o&WVUlillJW///,, a? ^^>-x i
BOSTON SYMPHONY 0RO1ESTRR
FOUNDED IN 188) BY HENRY L. HIGGINSON FIFTY-NINTH SEASON '*r< 1939-1940 [2]
Thursday Evening, November 16
at 8 o'clock Boston Symphony Orchestra
[Fifty-ninth Season, 1939-1940]
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. I EDOROVSKY, 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. I II DEER, B.
BRYANT, M. STONESTREET, L. MESSINA, S. DICKSON, H.
MURRAY, J. ERKELENS, H. SEINIGER, S. DUBBS, H. Violas
LEFRANC, J. FOUREL, G. BERNARD, A. (.ROVER, EI.
CAUHAPE, J. ARTIERES, L. VAN WYNBERGI N , C. WERNER, H.
LEHNER, E. KORNSAND, E.
GERHARDT, S. HUMPHREY, G. Violoncellos
BEDETTI, J. LANGENDOEN, J. *chardon, y. STOCKBRIDGE, C. fabrizio, e. ZIGHERA, A. TORTELIER, P. droeghmans, h. ZEISE, K. marjollet, l.
zimbler, j. Basses
MOLEUX, G. DUERESNE, G. greenberg, h. girard, h. barwicki, j. vondrak, a JUHT, L. frankel, i. 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 Horns Trumpets Trombones
valkenier, w. SINGER, J. mager, G. raichman, j. macdonald, w. LANNOYE, M. LAFOSSE, M. hansotte, l. \v. SINGER, J. SHAPIRO, H. VOISIN, R. L. lilleback, gebhardt, w. KEANEY, P. VOISIN, R. SMITH, V. Tuba Harps Timpani Percussion
ADAM, E. zighera, b. szulc, R. sternburg, s. caughey, e. POLSTER, M. WHITE, l. ARCIERI, E. Piano Librarian
sanroma, j. rogers, l. j. * On leave. BmbtVB Qllfmttt • Harvard University • (Cambridge
FIFTY-NINTH SEASON, 1939-1940 Boston Symphony Orchestra
SERGE KOUSSEVITZKY, Conductor
Richard Burgin, Assistant Conductor
Concert Bulletin of the Second Concert
THURSDAY EVENING, November 16
with historical and descriptive notes by
John N. Burk
The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.
Ernest B. Dane President Henry B. Sawyer .... Vice-President Ernest B. Dane Treasurer
Henry B. Cabot M. A. De Wolfe Howe
Ernest B. Dane Roger I. Lee Alvan T. Fuller Richard C. Paine Jerome D. Greene Henry B. Sawyer N. Penrose Hallowell Edward A. Taft Bentley W. Warren
G. E. Judd, Manager C. W. Spalding, Assistant Manager
Ci] The Continuing La?iguage
B efore the ill-fated attempt to build the Tower of Babel, "the whole earth was of one language, and one speech." Then came the confounding of language, "that they may not understand one another's speech."
With divergent tongues the peoples of the world went their several ways, and their failures to understand one another's speech, and much besides, have been the cause of infinite disaster, of which the wars now tearing Europe and Asia asunder are the latest tokens.
Of the one language and one speech that prevailed before the confusion of tongues
an imperishable remnant still exists. That
is the speech of music, the language under- stood by peoples of every tongue.
In the world as we look out upon it
today, it is more important than ever be- fore that this bond of unity should be pre- served. The Boston Symphony Orchestra
counts it a privilege to contribute as it may to the continuance of this unifying influ-
ence. It is a privilege, moreover, in which every Friend of the Orchestra may share.
Reginald C. Foster Chairman, Friends of the Boston Symphony Orchestra.
[2] Uatttortf Utfyeatr? • Harvard University • (ttambri&g?
