iWetropoIitan Cfjeatre • $robtbence Tuesday Evening, October 21 at 8:30 o'clock *fa the &tpm>ttjto*uf AuauettceA.: \ J <Jhisms Programme, unique among symphony programmes in the adequacy of its notes, is made possible through the co-operation of advertisers who believe that the Concert Bulletin is a good advertising medium: that money spent on space in its pages gives adequate returns. • Because, in many cases, checking on such re- turns is difficult, readers of this programme are asked to mention the Concert Bulletin in purchasing from the firms whose advertisements appear in it — either personally or through a note when a bill is paid. • In this way each member of the audience will make a direct contribution toward maintaining the high standard of this publication — by justifying the advertisers' faith in this medium. metropolitan utljeatr? • ;Prmritottre SIXTY-FIRST SEASON, 1941-1942 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor RICHARD BURGIN, Assistant Conductor Concert Bulletin of the First Concert TUESDAY EVENING, October 21 with historical and descriptive notes by John N. Burk The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Ernest B. Dane . President Henry B. Sawyer .... Vice-President ERNEST B. DANE Treasurer Henry B. Cabot M. A. De Wolfe Howe Ernest B. Dane Roger I. Lee Reginald C Foster Richard C. Paine Alvan T. Fuller Henry B. Sawyer Jerome D. Greene Edward A. Taft N. Penrose Hallowell Bentley W. Warren G. E. Judd, Manager C. W. SPALDING, Assistant Manager [ 1] <iA New Reason As each year brings war nearer to us, the urgency increases of assuring that our cultural institutions continue their essential role in the spiritual life of the community. A body without spirit is a body without strength. Few institutions contribute more to the spirit than the Boston Symphony Orchestra. And the Orches- tra, in turn, depends for its life upon the loyalty of the Society of Friends, as it is the Friends' generous contributions each year that provide the necessary financial support. In the Orchestra's season just closed audiences totaled almost 800,000. With each and every gift to the Society of Friends comes the pride and satis- faction of assuring these vast audiences that the spirit of music is to be theirs, come what may, in the season that lies ahead. Cheques drawn to Boston Symphony Orchestra and mailed to William S. Innis, Esq., Rhode Island Hospital Trust Company, constitute enrollment in the Society of Friends without further formality. Providence membership today is 116. It should be nearer 500. Providence Friends of the Boston Symphony Orchestra Mrs. Henry D. Sharpe, Honorary Chairman Mrs. G. Maurice Congdon, Chairman Mrs. Royal Little, Vice-Chairman William S. Innis, Treasurer Mrs. Curtis B. Brooks, Secretary Mrs. Arthur M. Allen Raymond G. Williams [2] Two Hundred and Sixty-second Concert in Providence Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor FIRST CONCERT TUESDAY EVENING, October 21, at 8:30 o'clock Programme Beethoven Symphony No. 3 in E-flat major, "Eroica," Op. 55 I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace; trio IV. Finale: Allegro INTERMISSION Moussorgsky "Pictures at an Exhibition," Pianoforte Pieces arranged for Orchestra by Maurice Ravel Promenade — Gnomus — II Vecchio Castello — Tuileries — Bydlo — Ballet of Chicks in their Shells — Samuel Goldenburg and Schmuyle — Limoges; The Marketplace — Catacombs (Con mortuis in lingua mortua) — The Hut on Fowls' Legs — The Great Gate at Kiev BALDWIN PIANO In conformance with City Regulations ladies are respectfully requested to remove their hats [3] SYMPHONY NO. 3 IN E-FLAT, "EROICA," Op. 55 By Ludwig van Beethoven Born at Bonn, December i6(?), 1770; died at Vienna, March 26, 1827 Composed in the years 1802-1804, the Third Symphony was first performed at a private concert in the house of Prince von Lobkowitz in Vienna, December, 1804, the composer conducting. The first public performance was at the Theater an der Wien, April 7, 1805. The parts were published in 1806, and dedicated to Prince Lobkowitz. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, timpani and strings. The Third Symphony is set down by Paul Henry Lang, in his "Music in Western Civilization,"* as "one of the incomprehensible deeds in arts and letters, the greatest single step made by an individual composer in the history of the symphony and the history of music in general." The statement is well considered; it looms in a summation which is broad, scholarly, and musically penetrating. Indeed, wonder- ment at that mighty project of the imagination and will is not lessened by the passing years. Contemplating the harmless docilities of the First and Second Symphonies, one looks in vain for a "new road"f * Published this month by W. W. Norton & Company. f "I am not satisfied," said Beethoven to Krumpholz in 