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Boston Symphony Orchestra Concert Programs, Season 52,1932

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Boston Symphony Orchestra Concert Programs, Season 52,1932 CARNEGIE HALL .... NEW YORK Thursday Evening, November 17, at 8.45 Saturday Afternoon, November 19, at 2.30 PR5GR7WVE WW iL!Jl Sfluni Itolumea OF THE Boston Symphony Orchestra Programme Containing Mr. Philip Hale's analytical and descriptive notes on all works performed during the season. "A Musical Education in One Volume" "Boston s Remarkable Book of Knowledge" Lawrence Gilman in the N. Y. Herald and Tribune Price $6*00 per volume Address SYMPHONY HALL BOSTON, MASS. CARNEGIE HALL - - NEW YORK Forty-seventh Season in New York FIFTY-SECOND SEASON, 1932-1933 INC. Dr. SERGE KOUSSEVITZKY, Conductor THURSDAY EVENING, NOVEMBER 17, at 8.45 AND THE SATURDAY AFTERNOON, NOVEMBER 19, at 2.30 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 HENRY B. SAWYER Vice-President ERNEST B. DANE Treasurer HENRY B. CABOT, JR. ARTHUR LYMAN ERNEST B. DANE WILLIAM PHILLIPS N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER FREDERICK E. LOWELL BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager ony Fifty-Second Season, 1932-1933 Dr. SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Lauga, N. Sauvlet, H. ResnikofT, V. Concert-master Gundersen. R. Kassman, N. Hamilton, V. Eisler, D. Theodorowicz, J. Hansen, E. Mariotti, V. Fedorovsky, P. Tapley, R. Leibovici, J. Pinfield, C. Leveen, P. Cherkassky, P. 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. Artieres, L. Cauhape, J. Van Wynbergen, C. Werner, H. Avierino, N. Deane c. Fiedler, A , Gerhardt, S. Jacob, R. Violoncellos. Bedetti, J. Langendoen, J. Chardon, Y. Stockbrid ge, C. Marjollet, L Zighera, A. Barth, C. Droeghmans, H. Warnke, J. Fabrizio, E. Basses. Kunze, M. Lemaire, J. Ludwig, O. Girard, H. ,, Kelley ' Vondrak, A. Moleux, G. Frankel, I. Dufresne, G. 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. Macdonald, W Schindler, G. Lafosse, M. Hansotte, L. Valkenier, W. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Adam, E. Hain, F. Voisin, R. Mann, J. Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Sternburg, S. Adam, E. Caughey, E. Polster, M. White, L. Organ. Piano. Celesta. Librarian. Snow, A. Sanroma, J. Fiedler, A. Rogers, L. J. CARNEGIE HALL NEW YORK Forty-seventh Season in New York Fifty-second Season, 193--1953 Dr. SERGE KOUSSEVITZKY, Conductor FIRST CONCERT THURSDAY EVENING, NOVEMBER 17 AT 8.45 PROGRAMME Suite from the Incidental Music to Sibelius . "Swanwhite," Strindberg's Play, Op. 54 I. The Peacock. II. The Harp. III. The Maiden with Roses. IV. Listen, the Robin Sings. V. Song of Praise. Tone Poem, Op. 112 Sibelius ...... "Tapiola," No. 1 in E minor, Op. 39 • Symphony Sibelius . energico. I. Andante ma non troppo; Allegro II. Andante ma non troppo lento. III. Allegro. IV Finale (Quasi una Fantasia): Andante; Allegro moito. symphony. There will be an intermission often minutes before the the 58th Street Library The music of these programmes is available at 3 — Incidental Music to Stkindberg's "Swanwhite" : A Suite for Small Orchestra, Op. 54 . Jean Julius Christian Sibelius (Born at Tavastehus, Finland, on December 8, 1865; now living at Jarvenplia, Finland) This incidental music: (I) The Peacock, (II) The Harp, (III) The Maiden with the Hoses, (IV) Listen, the Kobin Sings, (V) The Prince Alone, (VI) Swanwhite and the Prince, (VII) Song of Praise, Op. 54, bears the date 1908. August Strindberg, in a note to his "Svanehvit" ("Swanwhite"), wrote of the play: "I had long- had it in mind to skim the cream off our most beautiful folk- ballads and to make them into a picture for the stage. Then Maeter- linck came across my path, and under the influence of his puppet plays, which are not meant for the regular stage." Mr. Cecil Gray* says of the music : "Nothing could be more remote from the ordinary conception of Strindberg as a morbid and gloomy maniac than the aspect of him presented by this charming fairy story; and just as the play reveals an unsuspected side to the dramatist, so does the graceful and delicately tinted music that Sibelius has provided for it show the composer in a comparatively unfamiliar but equally sympathetic light." Mr. Gray calls attention to "The Peacock," with its "upper pedal for oboes and clarinet sustained throughout" ; to "The Harp," a little poetic fantasy; "Listen, the Robin Sings," tone-painting in miniature; and the little lyric "The Maiden with the Roses." This suite is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, harp, tympani, castanets, triangle and strings. Sibelius