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Boston Symphony Orchestra Concert Programs, Season 51,1931-1932, Subscription Series

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Boston Symphony Orchestra Concert Programs, Season 51,1931-1932, Subscription Series SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTY-FIRST SEASON, 1931-1932 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1931, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT . President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT 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 385 t^ fc- THE PICCOLO In Italian, the word piccolo means little or small. In music, piccolo is a little flute, for it is less than half as long as a flute and only plays the upper oc- tave. Where much of the range of the flute is in a high soprano, the piccolo almost always is played in a register above that of the highest human voice. The piccolo has been characterized as the imp, or demon of the orchestra. It is the flash of lightning, the darting flame, or the whistling wind. Berlioz, who gave the use of the instrument a great deal of thought and study, wrote: "The piccolo flute may have a very happy effect in soft passages; and it is mere prejudice to think that it should only be played loud." This French composer frowned upon its use in a religious harmony, or strengthening and sharp- ening — for the sake of noise only — the high part of the orchestra. The piccolo is perhaps the most acute of all instru- ments. Its voice, appearing as it does in the piercing upper notes of quick runs, in chromatic passages and wild screams, never passes unnoticed. It gives the final scintillating touch to a melody that brightens the upper notes of the other members of the Woodwind family. WHERE a substantial sum is left to charity, the hazard of unwise dissipation of the principal can be avoided, and a trained management of the property insured, by creat- ing a Charitable Trust in the keeping of Old Colony Trust Company as Trustee. Old Colony Trust Company 17 COURT STREET, BOSTON *Affi Hated with The First National Bank of Boston 386 LC^cltLi Fifty-first Season, 1931-1932 Dr. SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H. Cherkassky, P. Concert-master Kreinin, B. Kassman, N. Hamilton, V. Eisler, D. Theodorowicz, J. Hansen, E. Lauga, N. Fedorovsky, P. Leibovici, J. Pinfield, C. Mariotti, V. Leveen, P. Tapley, R. Thillois, F. Zung, M. Knudson, C. Gorodetzky, L. Mayer, P. Diamond, S. Zide, L. Fiedler, B. Bryant, M. Bcale, M. Stonestreet, L. Messina, S. Murray, J. Del Sordo, R Erkelens, F [. Seiniger, S. Violas. Lefranc, J. Fourel, G. Bernard, A. Grover, H. Fiedler, A. Artieres, L. Cauhape, J. Van Wynbergen, C. Werner , H. Avierino, N. Deane, C Gerhardt, S. Jacob, R. Violoncellos. Bedetti, J. Langendoen, J. Chardon, Y. Stockbridge, C. Fabrizio, E. Zighera, A. Barth, C. Droeghmans, H. Warnke , J. Marjollet, L Basses. Kunze, M. Lemaire, J. Ludwig, O. Girard, H. Moleux. G Vondrak, A. Oliver, F. Frankel, I. Dufresne, G. Kelley, A. Flutes. Oboes. Clarinet!i. 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. Bettoncy, F. Piller, B. Horns. Horns. Trumpets. Trombones. Boettcher, G. Valkenier, W Mager, G. Raichman, J. Pogrebniak, S. Schindler, G. Lafosse, M. Hansotte, L. Van Den Berg, C. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Adam, E. 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. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. T 387 €\fmhhv & €n. BOSTON COMMON TREMONT STREET AT WEST Centurp Pranir Silk Stockiings 87c Chiffon— Modern Service Here's where you can give your friends a handsome Christmas gift yet still be kind to an overworked pocketbook. Century Brand silk stockings (and you know they're famous for their quality at this price) come in the smartest new colors and look twice the price. TAHITI — INDOFAN— SMOKETONE — NEGRITA—MATIN—TROPIQUE STREET FLOOR 388 FIFTY-FIRST SEASON, NINETEEN HUNDRED THIRTY-ONE AND THIRTY-TWO FRIDAY AFTERNOON, DECEMBER 4, at 2.30 o'clock SATURDAY EVENING, DECEMBER 5, at 8.15 o'clock RICHARD BURGIN will conduct these concerts Vogel . Two Etudes Ritmica fimebra. Ritmica scherzosa. (First time in Boston) Toch Little Theatre Suite, Op. 54 I. Overture. II. Bashful Wooing. III. Dance. IV. Nocturne. V. Finale: Presto. (First time in Boston) Berezowsky ..... Concerto for Violin, Op. 14 I. Allegro di bravuro. II. Adagio sostenuto. III. Allegro giusto. (First time in Boston) Chausson Symphony in B-flat major, Op. 20 I. Lent; Allegro vivo. II. Tres lent. III. Anime. SOLOIST NICOLAI BEREZOWSKY There will be an intermission after the concerto 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 389 Two