SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 Boston Symplioey Orelaestra INCORPORATED PIERRE MONTEUX, Conductor FORTY-FIRST SEASON. 1921-1922 Programme 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 1353 "CHE INSTRUMENT OF THE IMMORTALS HALF a century ago Anton Rubinstein, like his immortal con- temporaries, Wagner and Liszt, pronounced the Steinway ''unrivalled" among pianos. Today Sergei Rachmaninoff, the greatest Russian pianist since Rubinstein, has said: "Only upon a Steinway can the works of the masters be played with full artistic justice." Generation after generation the Steinway stands supreme — the chosen piano of the masters — the immortal instrument of the Immortals of Music. STEINWAY & SONS, STEINWAY HALL 107-109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Bostoe Symplioiiy Oircliestra Forty-first Season. 1921-1922 PIERRE MONTEUX, Conductor PERSONNEL Violins. Burgin, R. — IN THE POSSESSION OF A BEAUTIFUL WORK OF ART ^/ HE choice of a piano which i^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 ot satisfaction that is an enduring pleasure. This pleasure is experienced by those whose discrimination demands the ^(licfertagl 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 'n the world RETAIL WARE ROOMS i6g TREMONT STREET BOSTON FORTY-FIRST SEASON. NINETEEN HUNDRED TWENTY-ONE anJ TWENTY-TWO TweetY-secoed Programme FRIDAY AFTERNOON, APRIL 14, at 2.30 o'clock SATURDAY EVENING. APRIL 15, at 8.00 o'clock Haydn Symphony in D major (B. & H. No. 2) I. Adagio; Allegro. II. Andante. III. Menuetto; Trio. IV. Allegro spiritoso. Schumann . From the Music to Byron's "Manfred," Op. 115 a. Entr'acte. b. Ranz des Vaches (Act I, Scene 2). (English Horn Solo, Louis Speyer) c. Invocation of the Witch of the Alps (.-Vet II, Scene 2). Wagner . "Good Friday Spell" from Parsifal (Act III) Strauss . "Don Quixote" (Introduction, Theme with Variations and Finale) : Fantastic Variations on a Theme of Knightly Character, Op. 35 (Violoncello solo, Jean Bedetti, Viola solo, Georges Fourel) There will be an intermission of ten minutes after Wagner's "Good Friday Spell" City of Boston, Revised Regulation of August 5, 1898,—Chapter 3, relating to the covering of the head in places of public amusement Every licensee >hall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN. City Clerk. The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert. A Complete Five Weeks Cruise — or The Prelude to a European Tour Rayniond=Whltcomb North Cape Cruise Sailing June 28, 1922 ^ For five weeks in midsummer the Cruise sails the wonderful northern ocean, visiting Iceland, the Viking Isle; HammerJest, the most northerly town In the world; the mighty North Cape, outpost of Europe; the Lofoten Islands; the marvelously beautiful Norwegian Fjords; Trondhjem and Bergen; Christiania, capital of Norway; Copenhagen, capital of Denmark; Belgium. and England. Long restful days at sea are Interspersed with calls at quaint Scandinavian ports. ^ Members may return directly to America at the end of the Cruise (August 5) or may stay Abroad for travel In the British Isles or on Continent. Return accommodations on a convenient date are included in the price of the Cruise. Rates $675 and upward Send for the Cruise Book Europe Europe Is once more the goal of American travelers. Raymond-Whitcomb Tours are still the best way to see it. Frequent departures, varied length, diverse Itineraries — always and everywhere " ** The Best in Travel Raymond & Whitcomb Co. 17 Temple Place, Boston Telephone Beach 6964 Symphony in D major (B. & H., No. 2) Josef Haydn (Born at Rohrau, Lower Austria, March 31, 1732; died at Vienna, May 31, 1809.) This symphony is the twelfth which Haydn composed in England for Salomon. It was first performed May 4, 1795, in the large hall of the King's Theatre. The programme was as follows: Part I: MS. Ouverture (Symphony), Haydn; Song (Sig. Rovedino); Concerto for Oboe, Fer- lendis (Sig. Ferlendis of Venice, his first appearance in London) ; Duet, Haydn (Mad. Morichelli and Sig. Morelli); New Ouverture (Symphony), Haydn. Part II: Military Symphony, Haydn; Song (Mad. Morichelli); Concerto for Violin, Viotti (Mr. Viotti); Scena Nuova, Haydn (Mad. Banti) ; Finale. The terms ''overture" and "symphony" were loosely used by pro- gramme-makers of that period. Many of Haydn's symphonies plaj^ed during his visits to London were announced as "overtures," although the music-lexicons of the eighteenth century do not speak of the terms as synonymous. Thus, in the programme above, the first "overture" was the first movement of Haydn's "Military" Symphony, and the other movements were played at the beginning of Part II. of the pro- gramme. (For many years symphonies were thus divided. Thus Hanslick tells us that at Vienna, in 1839, the first two movements of Schubert's Sjonphony in C were separated from each other by an aria SONGS by FLORElMCE MEWELL BARBOUR Florence Newell Barbour is one of the successful women composers of this country. She knows how to write for those who love singable, appealing songs, and few teachers regard their repertory as complete unless it contains a number of her songs. MUSICAL LEADER. Just Issued THE CORAL GROVE (2 keys) 60 LOVE'S ECSTASY (2 keys) 60 THREE ROSSETTI LYRICS AMONG THE LITTLE FOLKS (Three Songs about Children) THETHF SEA-LIMITSqPA I I^/IIT<; bUftO BABY-LAND 50 SUDDEN LIGHT GLASS 30 THE STREAM'S THE WITCH IN THE SECRET THE PIPER 60 THE SUMMONS OF SPRING 60 THE FLOWER WILL BLOOM 60 HEART'S LONGING 60 iqy CAME WITH THE DAY 60 THE GOLDEN FISH 50 cnxrn PICTURES BURSTS FORTH .60 WHEN FLAMING MORN BEFORE DAWN 60 AWAKEI IT IS THE DAY 50 jhE CORAL GROVE! '.'.'.'.'.'.'.'.'.'.'.'.'.'.'. !60 STARS OF THE SUMMER NIGHT 50 EVERY WAVE CAUGHT A STAR 60 Soprano or Tenor Mezzo-Soprano or Baritone THE ARTHUR R SCHMIDT CO., 120 Boylston St. from "Lucia di Lammermoor," sung by Miss Tuczek.) The "new overture" at the end of Part I. was the Symphony in D (B. & H., No. 2). The concert was most successful. Haydn wrote in his diary: "The hall was filled with a picked audience. The whole company was de- lighted, and so was I. I took in this evening four thousand gulden [about two thousand dollars]. One can make as much as this only in England." It was Haydn's last benefit concert in London. The symphony is scored for flute, two oboes, two clarinets, two bas- soons, two horns, two trumpets, kettledrums, and strings. I. Introduction, Adagio, D minor, 4-4, which opens fortissimo. The main body of the movement. Allegro, D major, 2-2, begins with the announcement of the first theme by the strings. The place of a true second theme is taken by the repetition of the first theme in the dominant. II. Andante, G major, 2-4. In the form of a slow rondo on a chief theme with episodic subsidiaries. III. Minuet, D major, 3-4. The Trio is in B-flat. IV. Allegro spiritoso, D major, 2-2. In regular and well-developed sonata form. 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