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Boston Symphony Orchestra Concert Programs, Season 51,1931-1932, Trip

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Boston Symphony Orchestra Concert Programs, Season 51,1931-1932, Trip ACADEMY OF MUSIC . BROOKLYN Thursday Evening, February 4, at 8.15 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn PR5GR2W1E max BOSTON SYMPHONY ORCHESTRA: 1881-1931" By M. A* De WOLFE HOWE Semi'Centennial Edition It is seventeen years since M. A. De Wolfe Howe's history of the Boston Symphony Orchestra was published. The Fiftieth season of the Orches- tra seemed a fitting time to re-publish this prized narrative of its earlier days, and likewise to record, in additional chapters, the last years of Dr. Muck's conductorship, and the years of Henri Rabaud, Pierre Monteux, and Dr. Serge Koussevitzky. New appendices include a complete list of the music played at the regular concerts, giving the dates of performances. The soloists and the personnel through fifty years are also recorded, and the address on Henry Lee Higginson made by Bliss Perry at the Bach Festival, March 25, 1931. Now on sale at the Box Office, or by money order to Symphony Hall, Boston Price $1.50 (postage included) ACADEMY OF MUSIC BROOKLYN FIFTY-FIRST SEASON, 1931-1932 INC. Di SERGE KOUSSEVITZKY, Conductor THURSDAY EVENING, FEBRUARY 4, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1932, BY BOSTON SYMPHONY ORCHESTRA, INC. Dr. SERGE KOUSSEVITZKY Boston Symph< Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor PERSONNEL Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H Cherkassky, P. Concert-master Kassman, N. Hamilton, V. Eisler, D. Thcodorowicz, J Hansen, E. Lauga, N. Fedorovsky, P. Leibovici, J. Pinfield, C. Mariotti, V. Leveen, P. Tapley, R. Thilloii, F. Zung, M. Knudson, C. Gorodctzky, L. Mayer, P. Diamond, S. Zide, L. Fiedler, B. Bryant, M. Beale, M. Stonestreet, L. Messina, S. Murray, J. Del Sordo, R Erkelens, H. Seiniger, S. Violas. Lefranc, J. Fourel, G. Bernard, A. Grover, H. Fiedler, A. Artieres, L. Cauhape, J. Van Wynbergen, C. Werner , H. Avierino, N. Deane, C. Gerhardt, S. Jacob, R. Violoncellos. Bedetti, J. Langendoen, J. Chardon, Y. Stockbridge, C. Fabrizio, E. Zighera, A. Barth, C. Droeghmans, H. Warnke, J. Marjollet, L Basses. Kunze, M. Lemaire, J. Ludwig, O. Girard, H. Moleux, G. Vondrak, A. Oliver, F. Frankel, I. Dufrcsne, G. Kelley, A. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Polatschek, V. Laus, A. Bladet, G. Dcvergie, J. Mimart, P. Allard, R. Amerena, P. Stanislaus, H. Arcicri, E. Panenka, E. Aliegra, E. (E-flat Clarinet) Piccolo. English Horn Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Bettoney, F. PiUer, B. Horns. Horns. Trumpets. Trombones. Boettcher, G. Valkenier, W Mager, G. Raichman, J. Pogrcbniak, S. Schindler, G. Lafosse, M. Hansotte, L. Van Den Berg, C. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Pcrret, G. Adam, E. Voisin, R. Mann, J. Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Sternburg, S. Adam, E. Caughey, E. Polster, M. White, L. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Roger*, L. J. ! The The SAVOY -PLAZA PLAZA Ideally located on Fifth Savoy-Plaza, The Avenue at the entrance to newer associate of Central Park, The Plaza The Plaza, faces Cen- offers the highest standards tral Park and offers of hospitality and cuisine. the same excellence Near business . transpor- of hospitality and tation . theatres . shops cuisine that distin- . yet away from the noise guishes The Plaza. and confusion of the city. Henry A. Rost FredSterry John D.Owen President President Manager Recognized as one of the finest hotels in the world . richly furnished . modern in every respect . located in historic Copley Square, probably the most accessible and ' - mm attractive spot in Boston. mm : i Arthur L. Race mh ; 1 - HI " Ml . U ; - .. .. II Managing Director J 11 : i a 5 i >. 'IWi.HH" 1 "i . T s . ! : " i I : ' e a i£ i ft ft £ ft ft ( HOTCLS OF tfk.-.P L fl Z A 'Sfl.VQY-PLflZfl- DISTinCTIOn ACADEMY OF MUSIC BROOKLYN Forty-fourth season in Brooklyn Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor THIRD CONCERT THURSDAY EVENING, FEBRUARY 4 AT 8.15 PROGRAMME Prokofieff "Classical" Symphony, Op. 25 I. Allegro. II. Larghetto. III. Gavotte. IV. Finale. Moussorgsky Prelude to the Opera, "Khovantchina" N. Tcherepnin Eight Miniatures, "After a Russian Illustrated Alphabet" I. Arab-boy. V. "Mama." II. Egypt. VI. General. III. Baba-jaga. VII. 7 he Forest. IV. Stars. VIII. The Tsarina. Tchaikovsky . Symphony No. 6 in B minor, "Pathetic," Op. 74 I. Adagio; Allegro non troppo. II. Allegro con grazia. III. Allegro molto vivace. IV. Finale: Adagio lamentoso. There will be an intermission often minutes before the symphony 5 . "Classical" Symphony,, Op. 25 . Serge Sergievich Prokopieff (Born at Sontsovka, Russia, April 2*4, 