Boston Symphony Orchestra
FIFTY-NINTH SEASON, 1939-1940
SERGE KOUSSEVITZKY, Conductor
SECOND CONCERT
THURSDAY EVENING, November 16
Programme
Arthur Foote Suite in E major for String Orchestra, Op. 63
I. Prelude
II. Pizzicato and Adagietto
III. Fugue
Hili Concerto for Violin, Op. 38
I. Allegro giocoso
II. Lento ma non troppo III. Allegro moderato; Allegro molto INTERMISSION
Hanson Symphony No. 3
I. Andante lamentardo
II. Andante tranquillo III. Tempo scherzando IV. Largamente e pesante
SOLOIST RUTH POSSELT
[3] SUITE, E MAJOR, Op. 63, for String Orchestra By Arthur Foote
Born in Salem, Mass., March 5, 1853; died in Boston, April 8, 1937
This Suite was composed in 1907, but with a different second movement — the "Pizzicato" having been added in 1908. The first performance was given at the Boston Symphony concerts, Max Fiedler conducting, on April 16, 1909. The work was published in that year with a dedication to Mr. Fiedler.
Arthur Foote is numbered among the New England composers who ijl took their first musical instruction under John Knowles Paine at Harvard College. After graduation he studied organ and piano until First with B. J. Lang. From 1878 1910 he was organist of the Unitarian Church in Boston. As pianist, also, he appeared publicly on many occasions. But his principal interest was always in the realm of composition. His list of works is considerable, including besides orchestral scores a large amount of chamber music. His songs, which have enjoyed a considerable popularity, almost reached the number of 150. There are several works for chorus and orchestra, notably "The Farewell of Hiawatha," "The Wreck of the Hesperus," and "The Skeleton in Armor"; also music for chorus with piano accom- paniment or a capella, showing an interest in this field which dates perhaps from the time when, as an undergraduate, he conducted the Harvard Glee Club. The following description of the score was furnished by Mr. Foote when the suite was first performed.
"The Prelude, E major, 2-2, is brief, and is based throughout on the first phrase of eight notes; it is of flowing melodic character, with much imitation among the several voices.
"The Pizzicato, A minor, 6-8, is continuously so; it is interrupted by an Adagietto, F major, 3-4, which is played with the bow (arco), the instruments being muted. "The Fugue is in E minor, 4-4, and is pretty thoroughly planned out, with a long pedal point just at the last return of the theme; there are no inversions or augmentations, etc. The first four notes of the theme are heard often by themselves, and, if those notes are ob- served by the listener at their first entrances, the fugue will be very clear at first hearing."
[copyrighted]
z^l^K^k)
[4] VIOLIN CONCERTO, Op. 38 By Edward Burlingame Hill
Born in Cambridge, Mass., September 9, 1872
The orchestration of the Concerto is as follows: two flutes, two oboes, two clari- nets and bass clarinet, two bassoons and contra-bassoon, four horns, two trumpets, three trombones and tuba, timpani, triangle, snare drum, cymbals, and strings.
This Concerto had its first performance by this Orchestra in Symphony Hall, November 11, 1938 (Ruth Posselt, soloist).
Edward Burlingame Hill's music for solo instruments with or- chestra has consisted so far of his Concertino for Piano and Orchestra, and his earlier Scherzo for Two Pianos and Orchestra. In the summer of 1933 he wrote a concerto for violin, his first work at full length in this form. During the winter season following, he re- vised the score, and again in the summer of 1937 he revised the first movement and added a cadenza with the advice and collaboration of Richard Burgin. The Concerto follows the traditional forms.
Mr. Hill's long associations with Harvard College, where he is Pro- fessor of Music, extend to his antecedents. His father, Henry Barker Hill, was a professor of chemistry there, and his grandfather, Thomas Hill, was President of the University (1862-68). Edward Burlingame Hill graduated from Harvard in 1894. His teachers in music were John Knowles Paine (at Harvard), George W. Chadwick, Arthur
Whiting, and Charles Marie Widor. He is the author of the book "Modern French Music." The following works of the composer have been played by this Orchestra:
1916, March 24. "The Parting of Lancelot and Guinevere," Symphonic Poem. 1919, March 28. "Stevensoniana" (First Suite). 1920, October 29. "The Fall of the House of Usher," Poem. 1922, February 24. Waltzes for Orchestra. 1924, March 21. "Stevensoniana" (Second Suite). 1924. December 19. Scherzo for Two Pianos and Orchestra. (Messrs. Maier and Pattison.)
