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Boston Symphony Orchestra Concert Programs, Season 51,1931

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Boston Symphony Orchestra Concert Programs, Season 51,1931 THE HORACE BUSHNELL MEMORIAL HALL presents PR5GR7WIE MM FINAL CONCERT, BUSHNELL CONCERT SERIES Season 1931-1932 HORACE BUSHNELL MEMORIAL HALL, HARTFORD, CONN. u BOSTON SYMPHONY ORCHESTRA : 188M931" 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) BUSHNELL MEMORIAL HALL HARTFORD FIFTY-FIRST SEASON, 1931-1932 INC. Di SERGE KOUSSEVITZKY, Conductor TUESDAY EVENING, MARCH 1, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1932, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. BENTLEY W. WARREN President ERNEST B. DANE Treasurer ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL WILLIAM PHILLIPS M. A. DE WOLFE HOWE EDWARD M. PICKMAN FREDERICK E. LOWELL HENRY B. SAWYER BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager Dr. SERGE KOUSSEVITZKY Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H Cherkassky, P. Concert-master Kassman, N. Hamilton, V. Eisler, D. Theodorowicz, J Hansen, E. 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. Bernard, A. Grover H. Fiedler, A. Artieres, L. Cauhape, J. Van Wynbcrgen, C. Wernei , 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. Dufresne, G. Kelley, A. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Polatschek, V. Laus, A. Bladet, G. Devergie, J. Mimart, P. Allard, R. Amerena, P. Stanislaus, H. Arcieri, E. Panenka, E. Allegra, E. (E-flat Clarinet) Piccolo. English Horn Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Bettoney, F. Piller, B. Horns. Horns. Trumpets. Trombones. Boettcher, G. Valkenier, W Mager, G. Raichman, J. Pogrebniak, S. Schindler, G. Lafosse, M. Hansotte, L. Van Den Berg, C. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Adam, E. Voisin, R. Mann, J. Tubas. Harps. TlMPANL Percussion. Sidow, P. Zighera, B. Ritter, A. Sternburg, S. Adam, E. Caughey, E. Polster, M. White, L. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J. gtetm IN THE HORACE BUSHNELL MEMORIAL HALL WAS SELECTED AS THE MOST DESIRABLE INSTRUMENT . FOR THIS AUDITORIUM Other notable Austin installations are in: THE MORMON TABERNACLE, Salt Lake City ST. GEORGE'S, New York City ST. JAMES', New York City CHURCH OF THE HEAVENLY REST, New York CHURCH OF THE TRANSFIGURATION, New York (The little Church around the corner) UNIVERSITY OF PENNSYLVANIA, Philadelphia CITY HALL, Portland, Maine MUNICIPAL AUDITORIUM, San Francisco, Cal. etc. AUSTIN ORGAN CO. Hartford, Conn. BUSHNELL MEMORIAL HALL HARTFORD Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor TUESDAY EVENING, MARCH 1 AT 8.15 PROGRAMME Prokofieff "Classical" Symphony, Op. 25 I. Allegro. II. Larghetto. III. Gavotte. IV. Finale. Wagner Prelude to "Lohengrin" Ravel "Daphnis et Chloe," Ballet: Second Suite Lever du Jour—Pantomime—Danse G6nerale Beethoven . Symphony No. 3 in E-flat major, Op. 55, "Eroica' I. Allegro con brio. II. Marcia funebre : Adagio assai. III. Scherzo; Allegro vivace; Trio. IV. Finale; Allegro molto. There will be an intermission of ten minutes after Ravel's "Daphnis et Chlo6" A warning bell will be sounded two minutes before the end of the intermission. 5 . "Classical" Symphony, Op. 25 . Serge Sergievich Prokopiefp (Born at Sontsovka, Russia, April 24, 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 a concert of the Eussian 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. Analytic Symphony Series DITSON PUBLICATION A Twenjietn Century 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. Prelude to the Opera "Lohengrin" .... Richard Wagner (Born at Leipsic, May 22, 1813; died at Venice, February 13, 1S83) "Lohengrin," an opera in three acts, was performed for the first time at the Court Theatre, Weimar, August 28, 1850. The cast was as follows : Lohengrin, Beck ; Telramund, Milde ; King Henry, Hofer; the Herald, Patsch; Orturd, Miss Fastlinger; Elsa, Miss Agthe. Liszt conducted. Liszt described the prelude as "a sort of magic formula which, like a mysterious initiation, prepares our souls for the sight of un- accustomed things, and of a higher signification than that of our terrestrial life." THE Hartford Oratorio assisted by AND Four Celebrated Soloists including Mario Chamlee—world famous tenor WILL SING VERDI'S REQUIEM TUESDAY EVENING, APRIL 26, 1932 AT HORACE BUSHNELL MEMORIAL HALL Tto Inc SHSS?B^&SStoffi' 75c, $1.00, $1.50, $2.00, $2.50 — Wagner's own explanation has been translated into English as follows : "Love seemed to have vanished from a world of hatred and quar- relling; as a lawgiver she was no longer to be found among the com- munities of men. Emancipating itself from barren care for gain and possession, the sole arbiter of all worldly intercourse, the human heart's unquenchable love-longing again at length craved to appease a want, which, the more warmly and intensely it made itself felt under the pressure of reality, was the less easy to satisfy, on ac- count of this very reality. It was beyond the confines of the actual world that man's ecstatic imaginative power fixed the source as well as the outflow of this incomprehensible impulse of love, and from the desire of a comforting sensuous conception of this super- sensuous idea invested it with a wonderful form, which, under the name of the 'Holy Grail,' though conceived as actually existing, yet unapproachably far off, was believed in, longed for, and sought for. The Holy Grail was the costly vessel out of which, at the Last Supper, our Saviour drank with His disciples, and in which His blood was received when out of love for His brethren He suffered upon a cross, and which till this day has been preserved with lively zeal as the source of undying love; albeit, at one time this cup of salvation was taken away from unworthy mankind, but at length was brought back again from the heights of heaven by a band of angels, and delivered into the keeping of fervently loving, solitary men, who, wondrously strengthened and blessed by its presence, and purified in heart, were consecrated as the earthly champions of eternal love. "This miraculous delivery of the Holy- Grail, escorted by an angelic host, and the handing of it over into the custody of highly favored men, was selected by the author of 'Lohengrin,' a knight of the Grail, for the introduction of his drama, as the subject to be musically portrayed; just as here, for the sake of explanation, he may be al- lowed to bring it forward as an object for the mental receptive power of his hearers." Recorded for R.
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