SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, May 3, at 8.00 & BOSTON SYAPtlONY ORCHESTRA INC. FORTY-SECOND SEASON J922-J923 i.d PRSGRSrtttE I 9 I iiirimnn Steinway & Sons STEINERT JEWETT WOODBURY « PIANOS •» Duo-Art REPRODUCING PIANOS AND PIANOLA PIANOS VICTROLAS VICTOR RECORDS M. STEINERT & SONS STEINERT HALL 162 BOYLSTON STREET SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-SECOND SEASON 1922-1923 tan Sympb INC. PIERRE MONTEUX, Conductor SEASON 1922-1923 THURSDAY EVENING, MAY 3, at 8.00 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, 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 ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager l THE INSTRUMENT OF THE IMMORTALS QOMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt and convenience a Steinway can at his Steinway be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years* 'Prices: $875 and up Convenient terms. Used pianos taken in exchange. I I 109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE ©mosh ^>ymj Forty-second Season, 1922-1923 PIERRE MONTEUX, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Siegl, F. Kassinan, N. Barozzi, S. Leveen, P. Mariotti, V. Thillois, F. Gorodetzky, L Kurth, R. Murray, J. Berger, H. Goldstein, S. Bryant, M. Knudsen, C. Stonestreet, L. Riedlinger, H. Erkelens, H. Seiniger, S. Diamond, S. Tapley, R. Del Sordo, R. Messina, S. Violas. Fourel, G. Werner, H. Grover, H. Fiedler, A. Artieres, L. Van Wynbergen, C. Shirley, P. Mullaly, J. Gerhardt, S. Kluge, M. Deane, C. Zahn, F. Violoncellos. Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendoen, j Schroeder, A. Barth, C. Stockbridge, C. Fabrizio, E. Marjollet, L. Basses. Kunze, M. Seydel, T. Ludwig, 0. Kelley, A. Girard, H Keller, K. Gerhardt, G. Frankel, I. Demetrides, L. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Arcieri, E. Allard, R. Amerena. P. Stanislaus, H. Vannini, A. Bettoney, F. Piccolo. English Horns. Bass Clarinet. Contra-BASSOON Battles, A. Mueller, F. Mimart> P. Piller, B. Speyer, L. Horns. Horns. Trumpets. Trombones. Wendler, G. Hess, M. Mager, G. Hampe, C. Lorbeer, H. Van Den Berg, C. Mann, J. Adam, E. Hain, F. Perret, G. Mausebach, A. Gebhardt, W. Kloepfel, L. Kenfield, L. Tuba. Harps, Timpani. Percussion. Adam, E. Holy, A, Ritter, A. Ludwig, C. Zahn, F. Delcourt, L. Kandler, F. Sternburg, S. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J. 3 — IN THE POSSESSION OF A BEAUTIFUL WORK OF ART <•/ HE choice of a piano which is an exquisite work of art * the supreme expression of the art of the piano-maker and the art of the craftsman — brings with its presence a sense of satisfaction that is an enduring pleasure. This pleasure is experienced by those whose discrimination demands the £ a PIANO The exquisite small grands of this famous make are works of art of the highest order. They bring to the home containing them, the finishing touch of faultless taste— a center around which the artistic beauty of the home radiates, and that serves as an inspiration and incen- tive to an appreciation of the best — and only the best. When containing the AMPICO they become endowed with the playing of the greatest pianists in the world RETAIL WARE ROOMS 169 TREMONT STREET BOSTON SANDERS THEATRE .... CAMBRIDGE HARVARD UNIVERSITY >©§foe Sympl Forty-second Season,5 1922-1923 PIERRE MONTI NINTH. CONCERT THURSDAY EVENING, MAY 3 AT 8.00 PROGRAMME Tchaikovsky . Symphony No. 6 in B minor, "Pathetic," Op. 74 I. Adagio; Allegro non troppo. II. Allegro con grazia. III. Allegro molto vivace. IV. Finale; Adagio lamentoso. Wagner . ..; Scene, "Gerechter Gott!" and Aria Gretry-Mottl . Three Dance Numbers from "Cephale et Procris" I. Tambourin. II. Menuet ("The Nymphs of Diana") III. Gigue. Saint-Saens . Aria, "Mon Cceur s'ouvre a ta voix" from "Samson and Delilah" Weber Overture to "Oberon" SOLOIST EMMA ROBERTS There will be an intermission of ten minutes after the symphony 5 The independent traveler to Europe this summer will save time, money and effort and will eliminate disappoint- ment by using our INDIVIDUAL TRAVEL SERVICE. We make advance