1927, April 1. "Lilacs," Poem for Orchestra. 1928, March 30. Symphony in B-flat major, No. 1. 1930, May 2. "Lilacs." 1930, October 17. An Ode (Poem by Robert Hillyer). (Composed for the Fiftieth Anniversary of the Orchestra.) 1931, February 27. Symphony in C major, No. 2. 1932, April 25. Concertino for Piano and Orchestra. (Soloist, Jesus Maria Sanroma.) !933» March 10. Sinfonietta, in one movement.
1934, March 9. Concertino for Piano and Orchestra. (Soloist, Mr. Sanroma.) 1935, November 29. "Lilacs." 1936, April 17. Sinfonietta for String Orchestra. (In three movements.)
1937, December 3. Symphony No. 3, in G major. (First performances.) 1938, November 11. Violin Concerto. (Soloist, Ruth Posselt.)
Other works of Mr. Hill include:
1907. "Nuns of the Perpetual Adoration," for Women's Voices and Orchestra. 1925. Sonata for Clarinet and Piano. Sonata for Flute and Piano. 1929-1936. Jazz Studies for Two Pianos. 1934. Sextet for Wind Instruments in B-flat. *935- String Quartet in C major. 1937. Quartet for Piano and Strings in A major. 1938. Sonata for Two Clarinets (unaccompanied).
Mr. Hill composed last summer "The Flute," a Poem for Orchestra (after Marcel Schwob), and has nearly completed a Concertino for String Orchestra.
[copyrighted]
RUTH POSSELT Ruth Posselt was born in Med lord, Massachusetts, of musical parents. She began the study of violin at the age of three with
Marjorie Posselt, making her first appearance in Jordan Hall, Boston, in her sixth year. When eight years old she won a scholarship from Emanuel Ondricek, with whom she continued, and eventually com- pleted her studies. It was at the age of nine that she made her debut in Carnegie Hall, New York, and also appeared in a recital at Sym- phony Hall, Boston.
Having won the Schubert Memorial Prize in 1929, she went to Europe and appeared in recitals and as soloist with the major sym- phony orchestras in each principal country, including Soviet Russia. Among the orchestras with whom she appeared were the Amsterdam Concertgebouw Orchestra, under Willem Mengelberg, the Orchestre Symphonique de Paris, under Pierre Monteux, the Colonne Orchestra (Paul Par ay, conductor), the Leningrad and the Moscow Philhar- monic, and others. In the season of 1935-36 she returned to America for an extensive tour, which included appearances with the Chicago and Detroit or- chestras. She played at a Boston Symphony concert on Monday eve- ning, March 25, 1935, in the Violin Concerto of Tchaikovsky, and in the longer series in the Concerto of Dvorak, on October 30 and 31, 1936. She made another tour of Europe in the year 1937. She appeared in the first performance of Hill's Violin Concerto on November 11, 1938; in Symphony Hall. [6] ENTR'ACTE GRASS ROOTS FOR AMERICAN COMPOSERS Charles Louis Seeger
(Reprinted from Modem Music, March-April, 1939)
to about ten years ago most of us, musicians and amateurs alike, Upwould have agreed with the "very kind reader" quoted some time ago by Mr. Olin Downes in an article in The New York Times entitled "Native Folk-Melody." The reader asked "where a genuine
American folk-music is to be found" and finally wound up with:
"The American is too modern, too kinetic, too contemporaneous in
all his thinking and doing, to express himself in terms of the simple and untutored art of a past period. In music, as in other expressions, he must look ahead and not behind him." We knew that old English ballads were still sung in our back- woods, French folk-songs in Canada and Louisiana, German in Pennsylvania, Yiddish in New York, Spanish on the Mexican border. And we supposed they were dying out rather rapidly. At the same time we agreed with Mr. Downes' own view: "It is surely evident that a national musical art must rise from a popular base and not consist of forms superimposed from more rarefied re- gions above." We looked with envy upon the European composer, upon the unbroken tradition in his hands, upon his clear-cut social function and his root in the soil of a native folk art. Resigned to not having these things, we were comforted with the hope of a new ex- perimental art, distinguished, abstract and precious, a contribution to an eventual international music which might some day evolve.
