Boston Symphony Orchestra Concert Programs, Season 55,1935-1936, Trip
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Carnegie ^all Fiftieth Season in New York %% EST „ BOSTON ^SYMPHONY ORCHESTRA INC. FIFTY-FIFTH A SEASON 1935-1936 ' 11] Thursday Evening, November 21 Saturday Afternoon, November 23 Boston Symphony Orchestra [Fifty-fifth Season, 1935-1936] Dr. SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H. RESNIKOFF, V. Concert-mat ter GUNDERSEN, R. KASSMAN, N. CHERKASSKY, F EISLER, D. THEODOROWICZ> J- HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. P. LEIBOVICI, J. PINFIELD, C. LEVEEN, KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. MURRAY, J. ERKELENS, H. SEINIGER, S. Violas G. LEFRANC, J. FOUREL, BERNARD, A. GROVER, H. ARTIERES, L. CAUHAPE, J. VAN WYNBERGEN, C. WERNER, H. AVIERINO, N. DEANE, C. HUMPHREY, G. 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. ZIMBLER, J. , Basses KUNZE, M. LEMAIRE, J. LUDWIG, O. GIRARD, H. JUHT, L. VONDRAK, A. MOLEUX, G. FRANKJEL, I. DUFRESNE, G. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. POLATSCHEK, V. LAUS, A. BLADET, G. DEVERGIE, J. VALERIO, M. ALLARD, R. AMERENA, P. STANISLAUS, H. MAZZEO, R. PANENKA, E, Eb Clarinet Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. MIMART, P. PILLER, B. Horns Horns Trumpets Trombones BOETTCHER, G. VALKENIER, W. MAGER, G. RAICHMAN, J. MACDONALD, W. LANNOYE, M. LAFOSSE, M. HANSOTTE, L. VALKENIER, W, SINGER, J. VOISIN, R. L. LILLEBACK, W. GEBHARDT, W. LORBEER, H. VOISIN, R. ADAM, E. MANN, J. Tuba Harps Timpani Percussion ADAM, E. ZIGHERA, B. SZULC, R. STERNBURG, S. CAUGHEY, e. POLSTER, M. WHITE, l. ARCIERI, E. Organ Piano Celesta Librarian SNOW, A. SANROMA, J. FIEDLER, A. ROGERS, L. J. Carnegie ©all • Neto fork Fiftieth Season in New York FIFTY-FIFTH SEASON, 1935-1936 Boston Symphony Orchestra INCORPORATED Dr. SERGE KOUSSEVITZKY, Conductor RICHARD BURGIN, Assistant Conductor Concert Bulletin of the First Concert THURSDAY EVENING, November 21 AND THE First Matinee SATURDAY AFTERNOON, November 23 with historical and descriptive notes By John N. Burk COPYRIGHT, 1935, BY BOSTON SYMPHONY ORCHESTRA, lllC. 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 Carnegie Hall Fiftieth Season in New York Boston Symphony Orchestra Dr. SERGE KOUSSEVITZKY, Conductor FIRST EVENING CONCERT THURSDAY, November 21 FIRST AFTERNOON CONCERT SATURDAY, November 23 Programme Beethoven Symphony No. 1 in C major, Op. 21 I. Adagio molto; Allegro con brio II. Andante cantabile con moto III. Menuetto; Allegro molto e vivace; Trio IV. Finale; Adagio; Allegro molto e vivace INTERMISSION Beethoven Symphony No. 9 in D minor, with final chorus on Schiller's Ode to Joy, Op. 125 I. Allegro, ma non troppo, un poco maestoso. II. Molto vivace: Presto. III. Adagio molto e cantabile. IV. Presto. Allegro assai. Presto. Baritone Recitative. Quartet and Chorus; Allegro assai. Tenor Solo and Chorus: Allegro assai vivace, alia marcia. Chorus: Allegro assai. Chorus: Andante maestoso. Adagio, ma non troppo, ma divoto. Allegro energico, sempre ben marcato. Quartet and Chorus: Allegro ma non tanto; Prestissimo. CHORUS Schola Cantorum (Hugh Ross, Conductor) soloists Jeannette Vreeland, Soprano Paul Althouse, Tenor Elizabeth Wysor, Contralto Julius Huehn, Bass [3] FIFTY YEARS IN NEW YORK By W. J. Henderson Mr. Henderson, writing from his own experience, reviews in the New York Sun, November 2, 1935, the part which this orchestra has taken in the musical life of that city through fifty consecutive seasons. Early in the winter of 1886-87 ^ was made known that New York was to be invaded by a foreign orchestra. We had all heard that Boston was carrying its musical head pretty high because of this or- chestra and naturally we were curious about it. So when it gave its first New York concert on February 14, 1887, down in the old Stein- way Hall in Fourteenth Street, all the knowing ones were there. The program listed the "Oberon" Overture, the Beethoven violin concerto, Handel's Largo, and Beethoven's Fifth Symphony. The conductor was Wilhelm Gericke. The soloist, who rose from his desk at the head of the first violins, was Franz Kneisel. When the visitors had finished the Weber number we knew they were an orchestra. The audience applauded frenetically; some musi- cians (not orchestral) stood up and cheered. Such string tone, such precision, such balance, and such generally polished style demanded all that enthusiasm. The orchestra gave two more concerts that winter, both in Steinway Hall. The second concert took place March 2. The program was: the "Anacreon" Overture, "Ocean, Thou Mighty Monster," Brahms's Second Symphony, Liszt's First Hungarian