Etudes for Orchestra : Kitmica Funebra ; Ritmica Scherzosa Wladimir Vogel (Born at Moscow on February 29, 1896; now living) These Etudes were composed and published in 1930. They were performed at the Oxford-London Festival of the International So- ciety for Contemporary Music, (London, July 28, 1931; Hermann Schercher, conductor). The Philadelphia Orchestra, Mr. Stokowski conductor, performed them in Philadelphia on October 24, 1931. According to Edwin Evans* : "The main interest of the Studies is not so much thematic as inherent in the rhythms used and in the interpla}7 of timbres, which suffice to create very definite moods. They are studies in the real sense of the word, excursions in purely orchestral technique." * * Vogel's mother was Kussian; his father, a German. After the war, Vogel studied in Berlin with Heinz Tiessen ; later with Busoni. The list of his works comprises "Sinfonischer Vorgang" (1921) ; a Suite from music for a "symbolical film" for strings and kettle- *Quoted by Mr. Lawrence Gilman in his Programme Book of the Philadelphia Orchestra, October 23, 24, 1931. The Government of France recognizes Lanvin as an Artiste and they say that she is not taxed. Several seasons ago she was accorded the great distinction of the Legion of Honor for her contribution to French culture. Her clothes are unusually beau- tiful with embroidery, beads and handwork regardless of the current fashion. Especially lovely are her debutante gowns. Hollander would be so pleased to show you two new Lanvin models in the Custom Salon. -c/? HOLLANDER «.** 390 (Frankfort, 1924) ; "Sinfonia drums (1922) ; a string quartet fugata" (1925, performed in 1930), a chorus of mixed voices, solo voices, and "Saxopkon-ensemble." (In 1915-18 he was interned in a civilian prisoners' camp in Russia.) * * * This Heinz Tiessen, born at Konigsberg in 1887, studied law at Berlin, and, evidently a deep thinker, attended scientific, literary, and philosophical lectures. In the years 1906-09 he took lessons in composition of Philippe Rufer and Wilhelm Klatte. Living in Berlin as composer and music critic, he is responsible for two symphonies—C major, Op. 15; F minor, Op. 17, to which he has given the title "Death and Creation"; a septet for string quartet, flute, clarinet, and horn, Op. 20; "Fine Ibsenfeier," for orchestra, 5 Op 7; a Rondo for orchestra, Op. 21; a "Love Song, ' for orchestra, Op. 25; music for Immermann's "Merlin" (Berlin, 1918) ; music to "Hamlet," from which three orchestral pieces are Op. 31 ; "Death Dance Melody," for violin and piano, from the music to Carl Hauptman's "The Poor Broom-Maker"; Songs, Op. 8, 10, 22, 23, and "Songs of the Gallows" ("Morning Star"), Op. 24. Mr. Alfred Einstein of Munich has described him as "a modern, CONCERNING MUSIC AND MUSICIANS Two Outstanding Books—Suitable for Presentation Purposes CRITICAL AND HISTORICAL ESSAYS MUSIC: AN ART AND A LANGUAGE By EDWARD MacDOWELL By WALTER R. SPALDING America's great composer has This book was written for the furnished one of the outstanding express purpose of enabling the books on the history and develop- listener to "get more out of ment of the art of music. It con- music." It is interesting and tains the substance of lectures readable. Without being over- delivered by the composer at technical it treats of musical Columbia University, outlining form and structure, various com- somewhat the technical side of posers and their characteristics, music and giving a general idea and includes detailed discussions of the history and aesthetics of of some of the masterpieces of the art. music. Price $2,00 Net Price $2.50 Net The ARTHUR P. SCHMIDT CO. St 391 full-blooded and sturdy East-Prussian composer." Judging by some of the titles he has given to his compositions, Mr. Einstein might have added the adjective "formidable." Little Theatre Suite (Overture, "Bashful Wooing," Dance, Nocturne, Finale, Presto) Op. 54 Ernest Toch (Born at Vienna on December 7, 1887; living at Berlin) This suite was performed by the Philharmonic Symphony Society, New York, Erich Kleiber conductor, on November 5, 1931. The performance was announced as the first. The Suite was published in 1931. The composer has said that it was not written in connection with any particular stage perform- ance, nor is it "absolute music." Intended for the concert hall, "it is meant to suggest, in certain of its movements, episodes and situa- tions familiar to the theatre, as in the case of the composer's 'Komodie fur Orchester.' These implied Theater Situationen, as the composers calls them, are of a gay or sentimental nature, Viennese in background and implication.
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