Fifty-Fourth Season in New York '; ^\\\UlllJ/l///^ S w. 70,% ^^^ ¥ BOSTON SYMPHONY ORCHESTRA FOUNDED IN 188) BY HENRY L. HIGGINSON FIFTY-NINTH SEASON & 1939-1940 [1] Thursday Evening, November 23 Saturday Afternoon, November 25 Boston Symphony Orchestra [Fifty-ninth Season, 1939-1940] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, C. LAUGA, N. s W\I IT, II. Kl SNIKOI r, V. Concert-master GUNDERSEN, R. KASSMAN, N. CHI RKASSKY, P. EISI I R, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. I 1 DOROVSKY, P. rAPLEY, R. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNC, M. BEALE, M. GORODETZm , I.. MAYER, P. DIAMOND, S. DELSORDO, R. I II 1)1.1 R, B. BRYANT, M. STONESTREET, L. Ml SSINA.S. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger, s. DUBBS, H. Violas LEFRANC, J. I OURF.L, G. Bl RNARD, A. CROVLR, II. CAUHAPE, J. ARTIERES, L. \ \\ WYNBERGEN, C. WERNER, H. LEHNER, E. KORNSAND, E. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI,J. LANGENDOEN, J. (II \RDON, y. STOCKBRIDGE, C. i abrizio, i . ZIGHERA, A. TORTELIER, P. DROEGHMANS, H. /I ISE, K. marjollet, l. zimbler, j. Basses MOLEUX, G. DUFRESNE, G. greenberg, h. GIRARD, H. barwicki, j. vondrak, a. JUHT, L. frankel, i. PROSE, P. Flutes Oboes Clarinets Bassoons laurent, g. GILLET, F. polatschf.k, v. ALLARD, R. pappoutsakis, j devergie, j. valerio, m. PANENKA, E. KAPLAN, P. lukatsky, j. cardillo, p. LAUS, A. Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. mazzeo, R. PILLER, B. Horns Horns Trumpets Trombones valkenier, w. SINGER, J. MAGER, G. raichman, j. macdonald, w. LANNOYE, M. LAFOSSE, M. hansotte, l. SINGER, J. SHAPIRO, H. VOISIN, R. L. lilleback, w. gebhardt, w. KEANEY, P. VOISIN, R. SMITH, V. Tuba Harps Timpani Percussion ADAM, E. zighera, b. SZULC, R. sternburg, s. caughey, e. POLSTER, M. WHITE, L. ARCIERI, E. Piano Librarian sanroma, j. rogers, l. j. * On. leave. (Eantegt? Hall • 53>t» fork Fifty-Fourth Season in New York FIFTY-NINTH SEASON, 1939-1940 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor RICHARD BURGIN, Assistant Conductor Concert Bulletin of the First Concert THURSDAY EVENING, November 23 AND THE First Matinee SATURDAY AFTERNOON, November 25 with historical and descriptive notes by John N. Burk The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Ernest B. Dane President Henry B. Sawyer .... Vice-President Ernest B. Dane Treasurer Henry B. Cabot M. A. De Wolfe Howe Ernest B. Dane Roger I. Lee Alvan T. Fuller Richard C. Paine Jerome D. Greene Henry B. Sawyer N. Penrose Hallowell Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [1] THE FRIENDS of the ORCHESTRA T„oday with a total budget of about $700,000 the Boston Symphony Orches- tra is within 15% of covering expenses, a record approached by few, if any, orches- tras in this country. A careful study of budgets of past years indicates, however, that despite vigilant control of expenses and a liberal program of over 200 concerts during 46 weeks of the year, we must ex- pect an annual operating deficit of $100,000 until additional sources of revenue can be developed. The Trustees of the Orchestra are look- ing again to the Friends of the Orchestra for help at the start of the Season in meet- ing this operating deficit. It is the Friends who make the concerts possible. The Bos- ton Symphony Orchestra is their orchestra. All those who have not yet enrolled as Members of this very essential Society, and desire to take a personal part in preserving the high standard of excellence and further- ing the great social service of our Orches- tra, are invited to enroll as Friends of the Orchestra. Cheques may be made payable to Boston Symphony Orchestra and for- warded to its Treasurer at No. 6 Beacon Street, Boston. Gifts to the Orchestra are deductible donations under the Federal In- come Tax Law. Reginald C. Foster, Chairman, Friends of the Boston Symphony Orchestra. [2] (Oartwgt? Hall Fifty-Fourth Season in New York Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor FIRST EVENING CONCERT THURSDAY, November 23 Programme Arthur Foote Suite in E major for String Orchestra, Op. 63 I. Prelude II. Pizzicato and Adagietto III. Fugue Walter Piston Concertino for Piano and Orchestra Roy Harris Symphony No. 3 (In one movement) INTERMISSION Randall Thompson Symphony No. 2 in E minor I. Allegro II. Largo III. Vivace IV. Andante moderato; Allegro con spirito; Largamente SOLOIST JESUS MARIA SANROMA STEINWAY PIANO The music of these programmes is available at the 58th Street Library [3] SUITE, E MAJOR, Op. 63, for String Orchestra By Arthur Foote Born in Salem, Mass., March 5, 1853; died in Boston, April 8, 1937 This Suite was composed in 1907, but with a different second movement — the "Pizzicato" having been added in 1908. The first performance was given at the Boston Symphony