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Boston Symphony Orchestra Concert Programs, Season 40,1920-1921, Trip CARNEGIE HALL .... NEW YORK . Thursday Evening, March 17, at 8.15 Saturday Afternoon, March 19, at 2.30 ^ ^wuiilJ/%. I ?s(E >•*- ucuv BOSTON SYAPHONY ORCHESTRS INCORPORATED FORTIETH \£ SEASON 1920-1921 prsgrvwie IHI lfo» ha individuality 01 tone and action j togothor with the dis- tinctive refinement and elegance in case design appeals to artists and connoisseurs alike. (the 3Mdmm jjmno (fix Cincinnati Chicago New York Indianapolis St. Louis Louisville Denver Dallas San Francisco Sold exclusively by JOHN WANAMAKER PIANO SALONS, Broadway and 9th Street, New York CARNEGIE HALL NEW YORK Thirty-fifth Season in New York FORTIETH SEASON, 1920-1921 INCORPORATED PIERRE MONTEUX, Conductor THURSDAY EVENING, MARCH 17, at 8.15 AND THE SATURDAY AFTERNOON, MARCH 19, at 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1921, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD. Assistant Manager THE INSTRUMENT OF THE IMMORTALS LISZT, greatest of all pianists, preferred -a the Stemway, Wagner, Berlioz, Rubinstein and a host of master-musicians esteemed it more highly than any other instrument. It is these traditions that have inspired Steinway achievement and raised this piano to its artistic pre-eminence which is today recognized throughout the world. 107-109 East /4th Street New York City Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Fortieth Season, 1920-1921 PIERRE MONTEUX, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Sauvlet, H. Concert-master. Mahn, F. Hamilton, V. Barozzi, S. Theodorowicz, J. Gundersen, R. Berger, H. Fiedler, B. Riedlinger, H. Pinfield, C. Hoffmann, E. Leveen, P. Gorodetzky, L. Thillois, F. Kurth, R. Murray, J. Stonestreet, L. Goldstein, S. Bryantf M. Knudsen, C. Siegl, F. Deane, C. Tapley, R. Seiniger, S. Diamond, S. Messina, S. Reed, L. Del Sordo, R. Erkelens, H. Violas. Denayer, F. Van Wynbergen, C. Grover, H. Mullaly, J. Kluge, M. Artteres, L. Shirley, P. Fiedler, A. Gerhardt, S. Welti, 0. Violoncellos Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendoen, J. Schroeder, A. Barth, C. Fabrizio. E. Stockbridge, C. Marjollet, L Basses. Kunze, M. Seydel, T. Ludwig, 0. Kelley, A. Gerhardt, G. Frankel, I. Demetrides, L. Girard, H. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Vannini, A. Mueller, E Amerena, P. Stanislaus, H. Bettoney, F Piccolo English Horns. Bass Clarinet. Contra-Bassoon Battles, A. Mueller, F. Mimart, P. Piller, B. Speyer, L. Horns. Horns. Trumpets. Trombones. Wendler, G. Van Den Berg, C. Mager, G. Hampe, C. Lorbeer, H. Hess, M. Mann, J. Adam, E. Hain, F. Perret, G. Mausebach, A. Gebhardt, W. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Adam, E. Holy, A. Neumann, S Rettberg, A. Burkhardt, H Delcourt, L. Kandler, F. Ludwig, C. Zahn, F. Organ. Celesta. Librarian. Snow, A. Fiedler, A Rogers, L. J. 3 : 1 Every lover of Piano Music should Hear the diehr<ydu£inn ZPicuxxy This wonderful instrument brings the playing of the world's greatest pianists right into* your own home. Mr. Phillip Hale, in reviewing the public com- parison of the Ampico's reproduction with the actual playing of Richard Buhlig at the Copley-Plaza wrote "It is not easy to believe that there was a mechanical reproduction. The impres- sion is made on the hearer that thepian- ist is playing then and there, cc Hearing the Ampico which never sug- gested the purely mechanical, one wishes that this instrument had been known in the days of Liszt, Chopin, Hensel, Rubinstein and Tausig!' It will give us great pleasure to show the Ampico in the Chickering to any one interested in this mar- velous invention. Itisthelastwordinthedevelopment of the art of producing music by scientific means. CARNEGIE HALL NEW YORK Thirty-fifth Season in New York Fortieth Season, 1920-1921 PIERRE MONTEUX, Conductor FIFTH CONCERT THURSDAY EVENING, MARCH 17 AT 8.15 PROGRAMME Brahms .... Symphony No. 2 in D major, Op. 73 I. Allegro non troppo. II. Adagio non troppo. III. Allegretto grazioso, quasi andantino. IV. Allegro con spirito. Weber Overture to the Opera "Euryanthe' Ravel Valses Nobles et Sentimentales I. Modere. II. Assez Lent. III. Modere. IV. Assez anim.6. V. Presque Lent. VI. Assez vif. VII. Moins vif. VIII. Epilogue: Lent. ,; Berlioz "Romeo alone; Grand Fete at the Capulets, from the Dramatic Symphony "Romeo and Juliet/' Op. 17 There will be an intermission of ten minutes after the symphony 5 Pf North Cape Cruise A New Way to Europe For the first time you can this summer sail from America to Europe by way of "the Lands of the Midnight Sun." Raymond'Whitcomb