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Boston Symphony Orchestra Concert Programs, Season 45,1925

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Boston Symphony Orchestra Concert Programs, Season 45,1925 SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, December 3, at 8.00 :#* '% ^^-^ •Vvw. «»> \S.d> BOSTON SYAPHONY OROIESTRH INC. FORTY-FIFTH SEASON 1925-1926 \T PR5GR2WIE H3 % STEINWAY STEINERT JEWETT WOODBURY PIANOS DUO-ART Reproducing Pianos V1CTROLAS VICTOR RECORDS Radio Merchandise M. STEINERT & SONS Steinert Hall 162 Boyiston Street m^ SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-FIFTH SEASON, 1925-1926 INC. SERGE KOUSSEVITZKY, Conductor SEASON 1925-1926 THURSDAY EVENING, DECEMBER 3, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1925, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN ARTHUR LYMAN E. SOHIER WELCH 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. THE INST%U<SMENT OF THE IMMORTALS . Forty-fifth Season, 1925-1926 SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Gundersen, R. Concert-master Kreinin, B. Eisler, D. Sauvlet, H. Kassman, N. Theodorowicz, J. Cherkassky, P. Pinfield, C. Mayer, P. Siegl, F. Risman, J. Fedorovsky, P. Leveen, P. Mariotti, V. Thillois, F. Gorodetzky, L. Kurth, R. Riedlinger, H. Murray, J. Fiedler, B. Bryant, M. Knudsen, C. Stonestreet, L. Tapley, R. Del Sordo, R. Messina, S. Diamond, S. Erkelens, H. Seiniger, S. Zung, M. Violas. Lefranc, J. Fourel, G. Van Wynbergen, C. Grover, II Fiedler, A. Artieres, 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. Seydel, T. Ludwig, 0. Kelley, A. Girard, H. Vondrak, A. Gerhardt, G. Frankel, I. Demetrides, L. Oliver, F. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Allegra, E. Laus, A. Bladet, G. Devergie, J. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Bettoney, F. E-Flat Clarinet. Vannini, A. 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. Gebhardt, W. Perret, G. Adam, E. Neuling, H. Van Den Berg, C. Schmeisser, K. Hansotte, L. Lorbeer, H. Lannoyo, M. Mann, J. Kenfield, L. Kloepfel, L. Tuba. Harps. Timpani. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Caughey, E. Polster, M. Sternburg, S. Zahn, F. Organ. Piano. Celesta. Librarian. Snow, A. Sanroma, J. Fiedler, A\ Rogers, L. J. Compare HERE are but a few fine pianos that are rated as the world's leading in' struments ' - < You may hear them with- in the radius of a few blocks. Hear them all. The Checkering courts com- parison with any other instrument ' - - * under any conditions you choose to impose. Chickering ' Ampico < Brewster Marshal l S» Wendell Easy terms? '" of course! l69TrmontSt. SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Forty-fifth Season, 1925-1926 SERGE KOUSSEVITZKY, Conductor THIRD CONCERT THURSDAY EVENING,, DECEMBER 3 AT 8.00 PROGRAMME Beethoven . Symphony No. 4 in B-flat major, Op. 60 I. Adagio; Allegro vivace. II. Adagio. III. Allegro vivace; Trio; Un poco meno allegro. IV. Finale: Allegro, ma non troppo. Rimsky-Korsakov . Symphonic Suite " Scheherazade" (after "The Thousand Nights and a Night"), Op. 35 I. The Sea and Sindbad's Ship. II. The Story of the Kalandar Prince. III. The Young Prince and the Young Princess. IV. Festival at Bagdad. The Sea. The Ship goes to Pieces on a Rock surmounted by a Bronze Warrior. Conclusion. There will be an intermission after the symphony 5 BETWEEN June and September, more than two hundred thousand persons crossed to the Conti- nent and the British Isles, and traveled hither and yon. They have now returned to their homes and are giving entertaining accounts of their adventures. But now and then there are stories of a scramble for steamship accommodations, of incomprehensible officials, of troubles with foreign trains, of crowded hotels and of failure to get in at the hotels selected or to secure the right rooms anywhere. The solution of such difficulties is Raymond- Whitcomb. The Raymond -Whitcomb Individual Travel Service looks after the details of travel for persons who wish to travel "independently." It helps them plan a trip and then makes all the necessary arrangements for the journey — securing steamship and railroad tickets, automobiles and local guides, and engaging rooms at hotels. In a word it does everything possible to make the trip easy and pleasant, and to save the traveler the usual anxiety and trouble and frequent disappointment. Send for the Guide to European Travel West Indies Cruises Two Winter Cruises on the finest ship that has ever been to the Caribbean—the S.S. "Columbus," a new liner of 32,000 tons and luxurious appointments. Sailing January 30 and February 25. Rates, $375 and up. (Including all excursions ashore.) 