In the 1920's we knew that we had still to find in our music, as Haydn once found, the link between the stylist and the life about us. Had not American painting, the drama and the novel "arrived" by discovering the American scene and learning to deal with the stuff of American life? Music surely would also find content of an Ameri- can character! But how this was to be done was a vague matter. Very few tried seriously to follow the lead of Henry F. Gilbert and Charles Ives in utilizing American popular tunes for symphonic writing. Their work was admirable in many respects and sometimes, as in the case of Ives' Barn Dance, intriguing when it handled this material. But as the foundation for a school of American music it seemed a blind alley. The bodily introduction of folk and popular melodies, whether from India, Greece or our own backwoods, into an eclectic, inter-
[7] national sound-palette seemed nothing more than a facile escape from having to roll one's own. Most composers have tried this recipe at one time or another but after two or three attempts, the effect seems usually pretty bad — a few fresh daisies in a bunch of orchids.
The first break in this jam came, I think, in 1925 and '26 with the realization that the jazz boys had hit upon something the academic or fine-art composer had missed. In the beginning this seemed to consist of certain technical innovations. Utilizing them in academic writing produced "jazz concertos" and "jazz symphonies." Meanwhile dance bands had begun to jazz the classics and produced eventually a new product of their own — "symphonic jazz." In the rapprochement one could hardly distinguish between the jazz sym- phony and the symphonic jazz! But as an American national style this too left much to be desired. For a number of European com- posers were quite as able to produce it as were the Americans. Further experiment with the jazz technic resulted, however, in a closer familiarity with its history and with its improvisational aspect, often referred to as swing. These disclosed the fact that the success of jazz was due not alone to its technical innovations but in an even greater degree to its basic root in an art totally unknown, or un- recognized, by the bulk of the American professional musicians. This art of music, the folk music of America, had embodied for well over a hundred years the tonal and rhythmic expression of untold millions of rural and even of urban Americans. Contrary to our professional beliefs, the American people at large has had plenty to say and ability to say it, so that a rich repertory has been built up — thousands of tunes each for the dance, for the ballad, the love song, and the religious song. Wherever English is spoken, the idiom is clearly con- sistent, though it varies in different regions and with different age- groups. Wherever large foreign-language groups are found, the pre- dominant idiom and repertory produce fascinating hybirds with French, Spanish, German, or more recently imported folk music.
If proof of resistance is needed, gather together a dozen average people from various parts of the country, people who are not too ingrained with the prejudices of music-professionalism, great wealth or smartness, add a guitar or a banjo (no piano), and see how many songs you can get out of them — "folk-songs" if you're a sophisticate,
"old songs" or mere "songs," if you are nice and common. Will there not be Down in the Valley and Careless Love? And how about Frankie and Johnnie, Wreck of the Old Ninety-Seven, Red River Valley, John Henry, Shortnin' Bread, Cripple Creek, Maple on the Hill, Buffalo [8] —
loafott fetttttg Srattarnpt
takes pleasure in announcing the pub-
lication each Friday and Monday of a
series of living biographies of the
members of the Boston Symphony Or-
chestra. Each Monday and Friday the
Transcript will publish a vivid, human
and authoritative sketch, with pictures
of three members of the Boston Sym- phony Orchestra, by Paul D. Secon.
We feel that all Symphony-goers will
want to read and save this interesting
series of biographies.