concerts, Max Fiedler conducting, on April 16, 1909. The work was published in that year with a dedication to Mr. Fiedler. A rthur Foote is numbered among the New England composers who XJL took their first musical instruction under John Knowles Paine at Harvard College. After graduation he studied organ and piano until he was organist of the First with B. J. Lang. From 1878 1910 Unitarian Church in Boston. As pianist, also, he appeared publicly on many occasions. But his principal interest was always in the realm of composition. His list of works is considerable, including besides orchestral scores a large amount of chamber music. His songs, which have enjoyed a considerable popularity, almost reached the number of 150. There are several works for chorus and orchestra, notably "The Farewell of Hiawatha," "The Wreck of the Hesperus," and "The Skeleton in Armor"; also music for chorus with piano accom- paniment or a capella, showing an interest in this field which dates perhaps from the time when, as an undergraduate, he conducted the Harvard Glee Club. The following description of the score was furnished by Mr. Foote when the suite was first performed. "The Prelude, E major, 2-2, is brief, and is based throughout on the first phrase of eight notes; it is of flowing melodic character, with much imitation among the several voices. "The Pizzicato, A minor, 6-8, is continuously so; it is interrupted by an Adagietto, F major, 3-4, which is played with the bow (arco), the instruments being muted. "The Fugue is in E minor, 4-4, and is pretty thoroughly planned out, with a long pedal point just at the last return of the theme; there are no inversions or augmentations, etc. The first four notes of the theme are heard often by themselves, and, if those notes are ob- served by the listener at their first entrances, the fugue will be very clear at first hearing." [COPYRIGHTED] [4] CONCERTINO FOR PIANO AND CHAMBER ORCHESTRA By Walter Piston Born in Rockland, Maine, January 20, 1894 The Concertino, written for pianoforte and chamber orchestra, but here per- formed with an increased orchestra, was composed by commission for the Columbia Broadcasting System and first performed at a radio concert of American composi- tions, June 20, 1937, the composer conducting, and Jesus Maria Sanroma playing the piano solo. The broadcast was repeated, again with Mr. Sanroma as soloist, Howard Barlow conducting, October 17, 1937. The Concertino, with the same soloist, had its first performance at a public concert by the chamber orchestra of Bernard Zighera, under his direction, in Jordan Hall, Boston, February 24, 1938. The score was published in 1939. The Concertino, although continuous, divides naturally into five sections. The first part is an allegro, 3-4. The principal theme is stated by the piano to orchestral accompaniment, and developed in lyrical vein by the piano. The second section maintains the allegro tempo, but is in 6-8 rhythm and of a scherzo-like character. There is a fugato by the wood-wind section. A transition introduces the third section, a slow movement, adagio, 5-4. The solo 'cello states a new melody which is then varied with passages for solo oboe, clarinet, flute, horn, and string quartet, in conjunction with the piano. The 'cello solo recurs. A piano cadenza, with canonic treatment of the adagio theme, introduces a fourth section which restores the original tempo allegro, and offers a recapitulation of the first section with some fresh development. The final section is a variation upon the second section. There is new rhythmic treatment, the 6-8 being replaced by 2-4. There is a short concluding coda in increased tempo. The works of Walter Piston are as follows: 1926. Piano Sonata. 1926. Three Pieces for Flute, Clarinet and Bassoon. 1928. Symphonic Piece. 1929. Suite for Orchestra. 1931. Sonata for Flute and Piano. 1931. Suite for Oboe and Piano. !933- String Quartet No. 1. 1933. Concerto for Orchestra. 1934. Prelude and Fugue for Orchestra. *935- String Quartet No. 2. 1935. Trio for Violin, 'Cello and Piano. 1937. Concertino for Piano and Orchestra. 1 9%1- Symphony No. 1. 1938. Ballet, "The Incredible Flutist." * (A Concerto for Violin and Orchestra has just been completed.) The following had their first performances by the Boston Symphony Orchestra: 1928. March 23, Symphonic Piece. 1930. March 28, Suite for Orchestra. * The Ballet "The Incredible Flutist," was first performed by Hans Wiener and his Dancers, at a Pop Concert in Symphony Hall, Arthur Fiedler conducting, May 30, 1938. An or- chestral suite has been drawn from this ballet. [5] 1934- March 29, Concerto for Orchestra. (First performed at a Cambridge con- cert, March 8, 1934. Also performed at a Berkshire Symphonic Festival Concert, August 5, 1939.) 1938.