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

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Boston Symphony Orchestra Concert Programs, Season 51,1931-1932 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES . Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 iO O&ly INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTY-FIRST SEASON, 1931-1932 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 937 THE KETTLEDRUM 1 HE Percussion family is divided into two groups — the "Autophonics " and the " Membranes." The latter group includes "the drums," and is itself divided into in- struments of definite pitch — the kettledrums; and instruments of indefinite pitch — the bass drum, side drum, and tambourine. In the I 3 th century the Crusaders introduced into Europe an Arabian instrument called naggareh, the true ancestor of the kettle- drum. We all know those huge copper kettles, not alone for their deep rolls, long crescendos or diminuendos, but also for the picturesqueness they add to the appearance and setting of the Orchestra. Beethoven discovered the real possibilities of the kettledrum and changed its tuning. He even raised it to the rank of a solo instru- ment. Composers have never hesitated to call for many changes of tuning, yet they always allow a performer sufficient bars of rest to bring the head to the desired pitch. The parchment head of the kettledrum is tuned by tightening or loosening its T-head screws. In the bottom of the bowl is a hole which permits the compressed air to escape when the head is struck. Without this hole the parchment would split. Kettledrums are made in six different sizes. * * * * IF you will read our publication, "Wills and Trusts" you will understand the benefits and safeguards of letting Old Colony Trust Company serve you as Executor and Trustee. This booklet will be sent to you. promptly upon request. Old Colony Trust Company 17 COURT STREET, BOSTON ^Affiliated with The First National Bank of Boston 938 ©©! 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, £. 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 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. Dufresn*r, 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. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Sternburg, S. Adam, £. Caughey, E. Polster, M. White, L. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J. 939 BOSTON COMMON TREMONT STREET AT WEST Impressions of Spring FROM OUR Madison Avenue Fashion Bureau Simplicity Slowly, but with consistent regularity, the fashion cycle revolves until the finger halts for a moment and points to Spring, 1932. And we are confronted with a new-old word, "Simplicity." . More subtle in its expression, yet more im- portant than ever due to its sensible quality. 1932 simplicity does not mean a straight line dress, tied around a waistline placed at the hips, with a string belt. It is a subtle achieve- ment for a simple effect, through intricate cut and perfection of workmanship. Modermsm We are modern, and therefore Spring fashions, in harmony with the times, are gay and spirited. Period effects are the last thing we shall take seriously this Spring. This "fresh" aspect to fashion is psychological because, as always, after a season of period influence we realize that in simplicity and casualness lies the greatest chic. Mannishness Fashions for Spring are mannishly simple, especially for street and sports wear. Yet we are not returning to post-war days in our interpretation of mannish fashions. There is a feminine, lady-like quality introduced in some manner in all tailored costumes. 