Anita Davis»Chase Announces
JORDAN HALL Sat. A/t., NOV. 18, at 3 CLARA RABINOVITCH PIANIST "Miss Rabinovitch at once stood among the pianists worth hearing" Boston Herala Tickets: $2.20, $1.65, $1.10, 83 cents
[9] Gals, Barbara Allen? Perhaps there will be Jesse James, Sam Bass, Old Joe Clark, or even The Golden Vanity, Pretty Saro, Lord hovel. How long would the list be before the possibilities of even a casual gathering could be exhausted? Really, I do not know and doubt if anyone does. There are singers like blind old Mrs. Dusenberry in Arkansas who can sing one hundred and thirteen; like Bascom Lamar Lunsford of North Carolina who can give you three hundred and fifteen (and if you will let him consult his "ballit-book," three thou- sand variants of these); collectors and students such as Alan Lomax and Robert W. Gordon whose individual repertories mount up well beyond five hundred apiece. Then there are probably more than twelve thousand phonographic recordings in the Archive of Ameri- can Folk Song in the Library of Congress and as many more in other collections — voices of men, women and children of all parts of the country, of all walks of life. No matter how elaborate the survey of the actual music made by the people of America upon the basis of a purely oral tradition, it is to be doubted we could ever plumb the bottom of this deep well-spring. Is the American "too modern, too kinetic, too contemporaneous to express himself in terms of a simple and untutored art?" Listen to the ballad of Barney Graham, heroic union organizer who was shot in the street in Wilder, Ten- nessee, in 1933. It is sung to the tune of the Blind Girl by his daughter. Or listen to Aunt Molly Jackson's Join the C.I.O. sung to an Ameri- can version of the tune for the old English ballad, Lay the Lily Low. Hundreds of these songs are in use today in labor struggles up and down the country. But now that we know this, what arc we doing about it? Where is the "link between the stylist and the life about him?"
The first thing, it seems to me, is for the professional compose) to make up his mind that his place in world music will depend upon finding his place in American music and in American life. He
knows and admits his European heritage, be it Brahms, Debussy, Schonberg, Stravinsky, — one, several or all of them. Fie must dis- cover, for himself, his own peculiar American lineage. This is not easy. Books are of some little help. Phonograph records — if he can get at them — are much better. Let him ponder, however, upon the fol-
lowing facts: (1) American folk music is probably as alive as that of any "advanced" country, excepting, of course, Spain and the U.S.S.R.; (2) our popular art is universally recognized as the most brilliant of its kind in the world today; (3) both of these have come to be what they are in spite of the hundred years' bitter antagonism of profes-
sional musicians; (4) serious composition is still, after considerable patronage and some most promising beginnings, little more than a beginning. This should make us sufficiently humble for the second move. The second move should be to discover America. To do this, the
[10] professional composer must get away from cities, suburbs, summer colonies, large estates and the sweet solitude of little retreats where urban atmosphere, ignorance and prejudice cling ever so easily. Al- most any county will do. (One must learn to think in terms of the county, township or parish!) For a first venture I hesitate to suggest a mountain county; one can hear and learn as much in the sand-hills, plains, valleys, deltas, sea-coasts, or for that matter in the large cities.
But the way is a bit better charted for one in the mountains. How- ever, wherever it may be, the composer should enter a community as a guest, an appreciative guest, a plain unpretentious person. He should meet and learn to know well many types of Americans. If any- one says to him "We like you — you're so nice and common," he will know he is on the right track. He should find out who are the best singers, whether of ballads, blues, hymns, work songs, love songs, etc., and who are the best fiddlers, banjo-pickers, guitar-, harmonica-, dulcimer-, accordion-players, and the best square dance callers. He should play at least one of these instruments. He has much to learn, not only of music, but of ways of living. If he can take along a portable recording phonograph he will be able to make vastly faster progress. Of course, the more places he can go and the longer he can stay, the better. The third step in the making of an American composer must be the digestion of this experience. If he is good iron and red hot, he is now ready to be forged into that link we were talking about. For the composer himself must be that link. He will find he has learned a new language — not a mere collection of songs and dances. A folk art, or for that matter a popular or academic art, is primarily an idiom, only secondarily a repertory. Any good swing player can demonstrate the difference between his art and that of the profes- sional musician. But it often takes considerable time and patience for a professional musician even to perceive that folk art is different from anything he has ever known. He has an enormous amount of bias, professional pride and plain hokum to get rid of. The folk musician is such a "natural" that he is not much help in the situa- tion.
