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Boston Symphony Orchestra Concert Programs, Season 55,1935-1936

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Boston Symphony Orchestra Concert Programs, Season 55,1935-1936 0M\i\miiiih. BOSTON SYMPHONY ORCnTSTRft INC. FIFTY-FIFTH SEASON 1935-1936 [E] [Monday] — JORDA ft-. CO EVERYONE IS ^Lookina at OUR DmjL±LljLz GLASS WINDOWS! And if that sounds contradictory come see them for yourself! The newest, most tantalizing display idea we've yet brought—first of anyone —to Boston. It's all done with mir- rors (and curved panes) but that won't stop the impulse you'll have to reach for the glass you can't see! And just to make things more interesting, very tempting items repose within them! One on Washington Street The other on Summer SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephone, Ticket and Administration Offices, Com. 1492 FIFTY-FIFTH SEASON, 1935-1936 Boston Symphony Orchestra INCORPORATED Dr. SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor Concert Bulletin of the Fifth Concert MONDAY EVENING, March 2 with historical and descriptive notes By John N. Burk COPVRH.Hl, 1936, BY BOSTON SYMPHONY ORCHESTRA, llXC. 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. Stackpole M. A. De Wolfe Howe Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [1] zJAe A^molAal l<abined6> e/mib comJianu ib to kettle (dUateh ab G)xecator- and i (7T zJvubfee ow ab ^y^aeni. znu ueark o/ exAevieiwe and a commete owaantzation enalle ab to cm&f- eiuclent and /worn/fit bemtice. Old Colony Trust Company 17 COURT STREET, BOSTON lAlliedwith The First National Bank of Boston [2] To the~ Friends of the Boston Symphony Orchestra: There are this year 9,400 season ticket sub- scribers to one or more of the Boston and Cambridge series of the Boston Symphony Orchestra Concerts. It is particularly appropriate that these regular subscribers to concerts which cannot be maintained on the proceeds of seat sales should join the Friends of the Orchestra in their effort to make up the deficiency. Thus far this year only 1 1.7 per cent of them have enrolled. Irrespective of the amounts of their contributions, the enrollment by these Boston and Cambridge season ticket subscribers ought to be 100 per cent numerically, for such subscribers are the real sup- port of the Orchestra and they should see it through. Edward A. Taft, Chairman of Friends of the Boston Symphony Orchestra To enroll as a Friend of the Orchestra, simply make out a cheque or sign a pledge card to Boston Symphony Orchestra, for whatever amount you care to contribute, and mail it to E. B. Dane, Esquire, Treasurer, 6 Beacon Street, Boston. Gifts to the Orchestra are deductible donations under the Federal Income Tax Law. [3] Cijanbler & Co. TREMONT AND WEST STREETS Second Floor yy omen's Ihree Piece Costume from the Gown Shop A classic costume with entirely new details! The trim jacket achieves its boxy lines through tucks down the front and in the sleeves. Border print with quantities of $ white is flattering in the blouse with soft revers. 25 4] SYMPHONY HALL, BOSTON Boston Symphony Orchestra Dr. SERGE KOUSSEVITZKY, Conductor FIFTH CONCERT of the MONDAY EVENING SERIES MONDAY EVENING, March 2, at 8:15 o'clock Programme Haydn Symphony in E-flat, No. 99 I. Adagio; Vivace assai II. Adagio III. Menuetto (Allegretto) IV. Vivace Saint-Saens Pianoforte Concerto No. 5 in F major, Op. 103 I. Allegro animato II. Andante III. Molto allegro INTERMISSION Wagner Prelude to "Lohengrin" Wagner Prelude and "Liebestod" from "Tristan und Isolde" Wagner Prelude to "Die Meistersinger von Niirnberg" soloist MARJORIE CHURCH STEINWAY PIANO (A number of paintings loaned by the Boston Art Club, together with music, autographs, and pictures of the composers whose works are in the Orchestra's current repertory, may be seen in the Huntington Avenue Foyer. See page 24) I .. II I M—1^——— ^^"^^— SYMPHONY IN E-FLAT MAJOR, No. 99 (No. 10 of the London Series)* By Joseph Haydn Born at Rohrau, Lower Austria, March 31, 1732; died at Vienna, May 31, 1809 Lingering over the beauties of one of the symphonies of Haydn, it * is hard to realize that he wrote more than a hundred, and pro- duced even the best of them literally by the dozen. For Salomon in London he composed two sets of six for his two English visits — his last, and according to general opinion, his finest development of the form. For the Parisian society, "Concerts de la Loge Olympique," he had also provided an even twelve. This symphony (the ninety-ninth in the chronological numbering of Mandyczewski) was designed by Haydn for his second visit to England, written in Vienna in 1793 in the interval between his two journeys to the British capital, and duly performed in London in 1794 or 1795. Haydn was required by the terms of his agreement with Salomon to write a new work for each of the weekly concerts in the subscription series which he