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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 CARNEGIE HALL .... NEW YORK Thursday Evening, March 10, at 8.30 Saturday Afternoon, March 12, at 2.30 \£i vH ^ ?sS mf BOSTON '): 'm SYMPHONY ORCHESTRA \NC. FORTY-SIXTH SEASON J926-J927 UCjlL PR5GR7W1E "...// cries nvhen IfeeI like cry- ing, it singsjoyfully when Ifeel like singing. It responds—like a human being—to e<very mood. '* J lo<ve the Baldnvin Piano. f^U^^^^^2: 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. Ifettounn CINCINNATI CHICAGO NEW YORK INDIANAPOLIS ST. LOUIS LOUISVILLE DENVER DALLAS SAN FRANCISCO CARNEGIE HALL - - - NEW YORK Forty-first Season in New York FORTY-SIXTH SEASON, 1926-1927 Boston Symphony Orchestra INC. SERGE KOUSSEVITZKY, Conductor ,mme§ oj the FOURTH CONCERT THURSDAY EVENING, MARCH 10, at 8.30 AND THE FOURTH MATINEE SATURDAY AFTERNOON, MARCH 12, at 2.30 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. INWA THE INST%UZMENT OF THE IMMORTALS Bosi TOP J tstra Forty-sixth Season. 1926-1927 SERGE KOUSSEVITZKY, Conductor PERSONNEL 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. Cauhape, J. Werner, H. Shirley, P. Avierino, N, Gerhardt, S. Bernard, A. Deane, C. Violoncellos. Bedetti, J. Zighera, A. Langendoen, 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. Instruments— and ^Casters/ 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- in£g effectse: in costumes! m fi I MILLER . beautifulJhoesJ^ cxr v S3 SHOPS AND AGENCIES IN PRINCIPAL CITIES CARNEGIE HALL NEW YORK Forty-first Season in New York Boston Symphony Orchestra Forty-sixth Season, 1926-1927 SERGE KOUSSEVITZKY, Conductor FOURTH CONCERT THURSDAY EVENING, MARCH 10 AT 8.30 PROGRAMME Weber Overture to "Oberon" Moussorgsky .... "Pictures at an Exhibition" (arranged for Orchestra by M. Ravel) Promenade—Gnomus—Bydlo—Ballet des Poussins dans leurs Coques— Samuel Goldenberg and Schmuyle—Limoges. The Market Place—Catacombs (con mortuis in lingua mortua)—La Cabane sur des Pattes de Poule—La Grande Porte de Kiev. Prokofieff . "Sept, ils sont sept!" Incantation for Tenor, Chorus and Orchestra, Op. 30 (First time in New York) Ducasse ..... Sarabande, Symphonic Poem for Orchestra and Voices Prokofieff . "Sept, ils sont sept!" Incantation for Tenor, Chorus and Orchestra, Op. 30 (Repeated) Borodin . Polovtsian Dances from the Opera, "Prince Igor" for Orchestra with Chorus THE CECILIA SOCIETY, MALCOLM LANG, Conductor, will assist Soloist: CHARLES STRATTON There will be an intermission of ten minutes after the first performance of Prokofieff's "Sept, ils sont sept!" The music of these programmes is available at the 58th Street Library 5 1 Spring in the SMediterranean In the 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 sight-seeing 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 8c WHITCOMB CO. 606 FIFTH AVE., Tel. Bryant 2830 225 FIFTH AVE., Tel. Ashland 9530 6 Overture to the Opera "Oberox" Carl Maria von Weber (Born at Eutin, Oldenburg, December 18, 1786; died at London, June 5, 1826) Weber was asked by Charles Kenible in 1824 to write an opera for Covent Garden. A sick and discouraged man, he buckled him- self to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey, and studied diligently, anxiously. Planche sent the libretto to Dresden an act at a time. Weber made his first sketch on January 23, 1825. The autograph score contains this note at the end of the overture : "Finished April 9, 1826, in the morning, at a quarter of twelve, and with it the whole opera. Soli Deo Gloria! I I C. M. V. Weber." This entry was made at London. The overture, scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings, begins with an introduction (Adagio sostenuto ed il tutto pianissimo possibile, D major, 4-4) . The horn of Oberon is answered by muted strings. The figure for flutes and clarinets is taken from the first scene of the opera (Oberon's palace; introduction and chorus of elfs). After a pianissimo little march there is a short dreamy passage for strings, which ends in the violas. There is a full orchestral crashing chord, and the main body of the overture begins (Allegro con fuoco in T> major, 4-4). The brilliant opening measures are taken from the accompaniment figure of the quartet, "Over the Dark Blue Waters/' sung by Rezia, Fatima, Huon, Scherasmin (act ii., scene x.). The horn of Oberon is heard again; it is answered by the skipping fairy figure. The second theme (A major, sung first by the clarinet, then by the first violins) is taken from the first measures of the second part of Huon's air (act i., No. 5). And then a theme taken from the peroration, presto con fuoco, of Rezia's air "Ocean! Thou mighty monster" (act ii., No. 13), is given as a conclusion to the violins. This theme ends the first part of the overture. The free fantasia begins with soft re- peated chords in bassoons, horns, drums, basses. The first theme is worked out in short periods ; a new theme is introduced and treated in fugato against a running contrapuntal counter-theme in the strings. The second theme is treated, but not elaborately ; and then the Eezia motive brings the spirited end. At the first performance of the opera the overture was repeated. "Pictures at an Exhibition" (Pianoforte Pieces arranged for Orchestra by Maurice Ravel) Modest Petrovitch Moussorgsky (Moussorgsky, born at Karevo, district of Toropeta, in the government of Pskov, on March 28, 1835; died at Leningrad on March 28, 1881. Joseph Maurice Ravel, born at Ciboure, Basses-Pyrenees, on March 7, 1875; is now living near Paris) Ravel has an intimate acquaintance with Russian music. It is said that his memory is remarkable; that he can play at request passages mo LUDWIG VAN BEETHOVEN \m As an interpreter of the piano works of the great master no one has won greater renown than EUGEN D'ALBERT who for two decades has been the undisputed Beethoven player par excellence. With full freedom of choice he selected from the rich heritage of piano music Beethoven left to the world the material for two splendid volumes in The Musicians Library The "little giant of the piano" did far more than finger and phrase these notable works—he gave in copious footnotes explicit information as to his interpretation of them.
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