SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephone, Ticket and Administration Offices, Com. 1492 FIFTY-FOURTH SEASON, 1934- 1935 CONCERT BULLETIN of the Boston Symphony Orchestra INCORPORATED Dr. SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes By Philip Hale and John N. Burk COPYRIGHT, 1935, BY BOSTON SYMPHONY ORCHESTRA, IltC. 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 Henry B. Sawyer N. Penrose Hallowell Pierpont L. Stackpole M. A. de Wolfe Howe Edward A. Taft Bentley W. Warren W. H. Brennan, Manager G. E. Judd, Assistant Manager [533] p Old Colony Trust Company 17 COURT STREET, BOSTON ft * Ai !;; Executor • Trustee Guardian Conservator • Agent ^Allied with The First National Bank 0/" Boston [534] Contents Title Page Page 533 Programme . 537 Analytical Notes: Arthur Bliss Introduction and Allegro 539 Gustav Theodore Hoist A Fugal Concerto 54i ' : Arnold Edward Trevor Bax ' The Garden of Fand 544 Adrian Boult (Biographical Sketch) 553 Franz Schubert Symphony in C Major, No. 7 557 Announcement — Friends of the Boston Symphony Orchestra 571 The Next Programme . 573 Special Concert Announcements 574-577 Teachers' Directory 578-580 Personnel Opposite page 580 [535] —Cfjantiler & Co. TREMONT STREET AT WEST Smart, Qolorful Qostumes for the Snow Trains IN OUR RESORT SHOP ON THE FOURTH FLOOR Ski Suits Tyrolean and otherwise 75 75 10 .o 16 Get ready for the next snow train . You may select a double breasted jacket . a zipper type . one with gay wristers and high neck . two color blouses! Gay, Bright Mittens 1.50, 1.75 Separate Jackets . 7-95 Separate Ski Pants 3-95 Hudson Bay Jackets 14-75 Scarf and Cap Sets 3.00 Amusing little Caps I.2S [536] FIFTY-FOURTH SEASON, NINETEEN HUNDRED THIRTY-FOUR AND THIRTY-FIVE Twelfth Programme FRIDAY AFTERNOON, January 18, at 2:30 o'clock SATURDAY EVENING, January 19, at 8:15 o'clock ADRIAN BOULT, Conducting Bliss Introduction and Allegro {First performances at these concerts) Holst Fugal Concerto, for Flute and Oboe, Op. 40, No. 2 Flute: Georges Laurent Oboe: Fernand Gillet I . MODERATO II. ADAGIO III. ALLEGRO {First performances at these concerts) Bax The Garden of Fand INTERMISSION Schubert Symphony in C major, No. 7 I. ANDANTE — ALLEGRO MA NON TROPPO II. ANDANTE CON MOTO III . SCHERZ O I V . FINALE The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert [537] ^H <&&KWton JVhen downtown . make Shoppers' Garage your automobile headquarters Conveniently located In the heart of downtown Boston, Shoppers* Garage offers you every facil- ity to shop with the maximum of comfort and the minimum of time and fatigue. • Free bus service to and from Jordan Marsh Company is yours 1 when parking at the Shoppers . • Special parking rates for shoppers. • Spacious, comfortable waiting rooms and rest rooms. • Special waiting room for chauffeurs. Attendant will gladly notify your chauffeur when you are ready for him to call. • Everything for your car: Parking, Washing and Polishing, Simonizing, Lubricating, Free Crank Case Service, Tire and Battery Service, Running Adjustments. • Gasoline, Motor Oils, Goodyear Tires and Tubes, Batteries and Accessories. • Have your car serviced while shopping. Leave your order with any attendant at the garage. 14-40 BEACH STREET . BOSTON [5383 INTRODUCTION AND ALLEGRO By Arthur Bliss Born in London, August 2, 1891 — Published in 1927, this symphonic movement of considerable pro- portions was dedicated " To Leopold Stokowski and the Phila- delphian (sic) Orchestra." It was duly performed by that orchestra, but not until October 19, 1928; meanwhile it had been heard at a Promenade concert in London under the composer's direction, October 8, 1926. The opening theme of the introduction, andante maestoso, in flow- ing half notes, triple time, based upon the four upper notes of the scale of D minor, suggests the broad and stately stride of a passacaglia. A second theme, descending, makes its initial appearance in the wood- winds. " Not only in the introduction, but throughout the whole work," according to D. M. Craig in a Promenade programme, " the hearer is bound to be impressed by the economy of the means employed, and by the direct simplicity with which Bliss makes his effects. The Intro- duction gathers both in strength and speed, to lead straight into the main body of the movement, in Allegro molto vivace; wood-winds and CONCERNING MUSIC AND MUSICIANS Books for Music Lovers and Students CRITICAL AND A SHORT OUTLINE OF HISTORICAL ESSAYS MUSICAL HISTORY By EDWARD MacDOWELL From Ancient Times to the America's great composer has furnished Present Day one of the outstanding books on the history By CUTHBERT HARRIS and development of the art of music. It