Boston Symphony Orchestra Concert Programs, Season 53,1933

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Boston Symphony Orchestra Concert Programs, Season 53,1933 ACADEMY OF MUSIC . BROOKLYN Friday Evening, January 5, at 8.15 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn % BOSTON N %S SYMPHONY ORCHESTRA INC. FIFTY-THIRD SEASON J933-I934 PR5GRHAAE W 2 ]3 Boston Symphony Orchestra Fifty-third Season, 1933-1934 Dr. SERGE KOUSSEVITZKY, Conductor PERSONNEL Violins. Burgin, R. Elcus, G. Lauga, N. Sauvlet, H. ResnikofL V. Concert-master Gundersen, R. Kassman, N. Cherkassky, P. Eisler, D. Theodorowicz, J. Tapley, R. Mariotti, V. Fedorovsky, P. Knudson, C. Leibovici, J. Pinfield, C. Leveen, P. Hansen, £. Zung, M. Del Sordo, R. Gorodetzky, L. Mayer, P. Diamond, S. Bryant, M. Fiedler, B. Zide, L. Beale, M. Stonestreet, L. Messina, S. Murray, }. Erkelens, H. Seiniger, S. Violas. Lefranc, J. Fourel, G. Bernard, A. Grover, H. Artieres, L. Cauhape, J. Van Wynbergen, C. Werner, H. Avierino, N. Deane, C. Gerhardt, S. Jacob, R. Violoncellos. Bedetti, Langendoen, J. 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. Vondrak, A. Moleux, G. Frankel, I. Dufresne, G. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Polatschek, V. Laus, A. Bladet, G. Devergie, J. Valerio, M. Allard, R. Amerena, P. Stanislaus, H. Mazzeo, R. Panenka, E. Arcieri, E. Piccolo. English Horn. Bass Clarinet. Contra-Bassoon Battles, A. Speyer, L. Mimart, P. Piller, B. Horns. Horns. Trumpets. Trombones. Boettcher, G. Valkenier, W. Mager, G. Raichman, J. Macdonald, W. Lannoye, M. Lafosse, M. Hansotte, L. Valkenier, W. Singer, J. Grundey, T. Kenfield, L. Lorbe-r, H. Gebhardt, W. Voisin, R. Adam, E. Hain, F. Mann, J. Tuba. Harps. Timpani. Percussion. Adam, E. Zighera, B. Ritter, A. Sternburg, S. Caughey, E. Polster, M. White, L. Organ. Piano. Celesta. Librarian. Snow, A. Sanroma, J. Fiedler, A. Rogers, L. J. ACADEMY OF MUSIC BROOKLYN FIFTY-THIRD SEASON, 1933-1934 INC. Dr. SERGE KOUSSEVITZKY, Conductor FRIDAY EVENING, JANUARY 5, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE AND JOHN N. BURK COPYRIGHT, 1934, BY BOSTON SYMPHONY ORCHESTRA, INC. 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 EDWARD M. PICKMAN N. PENROSE HALLOWELL HENRY B. SAWYER M. A. DE WOLFE HOWE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager i Dr. SERGE KOUSSEVITZKY ACADEMY OF MUSIC BROOKLYN Forty-sixth season in Brooklyn Fifty-third Season, 1933—1934 Dr. SERGE KOUSSEVITZKY, Conductor SECOND CONCERT FRIDAY EVENING, JANUARY 5 AT 8.15 PROGRAMME Brahms Symphony No. 3 in F major, Op. 90 I. Allegro con brio. II. Andante. III. Poco allegretto. IV. Allegro. Ravel . "Sheherazade," Three Poems for Voice and Orchestra, to the Verses of Tristan Klingsor I. Asie. II. La Flute Enchantee. III. I/Indifferent. Ballet: Orchestral Excerpts Ravel . "Daphnis et Chloe," (Second Suite) Lever du Jour — Pantomime — Danse Generale. SOLOIST OLGA AVERINO Soprano There will be an intermission often minutes after the symphony Reminder—The next concert of this series will be on Thursday Evening, February 1, 1934, at 8.15 3 Symphony No. 3, in F major, Op. 90 . Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897) Brahms worked on his Third Symphony in 1882, and in the sum- mer of 1883 he completed it. The first performance of the Third Symphony was at a Philhar- monic concert in Vienna, December 2, 1883. Hans Richter conducted. Brahms feared for the performance although Richter had con- ducted four rehearsals. He wrote to Billow that at these rehearsals he missed the Forum Romanum (the theatre scene which in Mein- ingen served as a concert hall for rehearsals), and would not be wholly comfortable until the public gave unqualified approval. Max Kalbeck states that at the first performance in Vienna a crowd of the Wagner-Bruckner ecclesia militans stood in the pit to make a hostile demonstration, and there was hissing after the applause following each movement had died away; but the general public was so appreciative that the hissing was drowned and enthusiasm was at its height. Arthur Faber came near fighting a duel with an inciter of the Skandal sitting behind him, but forgot the disagreeable incident at the supper given by him in honor of the production of the symphony, with Dr. Billroth, THE ANALYTIC SYMPHONY SERIES Edited and Annotated by PERCY GOETSCHIUS, Mus, Doc. Published by Oliver Ditson Company, Inc. The Analytic Symphony Series comprises thirty-four volumes covering the most important symphonies of the world's greatest masters. Each volume is presented in playable two-hand piano score, and contains complete analytical notes on the structure and orchestration in addition to critical