CARNEGIE HALL .... NEW YORK Thursday Evening, January 4, at 8.45 Saturday Afternoon, January 6, at 2.30 5tf ^ v§^ % 2)' r^v BOSTON SYMPHONY ORCHESTRA INC. FIFTY-TfflRD SEASON 1933-1934 PR5GR7WVE Boston Symphony Orchestra Fifty-third Season, 1933-1934 Dr. SERGE KOUSSEVITZKY, Conductor PERSONNEL Violins. Burgin, R. Elcus, G. Lauga, N. Sauvlet, H. Resnikoff, V. Concert-master Gundersen, R. Kassman, N. Cherkassky, P. Eisler, D. Theodorowicz, J. Tapley, R. Mariotti, V. Fedorovsky, P. Knudson, C Leibovici, J. Pinfield, C. Leveen, P. Hansen, £. Zung, M. Del Sordo, R. Gorodetzky, L, Mayer, P. Diamond, S. Bryant, M. Fiedler, B. Zide, L. Beale, M. Stonestreet, L. Messina, S. Murray, J. Erkelens, H. Seiniger, S. Violas. Lefranc, J. Fourel, G. Bernard, A. Grover, H. 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. Vondrak, A. Moleux, G. Frankel, 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. Arcieri, E. Piccolo. English Horn. Bass Clarinet. Contra-Bassoon Battles, A. Speyer, L. Mimart, P. Piller, B. Horns. Horns. Trumpets. Trombones. Boettchcr, G. Valkenier, W. Mager, G. Raichman, J. Macdonald, W. Lannoye, M. Lafosse, M. Hansotte, L. Valkenier, W. Singer, J. Grundey, T. Kenfield, L. Lorbe^r, H. Gebhardt, W. Voisin, R. Adam, E. Hain, F. Mann, J. Tuba. Harps. Timpani. Percussion. Adam, E. Zighera, B. Ritter, A. Sternburg, S. Caughey, E. Polster, M. White, L. Organ. Piano. Celesta. Librarian. Snow, A. Sanroma, J. Fiedler, A. Rogers, L. J. CARNEGIE HALL - - - NEW YORK Forty-eighth Season in New York FIFTY-THIRD SEASON, 1933-1934 INC. Dr. SERGE KOUSSEVITZKY, Conductor THURSDAY EVENING, JANUARY 4, at 8.45 AND THE SATURDAY AFTERNOON, JANUARY 6, at 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE AND JOHN N. BURK COPYRIGHT, 1934, BY BOSTON SYMPHONY ORCHESTRA, INC. 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 EDWARD M. PICKMAN N. PENROSE HALLOWELL HENRY B. SAWYER M. A. DE WOLFE HOWE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. IUDD, Assistant Manager 1 Dr. SERGE KOUSSEVITZKY CARNEGIE HALL NEW YORK Forty-eighth Season in New York Fifty-third Season, 1933—1934 Dr. SERGE KOUSSEVITZKY, Conductor SECOND CONCERT THURSDAY EVENING, JANUARY 4 AT 8.45 PROGRAMME Mozart "Eine Kleine Nachtmusik," Serenade for String Orchestra (Koechel No. 525) I. Allegro. II. Romanza. III. Menuetto; Allegretto. IV. Rondo: Allegro. Markevitch Introduction and Hymn (First performance in New York) Ravel "Sheherazade," Three Poems for Voice and Orchestra, to the Verses of Tristan Klingsor I. Asie. II. La Flute Enchantee. III. L'Indifferent. Strauss Tone Poem, "Ein Heldenleben," Op. 40 SOLOIST OLGA AVERINO Soprano MASON & HAMLIN PIANOFORTE There will be an intermission often minutes after Ravel's "Sheherazade' The music of these programmes is available at the 58th Street Libraty Reminder—The next concert of the Evening Series will be given on Friday, February 2, 1934, at 8.45 3 — "Eine Kleine Nachtmusik": Serenade for String Orchestra (K. 525) Wolfgang Amadeus Mozart (Born at Salzburg, January 27, 1750; died at Vienna, December 5, 1791) This music was composed at Vienna, August 10, 1787. There are four movements : I. Allegro, G major, 4-4. The energetic chief theme is exposed at once. It is followed by an episode of a gentler character. Two motives of importance are introduced later. The developments and coda are short. II. The Romanze, Andante, C major, 2-2, is in rondo form with four themes. III. Minuet, Allegretto, G major, 3-4. Trio, D major, "sotto voce." IV. Rondo, Allegro, 2-2. In spite of the title "Rondo," this Finale is not so strictly in rondo form as the foregoing Romanze. Introduction and Hymn Igor Markevitch (Born at Kiev, Russia, July 27, 1912; living at Paris) Igor Markevitch, the youthful composer whose frail physique belies his ebullient music, is still the particular protege^ of Paris, where certain critics and a certain public have followed with eager anticipation the precocious development of his talent. His admirers find it significant that Igor was born with the "Sacre du Printemps," that he was nourished on the milk of "neo-classicism," that his "pure" and unbridled polyphony is quite innocent of revolutionary ardor—he has simply known no other way. Last June 16, on the eve of his coming of age, Markevitch's two latest scores had their first performance at a semi-private concert in Paris. The pieces were the three Hymnes (of which the Introduc- tion and first Hymn are here played), and the "ballet" UEnvoi d'Icare, which the composer had written to a scenario by