have ex- clusively chartered for this voyage the palatial P. 6k. O. Liner, "Emperor of India" (Kaisar-i Hind), of 18,000 tons displacement. A Summer Cruise Sailing from New York June 25, you may take this remarkable cruise either as a complete six weeks' vacation, or as a prelude to a summer abroad. You will find it the ideal way to travel. Delightful days at sea. Fascinating trips ashore. Iceland: The North Cape: The Fjords of Norway In July you will find these northern countries at their best—with a vivid individuality and a beauty that is peculiarly their own. There will be visits to the famous fjords and shore excursions to the most interesting places. In addition, the route includes Edinburgh, Antwerp, Amsterdam and London. Rates, $850 and upward. Other Tours California — Frequent tours in March and April. Europe — Spring and summer tours of varied itineraries. Japan-China, Arabian Nights Africa, Round the World. Write for booklet desired Raymond & Whitcomb Co* 225 Fifth Avenue, New York Madison Square, 6270 IRAYMOND-WHITCOMB ^S^TOURSWW IUU1U 6 CKUliXa^VQ^CRUISESCOv^ — Symphony No. 2, in D major,, Op. 73 ... Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) Chamber music, choral works, pianoforte pieces, and songs had made Brahms famous before he allowed his first symphony to be played. The symphony in C minor was performed for the first time at Carls- ruhe on November 4, 1876, from manuscript with Dessoff as conduc- tor. Kirchner wrote in a letter to Marie Lipsius that he had talked about this symphony in 1863 or 1864 with Mine. Clara Schu- mann, who then showed him fragments of it. No one knew, it is said, of the existence of a second symphony before it was com- pleted. The second symphony, in D major, was composed, probably at Portschach-am-See, in the summer of 1877, the year that saw the publication of the first. Brahms wrote Dr. Billroth in September of that year: "I do not know whether I have a pretty symphony; I- must inquire of skilled persons." He referred to Clara Schumann, Dessoff, and Ernst Frank. On September 19 Mme. Schumann wrote that he had written out the first movement, and early in October he played to her the first movement and a portion of the last. The symphony was played by Brahms and Ignaz Briill as a pianoforte duet (arranged by the composer) to invited guests at the piano- forte house of his friend Ehrbar in Vienna a few days before the date of the first performance, the announced date December 11. Through force of circumstances the symphony was played for the first time in public at the succeeding Philharmonic concert of December 30, 1877.* Bichter conducted it. The second perform- ance, conducted by Brahms, was at the Oewandhaus, Leipsic, on January 10, 1878. The review written by Eduard Hanslick after the performance at Vienna may serve to-day those who are unwilling to trust their own judgment. "It is well known that Wagner and his followers go so far as not only to deny the possibility of anything new in the symphonic form, i.e., new after Beethoven,—but they reject the very right of absolute instrumental music to exist. The symphony, they say, is now superfluous since Wagner has transplanted it into the opera: only Liszt's symphonic poems in one movement and with a deter- mined poetical programme have, in the contemplation of the modern musical world, any vitality. Now if such absurd theories, which are framed solely for Wagner-Liszt household use, again need refutation, there can be no more complete and brilliant refutation than the long row of Brahms's instrumental works, and especially this second symphony. "The character of this symphony may be described concisely as peaceful, tender, but not effeminate serenity, which on the one side is quickened to joyous humor and on the other is deepened to meditative seriousness. The first movement begins immediately with a mellow and dusky horn theme. It has something of the character of the serenade, and this impression is strengthened still further in the scherzo and the finale. The first movement, an * Reimann, in his Life of Brahms, gives January 10. 1878. as the date, and says Brahms conducted. The date given in Erb's "Brahms" is December 24, 1877. Kalbeck peiters. and Miss May give December 30, 1877, although contemporaneous music journals, as the Signale, say December 20, 1877. Allegro moderato, in 3-4, immerses us in a clear wave of melody, upon which we rest, swayed, refreshed, undisturbed by two slight Mendelssohnian reminiscences which emerge before us. The last fifty measures of this movement expire in flashes of new melodic beauty.
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