1802, "with my works up to the present time. From today I mean to take a new road." We are showing our Fall Collection Teagowns for informal dining Housecoats - Negligees The Trousseau House of Boston 416 BDYLSTDN STREET WELLESLEY ~ HYANNIS • PALM. BEACH [4] taken so readily with so sure and great a stride. Wagner's "Ring" fol- lowing "Lohengrin," Brahms' First Symphony — these triumphant as- sertions of will power were achieved only after years of germination and accumulated force. With Beethoven, spiritual transformations often came swiftly and without warning. Having completed his Second Symphony in the summer of 1802 at Heiligenstadt, he forthwith turned his back upon the polite patterns of Haydn and Mozart. The moment was the most critical in his life. The realization came upon him in that summer that deafness must be accepted, an ironic blotting out of the precious faculty of his calling, shutting him from converse with the world of tone and the world of men. He contem- plated suicide, but seized upon the thought that living to compose was his one great duty and resource. To Dr. Wegeler, one of the two friends whom he could bring himself to tell of his deafness, he wrote in a letter of resurgent determination, "I will take Fate by the throat." The "Eroica" was his direct act of taking "Fate by the throat," for the first sketches are attributed by Nottebohm to October, 1802, the very month of the Heiligenstadt Will. In this sense, the idealized heroism of the Symphony can be nothing else than autobiographical. It is not explicitly so, for Beethoven would not reveal his secret tragedy; not even consciously so, for the deeper motivations of Bee- thoven were quite instinctive. as f #^\E LUXE is our interpretation of the M J finest laundry service money can buy . exquisitely finished, packed and delivered with every possible nicety. In our eight standard services, the same basic washing methods ensure absolute sanitation . although each service differs from the rest in degree of refinement in finish. [5] mm Design for the Oity Gate of Kiev by Victor Hartmann *7Ae liaccUasde. One of America's most unusual cocktail rooms, featuring "service with charm." Open daily from 11:30 a.m. to closing. Informal entertainment from 4:30 p.m. Buffet Luncheon Daily Buffet Supper Every Sunday Evening BILTMOKE ^Britain Delivers the Goods " Siceaters and Twin-Sets, many kinds. Lace Wool Scarfs, Bed Jackets, Dressing Gowns, Hosiery, Scarfs, Hats, Auto Robes, Shawls • TWEED SPORT COATS, CAPES AND CAPE-COATS Tailored to order for Discriminating Women Choice of many different models, and hundreds of Genuine Scotch Tweeds Romanes & Paterson 581 Boylston Street, Boston .... In Copley Square [6] As his notebooks show, he forged his heroic score with a steady on- slaught, expanding the inherited form almost beyond recognition, yet preserving its balance and symmetry. The plans for each movement but the scherzo were laid in the first fever of creation. But Beethoven seems to have been in no great hurry to complete his task. The work- manship in detail is largely attributed to his summer sojourns of 1803 at Baden and at Ober-Dobling. Ries remembered seeing the fair copy in its finished state upon the composer's table in the early spring of 1804. Musicians have never ceased to wonder at the welded and significant organism of the exposition in the first movement, the outpouring in- vention and wealth of episodes in the working out, the magnificence and freshness of the coda. The unity of purpose, the clarity amid pro- fusion, which the Symphony's early critics failed to perceive, extends no less to the Funeral march, the scherzo, the variation finale — forms then all quite apart from symphonic practice. One whose creative forces ran in this wise could well ignore precedent, and extend his score to the unheard-of length of three quarters of an hour. [COPYRIGHTED] Smart Clothes . 9°»* Son i»]r]rftft»fl:i«].jrj=i 334 Westminster Street - Providence Madame et La Jeune Fille, inc. 130 NEWBURY STREET • BOSTON Mrs. John A. Tuckerman In addition to our usual stock for all ages, we are showing exclusive designs by Mme. Lyolene of Paris Dresses from $25 NEW YORK SHOP ::::::: 417 PARK AVENUE [/] "PICTURES AT AN EXHIBITION" (Pianoforte Pieces) By Modest Petrovitch Moussorgsky Born at Karevo, district of Toropeta, in the government of Pskov, on March 21, 1839; died at St. Petersburg on March 28, 1881 Arranged for Orchestra by Maurice Ravel Born at Ciboure, Basses-Pyrenees, on March 7, 1875; died in Paris, December 28, 1937 Moussorgsky composed his suite of piano pieces in June 1874. Maurice Ravel made his orchestral setting of them in 1923. The first performance of this orchestra- tion was at a "Koussevitzky Concert" in Paris, May 3, 1923. Dr. Koussevitzky first played the suite at the Boston Symphony concerts November 7, 1924.