the dancer Serge Lifar some time before. The visual presentation of "The Flight of Icarus," for some reason, had never come to pass. In order that this piece, and the "Hymns" might have a hearing, the Revue Musicale organized an invitation performance at the Salle Gaveau. "Une elite" was there, according to Henry Pruni&res, of thai maga- zine—"one could distinguish all the personalities of the musical and artistic worlds." The "Orchestre Symphonique de Paris" played, and Roger Desormiere conducted, M. Prunieres withheld his opinion of the hymns, pleading an inadequate performance. He said of them, simply—"the music unfolds by turn rapidly, tranquilly, and with abandon." The score shows the introduction to be calm and simple in design (barring the juxtaposition of unrelated voices). The hymn which follows is marked "largamente," of sonority gradually intensified. The rhythm is accentuated by the brass, the drums played "without timbre." It is not a complex rhythm in the Stravinskyan sense, for there is no appreciable alteration of the 12/8 signature, and the beat is regular. The complexity is of a sort not readily distinguish- able to the ear. It lies within the beat, which contains at moments a five, a four, and a six figure played simultaneously. The instru- mentation comprises piccolo, flute, two oboes, clarinet in E-flat, two 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 covering 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 significance 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. clarinets in B-flat, two bassoons, contra-bassoon, two horns, two trumpets, two trombones, timpani, small drum, military drum (without snare), bass drum, tambourine, cymbals, piano, and strings. Anyone expecting enlightenment from the title "hymns" need only look upon the short past of Markevitch. Born to the newer way of absolute music, he has not had to rid himself, like the elder moderns, of coloristic and suggestive impedimenta. "Kebus, an Imaginary Ballet" is a suite—nothing more. About a text for his only vocal work, the "Cantata," the young man was totally uncon- cerned. He handed the completed score to Jean Cocteau, leaving that gentleman to supply words or sounds according to his roaming fancy. For once, in "The Flight of Icarus,"* the composer permitted himself to be bound to a programme, although Boris de Schloezer, who was present at the performance last June, assures us that the composer does not forfeit his absolute standards. "Personal images and emotions hover over the music, but they do not obtrude upon its development." This writer describes in the "Nouvelle Revue Franchise" for August, a certain species of soiree in Paris, where, with an air, new music is disclosed to the elect. "Premieres swarm in Paris—during the season groups like the Triton and the Serenade are open for a hearing to ambitious youth. No audacity gives offense—on the con- trary. But the strange part of it is that the results of this broad policy are so meagre. Beside the circumscribed formulas and the commonplaces of the 'right,' we now have the commonplaces of the 'left,' or the 'extreme left.' If there are classical and romantic traditions, there are also revolutionary traditions, and these are actually more tyrannical than the other. Stravinsky, Schoenberg, Hindemith, Prokofieff, all have their imitators, not to mention the neo-classics, who cleverly sprinkle with spices the formulas of Bach, Scarlatti, or Rossini. The innovators are usually content with making their choice of one recipe or another, and the highest courage consists in applying these recipes with the utmost rigor, going one better than Stravinsky, Schoenberg, or Hindemith—but always in the same direction." Hitherto skeptical of Markevitch, de Schloezer admits his con- version at this concert. This critic was suspicious of the lasting qualities of his precocity ; he had been repelled by a certain element of "snooisme" which flocked about his suddenly flaring talent. Amid *"'Icarus studies the flight of doves, and succeeds in attaching wings to his back. He essays flight—to a stupefying crescendo he rises and disappears from sight. There is a tense, anguished moment as his youthful companions gaze upwards. Suddenly, on three mysterious chords, the wings float gently to earth. Icarus has perished, but his soul still ascends amidst an unearthly effulgence." 6 — diapasons of praise for the Partita, he had held aloof, finding in it merely a perfectly realized expression of the fad of the season dehumanized music.