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Boston Symphony Orchestra Concert Programs, Season 49,1929-1930

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SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 INC. Dr. SERGE KOUSSEVITZKY, Conductor FORTY-NINTH SEASON, 1929-1930 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1930, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT i President BENTLEY W. WARREN Vice-President ERNEST B. DANE . Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN. Manager G. E. JUDD, Assistant Manager 1733 *h* STEINWAY that you buy today will serve your children's children three ordinary pianos, besides giving you the depth and beauty of tone which only a Steinway can give. There are many models and prices. Make your visit to your nearest Steinway dealer—today. Few things today are really built to last. But the Steinway is a notable A new Steinway Upright piano can be bought for £875 exception. It is made like a watch, and up—plus inside and out. Only the finest work- GRANDS #1475 transportation manship and materials enter into it. balance in 10% down two years For 30, 40 or 50 years and more it Any Steinway piano may be purchased will continue to bring delight and with a cash deposit of 10%, and the bal- entertainment to your family. ance will be extended over a period of two years. Used pianos accepted in partial You need never buy another piano! exchange. Such durability as this spells real Steinway & Sons, Steinway Hall economy. The Steinway will outlast 109 West 57th Street, New York THE INSTRUMENT STEINWAY OF THE IMMORTALS Reoresented in Boston and other New England cities byM. Steinert & Sons , . 1734 Forty-ninth Season, 1929-1930 Dr. SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H Cherkassky, P Concert-master Kreinin, B. Kassman, N. Hamilton, V. Eisler, D. Theodorowicz, J. Hansen, £. Lauga, N. Fedorovsky, P. Leibovici, J. Pinfield, C. Mariotti, V. Leveen, P. Tapley, R. Thillois, F. Zung, M. Knudson, C. Gorodetzky, 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. Van Wynbergen, C. Grover, H. Fiedler, A. Articles, L. Cauhap6, J. Bernard, A. 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. Kelley,A. Vondrak, A. Oliver, F. Frankel, I. Dufresne, G. Demetrides, L. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Hamelin, G. Laus, A. Bladet, G. Devergie, J. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Allegra, E. Bettoney, F. (E-flat Clarinet) Piccolo. English Horn. Bass Clarinet. CONTRA-BASSOON J Battles, A. Speyer, L. Mimart, P. Piller, B. Horns. Horns. Trumpets. Trombones. Boettcher, G. Valkenier, W. Mager, G. Raichman, J. Pogrebniak, S. Schindler, G. Voisin, R. Rochut, J. Van Den Berg, Lannoye, M. Lafosse, M. Hansotte, L. Lorbeer, H. Blot, G. Perret, G. Kenfield, L. Mann, J. Adam, E. Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Ludwig, C. Adam, E. Caughey, E. Polster, M. Stemburg, S. White, L. Organ. Celesta. Librarian. Snow, A. Fiedler, A. -Rogers, L. J. 1735 Cljanbler & Co. BOSTON COMMON TREMONT ST. AT WEST Crin lace crown in- sert in baku hat. 10.00 Over a Thousand New Hats Every line in the new hats; brim lines, crown lines, the placing of a dainty flower or bit of tasteful trimming shows the inspiration of genius. The supple baku, straw or hair, lace and chanvre soie are developed on the smart lines of models designed by Agnes, Mado, Alphonsine and a score of noted modistes, with the same painstaking care and skilfulness shown in the originals. 10.00 to 20.00 to 25.00 French Salon—Second Floor 1736 — FORTY-NINTH SEASON. NINETEEN HUNDRED TWENTY-NINE AND THIRTY FRIDAY AFTERNOON, APRIL 18, at 2.30 o'clock SATURDAY EVENING, APRIL 19, at 8.15 o'clock Stravinsky ...... "Apollon Musagete," Ballet Scene I. Birth of Apollo. Scene II. Variation of Apollo (Apollo and the Muses) —Variation of Polymnia—Variation of Terpsichore—Variation of Apollo Apollo and Terpsichore—Coda (xApollo and the Muses) Apotheosis. Gardner "Broadway*' (Conducted by the Composer) (First performance) Saint Saens . Symphony in C minor No. 3, Op. 78 I. Adagio; Allegro moderato; poco adagio. II. Allegro moderato; Presto; Maestoso; Allegro. Organ: Albert Sxow STEINWAY PIANO USED There will be an intermission before the symphony 1737 r~—^^- Raymond-Whitcomb announce ROUND THE WORLD CRUISE To sail January 21, 1931 CThe Cruise Ship will again be the "Columbus" — which is the largest and fastest ship ever to sail round the world. Because of her superior speed, the time spent at sea will be less than on other cruises — and the length of the Cruise will be reduced to 1G7 days without reducing the number of places visited or the shore programs. ^ With visits to all the usual Round-the-World- Cruise countries and to Penang, Malacca, Zamboanga, Macassar — and trips to Bali and Angkor Wat. $2000 and up. MEDITERRANEAN CRUISE To sail January 31, 1931 ©.This cruise is timed to be in Nice for the famous Carnival. It will visit five of the larger and historic Mediterranean islands — Sicily, Malta, Cyprus, Rhodes and Corsica — and several of those smaller Mediterranean cities which are truly typical — as Palermo, Taormina, Cattaro and Ragusa. With ten days in Egypt and the usual visits to Algiers, Tunis, Naples, Venice, Constantinople, Athens and the Riviera. Rates, $1000 and upward. North Cape Cruise, June 24, 1930 Land Cruises in America Tours and Independent Trips to Europe RAYMOND & WHITCOMB COMPANY 165 Tremont Street Tel. Hancock 7820 122 Newbury Street Tel. Kenmore 2870 !