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Boston Symphony Orchestra Concert Programs, Season 61,1941-1942, Trip Antdrotg of Mixsxt • Inmkhjn \ BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1681 BY HENRY L. HIGGINSON SIXTY-FIRST SEASON 1941-1942 [2] Friday Evening, January 9 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn VICTOR RED SEAL RECORDS by the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Also Sprach Zarathustra Strauss Bolero Ravel Oapriccio ( Jestis Maria Sanroma, Soloist) Stravinsky Classical Symphony Prokofieff Concerto for Orchestra in D major K. P. E. Bach Concerto in D major ( Jascha Heifetz, Soloist) Brahms Concerto No. 2 (Jascha Heifetz, Soloist) Prokofieff Concerto No. 12 — Larghetto Handel Damnation of Faust : Minuet — Waltz — Rakoczy March Berlioz Danse Debussy-Ravel Daphnis et Chloe — Suite No. 2 Ravel filegie ( Violoncello solo : Jean Bedetti ) FaurS "Enchanted Lake" Liadov Fair Harvard Arr. by Koussevitzky Fruhlingsstimmen — Waltzes (Voices of Spring) Strauss Gymnopedie No. 1 Erik Satie-Debussy "Khovanstchina" Prelude Moussorgsky La Valse Ravel "La Mer" ("The Sea") Debussy "Lieutenant Kije" Suite Prokofieff Love for Three Oranges — Scherzo and March Prokofieff Ma Mere L'Oye (Mother Goose) Ravel Missa Solemms Beethoven Passion According to Saint Matthew (Three Albums).. Bach "Peter and the Wolf" Prokofieff Pictures at an Exhibition Moussorgsky-Ravel Pohjola's Daughter Sibelius "Romeo and Juliet," Overture-Fantasia Tchaikovsky Rosamunde — Ballet Music Schubert Sal6n Mexico, El .Aaron Copland San Juan Capistrano — 2 Nocturnes Harl McDonald Sarabande Debussy-Ravel Song of Volga Boatmen Arr. by Stravinsky "Swanwhite" ("The Maiden with Roses") Sibelius Symphony No. 1 in B-flat major ("Spring" ) Schumann Symphony No. 2 in D major Beethoven Symphony No. 2 in D major Sibelius Symphony No. 3 Harris Symphony No. 4 in A major ( "Italian" ) Mendelssohn Symphony No. 4 in E minor Brahms Symphony No. 4 in F minor Tchaikovsky Symphony No. 5 in E-flat major Sibelius Symphony No. 6 in B minor ( "PathCtique" ) Tchaikovsky Symphony No. 8 in F major Beethoven Symphony No. 8 in B minor ("Unfinished" ) Schubert Symphony No. 29 in A major Mozart Symphony No. 34 in C major Mozart Symphony No. 94 in G major ("Surprise") Haydn Symphony No. 102 in B-flat major Haydn Waltz (from String Serenade) Tchaikovsky Wiener Blut — Waltzes (Vienna Blood) Strauss Ara&emg nf Mxxbu • Unmklgn SIXTY-FIRST SEASON, 1941-1942 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor Concert Bulletin of the Second Concert FRIDAY EVENING, January 9 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 N. Penrose Hallowell Ernest B. Dane M. A. De Wolfe Howe Reginald C. Foster Roger I. Lee Alvan T. Fuller Richard C. Paine Jerome D. Greene Henry B. Sawyer Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [1] zJl 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 season just closed our audiences totaled almost 800,000. With each and every gift to the Society of Friends comes the pride and satisfaction of assuring these vast audiences that the spirit of music is to be theirs, come what may, in the Season that lies ahead. Contributions sent to the Boston Symphony Or- chestra at the Treasurer's Office, 6 Beacon Street, Boston, constitute enrollment in our Society with- out further formality. Our membership today is 2,000. It should be nearer 5,000. Reginald C. Foster Chairman, Friends of the Boston Symphony Orchestra [2] Aratemjj sxi O&mxt • SSnmklgn Boston Symphony Orchestra SIXTY-FIRST SEASON, 1941-1942 SERGE KOUSSEVITZKY, Conductor SECOND CONCERT FRIDAY EVENING, January 9 Programme Haydn Symphony in B-flat, No. 102 I. Largo; Allegro vivace II. Adagio III. Menuetto: Allegro: Trio IV. Finale: Presto Martinu Concerto Grosso for Chamber Orchestra I. Allegro non troppo II. Lento III. Allegretto INTERMISSION Tchaikovsky Concerto for Pianoforte, No. 1, in B-flat minor, Op. 23 I. Allegro non troppo e molto maestoso. Allegro con spirito II. Andantino semplice. Allegro vivace assai III. Allegro con fuoco Tchaikovsky Ouverture Solennelle, "1812," Op. 49 SOLOIST ALEXANDER BOROVSKY BALDWIN PIANOS Mr. Borovsky uses the STEINWAY PIANO 13 J SYMPHONY IN B-FLAT MAJOR, NO. 102 (No. 9 of the London Series) By Joseph Haydn Born at Rohrau, Lower Austria, March 31, 1732; died at Vienna, May 31, 1809 The symphony is scored for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings. This symphony is one of the six which Haydn composed for his second visit to London in 1794 and 1795 — he composed twelve in all for performance by the orchestra of Salomon in the British capital. The symphony was written, according to C. F. Pohl, Haydn's biog- rapher, in 1795, and must accordingly have been performed in that year. Haydn was required by the terms of his agreement with Salomon to write a new work for each of the weekly concerts in the subscription series which that impressario arranged, and the composer was as good as his word. He stipulated (hearing, perhaps, that the British public had late-coming habits) that the new piece should be played always at the beginning of the second part of the programme. When each particular symphony was played it is usually impossible to tell, for the programmes simply state: "New Grand Overture (Symphony)," or "Grand Overture (Symphony) mss."