There are those among us — and I hope there always will be not too small a number — who must of necessity sing their difference from their fellows and fight the predominating trend. I would like to see, however, a few of the younger men follow out some such lines as I have indicated. I am convinced there is already an immense, though still mute, demand for the type of composition here outlined. It may have to be, at first, crude and ordinary. It may not, at first, be in any sense national, but rather, regional or even local. America is large and varied. But our culture has definitely graduated beyond the colonial phase. The people as a whole know it. Professional musicians seem to be among the last to admit it. Is it not time for a change?
[11 1 SYMPHONY NO. 3 By Howard Hanson
Born in Wahoo, Nebraska, October 28, 1896
Mr. Hanson made his first sketches for this Symphony in 1936. The Symphony was written in fulfillment of a commission for American works by the Columbia
Broadcasting System, and its first three movements were broadcast over a network
of that corporation, the composer conducting, September 19, 1937. The fourth movement was completed, and the entire Symphony broadcast at a National Broadcasting Company concert, again under the direction of the composer, March
26, 1938. The symphony had its first concert performances in Symphony Hall,
November 3 and 4, under the composer's direction.
The orchestration is as follows: three flutes and piccolo, two oboes and English horn, three clarinets and bass clarinet, two bassoons and contra-bassoon, four horns, three trumpets, three trombones and tuba, timpani, and strings.
Having called his First Symphony "Nordic" and his second "Ro- mantic," Dr. Hanson gives no title to his newest symphony other than its number. He admits, however, that "temperamentally the
Third Symphony is more closely related to the First Symphony, the 'Nordic,' than to the Second. The Third Symphony springs definitely
from the north, and has its genesis in the composer's reverence for the spiritual contribution that has been made to America by the sturdy race of northern pioneers who as early as 1638 founded the
first Swedish settlement on the Delaware, and who were in later cen- turies to constitute such a mighty force in the conquering of the West. "The Symphony pays tribute to the epic qualities of those pioneers.
The first movement, which has the sub-title andante lamentando —
agitato, is both rugged and turbulent in character, alternating with a
religious mysticism. The second movement, andante tranquillo, is, as its name implies, for the most part peaceful and brooding in quality.
The third movement, tempo scherzando, is in the tempo of a fast
scherzo, and is vigorous and rhythmic. The fourth movement, marked largamente e pesante, begins with the brooding character of the first movement, developing into an extended chorale in antiphonal style, rising to a climax in the full orchestra out of which appears the prin- cipal theme of the second movement, the Symphony ending in a note of exultation and rejoicing." To David Bruno Ussher, Los Angeles correspondent of the New York Times, in September, 1937, while the finale was still uncom- pleted, Dr. Hanson said: "Like my second or 'Romantic' Symphony, the third one, too, stands as an avowal against a certain coldly abstract, would-be non-sentimental music professed by certain composers of high gifts." "The Third Symphony as a whole," according to the interviewer,
[ 12 1 "is more polyphonic than the earlier symphonies and harmonically purer. There are fewer 'superimposed' intervals, and more chords essentially of triad character. Whatever 'dissonantal' elements occur are the consequence of counterpoint rather than of vertical harmoni- zation."
