SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, January 12, at 8.00 v# ^, '-vxw <*rv «<*=" BOSTON SYAPHONY ORCHESTRA INCORPORATED . FORTY-FIRST SEASON J92I-J922 PR3GRTOVIE 4 I 3M& Steinway Jewett PIANOS rSteinert Woodbury M. Steinert &- Sons nmi Victrolas and Duo Art and Victor Records Pianola Pianos STEINEKT HALL 62 BOYLSTON ST. SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-FIRST SEASON, 1921-1922 INCORPORATED PIERRE MONTEUX, Conductor SEASON 1921-1922, THURSDAY EVENING, JANUARY 12, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1922, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED 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 FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager — — 'CHE INSTRUMENT OF THE IMMORTALS the old house where Franz Liszt as Rubinstein, dePachmann, Joseffy ! Many INpassed his last years, still stands a young genius set fingers to a Steinway for his Steinway. Here the master of the first time in this house of Liszt's. Weimar played for the rulers of the earth And it is worthy of note that almost without who came to do him homage. And here, exception they, too, chose the Steinway too, played other masters of the piano just as Liszt had done before them, just as friends and disciples of Liszt's—men such the masters of today have done after them. 107-109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE . Forty-first Season, 1921-1922 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. Berger, H. Kassman, N. Barozzi, S. Leveen, P. Siegl, F. Thillois, F. Gorodetzky, L. Kurth, R. Murray, J. Riedlinger, H. Goldstein, S. Bryant, M. Knudsen, C. Stonestreet, L. Deane, C. Erkelens, H. Seiniger, S. Diamond, S. Tapley, R. Del Sordo, R. Messina, S. Violas. Fourel, G. Werner, H Grover, H. Fiedler, A. Arti&res, L. Van Wynbergen, C. Shirley, P. Mullaly, J. Gerhardt, S. Kluge, M. Welti, 0. Zahn, F. Violoncellos. Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendcen, J. Schroeder, Fabrizio, Marjollet, L. A. Barth, C. E. Stockbridge ; C. Basses Kunze, M. Seydel, T. Ludwig, 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. Mueller, E. 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. Van Den Berg, C. Mager, G. Hampe, C. Lorbeer, H. Hess, M. Mann, J. Adam, E. Hain, F. Perret, G. Mausebach, A. Gebhardt, W. Kloepfel, L. Kenfield, L. Tuba. Harps. Timpani. Percussion. Adam, E. Holy, A. Neumann, S. Rettberg, A Zahn, F. Delcourt, L. Kandler, F. Ludwig, C. Organ. Celest/L. Librarian. Snow, A. Fiedler, A. Rogers, L. 3 The highest excellence in every detail of its con- struction and the lasting beauty of its musical voice, have caused the CHICKERING PIANO to be sought after by oldest m true music lovers for amSica fj nearly a Hundred Years. THE To-day it is a finer in- world J strument than at any time in its long and illustrious career, ooo With the AMP1CO it is endowed with playing of the greatest Pianists in the World .c>o^» • ooo -**«& m SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Forty-first Season, 1921-1922 PIERRE MONTEUX, Conductor FOURTH CONCERT THURSDAY EVENING, JANUARY 12 AT 8.00 PROGRAMME Massenet Overture to "Phedre" Bruch . Fantasia on Scottish Airs, for Violin and Orchestra, Op. 46 I. Introduction: Grave; Adagio cantabile. II. Scherzo: Allegro. III. Andante sostenuto. IV. Finale: Allegro guerriero. Schonberg . "Verklarte Nacht" ("Radiant Night"), Sextet for strings, Opus 4, arranged for String Orchestra Rimsky-Korsakoff . "Night on Mount Triglaff," Act III of the Opera Ballet "Mlada," arranged in concert form SOLOIST PAUL KOCHANSKI There will be an intermission of ten minutes after Bruch's Fantasia 1 —— in Travel J XXjX}J\0 G \^imMgt&& V in Travel As Near as Europe As Oriental as Asia Arabian Nights Africa (Algeria, Tunisia &- French Morocco) Picturesque lands of dazzling white Arab towns — their sky lines of low uneven roofs broken by the domes and minarets ofmosques with narrow streets — with white^robed and turbaned throngs and frenzied dervishes with bright Oriental bazaars — and the inv pressive expanse of the desert with its camels and caravans and its palnvfringed oases. Ideal for winter travel Tours leave Jan. 26, Feb. 2, Feb. 11, Mar. 11. Send for booklet Raymond &- Whitcomb Co, 1 7 Temple Place, Boston Telephone Beach 6964 Other Tours: California Florida—Europe — South America Egypt &- Holy Land — Japan'China also A Mediterranean Cruise, February 14 A Cruise to Hawaii via Panama, February 1 V ' ' i 'wiiM Immimii ii inn 'i ii M«MM>>^tM»«MiM* «—— g—i— — — — Overture