out- A concise account of the growth of music lines somewhat the technical side of music illustrated by short music quotations from and gives a general idea of the history and important works of the great composers. A aesthetics of the art. chapter on the development of the piano and Price $2.50 net orchestral instruments is of especial interest. Price $1.25 net MUSIC: AN ART AND A FROM PALESTRINA LANGUAGE TO GRIEG By WALTER R. SPALDING First Year Music Biography Without being over technical the book By THOMAS TAPPER treats of musical form and structure, various Deals chronologically with the great com- composers and their characteristics, and in- posers, giving the story of each and discussing cludes detailed discussion of some of the his contribution to the general development masterpieces of music. of the art of music. Price $2.50 net Price $1.75 net The ARTHUR P. SCHMIDT CO., 120 Roylston St. [539] strings at once present the vigorous version of the opening subject. Broader and slower forms of it are used as counterpoints in its exposi- tion, but there is very little other fresh material till we arrive at a Piu tranquillo section with a new melody for clarinet and solo violin. It is answered by clarinet and flute with a theme reminiscent of the second phrase of the Introduction, and after a short elaboration of these the tempo changes again to a hurrying 2-4, slight and delicate at first, but soon gathering force and emphasis. First and second violins have a new theme, with a counter melody in which flute and oboe share, and again reminders of the Introduction are welded with them. This section dies away to finish very softly on a long pause, and there follows an episode in which effective use is made of themes built on reiterations of the same note. That is exploited in interesting rhythmic ways, and we are led back gradually to the Allegro vivace with its original theme. The music rises to a very big and emphatic climax, to be followed by another quiet mood in which earlier themes return, but once more the movement is worked up to a robust and stirring energy which is maintained to the end." Arthur Bliss's " Colour Symphony " was performed by this orchestra for the first time in the United States on December 28, 1923, Pierre Monteux, conducting. The composer completely revised the symphony, and in its second version it was performed by the B. B. C. Orchestra in OUR JANUARY FUR SALE brings finer -grade furs within reach of all! Fur Coats - A wide $yj r $ $ as low as T"D dST 98*> I98 JuWlSiWand WQ Boylston & Arlington Streets [540] London under Adrian Boult's direction, April 27, 1932. The Concerto for Two Pianofortes and Orchestra had its first public performance at these concerts, December 19, 1924, when the parts were taken by Guy Maier and Lee Pattison, for whom the concerto was written. J. N. B. A FUGAL CONCERTO For Flute and Oboe, Op. 40, No. 2 By Gustav Theodore Holst Born at Cheltenham, England, September 21, 1874; died May 25, 1934 Holst wrote his Fugal Concerto in 1923, while he was visiting Amer- ica. It was first performed at the Queen's Hall, London, in the same year. The companion piece, the " Fugal Overture " (Op. 40, No. 1) , was composed in die year previous. The Fugal Concerto is scored for flute and oboe soli with string orchestra, a disposition designed, no doubt, to give the contrapuntal voices distinction and clarity of color (two solo violins are nevertheless suggested as an alternative) . The work is in three movements, each subject being fugally treated, contrast lying not in the formal character, but in the tempo of the middle move- ' -<* "AND NOW WE PRESENT" -AN EXCITING AND EVER-VARYING COLLECTION OF DAYTIME AND EVENING WEAR FOR SHIP AND SHORE- EXPRESSING THE GAIETY AND VERVE OF FASHIONABLE RESORT GATHERINGS- : Huruiitch Bros :; V~ ' 15 ^ - [541] ment. The subjects of the first and third movements are lively and en- gaging — that of the final allegro, in 6-8 rhythm, while not jiglike in accentuation, yet readily lends itself to later combination with one of the popular tunes which the composer was fond of bringing into his gayer scores (one immediately recalls the " St. Paul's Suite," with its " " " contrapuntal treatment of Dargason and Greensleeves ") . In the finale, free cadenzas for the oboe and flute in turn lead presently to the introduction (by the flute) of the old English dance tune: " If all the world were paper, And all the sea were ink If all the trees were bread and cheese, " What should we do for drink? The new theme is closely combined with the old one, yet the piece keeps its sprightly character, quite unweighted by the skill and learning which has gone into its contrivance.