C. Organ Librarian. Snow, A Rogers, L. J. ! A Hundred Master Pianists Play for You THINK 'of hearing the world's greatest pianists —not once in a lifetime, but whenever you are in the mood This is possible if you own 9he AM PICO in the _ _^ •Gg* <c^ -«§s Ornstein,Godowsky, Levitzki, Rachmaninoff —and many more play the masterpieces of music just as you heard them on the con- cert stage. The reproduction is perfect. And there is a wealth of lighter music, includ- ing the latest dance numbers, to choose from. You are cordially invited to hear the Ampico at your convenience. John Wanamaker Broadway and Ninth Street New York, N. Y. CARNEGIE HALL NEW YORK Thirty-fifth Season in New York Fortieth Season, 1920-1921 PIERRE MONTEUX, Conductor FIRST CONCERT THURSDAY EVENING, NOVEMBER 4 AT 8.15 PROGRAMME Sibelius . Symphony No. i in E-minor, Op. 39 I. Andante ma non troppo; Allegro energico. II. Andante ma non troppo lento. III. Allegro. IV. Finale (quasi una Fantasia): Andante; Allegro molto. Lekeu Symphonic Fantasia on Two Folk-songs of Anjou Scriabin 'Le Poeme de l'Extase" ("The Poem of Ecstasy") Op. 54 There will be an intermission of ten minutes after the symphony h* Best 7 . The Best rti Travel ,J»frM*gW«CMWimlMlMillSm. ;„ Travel New York Travel Headquarters THE Raymond-Whitcomb New York office is Headquarters for travel information. We are the oldest American travel company, with 41 years experience in meeting the require- ments of American travelers. The Raymond- Whitcomb Tours and Cruises to all parts of the world are unexcelled, being varied, unhur- ried, limited in size and exclusive in member- ship. We also make a specialty of arranging trips for those who wish to travel "without escort,"—a service of incalculable convenience. Hawaii & California : Nov. 1 1, Dec. 16, & later West Indies Cruises : Feb. 12, Mar. 5 & 26 Florida & Nassau : Frequently, Jan. 20 & later South America: Jan. 11 and 25, Feb. 8 and 22 Japan-China : Jan. 8, Feb. 5, March 5, April 2 Algeria & Tunisia : Jan. 8, Feb. 5 & 26, Mar. 26 Round the World : December 11 & January 8 Send for booklet desired. As official agent for all the great Steamship Lines Raymond & Whitcomb can inform you of all sailings and comparative costs and furnish choice reservations. RAYMOND & WHITCOMB CO. 225 Fifth Avenue, New York Madison Square 6270 — ) Symphony in E minor, No. 1, Op. 39 Jan Sibelius (Born at Tavastehus, Finland, December 8, 1865; now living at Helsingfors. Sibelius has thus far composed four symphonies. The first was composed in 1899 and published in 1902. Was the first performance at Helsingfors? I find no record of the date. The symphony was played in Berlin at a concert of Finnish music, led by Kobert Kejanus, in July, 1900. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, bass drum, cymbals, triangle, harp, and strings. * * « "Others have brought the North into houses and there transmuted it to music. And their art is dependent on the shelter, and removed from it, dwindles. But Sibelius has written music innocent of roof and inclosure, music proper indeed to the vasty open, the Finnish heaven under which it grew. And could we but carry it out into the northern day, we would find it undiminished, vivid with all its life. For it is blood-brother to the wind and the silence, to the lowering cliffs and the spray, to the harsh crying of sea-birds and the breath of the fog, and, set amid them, would wax, and take new strength from the strength of its kin. The orchestral compositions of Sibelius seem to have passed over black torrents and desolate moorlands, through pallid sunlight and grim primeval forests, and become drenched with them. The instrumentation is all wet grays and blacks, relieved only by bits of brightness wan and elusive as the northern summer, frostily green as the polar lights. The works are full of the gnawing of bassoons and the bleakness of the English horn, full of shattering trombones and screaming violins, full of the sinister rolling of drums, the menacing reverberation of cymbals, the icy glittering of harps. The musical ideas of those of the compositions that are finely realized recall the mggedness and hardiness and starkness of things that persist in the Finnish winter. The rhythms seem to approach the wild, unnumbered rhythms of the forest and the wind and the flickering sunlight" (Paul Bosenfeld *). * * * The following paragraphs on Finnish music, and more particu- larly on the music of Sibelius, are taken from Rosa Newmarch's "Jean Sibelius" : .- . "Sibelius's strong individuality made itself felt at the outset of his career. It was, of course, a source of perplexity to the aca- demic mind. Were the eccentricity and uncouthness of some of his early compositions the outcome of ignorance, or of a deliberate effort to be original at any price? It was, as usual, the public, not the specialists, who found the just verdict. Sibelius's irregularities were, in part, the struggles of a very robust and individual mind to express itself in its own way; but much that seemed weird and "Musical Portraits" (New York, 1920). 7 wild in his first works was actually the echo of the national spirit and therefore better understood by the public than by the connois- seurs. From his novitiate Sibelius's melody has been stamped with a character of its own. This is due in' a measure to the fact that it derives from the folk-music and the runo—the rhythm in which the traditional poetry of the Finns is sung. The inviolable metrical law of the rune makes no distinction between epos and melos.