Howard Hanson was born of Swedish parents, Hans and Hilma Hanson, at Wahoo, Nebraska. First taught by his mother, he con- tinued his studies in Luther College and the University School of Music of his native State. He studied composition at the Institute of Musical Art in New York with Percy Goetschius, and later at the Northwestern University School of Music at Evanston, under C. Lut- kin and Arne Oldberg. Taking his degree in 1916, he taught at the "College of the Pacific" in San Jose, California. In 1921 he was elected to a three-year fellowship in composition at the American Academy in Rome. Returning to America in 1924, he was appointed director of the Eastman School of Music at Rochester, New York, the position which he now holds. His First ("Nordic") Symphony was performed at the concerts of the Boston Symphony Orchestra, April 5, 1929, the composer conduct- ing. The "Romantic" Symphony No. 2, composed for the fiftieth anni- versary of the Boston Symphony Orchestra, was performed on Novem- ber 28, 1930, Serge Koussevitzky conducting. The same symphony was included in the special programme of American music by this Or- chestra in Symphony Hall on October 4 last, again under the direction of Dr. Koussevitzky. In addition to the three symphonies, Dr. Hanson's orchestral works include the symphonic poems "North and West" (1923), "Lux Aeterna" (1923), and "Pan and the Priest" (1926). There is an Organ Concerto (1926), and a suite from "Merrymount." "Merrymount," a three-act opera to a libretto of Richard Stokes, was produced by the Metropolitan Opera Company in New York in 1932. Choral works include "The Lament of Beowulf" (1925); "Heroic Elegy" (1927); Songs from "Drum Taps," after Walt Whitman (1935); and a tran- scription for chorus and orchestra of Palestrina, "Pope Marcellus Mass" (1937). Chamber works include a piano quintet, a piano quartet, and a string quartet.
[copyrighted]
[13] ENTR'ACTE DR. HANSON AND AMERICANISM
An Interview: Morris C. Hastings
Reprinted from the "Musical Key/' October 15, 1939
The only true Americanism in American music is that which creeps in when the composer isn't looking. It's something undefinable, yet unmistakable; it's a quality that peers out of both a serious sym- phonic work and a Tin Pan Alley tune. But it's something which the composer should not consciously seek.
Such is the challenging opinion, expressed during a leisurely luncheon, by Dr. Howard Hanson, director of the Eastman School of Music and himself an industrious American composer. 'Almost every one of the more than six hundred compositions I've directed in Rochester," Dr. Hanson declared, "has in it the American flavor, the American smell — the works of the conservatives, the left- wing and the right-wing progressives, and the middle-of-the-road men alike. You find it in the essentially out-of-doors music of Roy Harris, the city music of men like Gershwin and Berlin, and in the witty elegance of Randall Thompson's Second Symphony. I can't define the quality for you, except perhaps to call it a downright honesty. It's as elusive as the thing which makes such differing composers as Debussy and Faure each seem to so many people characteristically French. 'Actually, though, I believe in individualism in music, not in con- scious nationalism," the composer-teacher thoughtfully affirmed. "Con- stantly looking for and insisting upon 'nationalism' in compositions is what I call 'the women's club' approach to American music. What the American composer must do is to express himself, not his country, in music. Fie is not in duty bound to make use of folk-tunes or Indian melodies just because he's an American composer. Let him write as he is impelled from within to write and your Americanism, if that's what you're looking for, will appear because he's expressing himself and he is, after all, American. Now that American music has come of age, the best thing we can do for our composers is to leave them alone and not impose restrictions of any sort upon them."
Dr. Hanson is of the profound conviction that, world conditions being what they are, American composers are the hope of creative music. "War," he said sadly, "kills the artist not only physically but spiritually. Compare the young European composers who came of age after the first World War with the same generation of American com- posers, and you'll find that for every William Walton of England, a
[14I Bmbttz atfjeair? • QIambn&g?
Boston Symphony Orchestra
SERGE KOUSSEVITZKY, Conductor
THIRD CONCERT
Thursday Evening, December 21
at 8 o'clock
[15] very fine composer, and Shostakovich of Russia, a genuine talent, there are five or six vital American composers." The conversation turned from talk of war back to the development of the American composer. "I've been in a better position than many people to watch the course of American music," he said. "When I was a student, in 1912 or '13, American music was in its swaddling clothes. It reached its adolescence just after the war, and its full growth has been attained only within the past six or seven years. Back in those early days we were in revolt against rules that seemed to us empty and valueless. The perfect expression of that revolt was Antheil's 'Ballet Mecha- nique,' which, wild stuff though it was, performed the valuable service of smashing down barriers. In those days we did things to be 'differ- ent,' to startle. If anything so common as a tune occurred to us, we thrust it aside or disguised it with a violently dissonant accom- paniment.