notes appraising the significance of the composition and its salient points. Copies may be had from your Music Dealer or the Publishers. OLIVER DITSON COMPANY, Inc. 359 Boylston Street Boston, Mass, Simrock, Goldmark, Dvorak, Briill, Hellmesberger, Richter, Han- slick, among the guests. At this concert Franz Ondricek played the new violin concerto of Dvorak. It is said that various peri- odicals asserted that this symphony was by far the best of Brahms's compositions. This greatly annoyed the composer, especially as it raised expectations which he thought could not be fulfilled. Brahms sent the manuscript to Joachim in Berlin and asked him to conduct the second performance where or at what time he liked.* For a year or more the friendship between the two had been clouded, for Brahms had sided with Mrs. Joachim in the domestic dispute, or at least he had preserved his accustomed intimacy with her, and Joachim had resented this. The second performance, led by Joachim, was at Berlin, January 4, 1884.f Dr. Franz Wullner was then the conductor of the Berlin Philharmonic Orchestra Sub- scription Concerts. Brahms had promised him in the summer before the honor of conducting this symphony in Berlin for the first time. Joachim insisted that he should be the conductor. Churlish in the matter, he persuaded Brahms to break his promise *In November Brahms wrote Franz Wullner, to whom he had promised the sym-' phony for performance in Berlin, that he felt obliged to give it to Joachim. fBrahms conducted the symphony two weeks later at one of Wullner' s Subscription Concerts. EVERETT PIANOS are sold Exclusively by Loeser's in New York City Grands $ 595 to $1295 Gabrilowitsch has said of the 11 Everett, It cannot be surpassed LOESER'S FUITON AT BONO. BROOKLYN • TRiongle 5-8100 to Wtillner by saying that he would play Brahms' violin concerto under the composer's direction if Brahms would allow him to con- duct the symphony. Brahms then begged Wtillner to make the sacrifice. Joachim therefore conducted it at an Academy Concert, but Brahms was not present; he came about a fortnight later to TVullner's first subscription concert, and then conducted the sym- phony and played his pianoforte concerto in D minor. The writer of these notes was at this concert. The symphony was applauded enthu- siastically, but Brahms was almost as incompetent a conductor as Joachim. (His pianoforte playing in 1884 on that occasion was muddy and noisy.) Brahms conducted the symphony at Wiesbaden on January 18, 1884. The copyright of the manuscript was sold to the publisher Simrock, of Berlin, for 36,000 marks ($9,000) and a percentage on sums realized by performances. The first movement, Allegro con brio, in F major, 6-4, opens with three introductory chords (horns, trumpets, wood-wind), the upper voice of which, F, A-flat, F, presents a short theme that is an em- blematic figure, or device, which recurs significantly throughout the movement. Although it is not one of the regular themes, it plays a dominating part. Some find in a following cross-relation—A-flat of the bass against the preceding A natural of the first theme, the ''keynote to some occult dramatic signification." William Foster i A REGULAR WEEKLY DEPOSIT I I ALLOWED TO ACCUMULATE I i I LIGHTENS THE BURDEN i I i IN LATER YEARS I i I I THE I I I I Dime Savings Bank I i of brooklyn I i DE KALB AVENUE and FULTON STREET I I D \ 86th St. and 19th Ave., Bensonhurst 1 branches: < A , , f. i i j a i / Avenue J and Coney Island Avenue I Established 1859 Surplus $27,500,000 Over 200,000 Depositors = ! Apthorp voiced this opinion with peculiar felicity : "It seems to me that it can only be explained on the supposition of some underlying dramatic principle in the movement, such as the bringing together of two opposing forces—Light and Darkness, Good and Evil, or perhaps only Major and Minor—for on purely musical grounds the thing has little sense or meaning. The first theme starts in passion- ately and joyously, in the exuberance of musical life; the counter- theme comes in darkly and forbiddingly, like Iago's ' . O, you are well tun'd now But I'll set down the pegs that make this music, " As honest as I am.' Enharmonic modulation leads to A major, the tonality of the second theme. There is first a slight reminiscence of the "Venus- berg" scene in "Tannhauser,"—"Naht euch dem Strande !" Dr. Hugo Riemann goes so far as to say that Brahms may have thus paid a tribute to Wagner, who died in the period of the composition of this symphony. The second theme is of a graceful character, but of compressed form, in strong contrast with the broad and sweeping first theme.
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