| BOSTON, MASSACHUSETTS || 1738 — "Apollon Musagete" ("Apollo, Leader of the Muses"), a Ballet Igor Fedorovitch Stravinsky (Born at Oranienbaum, near Leningrad, on June 5, 1882; now living) This music, scored for strings only, was first heard at Elizabeth Coolidge's Chamber Music Festival in the Library of Congress, Washington, D.C., on April 27, 1928. It was then performed by Adolph Bolm and his associates Mmes. Reiman, Holmes, and Page. The first performance in Boston was by the Boston Symphony Orchestra, Dr. Koussevitzky, conductor, on October 12, 1928. Serge Diaghilev's Ballet Russe brought out the work in Paris at the Sara Bernhardt Theatre in June, 1928. Serge Lifar mimed Apollo; Mmes. Alice Mkitina, Terpsichore; Lubov Tchernicheva, Calliope; Felia Doubrovska, Polymnia. The choreography was by George Balanchin. Stravinsky conductor "Apollon Musagete," also the ballet "Ode"* by Nicolas Nabokov. Scene I : Birth of Apollo. Scene II : Variation of Apollo (Apollo and the Muses) —Variation of Polymnia—Variation of Terpsichore—Variation of Apollo Apollo and Terpsichore—Coda (Apollo and the Muses) —Apotheosis. *This "Ode" is written to the verses of an eighteenth-century poet. The verses celebrate the glory of God as represented in an aurora borealis. FOR TERCENTENARY PROGRAMS PIONEER AMERICAN COMPOSERS A Collection of Early American Songs Edited and Augmented by HAROLD VINCENT MILLIGAN "... .songs, which will be found to compare not unfavorably with the songs of the same time in England and on the continent, and to furnish further evidence that the Americans of the eighteenth century were not all musical barbarians with their artistic instincts stifled by the hardships of pioneer life." (From the author's preface) INCLUDES SONGS BY PETER A. von HAGEN, probably born in Charleston, S.C.; lived in New York and Boston. TIMOTHY SWAN, born in Worcester, Mass., lived in SufHeld, Conn., and Northfield, Mass. VICTOR PELISSIER, orchestra player of New York and Philadelphia. RAYNOR TAYLOR, organist in Annapolis and Philadelphia. JAMES HEWITT, one of the leading musicians of New York. ALEXANDER REINAGLE, conducted and played at many concerts in Philadelphia and Baltimore. JAMES WILLSON, organist and composer, of New York. BENJAMiN CARR, organist, pianist, ballad singer, concert manager, composer, publisher, of Phila- delphia and New York. (Further details regarding composers included in the volumes) Two volumes each for high and low voice. Each book $1.25 net {Published in Schmidt's Educational Series) 1739 "Apollo Musagetes," with; the; Same dancers and conductor, , was produced in London at His Majesty's Theatre on June 25, 1928. The other compositions Avere ^Cimarosiana," conducted by Dr. Malcolm Sargent, and "The Fire Bird," conducted by Stravinsky. The Paris correspondent of the London Times wrote for the issue of June 22 this article concerning the production at the Sarah " Bernhardt Theatre : "A new work by Stravinsky is inevitably an event of some im- portance in the world of music, but the developments of his style are perhaps awaited and discussed with greater interest in Paris than in any other capital. The interest of 'Apollo Musagetes' cer- tainly lies primarily in the music, though with the attention half distracted by the color and movement of the stage it is difficult to appreciate fully the beauties of the score. " 'Apollo Musagetes' has no story and is little more than a series of 'divertissements' dealing with the birth of the god and his in- spiration of the Muses. It is dancing rather than action or symbolic significance which counts in 'Apollo.' The choreography by M. Bal- anchin is founded no doubt on the steps and movements of the classic school, and, while presenting new elements of striking origi- nality and beauty, avoids the grotesque attitudes which have Bonds of the highest grade Harris, Forbes & Co Incorporated Harris Forbes Building 24 F*d«r«l St., Boston 1740 uture From our large and exclusive collection In of original Jr aris dresses and suits we are prepared to make facsimile copies or modifications at reasonable prices.
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  • Donizetti's Anna Bolena Opens on November 10