arrangements for you, relieving you of the worry and all the burdensome travel details. We secure your steamship tickets at schedule rates, take care of your accommodations and incidental expenses at hotels in Europe, and arrange for a large part of your sightseeing. We also protect you from many local overcharges, costly delays and expensive changes of plans due to insufficient arrangements. In the popular season when reservations are at a premium, you can readily appreciate the inestimable value of this service. In helping you plan your route, we, as America's oldest and largest Travel Concern, with our intimate knowledge of present-day conditions in Europe, can assure you the inclusion of all those things which you as a discriminating American traveler want to see. By paying us a net price for your entire trip you are Wg* relieved of uncertainty regarding expenses. m Besides this Individual Travel Service /^ we offer an attractive series of well- fflp^ planned and ideally arranged Escorted *-ULHLA- Tours to Europe. For complete information about either our Individual Travel Service or our Escorted Tours, call, write or telephone THE BEST IN TRAVEL 17 Temple Place BOSTON Tel. Beach 6964 ; Symthony No. 6, in B minor, "Pathetic," Or. 74. Peter Tchaikovsky (Born at Votkinsk, in the government of Viatka, Russia, May 7, 1840; died at Petrograd, November 6, 1893.) This symphony was performed for the first time at Petrograd on October 28, 1893. The morning after Modest found Peter at the tea-table with the score of the symphony in his hand. He regretted that, inasmuch as he had to send it that day to the publisher, he had not yet given it a title. He wished something more than "No. 6," and did not like "Programme Symphony." "What does Programme Symphony mean when I will give it no programme?" Modest suggested "Tragic," but Peter said that would not do. "I left the room before he had come to a decision. Suddenly I thought, 'Pathetic.' I went back to the room,—I remember it as though it were yesterday,—and I said the word to Peter. 'Splendid, Modi, bravo, "Pathetic"!' and he wrote in my presence the title that will forever remain." Each hearer has his own thoughts when he is "reminded by the instruments." To some this symphony is as the life of man. The story is to them of man's illusions, desires, loves, struggles, vic- tories, and end. In the first movement they find with the despair of old age and the dread of death the recollection of early years with the transports and illusions of love, the remembrances of youth and all that is contained in that word. The second movement might bear as a motto the words of the Third Kalandar in the "Thousand Nights and a Night" : "And we sat down to drink, and some sang songs and others played the lute and psaltery and recorders and other instruments, and the bowl went merrily round. Hereupon such gladness possessed me that I forgot the sorrows of the world one and all, and said : 'This is indeed life. O sad that 'tis fleeting !' " The trio is as the sound of the clock that in Poe's wild tale compelled even the musicians of the orchestra to pause momentarily in their performance, to hearken to the sound "and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused revery or meditation." In this trio Death beats the drum. With Tchaikovsky, here, as in the "Manfred" sym- phony, the drum is the most tragic of instruments. The persistent drum-beat in this trio is poignant in despair not untouched with irony. Man says : "Come now, I'll be gay" ; and he tries to sing and to dance, and to forget. His very gayety is labored, forced, con- strained, in an unnatural rhythm. And then the drum is heard, and there is wailing, there is angry protest, there is the conviction that the struggle against Fate is vain. Again there is the deliberate effort to be gay, but the drum once heard beats in the ears forever. 7 — — The third movement—the march-scherzo—is the excuse, the pre- text, for the final lamentation. The man triumphs, he knows all that there is in earthly fame. Success is hideous, as Victor Hugo said.