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Boston Symphony Orchestra Concert Programs, Season 46,1926-1927, Trip

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Boston Symphony Orchestra Concert Programs, Season 46,1926-1927, Trip The regulations off the Academy off Music will not permit the distribution off these programme books at the concert. They may be had at the Liggett Drug Co.* Fulton Street and Lafayette Avenue. ACADEMY OF MUSIC . BROOKLYN Friday Evening, March 11, at 8.15 Under the [auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn • \ \ =£S5^-, i (£iis$£!r ^ ! rv WS? v v %\ ^\ BOSTON SYAPMONY e ORCHESTRA wc. FORTY-SIXTH SEASON J926-J927 m PRSGRHttttE "...// cries 'when IfeeI like cry- ing, it singsjoyfully njohen Ifeel like singing. It responds—like a human being—to every mood. ** 1 lo<ve the Baldwin Piano. Y^y^ yn- •A^ Vladimir de Pachmann loves the Baldwin piano. Through the medium of Baldwin tone, this most lyric of contemporary pianists discovers complete revealment of his musical dreams. For a generation de Pachmann has played the Baldwin; on the concert stage and in his home. That love- liness and purity of tone which appeals to de Pach- mann and to every exacting musician is found in all Baldwins, alike in the Concert Grand, in the smaller Grands, in the Uprights. The history of the Baldwin is the history of an ideal. ftatftonn CINCINNATI CHICAGO NEW YORK INDIANAPOLIS ST. LOUIS LOUISVILLE DENVER DALLAS SAN FRANCISCO ACADEMY OF MUSIC BROOKLYN FORTY-SIXTH SEASON, 1926-1927 )©§! Orchestra INC. SERGE KOUSSEVITZKY, Conductor ii i H C FRIDAY EVENING, MARCH 11, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1927, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager After more than half a century on Fourteenth Street, Steinway Hall is now located at 109 West 57th Street. The new Steinway Hall is one of the handsomest buildings in New York on a street noted for finely designed business structures. As a center of music, it will extend the Steinway tradition to the new generations of music lovers. m JL ILj n Y THE INST%U£MENT OF THE IMMORTALS Forty-sixth Season. 1926-1927 SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Gerardi, A. Hamilton, V. Gundersen, R. Concert-master Kreinin, B. Eisler, D. Sauvlet. H. Kassman, N. Theodorowicz, J. Cherkassky, P. Graeser, H. Fedorovsky, P. Siegl, F. Pinfield, C. Hansen, E. Leveen, P. Mariotti, V. Thillois, F. Seiniger, S. Zung, M. Gorodetzky, L. Mayer, P. Leibovici, J. Diamond, S. Fiedler, B. Bryant, M. Knudsen, C. Stonestreet, L. Erkelens, H. Murray, J. Del Sordo, R. Tapley, R. Messina. S. Violas. Lefranc, J. Fourel, G. Van Wynbergen, C. Grover, H. Fiedler, A. Arti&res, L. Cauhap6, J. Werner, H. Shirley, P. Avierino, N» Gerhardt, S. Bernard, A. Deane, C. Violoncellos. Bedetti, J. Zighera, A. Langend oen J. Stockbridge C. Fabrizio, E. Keller, J. Barth, C. Belinski, M. Warnke, J. Marjollet, L Basses. Kunze, M. Lemaire, J. Ludwig, 0. Kelley, A. Girard, H. Vondrak, A. Seydel, T. Frankel, I. Demetrides, L. Oliver, F Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Hamelin, G. Laus, A. Bladet, G. Devergie, J. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H* Allegra, E. Bettoney, F {E-flat Clarinet) Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Mimart, P. Piller, B. Horns. Horns. Trumpets. Trombones. Wendler, G. Valkenier, W. Mager, G. Rochut, J. Schindler, G. Lannoye, M. Perret, G. Adam, E. Van Den Berg, C. Pogrebniak, S. Lafosse, G. Hansotte, L. Lorbeer, H. Gebhardt, W. Mann, J. Kenfield, L. Kloepfel, L. Tuba. Harps. Timpani. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Zighera, B. Polster, M Sternburg, S. Seiniger, S. Organ. Piano. Celesta. Librarian. Snow, A. Sanroma, J. Fiedler, A. Rogers. L. J, andzJtfasters! Even the seasons are instruments that yield exhaustive beauty to a master's touch. And from the Spring mode, I. Miller strikes foot- wear notes of modern daring, of subtle, elusive color — in bewitching harmony with the lead- ing effects in costumes! SHOPS AND AGENCIES IN PRINCIPAL CITIES 1 ACADEMY OF MUSIC ... - BROOKLYN Thirty-ninth season in Brooklyn Forty-sixth Season, 1926-1927 SERGE KOUSSEVITZKY, Conductor FOURTH CONCERT FRIDAY EVENING, MARCH 1 AT 8.15 PROGRAMME Rimsky-Korsakov . "Sadko," A Tone Picture, Op. 5 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. Ducasse Sarabande, Symphonic Poem for Orchestra and Voices Wolf .... "Der Feuerreiter" ("The Fire-Rider") for Chorus and Orchestra Borodin . Polovtsian Dances from the Opera, "Prince Igor," for Orchestra with Chorus THE CECILIA SOCIETY, Malcolm Lang, Conductor, will assist There will be an intermission of ten minutes after the symphony 5 Spring in the ^Mediterranean /« /A* Golden Horn The most delightful season—the