    Donizetti's Anna Bolena Opens on November 10

    620 North First Street, Minneapolis, MN 55401 tel: 612-333-2700 fax: 612-333-0869 box office hours: Monday – Friday, 9 a.m.–6 p.m. News Release FOR IMMEDIATE RELEASE 22 O CTOBER 2012 CONTACT : Daniel Zillmann , 612.342.1612 or [email protected] Donizetti’s Anna Bolena opens on November 10 Minnesota Opera’s 50 th Anniversary Season continues with the final installment of Donizetti’s Tudor trilogy, led by Music Director Michael Christie and a quartet of powerful voices: Keri Alkema, Kyle Ketelsen, Lauren McNeese and David Portillo What: Gaetano Donizetti’s Anna Bolena Sung in Italian with English translations projected above the stage. Where: Ordway, 345 Washington Street, Saint Paul, MN 55102 When: Saturday, November 10 , 7:30 pm Tuesday, November 13 , 7:30 pm Thursday, November 15 , 7:30 pm Saturday, November 17 , 7:30 pm Sunday, November 18 , 2pm Tickets: $20 – $200 . Call the Minnesota Opera Ticket Office at 612.333.6669, Monday –Friday, 9am –6pm, or purchase online at mnopera.org. Media: An online press kit (available now on Dropbox at bit.ly/mnoperapressroom ) includes full bios, artist headshots, design renderings, production photos and other useful resources. Contact Communications Manager Daniel Zillmann to take advantage of the following interview, photo and video opportunities at dress rehearsals at Ordway: Wednesday, November 7, 7:30 pm and Thursday, November 8, 7:30 pm . Preview: Minnesota Opera hosts its second Social Media Preview Night of the season for bloggers and tweeters, including complimentary appetizers, a social hour and pre- rehearsal discussion with Music Director Michael Christie at Amsterdam, and exclusive access to the dress rehearsal on Thursday, November 8, 5:30 pm.
  • Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years

    Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years

    BRANDING BRUSSELS MUSICALLY: COSMOPOLITANISM AND NATIONALISM IN THE INTERWAR YEARS Catherine A. Hughes A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds Valérie Dufour John L. Nádas Chérie Rivers Ndaliko © 2015 Catherine A. Hughes ALL RIGHTS RESERVED ii ABSTRACT Catherine A. Hughes: Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years (Under the direction of Annegret Fauser) In Belgium, constructions of musical life in Brussels between the World Wars varied widely: some viewed the city as a major musical center, and others framed the city as a peripheral space to its larger neighbors. Both views, however, based the city’s identity on an intense interest in new foreign music, with works by Belgian composers taking a secondary importance. This modern and cosmopolitan concept of cultural achievement offered an alternative to the more traditional model of national identity as being built solely on creations by native artists sharing local traditions. Such a model eluded a country with competing ethnic groups: the Francophone Walloons in the south and the Flemish in the north. Openness to a wide variety of music became a hallmark of the capital’s cultural identity. As a result, the forces of Belgian cultural identity, patriotism, internationalism, interest in foreign culture, and conflicting views of modern music complicated the construction of Belgian cultural identity through music. By focusing on the work of the four central people in the network of organizers, patrons, and performers that sustained the art music culture in the Belgian capital, this dissertation challenges assumptions about construction of musical culture.
  • The Tudors with Camille Saint-Saëns's Henry VIII

    The Tudors with Camille Saint-Saëns's Henry VIII

    Media Contact: April Thibeault/AMT PR mailto:[email protected] 212.861.0990 Odyssey Opera Begins its 2019-20 Season: The Tudors with Camille Saint-Saëns’s Henry VIII What:Henry VIII by Camille Saint-Saëns When: Saturday, September 21, 2019, at 7:30 p.m. Where: New England Conservatory’s Jordan Hall, 30 Gainsborough Street, Boston, MA| T: Green to Symphony, Orange to Mass Ave Tickets: $25 and Up. To purchase, visit odysseyopera.org or call 617.826.1626. BOSTON, MA (For Release 07.18.19) — One of the nation’s most adventurous opera companies, Odyssey Opera, begins its seventh season with a concert performance of Henry VIII (1883)by French composer Camille Saint-Saëns based on El cisma en Inglaterra (The schism in England) by Pedro Calderón de la Barca. This kick-starts the company’s 2019-20 season featuring concert and staged operas about the great English dynasty of the 16th century: the Tudors. With libretto by Léonce Détroyat and Armand Silvestre, Henry VIII brings to life one of history’s most infamous love triangles featuring baritone Michael Chioldi as King Henry, soprano Ellie Dehn as Henry’s first wife, Catherine of Aragon, and mezzo-soprano Hilary Ginther as Henry’s second wife, Anne Boleyn. Dedicated to performing neglected works, Odyssey Opera resurrects this little known and intensely powerful work. It premiered in 1883 and received its North American premiere 100 years later in 1983. “Henry VIII has all the ingredients of a spectacular grand opera,” says Gil Rose, Odyssey Opera’s Artistic and General Director. “It has a sensational historical subject and sweeping vocal melodies and rich orchestral writing.