1891; now living) This symphony, begun in 1916, was completed in 1917. The first performance was at Leningrad by the orchestra now known as the State Orchestra. The first performance in the United States was at k concert of the Russian Symphony Orchestra in New York, in December, 1918. The symphony, scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings, is dedicated to Boris Assafieff, who, as "Igor Gleboff," has written much about music. "The composer's idea in writing this work was to catch the spirit of Mozart and to put down that which, if he were living now, Mozart might put into his scores" (Felix Borowski) I. Allegro, D major, 4-4 time. The chief theme is given to first violins. A transitional passage has material for the flutes. Develop- ment follows. The second theme is for first violins. The develop- ment begins with use of the first subject. The transitional measures are taken up, later the second theme. The recapitulation opens in C major (strings). Then follows the transitional passage (D major) for the flute. The second theme is again for the strings. There is a short coda. DITSON PUBLICATION AnalyticAWel&USymphony Series Musical Home Necessity THE ANALYTIC SYMPHONY SERIES Great Symphonies, arranged in the simplest possible playable form for two hands on the piano, with remarkably clear analy- ses by the eminent teacher and theorist, Dr. Percy Goetschius. Understanding depends upon knowledge, and this can be secured only by a study of the music itself, therefore real enjoyment of symphonic works is hugely enhanced by the use of this simplified edition. The cost is nominal — for sale by all representative dealers, or may be obtained direct from the publishers. Illustrated booklet describing the Analytic Symphony Series mailed on request. OLIVER DITSON COMPANY, Inc. 359 Boylston Street Boston, Mass. II. Larghetto, A major, 2-2 time. First violins announce the chief theme. There are episodes. III. Gavotta, Non troppo allegro, D major, 4-4 time. The subject is given at once to strings and wood-wind. The trio is in G major (flutes and clarinets above an organ point for violoncellos and double basses). This subject is repeated by the strings. IV. Finale, Molto vivace, D major, 2-2 time. The first theme is for the strings; the second, A major, for wood-wind. * * * III. Gavotta, Non troppo allegro, D major, 4-4 time. Johann Mattheson in 1737 considered the "gavotta" as sung by a solo voice or by a chorus played on the harpsichord, violin, etc., and danced: "The effect is most exultant joy. Hopping, not running, is a pe- culiarity of this species of melody. French and Italian composers write a kind of gavotta for the violin that often fills whole pages with their degressions and deviations. If a foreign fiddler can excite wonder by his speed alone, he puts it before everything. The gavotta with great liberties is also composed for the harpsichord, but is not so bad as those for the fiddle." The gavotte was originally a peasant dance. It takes its name from Gap in Dauphine : the inhabitants of Gap are called "gavots." <ui J^oeser Qharge Account Makes ^hopping Easy It takes only a few minutes to start a Loeser charge account . yet it will save you hours during a shopping year. Open an account today! Credit office, Fourth Floor. LOESER'S Fulton at Bond, drooklyn TRiangle 5-8100 The dance "was introduced at court in the sixteenth century, when r to amuse the Royal circle, entertainments were given consisting of dances in national costume, performed by natives of the various provinces, and to the sound of appropriate instruments." It was originally a sort of branle. The dancers were in line or in a circle; after some steps made together a couple separated, danced alone, and embraced ; then the women kissed all the male dancers, and the men all the female dancers. Each couple in turn went through this performance. Ludovic Celler informs us that this was the gavotte known at the courts of the Valois: "The gavotte was not then the dignified, pompous and chaste dance of the eighteenth century, with slow and measured postures and low bows and curtsies." At the balls of Louis XIV. and XV. the gavotte was preceded by a menuet,. composed of the first repetition of the menuet de la cour and danced by one couple; and some say that the menuet itself was preceded by the offer of a bouquet and a rewarding kiss. The best and most minute description of the court gavotte, with all its steps, is in Desrat's "Dictionnaire de la Danse" (Paris, 1895). This court dance was of a tender nature until it became a stage dance. Two gavottes by Gluck* and Gretryf became most fashion- *In "Iphigenie en Aulide" (1774). tThe gavotte in Gretry's "Panurge" (1785) was long popular, but Marie Antoinette pj-pfpi-vpri the one in "Cephale et Procris" (1773) of the same composer.
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