arranged, and the composer was as good as his word. He stipulated (hearing, perhaps, that the British public had late-coming habits) that the new piece should be played always at the beginning of the second part of the programme. When each particular symphony was played it is usually impossible to tell, for the programmes simply state: "New Grand Overture (Symphony)," or "Grand Overture (Symphony) mss." There is every evidence that England took the twelve symphonies to its heart. The concerts were crowded, and another management had only to announce a work of Haydn to be sure of an audience. The Morning Chronicle probably voiced the general opinion when it praised the "agitating modula- tions" of the symphonies, and the "larmoyant passages" in their slow movements. Everyone was charmed by Haydn's grace and humor, and the arias and choruses of Handel were momentarily overlooked in the interest of those unaccustomed forms to which Haydn had given such abundant life — the symphony and the string quartet. The second of the London symphonies (in D major), and the "Sur- prise" Symphony were singled out for special favor, and often re- peated. Also of the Salomon series were the so-called "Clock," "Drum Roll," and "Military" symphonies. As almost without exception in his London symphonies, Haydn opens this one with a reflective and free adagio, no pompous or cere- monious portal, but tender and mysterious, foreshadowing Beethoven. * This symphony was performed at the Boston Symphony concerts, January 30, 1886, Wilhelm Gericke, conductor, and October 22, 1926, Dr. Serge Koussevitzky, conductor. 6 t ] The principal difference, in this case, is that instead of leading the hearer by a subtle transition into the main body of the movement, Haydn dismisses the introductory mood with not so much as a gesture, as he breaks into the sprightly theme of his vivace assai. The second theme is for violins and clarinet, an instrument which takes its place in these later symphonies. The development progresses through cham- eleon-like modulations with a wit and daring which almost equals the whimsical fancy and legerdemain of the finale. The adagio, in G major, opens with a theme for the first violins, canlabile, which is ornamented with passages in the wood winds, the flutes predomi- nating. The second theme is inseparable from the elaboration of sixteenth notes upon which its sustained songfulness subsists. This is a slow movement of lyric intensity with aspects of nineteenth-century romanticism, and there is a passage in stormy triplets which again almost makes one exclaim "Beethoven!" There is a lusty minuet, allegretto, based upon a simple descending chord of E-flat. In the trio the oboe, cantabile, is combined with the strings. The final rondo, vivace, brings a more independent and distinct use of the various wood wind voices. There is the characteristic pause of suspense upon the main theme, slowed to adagio and played by the first violins, before the coda. Writing of Haydn in the Oxford History of Music, W. H. Hadow considers that "the twelve symphonies which he wrote for Salomon are not only the greatest of his orchestral works, but those also in OLIVER DITSON COMPANY, INC. Retail Music Store 359 BOYLSTON STREET BOSTON, MASS. For All Published MUSIC Largest stock of sheet music and music books in New England. Every outstanding American and Foreign publisher represented. DITSON'S 359 BOYLSTON STREET TEL. COMMONWEALTH 1350 [7] a which we can most clearly trace the effect of his intercourse with Mozart. Dr. Pohl especially notes the influence of the Jupiter Sym- phony both in the richer orchestration and in the freer uses of epi- sode and incident: "The minuets, tar different from Mozart's courtly dance-measures, have all his old rustic drollery and humor, the rhythms have all his old incisiveness of touch, the folk-tunes that he loved grow thick along the wayside.* The melodies of his own sowing are unmistakable in hue and shapeliness. And the music is all suffused with a sense of mellowness and maturity, of long experience and an old age honor- ably won; it is too serene for passion, too wise for sadness, too single- hearted for regret; it has learned the lesson of life and will question its fate no further." (^^^^^ cJJiscover your ivue beauiy wi in a ^l/elva ^1 flask ^veaimenil © The Velva Mask Treatment is Elizabeth Arden's latest discovery — mask light as a cream, delicate as blanc mange. Try it and you will make a startling discovery, too. Once that fine fretwork of lines is snatched away, and fresher color comes shining through a clearer, younger skin, and contours are restored to firm, smooth, oval curves, you'll discover that — you're beautiful! ©1935EA 24 NEWBURY STREET KENMORE 4784 [8] ,V * X % 1 * o/ o6/t"o Stearns9 New Cruise Shop on the fourth floor O/ cJaiio: a name for you to conjure with in the next few months.
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