has written incidental music to these plays : Adolf Paul's "King Christian II," 189S ; Lybeck's "Odlan," for orchestra, 1909 (?) ; Jarnefelt's "Kuolema,"f 1903; Maeterlinck's "Pelleas et Meli- sande," suite for small orchestra, 1905; Procope's "Belsazar," suite for small orchestra, 1906; Knudsen's pantomime, "Scaramouche," for small orchestra, 1913; Hoffinannsthal's "Jederinann," for small orchestra, 1916; Shakespeare's "The Tempest," for orchestra (two suites have been derived from this music—seventeen numbers in all), 1926; Adolf Paul's "The Language of Birds," 1911. "Tapiola/'J a Tone Poem for Orchestra, Or. 112 Jan Julius Christian Sibelius (Born at Tavastehus, Finland, on December 8, 1865; now living at Jarvenpaa) In January, 1926, Walter Damrosch, conductor of the Symphony Society of New York, asked Sibelius to compose a work for that orchestra. "Tapiola" was written in March and May of that year.§ The first performance anywhere was at Mecca Temple, New York *"Sibelius" (London, 1931), pp. 96, 97. t Containing the familiar "Valse Triste." $The word takes its name from Tapio, the forest god of Finnish mythology the Old Man of the Woods, the Elder of the Hills, the Master of the Wasteland." Cecil Gray. § Mr. Gray gives the date 1925; but if this is correct, "Tapiola" was written before Mr. Damrosch gave Sibelius the order ! ; City, on December 26, 1926. The programme also included Bee- thoven's Symphony No. 5 and Gershwin's piano concerto in F (Mr. Gershwin, pianist). There was a second performance by the Sym- phony Society, this time at Carnegie Hall, on December 30, 1926, when the programme also included Brahms's Symphony No. 2; an air from Tchaikovsky's "Jeanne d'Arc" (Dusolina Giannini) ; an air from "Tannhaeuser" (Miss Giannini), and Johann Strauss's "Emperor" Waltz. At the first performance, Mr. Damrosch prefaced the playing of "Tapiola" by saying he was "curious to see the reaction of the audience to what seemed to him music that successfully embodied the austerity and gloomy grandeur of the dusky forests of the North" Sibelius had undertook to depict. The score, dedicated to Mr. Damrosch, contaius these lines written by the composer: "Wide-spread they stand, the Northland's dusky forests, Ancient, foreboding, brooding savage dreams Within them dwells the forest's mighty god, And wood sprites in the gloom weave magic secrets." These instruments are called for: Three flutes (one interchange- able with piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, double-bassoon, four horns, three trumpets, three trombones, kettledrums, and the usual strings. Largemente, B minor, 2-2. The short opening phrase given out by the strings is typical of Tapiola. It is repeated with variations many times by various groupings of instrument, and afterwards under- DITSON PUBLICATIONS ^K^SSI"10* TALKS ABOUT BEETHOVEN'S SYMPHONIES 2.50 By Theodore Thomas and Frederick Stock SYMPHONY SINCE BEETHOVEN . 1.00 By Felix Weingartner ART-SONG IN AMERICA 3.00 By William Treat Upton EARLY ENGLISH CLASSICS .... 1.00 Edited and Revised by George Pratt Maxim PROJECT LESSONS IN ORCHESTRATION . 1.50 By Arthur E. Heacox ESSENTIALS IN CONDUCTING . 1.75 By Karl W. Gehrkens OLIVER DITSON COMPANY, Inc. 359 Boylston Street Boston, Mass* : goes many variations. "Even when the theme itself is not actually there in some form or another, which is seldom, it makes its spiritual presence felt throughout. The denouement of the work is reached with a rising crescendo passage of chromatics for the strings alone, extending over thirty-seven bars, which attains to an unimaginable pitch of intensity, and culminates in a truly terrific and overwhelm- ing outburst from the whole orchestra—one of the greatest climaxes in all music, like a convulsion of nature, or the unchaining of some elemental force."* Mr. Ernest Newman wrote recently in the Sunday Times of London "It may sound like a paradox, but 1 am convinced that the surest and quickest way to win adherents for Sibelius is to familiarize the public first of all with his maturest works. "Conductors and orchestras will also find this the best line of approach to him, for the simple reason that it is in the later works that they will find the explanation of many a passage in the earliest works that by itself is far from clear; because while it looks like music of the usual kind it is in reality something quite different in meaning. It is no use in playing one of the broader lyrical melodies in his first two symphonies as if it were Tchaikovsky or Strauss; no use playing one of his passages of imitation as if it were merely bad Bach.
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