940 FIFTY-FIRST SEASON, NINETEEN HUNDRED THIRTY-ONE AND THIRTY-TWO FRIDAY AFTERNOON, FEBRUARY 19, at 2.30 o'clock •SATURDAY EVENING, FEBRUARY 20, at 8.15 o'clock Mozart ..... Overture to "The Marriage of Figaro" Mozart . Concerto for Violin and Orchestra in D major, No. 4 (K. No. 218) I. Allegro. II. Andante cantabile. III. Rondo: Andantino grazioso. Copland ......... Symphonic Ode (First performances) Ravel ...... "Tzigane," for Violin and Orchestra Liszt ..... "Les Preludes," Symphonic Poem No. 3 (after Lamartine) SOLOIST YELLY DARANYI STEINWAY PIANO There will be an intermission after Copland's "Symphonic Ode' The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert 941 ; Overture to the Opera, "The Marriage of Figaro" Wolfgang Amadeus Mozart (Born at Salzburg, January 27, 1756 ; died at Vienna, December 5, 1791) "Le Nozze di Figaro: drainma giocoso in quadro atti; poesia di Lorenzo Da Ponte,* aggiustata dalla commedia del Beaumarchais, 'Le Mariage de Figaro'; musica di W. A. Mozart," was composed at Vienna in 1786 and produced there on May 1 of the same year. The cast was as follows : il Comte Almaviva, Mandini ; la Contessa, Leschi ; Susanna, Storace ; Figaro, Benucci ; Cherubino, Bussani Marcellina, Mandini; Basilio and Don Curzio, Ochelly (so Mozart wrote Michael Kelly's name, but Kelly says in his Eeminiscences that he was called OKelly in Italy) ; Bartolo and Antonio, Bussani; Barberina, Nannina Gottlieb (who later created the part of Pamina in Mozart's "Magic Flute," September 30, 1791). Mozart conducted. The Wiener Zeitung (No. 35, 1786) published this review: "On Monday, May 1, a new Italian Singspiel in four acts was performed for the first time. It is entitled 'Le Nozze di Figaro,' and arranged Lorenzo Da Ponte was born at Ceneda in 1749. He died at New York, August 17, 1838. His life was long, anxious strangely checkered. "He had been improvvisatore, professor of rhetoric, and politician in his native land ; poet to the Imperial Theatre and Latin secretary to the Emperor in Austria ; Italian teacher, operatic poet, littera- teur, and bookseller in England ; tradesman, teacher, opera manager, and bookseller in America." Even his name was not his own, and it is not certain that he ever tool? orders. He arrived in New York in 1805. See Mr. H. E. Krehbiel's entertaining chapter, "Da Ponte in New York" ("Music and Manners," New York, 1898). IT'S NO SECRET — Hollander clothes are certainly less ex~ pensive this year — BUT (notice the capitals please ) they are no less fine — For over eighty years we have been building an enviable reputation for quality which we wouldn't dream of impairing — Hollander clothes are still the finest to be bought and we believe the least ex- pensive, all things considered — ju? HOLLANDER &** 942 after the French comedy of Hrn. v. Beaumarchais by Hrn. Abb. Da Ponte, theatre-poet. The music to it is by Hrn. Kapellmeister Mozart. La Sign. Lasclii, who came here again a little while ago, and la- Sign. Bussani, a new singer, appeared in it for the first time as Countess and Page." The opera was performed nine times that year. Only Martin's "Burbero di buon cuore" had as many. But when Martin's "Cosa rara"* met with overwhelming success on November 17, 1786, Emperor and public forgot "The Marriage of Figaro," which was not performed in Vienna in 1787 and 1788, and was first heard thereafter on August 29, 1789. The first performance in the United States was in Bishop's re- modelled English version, at the Park Theatre in New York, on May 10, 1823. Mrs. Holman (known later as Mrs. C. W. Sandford, and regarded at the time as "almost the best woman singer New York had heard—" Professor Odell adds "by the end of the period \te are discussing (1821-28) her glory had withered in comparison with Signorina Garcia and others who successively entranced the musical in the city") and Pearman (who, according to the Albion, possessed an "exquisitely sweet and melodious voice, with fine science and correct taste—the clearness, softness and beauty of •This opera was revived in Vienna some years before the late war. A continuation by Benedict Schack of Martin's opera was produced at Vienna, about 1800, and held the stage there tiU 1814. NEW PUBLICATIONS FOR PIANOFORTE TEN CLASSICAL PIECES MOON PICTURES Adapted, Arranged and Edited by EDWARD MacDOWELL by ARTHUR FOOTE For two pianos, four hands Contents Transcribed by FfiLIX FOX P. E. Bach, Rondo in B minor The Hindoo Maiden—Story of the Rameau, Menuet Stork—Visit of the Bears Handel, Chaconne in G Price $1.00 net Handel, Air a la Bourree Bach-Saint-Saens, Recitative and Air Bach-Foote, Courante SANJO Beethoven, Bagatelle Schumann, May Song Intermezzo Orientale Brahms, Intermezzo Piano solo Franck, Danse Lente (Schmidt's Educational Series by No.
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