* There is every evidence that England took the twelve symphonies to its heart. The concerts were crowded, and another management had only to announce a work of Haydn to be sure of an audience. The Morning Chronicle probably voiced the general opinion when it praised the "agitating modula- tions" of the symphonies, and the "larmoyant passages" in their slow movements. Everyone was charmed by Haydn's grace and humor, and the arias and choruses of Handel were momentarily overlooked in the interest of those unaccustomed forms to which Haydn had given such abundant life — the symphony and the string quartet. The second of the London symphonies (in D major), and the "Sur- prise" Symphony were singled out for special favor, and often re- peated. Also of the Salomon series were the so-called "Clock," "Drum Roll," and "Military" symphonies. [COPYRIGHTED] [4] CONCERTO GROSSO for Chamber Orchestra By Bohuslav Martin u Born December 8, 1890, at Policka, Czechoslovakia The "Concerto Grosso" was composed in 1938 and had its first performance (from the manuscript) at the Boston Symphony concerts, November 14, 1941. The orchestration requires one flute, three oboes, three clarinets, two horns, two pianos and strings. ">TpHis work," according to an interesting communication from Mr. X Martinu, "has had a singular destiny. Written in Paris, in 1937, it was to have been published by the 'Universal Edition' at Vienna, and its first performance was set for the season of 1938 in Paris. There came the 'Anschluss/ and I was without news of the score; the premiere was prevented by the impossibility of receiving the orchestral parts and the manuscript. A year afterward, events forbade the 'second' premiere, this time at Prague, where, ever since, my works have been banned from the repertoire. At last I expected a real premiere in Paris in the month of May, 1940, under the direction of Charles Munch. I received my manuscript after many difficulties, and after it had undergone some highly involved wanderings. Everything was ready, the hall hired, but events in France did not permit it to be heard. The whole thing was called off, and the manuscript was lost during my retreat from Paris. "By a lucky chance, the Czecho-Slovak conductor George Szell had rescued a copy of the work from Prague, just in time. I had no idea of the existence of a copy, and it was a happy surprise to learn of it on my arrival in America." There may be added to the composer's account one more incident in the misadventures of a concerto. It was scheduled for performance at the twenty-third pair of concerts of the Boston Symphony Orches- tra last season, but an unavoidable delay in the copying of parts re- quired its postponement. The composer writes thus of his concerto: "The title 'Concerto Grosso' bespeaks my leaning toward this form, which occupies a position between chamber music and symphonic music. It will be evident that I have not followed the traditional form of 'concerto grosso' but rather the characteristic alternations of 'soli' and 'tutti/ which I have given to the pianos, woodwinds and strings. The violins are divided into three sections in order to diffuse the full sonority of the strings and to provide more polyphonic activity. [5] "I am reluctant to make an analysis o£ the form, which offers no real help toward the understanding of a new work. I prefer that the public listen instead of constantly asking, 'When does the second theme come in?' 'Is this the development already, or is it still the exposition?' The form should be felt through the development of the ideas and through the internal structure of the work, which rep- resents a certain attitude of the composer, and that attitude should make itself known clearly without explanations. "In the first movement, I work with a little rhythmic germ of a half-measure which binds the different developments of the other motives and which appears in the most diversified forms up to the end, where there remains nothing but this little germ within the ful- ness of the orchestra.
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