2 Mediterranean Cruises A Winter Cruise on the S.S. "Samaria." Sailing January 28. Rates, $925 and up (include return to America at any date). A Spring Cruise on the new Cunarder "Carinthia." Sailing April 3. Rates, $625 and up (include return at any date). Tours to California & Hawaii, Europe, & South America. Raymond & Whitcomb Co. 165 Tremont St. BOSTON Tel. Beach 6964 m — Symphony in B-flat major, No. 4, Op. 60, Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827) The composition of Beethoven's Symphony No. 5, in C minor, was not begun before the performance of the "Eroica," No. 3, and the first public performance of the "Eroica" was at Vienna on April 7, 1805.* Nottebohm found in a sketch-book of Beethoven, dated 1795, notes for a symphony in C minor, and one sketch bears a resemblance to the opening measures of the Scherzo as it is now known to us; but the composition, properly speaking, did not begin until the "Eroica" had been performed. This composition was interrupted by work on the Symphony in B-flat major, No. 4, a symphony of a very different character. The symphony was probably planned and composed in the summer of 1806. In September, 1806, Beethoven, writing to Breitkopf and Hartel spoke of a "new" symphony he wished to publish. After the performance of the "Eroica," Beethoven also worked on his opera, "Fidelio." The French army entered Vienna, November 13, 1805; on the 15th Napoleon sent to the Viennese a proclamation dated at Schonbrunn, and on November 20, 1805, "Fidelio" was per- formed for the first time, before an audience largely composed of French officers. There were three performances, and the opera was with- drawn until March 29, 1806, when it was reduced from three acts to two. The opera was again coldly received; there were two perform- ances; and there was no revival in Vienna until 1814. Beethoven, disturbed by this disaster, went in 1806 to Hungary to visit his friend, Count Brunsvik, and he visited the Prince Lich- nowsky at Castle Gratz, which was near Troppau in Silesia. It has been said that at Martonvasar, visiting the Brunsviks, he found that he loved Therese and that his love was returned, f Some, therefore, account for the postponement of the Fifth Symphony, begun before the Fourth, "by the fact that in May, 1806, Beethoven became engaged to the Countess Therese. The B-flat symphony has been mentioned as 'the most tenderly classical' of all works of its kind; its keynote is 'happiness'—a contentment which could have come to the master only through such an incident as the one above set forth—his betrothal." We do not see the force of this reasoning, t It is better to say with Thayer that nothing is known about the origin of the Fourth beyond the inscription put by the composer on the manuscript which belongs to the Mendelssohn family: "Sinfonia 4*» 1806. L. v. Bthvn." *The "Eroica" was performed for the first time at a private concert at Prince Lobkowitz's in December, 1804. tSee "Beethoven's unsterbliche Geliebte nach personlichen Erinnerungen," by Mariam Tenger (Bonn, 1890), and Prod'homme's "Symphonies de Beethoven" (Paris, 1906). t"In the last months of 1806, after the visit to the Brunswicks, the placid and serene Fourth Symphony—the most perfect in form of them all—and the noble Violin Concerto; in 1807, the Mass in C, and the C minor Symphony . are such the works of a melancholy, gloomy temperament, or of a forlorn, sentimental lover, sighing like a furnace and making 'a woeful ballad to his mistress' eyebrow?" Thayer-Krehbiel, "Life of Beethoven." — The symphony is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings. No one has written more acutely, discriminately, and with more poetic appreciation of the symphonies of Beethoven than Hector Berlioz : "Here Beethoven abandons wholly the ode and the elegy,"—a refer- ence to the "Eroica" Symphony,—"to return to the less lofty and sombre but perhaps no less difficult style of the Second Symphony. The character of this score is generally lively, nimble, joyous, or of a heavenly sweetness. If we accept the meditative adagio, which serves as an introduction, the first movement is almost entirely given up to joyfulness.
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