"That period of transition is over. We have found ourselves. We are writing as individuals, each one as he feels he must. That is as it should be. For, if no restriction should be imposed on the American composer from without, neither must he impose one on himself. By that I mean he must not put himself into a category. He must not say, 'I am a serious composer and therefore I am above writing a popular tune.' If a popular tune occurs to him, by all means let him write it. Otherwise he is denying himself, and that way lies insin- cerity and stagnation." Before hurrying across the street to a rehearsal — of American music — Dr. Hanson warned against intolerance in music. "It's an absorbing thing," he said, "to read the contemporary criticism of Wagner's and Brahms' music. It should teach us the futility and stupidity of intolerance. And yet, today, there are some who sneer at men with a fine lyric gift because they aren't important symphonists. That's bad. These lyricists have their very charming place in the musical scheme. After all, each composition is a personality. We may not agree with it, any more than we would with the political views of the man next door. But it has its right to existence and to main- tain its own conviction." "To my mind," he concluded, "the only things in art of which one should be intolerant are cheapness and shabby workmanship."
I 16 J MUSICAL INSTRUCTION
LONCY Sf MUSIC CAMBRIDGE, MASS. GRADUATE DEPARTMENT DIPLOMA COURSE JUNIOR DEPARTMENT Private and Class Lessons Special Evening Courses for Adults 1 Follen Street Trowbridge Oi»."><> Mrs. Charles Adams White TEACHER OF SINGING 105 REVERE ST., BOSTON Tel. Capitol 6745 MARBLEHEAD, Thursdays, 6 Long View Drive Tel. Mar. 40J
JULES WOLFFERS HARRIETTE E. WOLFFERS PIANIST INSTRUCTION VIOLINIST Faculty members of the Malkin Conservatory Residence: HOTEL HEMENWAY Studio: THE RIVIERA Ken more 4330 MADAME HEDDA BALLON PIANIST, HARPSICHORDIST, COACH, ACCOMPANIST, TEACHER Former member of the faculty at the New Vienna Conservatory
1 CHAUNCY STREET, CAMBRIDGE TRO. 6331 MALKIN CONSERVATORY OF MUSIC JOSEPH MALKIN, Director Specializing in all fields of music study Courses leading to the MUS. B. Degree, concentration in Applied Music — Composition and Music Research — School Music 299 Beacon Street, Boston, Mass. Tel. KEN more 4166 Worcester Branch, Office open Tuesdays — Fridays — Saturdays 11.30-1, 2-4.30 Day Building 4 Walnut Street Tel. 4-1386 CARL BARTH 'CELLO LESSONS CHAMBER MUSIC CLASSES 52 Brattle Street, Cambridge Tel. TRO. 7363
BOUND volumes of the Boston Symphony Orchestra Concert Bulletins Containing
analytical and descriptive notes by Mr. John N. Burk, on all works performed during the season "A Musical Education in One Volume" "Boston's Remarkable Booh of Knowledge" Lawrence Gilman in the N. Y. Herald and Tribune Price $6.00 per volume Address, SYMPHONY HALL, BOSTON, MASS. Wanted: i our Name for a Great AUTOGRAPH COLLECTION
Check our registration cards for the past twenty- five years, and you will find, again and again, the signatures of many of the world's foremost men and
women . . . one of the greatest autograph collections in the world.
But we want your name on our registration card when you come to Boston. Distinguished visitors
turn to us naturally . . . because the Copley-Plaza represents a New England interpretation of Amer-
ican hostelry at its best . . . because the Copley-Plaza was built and staffed as New England's finest hotel and has maintained that leadership for more than a quarter-century.
And you will be happy too to find that we offer you luxurious living — without pretension, and without extravagance — with rooms for as little as $4.00 a day. Illustrated folder on request.
The COPLEY- PLAZA, "Boston
Arthur L. Race, Managing Director