to "Phedre" . Jules Emile Frederic Massenet (Born at Montaud, near Saint-Etienne [Loirel, France, on May 12, 1842; died at Paris, August 14, 1912.) At the beginning of the musical season of 1873-74 Jules Pasdeloup, conductor of the Concerts Populaires in Paris, asked three French composers to write, each of them, a symphonic overture. The over- tures would be played, he said, on successive Sundays. The com- posers were Bizet, Massenet, and Guiraud. Bizet's "Patrie" was performed on February 15, 1874; Massenet's "Phedre" on February 22, 1874; Guiraud's " Concert Overture," afterwards entitled "Artewelde," on the Sunday following. Massenet took for a motto these lines from Racine's " Phedre"*: Ce n'est plus une ardeur dans mes veines cachee, C'est Venus tout entiere a sa proie attachee. For a performance of Racine's tragedy at the Odeon, Paris, December 8, 1900, t Massenet wrote music for the action and entr'actes designed to sum up the situation of the preceding act and to prepare the spectator for the act to follow: Entr'acte of Act II., Thesee in the Shades; that of Act III., a, Sacrifice and Offering, in a pontifical manner, b, Athenean March written in the ancient style; that of Act IV., Prayer to Neptune; that of Act V., Hippolyte and Aricie, an idyl, sung by clarinet and English horn, and repeated by solo violin [Jacques ThibaudJ. The music was praised; the action on the stage condemned. There were six per- formances that month. Edouard Colonne conducted the orchestra. The score, dedicated to Joseph Dupont, calls for these instruments: piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two cornets-a-pistons, two trumpets, three trombones, bass tuba, kettledrums, and strings. When this overture was performed in Chicago in 1905, Mr. Hubbard Harris, then the editor of the Programme Books, supplied the following argument, without stating, as Mr. Borowski, the present and admirable editor of the Chicago Orchestra Programme Books, says, whether Massenet was responsible for it: "The composition follows in a general way Racine's tragedy of the same name. After the portentous opening we hear the ill-fated queen, overwhelmed at the thought of, and bewailing, her unlawful passion (clarinet). The duet in the oboes suggests the scene between Phedre and (Enone. The tragic motive breaks in again, and changes into an Allegro appassionato (Hippolytus chafing under his restraint, and on the point of leaving for Mycenae). Phedre and Hippolytus meet; the passionate declaration of love follows (given to the violins in unison), and then the storm breaks over us. Neptune redeems his vow to Theseus. Hippolytus, encountering the monster cast up by the rising sea, is dragged to his death by the frightened steeds. Again we hear the wailing melody of the beginning, and the declaration of undying love; the turbulent episode of the first part is repeated and the overture closes with the tragic motive of the opening." Massenet used some of the material of this overture in his opera "Ariane." * Produced at the Hotel de Bourgogne on January 1, 1677. New Year's Day was not then cele- brated in France, but theatres were closed on December 24 and 25. Marie Desmares de Champmesle took the part of Phedre. Rachel took the part of Phedre in Racine's tragedy at the Boston Theatre, October 23, 1855. t Thesee, M. de Max; Hippolyte, M. Vargas; Phedre, Mile. Dauphin; Aricie, Mile. Franquet; Theramene, M. A. Lambert; Panope, M. Taldy; (Enone, Mile. Even; Ismene, Mile. Beryl. 7 — Fantasia on Scottish Folk-melodies for Violin and Orchestra, Op. 46 Max Bruch (Born at Cologne, January 6, 1838; died October 3, 1920.) The full title of this composition is "Fantasia (Introduction, Adagio, Scherzo, Andante, Finale) for the Violin, with Orchestra and Harp, with the free use of Scottish Folk-melodies." The fantasia was composed in the winter of 1879-80 at Berlin, and played for the first time at Hamburg, late in September, 1880, at a Bach Festival, by Pablo de Sarasate, to whom the work is dedicated. The first performance in Boston was by Charles Martin Loeffler at a concert of the Boston Symphony Orchestra, November 24, 1888. Timothee Adamowski played it at concerts of the Boston Symphony Orchestra, January 11, 1896, February 4, 1899 ; Mr. Birnbaum on November 28, 1903 ; Kathleen Parlow on December 2, 1911. The Fantasia is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettle- drums, harp, solo violin, strings ; bass tuba, bass drum, and cymbals are used in the Introduction and the first movement.