ACADEMY OF MUSIC . BROOKLYN Friday Evening, March 2, at 8.15 Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonio Society of Brooklyn V} m I 3T '£ BOSTON SYMPHONY ORCHESTRA INC. FIFTY-THIRD SEASON 1933-1934 Bostoe Symphony Orchestra Fifty-third Season, 1933-1934 Dr. SERGE KOUSSEVITZKY. Conductor Violins. Burgin, R. Elcus, G. Lauga, N. Sauvlet, H. Resnikoff, 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, E. Zung, M. Del Sordo, R. Gorodetzky, L Mayer, P. Diamond, S. Bryant, M. Fiedler, B. Zide, L. Beale, M. Stonestreet, L. Messina, S. Murray, J. 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, J. Langendoen, 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. Rogers, Snow, A. Sanroma, J. Fiedler, A L. J. ACADEMY OF MUSIC BROOKLYN FIFTY-THIRD SEASON, 1933-1934 INC. Dr. SERGE KOUSSEVITZKY, Conductor FRIDAY EVENING, MARCH 2, 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 1 Dr. SERGE KOUSSEVITZKY ACADEMY OF MUSIC BROOKLYN Forty-sixth season in Brooklyn gfon Sjinphi Fifty-third Season, 1933—1934 Dr. SERGE KOUSSEVITZKY, Conductor FOURTH CONCERT FRIDAY EVENING, MARCH 2 AT 8.15 PROGRAMME Bach Brandenburg Concerto No. 3 in G major, for String Orchestra I. Allegro moderato. II. Allegro. Schubert . Symphony in B minor ("Unfinished") No. 8 I. Allegro moderato. II. Andante con moto. Debussy . Two Nocturnes I. Nuages. II. Fetes. Scriabin "Le Poeme de l'Extase," Op. 54 There will be an intermission often minutes after the symphony 3 ; Concerto, G major, No. 3 (of the Brandenburg Set) for three Violins, three Violas, three Violoncellos, with Bass by % the Cembalo . John Sebastian Bach (Born at Eisenach on March 21, 1685 ; died at Leipsic on July 28, 1750) This composition is the third of the six Brandenburg Concertos. Completed on March 24, 1721, they were written in answer to the wish of a Prussian prince, Christian Lndwig, Margraf of Branden- burg, the youngest son of the Great Elector by a second wife. This prince was provost of the Cathedral at Halberstadt. He was a bach- elor, living now at Berlin and now on his estate at Malchow. Fond of music, and not in an idle way, he was extravagant in his tastes and mode of life, and often went beyond his income of nearly fifty thousand thalers. In May, 1718, Prince Leopold of Anhalt-Cothen, at whose court Bach was Capellmeister, journeyed to Carlsbad to drink the waters. He took with him Bach and a quintet from his orchestra ; also his clavicembalo with three "servants to care for it" he was also thus attended when he visited Carlsbad in 1720. The Margraf may have been at Carlsbad, and as he was very fond of music and had his own orchestra, he undoubtedly attended Leopold's musical parties. Bach retained a copy of the score and performed the music at Cothen, by Prince Leopold's orchestra, reinforced by visiting players, before the concertos were offered elsewhere. "The first concerto is scored for two horns, an instrument just coming into vogue, of which Bach made no other use at Cothen. His Capelle contained no horn player, and an entry in the accounts, under the date, 6 June, 1722, 'An die beyden Waldhornisten, so sich alhier horen lassen, 15 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. Thaler/ indicates with considerable certainty a performance of the Concerto and not improbably the first one" (C. S. Terry). The first movement, in a somewhat different form, was used by Bach for the opening section—entitled a Sinfonia or Concerto—of his Whitsuntide cantata: "Ich liebe den Hochsten von ganzem Gemuthe," scored for two oboes, two horns, taille (oboe da caccia), three violins, three violas, three violoncellos, and continuo.* I. G major, 2-2. The strings, divided into three groups, begin with a lively theme. The movement consists of developments in many forms of portions of this theme ; for example, the motive of the first measure is used with a new figure in opposition; measures 4, 5, 6 are contrapuntally treated. A half-cadence on D introduces the work- ing-out of motives from the third measure of the theme, while the initial motive of the first measure appears in violoncellos (and double basses), until the chief theme leads to a cadence, G major. A new episode is based on the second part of the second measure. When G major again comes, a new theme is opposed to the chief theme. The voices alternate in double counterpoint. At last the movement a ends with the chief theme. "One passage," says Spitta, is as fine as anything in the whole realm of German instrumental music. The chief subject is given out in the second violin part; the first violin *"At first sight it is a little startling to find that the merry opening movement is used again in the church cantata, No. 174. Yet the incongruity would only be felt by those who, in the reign of Queen Victoria, made a hard and fast line between sacred and secular music."—J. A. Puller-Maitland. n BROOKLYN IT'S LOESER'S for FINE RADIOS and SERVICEI Why ? Because Loeser's sells only standard radios . radios with a name! Because a radio bought at Loeser's comes to you complete with standard tubes! Because every radio Loeser's sells is installed by a Loeser expert radio engineer . which is your assur- ance of complete satisfaction in every respect! LOESER'S FUITON AT BOND, BROOKLYN • TRiongle 5-8100 ; then starts an entirely new subject, which next appears in the second violin, drawing in more and more instruments, and is at last taken up by the third violin and third viola and given out weightily on their G strings; this is the signal for a flood of sound to be set free from all sides, in the swirl of which all polyphony is drowned for several measures." Spitta refers here to a place near the middle of the movement. In the original score there is a transitional measure, adagio, 4-4, "two big chords, forming what is known as a Phrygian cadence, and landing us for a moment in B major. Their purpose,' 7 thinks Fuller- Maitland, "clearly is to avoid the monotony of beginning the new movement in the same key as the old. We cannot but feel that these two chords are a poor substitute for the slow movement which, in the ordinary course of things, would have given the same relief but even Bach may have felt the great difficulty of inventing a move- ment which would be a contrast to the two expressions of happi- ness without causing a feeling of incongruity." To supply this want, some conductors have introduced as a second movement Bachrich's arrangement of an Andante from one of Bach's sonatas for violin solo. This was done when the concerto was played at concerts of the Philharmonic Society of New York, Februarv 13, 14, 1903.* *At a concert of the Chicago Symphony Orchestra, the interpolated Adagio was the slow movement of Bach's concerto for violin in E major, which he himself ar- ranged as a piano concerto, changing the key from E major to D major. The Adagio in the violin concerto is in C-sharp minor ; in the piano concerto in B minor. At the concert in Chicago, it was played in C minor. 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