Rhapsody, "Die Allmacht," Overture to "Tannhauser." The singer was Lilli Lehmann. At the third concert, March 31, the offerings were the "Sakuntala" Overture, Henselt's piano concerto in F minor (Rafael Joseffy), and the Schubert C major symphony. We knew then that the Boston Orchestra could not be confined to Boston. And so it has been coming to New York ever since and is about to celebrate its fifty years of welcome in this town. The second season began on December 14, 1887, in Steinway Hall. We found that the wood wind, which had not been quite up to our expectations the previous winter, had been much improved. Mr. Gericke brought one of Boston's own soloists this time. She was Gertrude Edmands, a singer much admired at home, but received here with critical ice. For some reason this was regarded with deep disfavor in Boston, where some New York divinities had failed to inspire worship. Which led a local scribe to say: "Swans in Boston, geese in New York; swans in New York, geese in Boston." It was at the close of the season of 1888-89 (March 12, Steinway Hall) that Willie Gericke, as his friends called him (every one loved Gericke), took his farewell, and, mounting the platform, found his desk buried in smilax and roses. The audience was the largest yet [4] seen at a Boston Symphony concert and there was a wreath for the conductor from his local admirers. The orchestra played the Brahms "Academic," Schubert "Unfinished," "Queen Mab" Scherzo and "Meis- tersinger" Vorspiel. Kneisel played the Mendelssohn concerto. Arthur Nikisch Takes the Baton Perhaps the period during which Arthur Nikisch directed the or- chestra might be called the romantic. At any rate we knew he was a romanticist when he made his debut in New York in Stein- way Hall on December 17, 1889, with the "Euryanthe" Overture, the "Tristan" Vorspiel, and the Schumann D minor. But few of us realized then that the great event of the concert was the first performance in New York of the Brahms violin concerto, with Franz Kneisel as the solo performer. At the second concert, January 14, Anton Hekking, 'cellist, was the soloist with Saint-Saens's A minor concerto, and Borodin's E-flat Sym- phony (No. 1) had its first New York hearing. The strong hand of Nikisch began to show itself in the increased masculinity of the or- chestra, which continued throughout the season to grow in favor. In the autumn the organization moved to Chickering Hall, Fifth Avenue and Eighteenth Street, now long gone. The first concert there took place November 11, 1890, with Julie Wyman, contralto, as soloist, and The Analytic Symphony Series Edited and annotated by PERCY GOETSCHIUS, Mus. Doc. Published by Oliver Ditson Company, Inc. The Analytic Symphony Series comprises thirty-four volumes cov- ering the most important symphonies of the world's greatest masters. Each volume is presented in playable two-hand piano score, and contains complete analytical notes on the structure and orchestration in addition to critical notes appraising the sig- nificance of the composition and its salient points. Copies may be had from your Music Dealer or the Publishers OLIVER DITSON COMPANY, Inc. 359 Boylston Street Boston, Mass. [5] Nikisch at the piano. His accompaniments have never been surpassed. They were marvels of color, poetic background, perfect proportion, and technical finish. In that same season (December 9) Kneisel played the Goldmark concerto for the first time in New York. On January 13, 1891, Timothee Adamowski was the soloist with Saint-Saens's Rondo Capriccioso. It was in Chickering Hall on March 16, 1893, that Nikisch bade us farewell. Kneisel was to have played the opening movement of the Brahms concerto, but was ill, and Mrs. Nikisch sang some songs, with her husband at the piano. The orchestra played the "Carnaval Romain" Overture, the "Waldweben," and Tschaikowsky's Fifth. On November 8, 1893, tne orchestra gave its first concert in the new "Music Hall founded by Andrew Carnegie," now called Carnegie Hall. The conductor was Emil Paur, who directed Beethoven's Fifth, Dvorak's "Slavonic Rhapsody" and the "Benvenuto Cellini" Overture. Emma Eames, soloist, sang two operatic airs. When Mr. Paur made his debut in Boston, beginning with the same Beethoven symphony, Ben Woolf said to this writer and H. E. Krehbiel, "Well, tonight Fate kicked the door clear in." The knocking was a trifle less boisterous in New York, but it was not long before the polish imparted to the orchestra's playing by Gericke and Nikisch gave way to a more burly style. With the concert of November 1, 1894, the orchestra (Paur con- ducting) made another move, this time to the Metropolitan Opera House.