time of settled warm weather, brilliantest of blue skies, and bright flowers. Raymond-Whitcomb Mediterranean Spring Cruise Sailing March 29 on the S.S. "Carinthia" Visiting Madeira, Gibraltar, Cadiz, Seville, Algiers, Constantine (in the interior of Algeria), Tunis, Malta, Ragusa and Cattaro (in Jugo-Slavia), Constantinople, Athens, Palermo (in Sicily), Naples, Corsica, Nice and Monte Carlo, and Southampton. A most attractive Cruise of five weeks—or an inviting voyage to Naples, only two weeks longer than direct passage, and including calls at a dozen famous ports, with sightseeing and excursions ashore. Rates $725 and upward. Send for the booklet—"Mediterranean Spring Cruise." Other Raymond -Whitcomb Cruises The North Cape, June 28 :: Africa Cruise, January 14, 1928 :: Round the World, January 18, 1928 :: Mediterranean Winter Cruise, January 21, 1928 :: Land Cruises to California and the West—through the year. RAYMOND & WHITCOMB CO. 606 FIFTH AVE., Tel. Bryant 2830 225 FIFTH AVE., Tel. Ashland 9530 6 "Sadko," a Tone Picture, Op. 5 Nicolas Andrejevitch Ejmsky-Korsakov (Born at Tikhvin, in the government of Novgorod, Russia, March 18, 1844; died at Leningrad, June 21, 1908) This orchestral fantasia has been called the first Russian symphonic poem. It was composed in 1867; the first performance in Germany- was at a meeting of the German Congress of Musicians at Altenburg in 1876; the fantasia was afterwards revised in 1891 and published in the new version in 1892. "Sadko," dedicated to Mily Balakirev, is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trum- pets, three trombones, bass tuba, kettledrums, bass drum, cymbals, tam-tam, harp, and strings. The score contains a programme note, which may be Englished freely as follows: "The ship bearing Sadko, a famous gusli* player, *The gusslee (gusli, gousli) was a musical instrument of the Russian people. It existed in three forms, that show in a measure the phases of its historical development: (1) the old Russian gush, with a small, flat sounding-box, with a maple-wood cover, and strung with seven strings, an instrument not unlike those of neighboring folks,— the Finnish "kantele," the Esthonian "kannel," the Lithuanian "kankles," and the Lettic "kuakles"; (2) the gush-psaltery of the fourteenth and fifteenth centuries, differing from the first named in these respects,—greater length and depth of the sounding-box, from eighteen to thirty-two strings, and it was trapeziform; (3) the piano-hke gusli of the eighteenth century, based on the form and character of the clavichord of the time. See Faminzin's "Gusli, a Russian Folk Musical Instrument" (Leningrad, 1890). The gusli is not to be confounded with the Dalmatian gusla, an instrument with sounding-box, swelling back, and finger-board cut out of one piece of wood, The Piano House ofBrooklyn "JVhere Fine Grand Pianos Come From y j — and among them is the celebrated Kranich & Bach, behind which is a lifetime reputation for exquisite musical quality BROOKLYN -NEW YORK is becalmed on the high sea. He is thrown overboard by the fellow- travellers as a propitiatory offering to the Sea King, who receives him in his domain, while the ship sails on. There is a great com- pany beneath the waves, for the Sea King is celebrating the wedding of his daughter to the Ocean. He compels Sadko to play on his gusli, and they all dance to the music. Spectres appear; the dance grows wilder and wilder; stormier and stormier are the billows. Sadko breaks the strings of his instrument; an end is put to the dancing, the sea grows calm; it is soon dark and still in the ocean depths." Sadko is the hero of the Bylina, or popular heroic tale in verse, associated with Novgorod in the days of the rich and adventurous merchants of that powerful and arrogant republic. The singers of the Bylinen, or hero-songs, were not singers by profession: they were, for the most part, wandering handicraftsmen who sang for their own amusement. Certain song-legends were best handed down by certain families. The singers were for the most part from the North of Russia, but the scene of the heroic deeds, the characters, and the adventures with a skin covering the mouth of the box and pierced with a series of holes in a circle. A lock of horse-hairs composed the one string, which was regulated by a peg. This string had no fixed pitch; it was tuned to suit the voice of the singer, and accompanied it always in unison. The gusli was played with a horse-hair bow. The instrument was found on the wall of a tavern, as the guitar or Spanish pandero on the wall of a posada, or as the English cithern of the sixteenth and seventeenth centuries, commonly kept in barber shops for the use of the customers.
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